=Confusion Between the Systems=.—We may gather from this table how the confusion between Dorian and Phrygian has arisen. The Phrygian Octave is identical with the Church Dorian, and the Dorian Octave with the Church Phrygian. A proof that the Church Scales originated in the way indicated may be found in the fact that the Church and Greek Hypo-Dorian Scales are identical, this being the only Greek Scale without a sharp or flat. The Church Hypo-Lydian was also called the Ionian Scale; its arrangement of tones and semitones is the _same_ as that of the _modern major scale_. It was not considered appropriate for church music, being looked upon as soft, effeminate and lascivious, by both Greeks and mediæval churchmen. [Music: GREEK OCTAVES CHURCH SCALES GREEK SCALES At the pitch as transposed by Ptolemy Phrygian Octave Dorian Dorian Dorian Octave Phrygian Phrygian Hypo-Lydian Octave Lydian Lydian Hypo-Phrygian Octave Mixo-Lydian Mixo-Lydian Hypo-Dorian Octave Hypo-Dorian Hypo-Dorian Mixo-Lydian Octave Hypo-Phrygian Hypo-Phrygian Lydian Octave Hypo-Lydian Hypo-Lydian Phrygian Octave Hypo-Mixo-Lydian] =Eight Modes in Use=.—The Church Scales were numbered from one to eight; the Authentic Scales were given the odd, and the Plagal Scales the even numbers, thus: 1. Dorian 2. Hypo-Dorian related scales. 3. Phrygian 4. Hypo-Phrygian related scales. 5. Lydian 6. Hypo-Lydian related scales. 7. Mixo-Lydian 8. Hypo-Mixo-Lydian related scales. A melody in an Authentic Scale had to end on its Keynote, but a melody in a Plagal Scale ended on the Keynote of its _related_ Authentic Scale. Observe that the Dorian and Hypo-Mixo-Lydian Scales are identical; but while the former had to end on the Keynote, D, the latter ended on G, which is the fourth of its scale, and Keynote of its _related_ Authentic Scale. Traces of these Authentic and Plagal Scales may be found in many old folk-songs. Thus, the melody of the “Last Rose of Summer” begins on the Keynote, rises in the course of the melody to the octave, but ends by falling to the Keynote; it is therefore Authentic. On the other hand, the melody of “Robin Adair” begins on the fourth _below_ the Keynote, rises to its octave, but ends on the fourth _above_ its initial note and is Plagal; thus: [Music: Range Range Initial Final Initial Final LAST ROSE OF SUMMER. ROBIN ADAIR.]