The symbols [Symbol: O] and [Symbol: B], which do not belong to the Phrygian scale, are explained by M. Reinach in a way that is in a high degree plausible and suggestive. In other keys, he observes, the symbol [Symbol: O] stands for the note _b_ (natural). Thus it holds the place of 'leading-note' (_note sensible_) to the keynote, _c_. It has hitherto been supposed that the standard scale of Greek music, the octave _a-a_, differed from the modern Minor in the want of a leading note. Here, however, we find evidence that such a note was known in practice, if not as a matter of theory, to Greek musicians. If this is so, it strongly confirms the view that _c_ was in fact the key-note of the Phrygian scale. The symbol [Symbol: B], which occurs only once, answers to our _g_[Symbol: flat], and may be similarly explained as a leading note to _g_, the dominant of the key. We infer, with M. Reinach, that the scale employed in the hymn is not only like, but identical with, the scale of our Minor. The fragment marked C by M. Weil resembles the hymn to Apollo in subject, and also in metre, but cannot belong to the same work. The melody is written in the Lydian key, with the notation which we have hitherto known as the instrumental, but which is now shown to have been used, occasionally at least, for vocal music. The fragment is as follows:[Music: [Symbols] [Greek: t' e-pi tê-les-ko-pon tan[de] di-ko-ry-phon klei-tyn hym[in] Pi-erides ai ni-pho-bo-lous mel-pe-te de Py-thi-on Phoi-bon on e-tik-te L[a-tô]] M. Reinach connects this fragment with a shorter one, also in the Lydian key, but not in paeonic metre, viz.-- [Music: [Symbols] [Greek:.. thon es-che ma ... thê-ra kat-ek-ta.... syrigm' a-per..]] M. Reinach thinks that the mode may be the so-called Hypo-lydian (the octave _f - f_). The materials are surely too scanty for any conclusion as to this. The fragment D, the only remaining piece which M. Reinach has found it worth while to transcribe, is also written in the instrumental notation of the Lydian key. The metre is the glyconic. The fragment is as follows:-- [Music: [Symbols] [Greek: ton man-to-sy[na klyton] ô-leth' hy-gra ch ... despoti Krê-siôn.. ai nae-tas Delphôn]] [Music: [Symbols] [Greek: ...in ap-tais-tous Bak-chou [thiasous] ...te prospolois]] [Symbols] [Greek: tan te do[u]ri[klytôn ar-chan au-xet' a-gê-ra-tô thal ...]] This piece also is referred by M. Reinach to the Hypo-lydian mode. It may surely be objected that of three places in which we may fairly suppose that we have the end of a metrical division, viz. those which end with the words [Greek: Delphôn, prospolois] and [Greek: agêratô], two present us with cadences on the Mesê (_d_), and one on the Hypatê (_a_). This seems to point strongly to the Minor Mode.