Table of Propositions

[A voice] part can move by such degrees as one wishes, even if they are dissonant, provided that one does not stop on these dissonant degrees, and that they are only used to pass to Consonances The author is referring to what modern musicians call "passing tones," where a dissonant note is allowed if it moves quickly between two harmonious notes.. But if one of the parts stops the sound, even if it is always at the Unison, upon resuming the same sound, the other part cannot go through all kinds of degrees. 218.

VII. To determine in general why all the passages that can be made from one Consonance to another are not good; and why some are more pleasing than others. 219.
VIII. How one must find all the relations, both external and internal, which are encountered in the passages from one consonance to another, in order to seek the reason why one is good and the other bad. 219.
IX. To explain two other ways that serve to find the internal relations of passages from one Consonance to another. 231.
X. To explain in how many ways one can pass from one consonance to another of a different species by contrary, conjunct, or disjunct movements: where one sees the used and unused passages, the good and the bad. 232.
XI. To determine why the last two passages of the first table, and the first of the second and third table are good or bad: where one sees why the passage from the Major Third to the Unison is not as good as that from the Unison to the Major Third. 238.
XII. To determine if the third passage of the first table is good; which is used to pass from the Major Third to the Unison by the Chromatic degree A semitone interval that changes the pitch of a note without changing its letter name, such as moving from C to C-sharp., and by the Minor Third: and why one can pass to whatever Consonance one wants when leaving the Unison. 240.
XIII. To determine if the 4th, 5th, and 6th passages of the first table, by which one goes from the Fourth to the Unison, are permitted. 241.
XIV. To determine if it is permitted to pass from the Fifth to the Unison by the 7th and 8th ways of the first table. 241.
XV. Of 2 ways for the Minor Third to go to the Unison by similar disjunct movements, one of which has its Bass making the Fifth while descending, and the treble the Major Third, and the other has its Bass making the Major Third while ascending, and its treble making the Fifth; determine which is the best. 243.
XVI. Why several passages from one Consonance to another are not good, even though they have no bad internal relations: and why it is not permitted to pass from the Major Third to the Unison, as it is permitted to pass from the Unison to the Major Third. 244.
XVII. To explain the universal tablature A system of musical notation that tells a player where to place their fingers on an instrument rather than indicating the pitch of the notes. of Harmonic ratios, from which one can compose all sorts of pieces of Music for 2, 3, 4, and as many parts as one wishes. 245.
XVIII. To explain 2 other sorts of tablature that can serve to understand the Theory while singing. 250.
XIX. To explain all the types of characters proper for singing Music, and show how the Jews, Arabs, Armenians, Samaritans, and other nations can conform to our way of writing and singing Music. 251.
XX. To explain the figures, and the value of notes and other harmonic characters of Europe. 255.