'The Phrygian mode ([Greek: harmonia]) has the first place on wind-instruments: witness the first discoverers--Marsyas, Hyagnis, Olympus--who were Phrygians. Players on the water-organ ([Greek: hydraulai]) use only six modes ([Greek: tropoi]), viz. Hyper-lydian, Hyper-ionian, Lydian, Phrygian, Hypo-lydian, Hypo-phrygian. Players on the cithara tune their instrument to these four, viz. Hyper-ionian, Lydian, Hypo-lydian, Ionian. Flute-players employ seven, viz. Hyper-aeolian, Hyper-ionian, Hypo-lydian, Lydian, Phrygian, Ionian, Hypo-phrygian. Musicians who concern themselves with orchestic (choral music) use seven, viz. Hyper-dorian, Lydian, Phrygian, Dorian, Hypo-lydian, Hypo-phrygian, Hypo-dorian. [Footnote 1: Aristides Quintilianus uses [Greek: tropos] as the regular word for 'key:' e.g. in p. 136 [Greek: en tê tôn tropôn, hous kai tonous ekalesamen, ekthesei]. So Alypius (p. 2 Meib.) [Greek: dielein eis tous legomenous tropous te kai tonous, ontas pentekaideka ton arithmon]. Also Bacchius in his catechism (p. 12 Meib.) [Greek: hoi tous treis tropous adontes tinas adousi; Lydion, Phrygion, Dôrion; hoi de tous hepta tinas; Mixolydion, Lydion, Phrygion, Dôrion, Hypolydion, Hypophrygion, Hypodôrion, toutôn poios estin oxyteros? ho Mixolydios, k.t.l.] And Gaudentius (p. 21, l. 2) [Greek: kath' hekaston tropon hê tonon]. Cp. Dionys. Hal. _De Comp. Verb._ c. 19.] [Footnote 2: _Anonymi scriptio de Musica_ (Berlin. 1841).] In this passage it is evident that we have to do with keys of the scheme attributed to Aristoxenus, including the two (Hyper-aeolian and Hyper-lydian) which were said to have been added after his time. The number of scales mentioned is sufficient to prove that the reference is not to the seven species of the octave. Yet the word [Greek: harmonia] is used of these keys, and with it, seemingly as an equivalent, the word [Greek: tropos]. Pollux (_Onom._ iv. 78) gives a somewhat different account of the modes used on the flute: [Greek: kai harmonia men aulêtikê Dôristi, Phrygisti, Lydios kai Iônikê, kai syntonos Lydisti hên Anthippos exeure]. But this statement, as has been already pointed out (p. 22), is a piece of antiquarian learning, and therefore takes no notice of the more recent keys, as Hyper-aeolian and Hyper-ionian, or even Hypo-phrygian (unless that is the Ionian of Pollux). The absence of Dorian from the list given by the _Anonymus_ is curious: but it seems that at that time it was equally unknown to the cithara and the water-organ. There is therefore no reason to think that the two lists are framed with reference to different things. That is to say, [Greek: harmonia] in Pollux has the same meaning as [Greek: harmonia] in the _Anonymus_, and is equivalent to [Greek: tonos]. § 14. _Recapitulation--[Greek: harmonia] and [Greek: tonos]._