The 2nd and particularly the 3rd above the finalis are also heard frequently.

A leap of perfect fifth from the finalis to the 5th above is rarely used.

The 4th above may function as the Āqāz in place of the finalis.

The eight modes can be further divided into four categories based on their final (finalis).

The 2nd above the finalis (d in our scale) becomes the Šāhed.

The finalis is the tone that serves as the focal point for the mode.

In the same slightly one possibly the sonata finalis nr.

In such situations it is used ascendingly, resolving to the 2nd below and then to the finalis.

The tetrachord above the finalis is the focal point of melodic activity.

The 7th above the finalis is a semi-tone flatter than its lower octave, the 2nd below.

The finalis may be approached from above.

The finalis, the reciting tone, and the range.

The finalis is the most emphasized tone.

The finalis has a central position; it is the linking tone of two conjunct major tetrachords.

A third type of Forud, given in the following score emphasis the four notes above and below the finalis:

But to the contrary in sonata finalis nr.

This type, as shown in the next score, is less typical and gives no emphasis to the tetrachord below the finalis:

In the Forud, the 3rd and the 2nd below receive emphasis, and usually the finalis is approached from below.

It has its finalis between a descending and an ascending tetrachord which are connected by the finalis-the crossing point.

The tetrachord above the finalis receives more emphasis than the tetrachord below it, except in the Forud.

Agathotoma finalis is a species of sea snail, a marine gastropod mollusk in the family Mangeliidae.

It is derived from the dativus finalis which expresses purpose or the ablativus respectivus which indicates in what respect.

In other situations, an upward leap of a 4th is relatively common, from the 2nd below to the 3rd above the finalis, at the beginning of a phrase.

Another work of his was Finalis Concordia, alluded to by him in some correspondence with Richard Baxter on church divisions.

The Moqaddame places more emphasis on the tetrachord below the finalis; its basic melodic pattern is given here in Māhur C :