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The former arrangement is called by the eminent theorist Zarlino (q.v.) harmonic division (divisions armonica ) ; the latter arrangement, arithmetical division ( divi- sions qritmetica) .

The mediamt derives its name from the fact that in the authentic modes it always lies midway between the final and the dominant; it is always the third tone of the mode.

In the plagal modes the position of the mediant is rather unsettled, owing to the necessity of ob- taining a convenient tone for cadences, as in the case of the dominant, and for the same reason B can never appear as a mediant. The participant in the authentic modes lies either between the final and the mediant, or between the mediant and the dominant.

The final, dominant, mediant* and participant are called regular modulations and the additional tones conceded modulations.

One of the most frequent of these conceded modulations is the seventh tone of the mode.

To see the face of any woman who is neither his wife nor his concu- bine, nor belongs to any of the forbidden de- grees, is strictly forbidden to the believer.

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