Hoc in volumine haec opera continentur

[continues from previous page] of the hypaton and middle tetrachords. The common note itself connects the hypate meson. The mese is the synaphae which is from the mesis and netis synemmenis. The common note itself connects the nete. The most acute is the synaphae which is from the diezeugmenis and hyperbolaeis. The common note itself connects the nete diezeugmenon.

The diazeuxis disjunction is one which is from the middle [notes] and the diezeugmenis. The common note itself separates the tones which are between the mese and the paramesen. Two systems are perfect, of which one is smaller, the other larger. The smaller one is indeed through the synaphen conjunction from the proslambanomenos to the nete synemmenon; there exist within it three synemmena tetrachords, these [are] under the middle synemmenis and the tone from the proslambanomenos to the hypaten hypaton.

The definition of a consonant is the diapason itself and the diatessaron fourth; it is certainly larger through the diazeuxim disjunction from the proslambanomenos to the nete hyperbolaeon. In which there are four tetrachords separated by two. They are mutually coupled, which are the hypaton and meson, diezeugmenon and hyperbolaeon. And likewise two tones from the proslambanomenos to the hypaten hypaton and from the paramese to the mese. The definition of consonants is [based on the fact] that it is the dis diapason double octave, as there are five tetrachords in the immutable system which is composed from both perfect ones; two are common to each of the perfect ones: the hypaton and meson, [and] those of its own which is through the synaphen of the neton coupled, which they call synemmena, [and] of that which is through the diazeuxim of the neton diezeugmenon and neton hyperbolaeon. The immutable and mutable [systems] differ as simple systems differ from non-simple ones. Simple ones, therefore, are those modulating to one mese, double ones to two, triple ones to three, and multiple ones to more. The mese is the power of the note to which it falls by diazeuxim to have a tone toward the acute part in the compound. By synaphen, to which it falls to have three coupled tetrachords, namely the middle being the most acute or the most acute being the most grave. But from the mese and the remaining notes, the powers are detected, if indeed it is made plain in what way one might have any of them in relation to the mese.