Hoc in volumine haec opera continentur

The mixture of genera is as follows: proslambanomenos, hypate hypaton, hypate hypaton enharmonios, lichanos hypaton chromatice, lichanos hypaton diatonos, hypate meson, parhypate meson, lichanos meson enharmonios, lichanos meson chromatice, lichanos meson diatonos, mese, trite synemenon, paranete synemenon enharmonios, paranete synemenon chromatice, paranete synemenon diatonos, nete synemenon, paramese, trite diezeugmenon, paranete diezeugmenon enharmonios, paranete diezeugmenon chromatice, paranete diezeugmenon diatonos, nete diezeugmenon, trite hyperbolaion, paranete hyperbolaion enharmonios, paranete hyperbolaion chromatice, paranete hyperbolaion diatonos, nete hyperbolaion.

Regarding the numbering of sounds: some are stationary, others are motor. The stationary ones are those that do not shift in the differences of the genera but remain in one pitch. The motor ones, however, are those that hold the contrary, for they change in the differences of the genera and do not remain in one pitch. Therefore, there are eight stationary ones: proslambanomenos, hypate hypaton, hypate meson, mese, nete synemenon, paramese, nete diezeugmenon, nete hyperbolaion. The motor ones are all those that are middle. Furthermore, of the stationary ones, some are barypycni low-density/deep-dense, which we can call 'heavy-dense'. Others are apycni non-dense, not dense and comprising perfect systems. Therefore, the barypycni are five: hypate hypaton, hypate meson, mese, paramese, nete diezeugmenon. The apycni, which comprise perfect systems, are the remaining three: proslambanomenos, nete synemenon, nete hyperbolaion. Of the motor ones, some are mesopycni middle-dense, others are oxypcni sharp-dense, and others are diatoni. The mesopycni are five: hypate hypaton, parhypate meson, trite synemenon, trite diezeugmenon, trite hyperbolaion. The oxypcni are similarly five according to the genus. In harmony, they are indeed enharmonii. In chromatic, they are chromatici (for the diatonic is not a participant in the dense). Therefore, in harmony there are: lichanos hypaton enharmonios, lichanos meson enharmonios, paranete synemenon enharmonios, paranete diezeugmenon enharmonios, paranete hyperbolaion enharmonios. In chromatic, there are: lichanos hypaton chromatice, lichanos meson chromatice, paranete synemenon chromatice, paranete diezeugmenon chromatice, paranete hyperbolaion chromatice. In diatonic, there are: lichanos hypaton diatonos, lichanos meson diatonos, paranete synemenon diatonos, paranete diezeugmenon diatonos, paranete hyperbolaion diatonos. The differences of intervals are five, which differ among themselves in magnitude, and in genus, and in consonance (as well as the composite of dissonants in the composite, and rational of the irrational). Through magnitude, there are some intervals that are greater and some smaller, such as the ditone, the tone, the hemitone, the diatessaron fourth, the diapente fifth, the diapason octave, and similar ones. The difference through genus is such that some intervals are diatonic, some chromatic, and some enharmonic. Consonance is such that some intervals are consonant, others diaphona dissonant. Therefore, the diatessaron, diapente, diapason, and similar are consonant. Diaphona are all those smaller than a diapason. All intervals among the symphona are smaller than the diatessaron: the diesis, the hemitone, the tone, the ditone. Among the consonant ones, however, the tritone, the tetratone, the pentatone, and similar are. Consonance is the mixture of two sounds, a sharper and a lower, not so they purge, but so they sharpen the voice. The difference of the composite is that some intervals are non-composite, others are composite. Therefore, non-composite intervals are those that are the holders of consecutive sounds, such as those of the hypate and parhypate and lichanos and mese.