Critical and Historical Essays: Lectures delivered at Columbia UniversityMacDowell, Edward
History
Critical and Historical Essays: Lectures delivered at Columbia University
MacDowell, Edward
Music -- History and criticism
The fifteen strings of the _kithara_ were tuned according to
this scale, and the A, recurring three times in it, acquired
something of the importance of a tonic or key note. As yet,
however, this scale allowed of no transposition of a mode to
another pitch; in order to accomplish this the second tetrachord
was used as the first of another similar system. Thus,
considering the second tetrachord, E F G A, as first of the
new scale, it would be followed by A B[flat] C D, and the
two disjunct tetrachords would be formed. Followed by the two
upper conjunct tetrachords, and the _proslambanomenos_ added,
our system on a new pitch would be complete. This procedure
has come down almost unchanged to our times; for we have but
two modes, major and minor, which are used on every pitch,
constituting various keys. These Greek modes are the basis
on which all our modern ideas of tonality rest; for our major
mode is simply the Greek Lydian, and our minor mode the Aeolian.
LIST OF NOTES IN THE GREEK SCALE
disjunct
Aeolian. [G: a'] +- A. Nete, or highest. ---+
Hypophrygian. +-| G. Paranete, next highest. |
Hypolydian. +-| | F. Trite, third. |
Dorian. +-| | | E. Nete, highest. ---+ conjunct
Phrygian. +-| | | | D. Paranete, next highest. ---+ ---+
Lydian. +-| | | | | C. Trite, third. | |
Mixolydian. +-| | | | | | B. Paramese, next to central tone | |
| | | | | | +- A. Mese, central tone. ---+ ===+
| | | | | +--- G. Lichanos, index finger. |
| | | | +----- F. Parhypate, next to lowest. |
| | | +------- E. Hypate, lowest. ===+
| | +--------- D. Lichanos, index. |
| +----------- C. Parhypate, next to lowest. |
+------------- B. Hypate, lowest. ---+
[F: a,] A. Proslambanomenos, added tone.
To go into detailed explanation of the Greek enharmonic
and chromatic pitch will scarcely be worth while, and I will
therefore merely add that the instruments were sometimes tuned
differently, either to relieve the inevitable monotony of this
purely diatonic scale or for purposes of modulation. A Dorian
tetrachord is composed of semitone, tone, tone; to make it
chromatic, it was changed as follows: [G: e' f' g-' a'] the
_lichanos_, or index finger string, being lowered a semitone.
Public-domain text, read in full here on John Shaqi.
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