In primo capite monochordi ad punctum quem diximus Г litteram, id est g graecum

pone, quae, quia raro est in usu, a multis non habetur. Ab ipsa Г gamma usque ad
punctum, quem in fine posuimus, per novem VIIII diligenter divide, et ubi prima
nona pars finem fecerit, prope Г A litteram scribe, et haec dicetur vox prima. Ab
eadem prima A similiter per VIIII (nine) usque ad finem metire, et in prima nona
parte B litteram pro voce secunda appone. In omni autem divisione sive per VIIII
sive per quattuor sive per III sive per duo, sicut modo fecisti, usque ad finem
divide, et in primae partis termino scribe litteram. Deinde ad caput revertere, et
divide a Г per IIII et pro voce tertia C litteram scribe. A prima A similiter per
IIII partire, et pro voce quarta D litteram pone. Eodem modo a secunda B dividens
per quattuor, invenies quintam E litteram depictam. Tertia quoque C quadrata sextam
insinuat F litteram figuratam. Post haec ad Г revertere, et ab ipsa, et ab aliis
per ordinem quae sequuntur, praedictam lineam in duas partes, id est, per medium
divide, usque dum habeas voces XIV absque Г. Et dum voces per medium diviseris,
dissimiles easdem litteras facere debes. Verbi gratia, dum a Г per medium dividis,
et pro Г scribe G, et pro A mediata pone similiter a, similiter quoque et pro B
aliam Б, et pro C aliam c, et pro D aliam d, et pro E aliam e et pro F aliam f et
pro G aliam g et a medietate monochordi in antea eaedem sint litterae, quae sunt et
in prima parte. Praeterea et a voce sexta F per IIII divide, et retro B aliam
ivenies b quam dicimus rotundam: quae ambae pro una voce accipiuntur, et una
dicitur VIIII prima, altera vero VIIII secunda. Et utraque in eodem cantu
regulariter non invenietur. Erunt ergo et litterae et voces per ordinem ita:
[Г] A B C D E F G a b Б c d e f g

Maius spatium tonus dicitur, et est a Г in primam A et a prima A in secundam B.

Minus vero spatium, sicut est a secunda voce B in tertiam C semitonius vocatur,
faciens contractiorem elevationem vel depositionem. Nulla autem mensura vel numero
spatium semitonii ad finem usque perveniet, sed cum per praedictam rationem
divisiones fiunt suis in locis, toni et semitonii formantur. Tonos autemomnes si ad
extremum punctum duxeris, novenaria in omnibus divisione inventa miraberis, sicut Г
in primam A et a prima A in secundam B, primitus fecisti. Prima nona b et secunda
nona B ad se invicem neque tonum neque semitonium faciunt, sed prima nona b ad
octavam a semitonius est, ad decimam c vero tonus praestat. Secunda vero nona ad
octavam a e contrario est tonus, ad decimam vero c semitonium praestat. Ideoque una
earum semper superflua est, et in quocumque cantu unam recipis, aliam contempnis,
ne in uno eodemque loco, quod penitus absurdum est, tonum et semitonium facere
videaris. Sed de tonis et semitoniis in hac figura notabis:
[Г]_A_BC_D_E F_G_abБc_d_e_f_g

With regards to the monochord, at the point of attachment, put the letter Г
(gamma), that is – the Greek G, which, because it is rarely used, is not known by
many. From the gamma itself to the point which we have placed at the end, divide
its length carefully by nine (:9), and where the first ninth (9th) part ends, next
to the letter Г (G) write A near it, and this will be called the first note. From
the same first A measure in the same way through 81 to the end, and in the first
ninth part add the letter B for the second word. And in every division, whether by
81, or by four, or by 3, or by two, as you have just done, divide to the end, and
write a letter at the end of the first part. Then return to the chapter, and divide
a Г by IV and write the letter C for the third word. Divide the first A in the same
way by IIII, and place the letter D for the fourth voice. In the same way, by
dividing the second B by four, you will find the fifth letter E depicted. The third
square of C also suggests the sixth in the form of the letter F. After this, return
to Γ, and from it, and from the others in the order that follow, divide the
aforesaid line into two parts, that is, divide it in the middle, until you have 14
words without Γ. And while you split the words down the middle, you have to make
the same letters different. For example, while you are dividing a Г by the middle,
and for Г write G, and for A mediated in the same way put a, likewise also for B
another Б, and for C another c, and for D another d, and for E another e and for F
another f and for G another g and from the middle of the monochord in the former
let the letters be the same as in the first part. Further, divide the sixth voice F
by IIII, and behind B you will come to another B, which we call round: both of
which are taken for one voice, and one is called VIIII the first, and the other
VIIII the second. And both are not usually found in the same song. Therefore the
letters and the voices will be in this order:
[Г] A B C D E F G a b Б c d e f g

A greater space is called a tone, and it is from Г to the first A and from the
first A to the second B. A smaller space, as it is from the second voice B to the
third C, is called a semitone, making a more contracted elevation or deposition.
Now, by no measure or number will the space of a semitone reach the end, but when,
by the aforesaid method, the divisions are made in their places, tones and
semitones are formed. But if you take all the tones to the last point, you will be
surprised to find the ninth division in all of them, just as G into the first A and
from the first A into the second B, you did at first. The first ninth of b and the
second ninth of B make neither a tone nor a semitone to each other, but the first
ninth of b is a semitone to the octave of a, but to the tenth of c it is a tone.
But the second ninth to the eighth is the opposite tone from e, and to the tenth c
is a semitone. And therefore one of them is always superfluous, and in whatever
song you accept one, you confound the other, so that you do not seem to make a tone
and a semitone in one and the same place, which is completely absurd. But you will
note the tones and semitones in this figure:
[Г]_A_BC_D_E F_G_abБc_d_e_f_g