A few words will suffice to indicate the nature of Greek musical notation. Instrumental notation differed from vocal and was of earlier origin. Characters of archaic form (Phœnician) were used to indicate the notes, though not in a definite alphabetic order. They are also used in inverted or distorted forms to indicate minute variations, i. e., the three notes of a Pyknon (the short step of the tetrachord) were indicated by a certain sign in different positions, thus: [music sign], [music sign], and [music sign]. In vocal notation the regular Greek alphabet was employed from Α to Ω to represent the notes of the middle octave (including every step necessary to the production of the various modes and _genera_.) The higher octave was indicated by an '_octava_ sign.’ Rhythm was usually not noted, being determined by the metre of the verse, but a code which determined the proportion of sound duration was sometimes used. The norm or unit in that system was denoted by the absence of any sign, its double by [music sign], its triple by [music sign], quadruple by [music sign], and quintuple by [music sign]. Rests were indicated thus: [music sign]. All of these signs were, like our modern notes, set _over the text_. While the system was thoroughly worked out in its technical details, its cumbersomeness would suggest that in practice it was of less use than in theoretical exposition. No wonder, then, that few compositions were, as far as we know, actually written down, and of those only six are preserved to us. These are as follows: 1. The beginning of the first Pythic ode of Pindar. 2. Three hymns of Mesomedes ('To the Muse,’ 'To Helios,’ and 'To Nemesis’) discovered by Vincenzo Galilei (see Chap. IX). 3. Some small instrumental exercises, analyzed by Bellermann (1841). 4. The Epitaph of Seikilos (discovered 1883). 5. Two complete Apollo Hymns of the second century B. C., found chiselled in stone in the Athenian treasury at Delphi. 6. A Fragment of the first _Stasimon_ from Euripides’ 'Orestes’ (found 1892). The Hymn to the Muse by Mesomedes (No. 2) is reproduced at the end of this article.