sonit VPAR31NOMSNPERFPASSIVEPPL et CONJ discrimin N32NOMPN ad ADVPOS symphoni N11ACCPF music N11ACCPF sive CONJ concent N41NOMSM compon V31PRESPASSIVEIND3P divis VPAR31NOMSFPERFPASSIVEPPL in PREPABL circinatio N31NOMSF n V21PRESACTIVEIMP2S diatessar N28DATSN n V21PRESACTIVEIMP2S et CONJ diapente N98XXN et CONJ disdiapas N28DATSN n V21PRESACTIVEIMP2S ut V31PRESINF0X vox N31NOMSF scaenic N21GENSM sonit VPAR31NOMSMPERFPASSIVEPPL conveni VPAR34NOMSXPRESACTIVEPPL in PREPABL disposition N31LOCPF tact N41ABLSM cum ADVPOS offend V31PERFACTIVESUB3S auct V11PRESACTIVEIMP2S cum ADVPOS increment N22DATSN clari ADJ11NOMSCCOMP et CONJ suavi ADJ32NOMSCCOMP ad ADVPOS spectat VPAR11GENPMPERFPASSIVEPPL perveni V41PRESACTIVESUB3S aur V11PRESACTIVESUB2S
The differences of the sounds which arise are combined into musical symphonies or concords: the circle of seats being divided into fourths and fifths and the octave. Hence, if the delivery of the actor from the stage is adapted to these contrivances, when it reaches them, it becomes fuller, and reaches the audience with a richer and sweeter note.
final_alignments\Vitruvius_Architecture_Book_1.json