The term _Hyper_ (above) was sometimes applied to the Authentic Scales. In the Greek System the _Hyper_ Scales were the same distance _above_ the standard scales that the _Hypo_ Scales were _below_. Although twelve modes were theoretically admitted in church music, it was for the most part confined to the eight modes given above. =The Dominant=.—In addition to the keynote there was another note in every scale of almost equal importance, called the _Dominant_. This name has been retained in the modern system, but with a total _change_ of meaning. In the Church Scales it meant the _Reciting Note_, that is, the note on which the principal part of the words was chanted. In all the _Authentic_ Scales but the Phrygian, the _fifth_ of the scale is the _Dominant_; in the _Phrygian_ the _sixth_ is the _Dominant_, because the B was a changeable note, that is, might be natural or flat. The _Dominants_ of the _Plagal_ Scales are a _third below_ the Dominants of the related Authentic Scales, except in the Hypo-Mixo-Lydian, in which the Dominant is a second below that of its related Authentic Scale. Therefore the _Dominant_ is the _sixth_ of all the _Hypo_ Scales, but the _Hypo-Phrygian_ and _Hypo-Mixo-Lydian_, in which it is the _seventh_. =Hucbald’s Scale=.—Two attempts were made in the 10th century to construct new scales, first by =Hucbald=, who founded his series of sounds on a tetrachord, in which the halftone was between the second and third, thus: A B C D. His object seems to have been to obtain a series in which a succession of perfect fourths and fifths might be secured, for which purpose he made use of the following series of sounds: [Music] In the first tetrachord B was flat, in the third natural; in the fourth, F was sharp. As to the use made of this scale, little or nothing is known. =Guido’s Scale=.—The other attempt, usually attributed to _Guido_, a contemporary of Hucbald, resulted in the _Hexachord_ Scale (six-note scale). This scale was formed by adding a whole tone above and below the Hucbald tetrachord, thus: G, A, B, C, D, E. To complete the series of Hexachord Scales, another sound was added, namely: the G below the A on which the Greek scales and their derivatives, the Church scales, began. The first seven letters of the Roman alphabet were used to name the sounds already in use, hence to indicate this sound the Greek letter, Gamma, was adopted. At the same time the syllables _ut_—_re_—_mi_—_fa_—_sol_—_la_ were used to name the sounds of every hexachord (precisely as the movable Do is used now); hence this lowest sound was called _Gamma-ut_, corrupted into Gamut. The sounds in the series were indicated by placing after the letter the syllables that indicated its position in all the hexachords in which it was found, thus: G A B—C D E C D E—F G A