of Universal Harmony.

VIII. To explain the utility of the two preceding Systems, and the origin of all their intervals. 162.
IX. To explain the degrees of the System of 25 strings and 24 intervals to the Octave which contains the 3 Genres, following the thought of Salinas Francisco de Salinas (1513–1590), a blind Spanish music theorist and organist known for his work on temperament.. 163.
X. To determine if any string or degree is missing in the figure of the preceding proposition, or in the Systems of the 5th and 6th propositions, and if some degrees should be added to perfect Music. 166. Wherein one sees the Octave divided into 32 sounds.
XI. To explain the System of Fabio Colonna An Italian polymath (1567–1640) who designed the "sambuca lincea," a complex keyboard instrument with 50 keys per octave to play in all three Greek genres., which he divides into 59 sounds, or 38 intervals; and likewise the monochord which he uses, and all its divisions. 167.
XII. To explain the simplest and easiest System of all those in which one can begin all sorts of notes and pieces of Music, transposed onto whatever string or pitch one wishes; and likewise the Enharmonic System, or the mixture of the 3 Genres. 170.
XIII. To explain the Diatonic, Chromatic, and Enharmonic Genres The three classifications of melody in ancient Greek music theory., and the common Genre of the Greeks, in their simplicity. 172.
XIV. To explain all the species of Fourths, Fifths, and Octaves that can be used in the Diatonic Genre. 176.
XV. That one can establish more than 7 species of Octaves in Music. 180.
XVI. To explain the 12 modes of practitioners, and to show that one can establish 72. 181.
XVII. To determine what were the modes of the ancients. 185.
XVIII. To explain the power and properties of each tone, and of the modes, and the manner of knowing which mode or tone a given melody belongs to; and to show that there are only 7 different modes or tones. 187.
XIX. To determine if one can reduce the tones and the modes to the natural original: b quarre and the flat original: b mol; and to demonstrate how to sing without any other mutation The practice of changing from one hexachord to another during a song. than those of these two keys. 190. See the first two propositions of the 6th Book on composition, where it is taught how to sing without mutations.
XX. To determine if the 7 species of Octaves and the 12 modes are found in the Chromatic and Enharmonic Genres. 194.

I. To determine if simple solo narratives original: récits—referring to solo vocal pieces or recitatives., which are performed by a single voice, are more agreeable than when the same thing is sung in 2 or more parts. 197.
II. To determine if a Song in three parts is more agreeable than in two. 201.
III. To determine if the Bass is the foundation and the principal part of Music, and for what reasons. 207.
IV. To explain how many other musical parts there can be, what the Tenor original: la Taille, the Alto original: la Hautecontre, and the Treble original: le Dessus consist of, and which is the most excellent part of the four. 211. Corollary. On the Music of the Platonists.
V. All the ways of passing from one consonance to another can be related to the principal movements used in composition, namely to conjunct movement, which is done by conjunct, disjunct, similar, and contrary degrees. 216.
VI. When one of the parts holds steady and continues the same sound, the other