...a part can move by such degrees as one wishes, even though they are dissonant, provided that one does not stop on these dissonant degrees, and that one only makes them serve as a bridge to pass to Consonances. But if one of the parts ceases its sound—even if it remains at the Unison—upon resuming the same sound, the other part cannot move through all sorts of degrees. 218.

Table of Propositions

VII. To determine in general why all the passages Transitions or movements from one musical interval to the next. that can be made from one Consonance to another are not good; and why some are more agreeable than others. 219.
VIII. How one must find all the relations, both external and internal, that occur 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 kind by contrary, conjunct Stepwise movement between adjacent notes in a scale., or disjunct Movement that skips over one or more scale degrees. 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 tables, 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 A movement using semitones that fall outside the standard diatonic scale. degree, and by the Minor Third: and why one can pass to whatever Consonance one wishes upon 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 two ways for the Minor Third to move to the Unison by similar disjunct movements—one where the Bass descends by a Fifth and the upper part moves a Major Third, and the other where the Bass ascends by a Major Third and the upper part moves a Fifth—to determine which is better. 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 form of musical notation indicating fingering or instrument positions rather than just pitch. of Harmonic ratios, from which one can compose all sorts of musical pieces for 2, 3, 4, and as many parts as one wishes. 245.
XVIII. To explain two other kinds of tablature that can serve to understand Theory while singing. 250.
XIX. To explain all the types of characters suitable for singing Music, and to 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.