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That is, if the interval of a 4th, beginning with an open string, is divided into two whole tones and a minor semitone, the major 3rd contained within this 4th will be a comma larger than the proper proportion of a major 3rd.
Tomkins's canon is mentioned by Denis Stevens, who praises the `smooth descent by whole tones, since each part retains something of its own key-colour whilst contributing in a thoroughly convincing manner to the whole'(21) and by Bernard Rose, who is impressed by its `very systematic canonic design'.
The major fifth is that which contains three whole tones with one semitone and is that fifth which is counted among the perfect consonances, and which musical authors define as consisting of the sesquialtera proportion; the minor fifth is that which contains two whole tones with two semitones and is not a consonant interval but is counted among the intervals that are truly discordant.