That the modes do not always fill out the extreme notes original: "chordas"; referring to the highest and lowest notes of a scale's range, but are recognized by their phrasing, and partly also by the final key original: "finali claue"; the 'final' is the concluding note of a melody that defines its mode. Chapter XXXVII.
On the excellence of the phonascus: a composer of solo melodies or a singing teacher and the symphoneta: a composer of polyphonic music, and likewise on which of the two—plainchant or mensural music—is superior to the other. Chapter XXXVIII.
An admonition to melodic composers original: "Phonaſcos" regarding the finding of Tenors. Chapter XXXIX.

Twenty-Six Chapters of the Third Book.

On the shapes of notes. Chapter I.
On the ligatures: symbols that join two or more notes together to be sung to a single syllable of notes. Chapter II.
On rests. Chapter III.
On dots. Chapter IIII.
On Mode, Time, and Prolation: the complex system of rhythmic levels in Renaissance music governing how many beats are in a measure. Chapter V.
On signs. Chapter VI.
On the tactus: the steady, downward and upward hand motion used to keep time or the measure of singing. Chapter VII.
On augmentation, diminution, and the semidiapente: a diminished fifth, often considered a "false" or "imperfect" interval. Chapter VIII.
On the imperfection: a rule where a note's value is reduced from "perfect" (three units) to "imperfect" (two units) based on context of notes. Chapter IX.
On alteration: the doubling of a note's value in certain rhythmic groupings. Chapter X.
On syncopation: the shifting of musical accents, and a complaint regarding the diversity of this new system, with appropriate examples to demonstrate it. Finally, examples concerning the deductions: the systematic derivation of the six musical syllables (Ut, Re, Mi, Fa, Sol, La) from the hexachord system. Chapter XI.
On musical proportions. Chapter XII.
Examples of the twelve modes, and first of the Hypodorian and Aeolian. Chapter XIII.
Examples of the Hypophrygian and Hyperaeolian. Chapter XIIII.
On the Hypolydian and its examples. Chapter XV.
Examples of the Ionian. Chapter XVI.
Examples of the Dorian mode. Chapter XVII.
On the Hypomixolydian and its examples. Chapter XVIII.
Examples of the Phrygian mode. Chapter XIX.
Examples of the Hypoaeolian mode. Chapter XX.
Examples of the Lydian and Hyperphrygian modes. Chapter XXI.
On the Mixolydian and its examples. Chapter XXII.
On the Hypoionian. Chapter XXIII.
Examples of the connection of pairs of modes, and therein an incidental encomium: a formal tribute or speech of high praise of Josquin des Prez (c. 1450–1521), a Franco-Flemish composer widely considered the greatest master of the high Renaissance style Josquin des Prez. Chapter XXIIII.
On Tenors that do not fill the diapason: the interval of an octave. Chapter XXV.
On the genius of polyphonic composers original: "Symphonetarum". Chapter XXVI.

original: "TELOS," the Greek word for the end, goal, or completion of a work