But the notes named or alluded to by the present writer do not belong to this tetrachord: notes called trite and paranete are found only in tetrachords that lie in the upper part of the system, above mese.
The Greek names for the second, third and fourth notes in each of these tetrachords are trite, paranete and nete: when distinctions need to be made, the word synemmenon or diezeugmenon is added to the name.
14) That is, the note which is diatonic paranete in the context of the tetrachord synemmenon becomes |as it were' a trite when mixed into a sequence with notes belonging to the tetrachord diezeugmenon.
This looks initially like an overcomplicated way of making Nicomachus' point that diatonic paranete (synemmenon) and trite (diezeugmenon), here quite appropriately called the |higher' trite, standardly have the same pitch.
The note under consideration here, acquires the character, (one unconvertible word in Greek Character) or (one unconvertible word in Greek Character emerges, and hence it strikes the ear as a paranete at the moment when it is sung ((one unconvertible word in Greek Character)).
If this is roughly right, the point is readily understood, since the proposition stated above, that paranete synemmenon and trite diezeugmenon inhabit the same range, is not true when the paranete is chromatic or enharmonic.
A transition between tetrachords has taken place, pivoting on the note C, which in its initial context must be trite diezeugmenon (the |higher' trite), but in retrospect, in the light of the subsequent B[flat], functions also as paranete synemmenon.