Figure 16. Chromatic species in the second tenor part of Hierusalem, which Vicentino describes as “completely chromatic, without any mixture from other genera” (222). In such a work, every melodic motion in the piece should correspond to a step interval of some chromatic species. 4ths, 5ths, and 8ves may be considered neutral; they do not indicate the presence of any other genus. Here, every non-neutral melodic motion (except for two discontinuities between phrases, marked by dashed zig-zag lines) is interpreted as a portion of a chromatic species. (There is more than one possible interpretation; here, wherever there is not a complete chromatic 4th (or 5th), I have preferred the 4th that would also include nearby notes in the melody, and preferred those 4ths bounded by natural notes. For example the final two notes could have been part of a third-species 4th F♯–G–G♯–B or a second-species 4th G♯–B–C–C♯ instead of the first-species G–C 4th shown.) Vicentino does not comment on the one or two non-chromatic intervals in the piece—apart from those that occur between notes on either side of a rest, like the major 6th and major 2nd in this tenor part, there is a direct minor 6th in the first tenor. In an earlier example described as completely chromatic (Maniates’s ex. 44, Alleluia), Vicentino acknowledges a few non-chromatic intervals—major 3rds, principally—which he has retained for their good effect, “on account of the intensity of the words” (195).