=The Greek Chromatic Scale= differed altogether from what _we_ call a chromatic scale. It was made by _lowering_ the pitch of the _fourth_ and _seventh_ strings above the _keynote_ a halftone. Supposing the octave lyre to be tuned to the Hypo-Dorian Mode or Scale, it would begin and end on the Keynote (_Mese_), thus: [Music] Now, by lowering D and G we get the following scale: [Music] This is the scale that was called Chromatic. It is said to have been at one time the most popular of all the scales, a statement we can easily credit, since it contains in itself the two world-wide five-note or _Pentatonic_ Scales, commonly known as the Scotch or Irish Scales, the most widely distributed of all scales in Europe, Asia and America. [Music: Major pentatonic scale Minor pentatonic scale] =The Greek Enharmonic Scale=.—The scale called Enharmonic was made thus: The fourth and seventh strings were lowered a whole tone; that is, to the pitch of the second and sixth, the second and sixth were lowered a _quartertone_, thus: [Music] C-flat is supposed to be halfway between B and C; F-flat halfway between E and F. Our modern system does not provide for the notation of quartertones. [Illustration: LYRE. CITHARA. LYDIAN MAGADIS.] =Greek Instruments=.—The standard instrument of the Greeks was the =Lyre=. It bore many names, as Lyre, Tetrachordon, Chelys, Phorminx, Cithara, etc. There may have been slight _differences_ in the _size and the number of the strings_, but great uncertainty prevails on this point. Under the name of =Flute= (_Aulos_) they seem to have included both _Flutes_ proper and instruments of the _hautboy_ or _clarinet_ family. These instruments bore a bewildering number of names, the exact meaning of which is lost. Judging from the pictorial representations that remain, the Greek instruments were inferior both in variety and extent to those of the Egyptians. They seem to have made little use of the Harp, of which instrument the Egyptians had a great variety. The Greeks seem to have used instruments chiefly, if not solely, to accompany the voice; and they appear never to have combined large numbers of instruments for any purpose. Even in their tragedies, which were performed in immense theatres open to the sky, the Chorus was limited to fifteen men, accompanied by two flutes. When accompanying the voice with the lyre they may have occasionally struck the fourth, fifth or octave of the vocal melody; but, in general, they played the voice part. Their most highly developed instrument was a variety of lyre, the strings of which passed over a bridge placed one-third of the strings’ length from the lower end of the lyre, thus causing the lower part of the string to sound the octave of the upper part. The shorter part of the string was played with a plectrum in the right hand, the longer part by the fingers of the left hand. This instrument was called =Magadis=—from _Magas_, a bridge. The term _Magadize_ was eventually