[Footnote 1: This observation was made by ancient writers, _e.g._ by Adrastus (Peripatetic philosopher of the second cent. A.D.): [Greek: epêuxêmenês de tês mousikês kai polychordôn kai polyphthongôn gegonotôn organôn tô proslêphthênai kai epi to bary kai epi to oxy tois pro[:y]parchousin oktô phthongois allous pleionas, homôs k.t.l. (Theon Smyrn. c. 6).] The poet Ion, the contemporary of Sophocles, was the author of an epigram on a certain ten-stringed lyre, which seems to have had a scale closely approaching that of the Lesser Perfect System[1]. A little later we hear of the comic poet Pherecrates attacking the musician Timotheus for various innovations tending to the loss of primitive simplicity, in particular the use of twelve strings[2]. According to a tradition mentioned by Pausanias, the Spartans condemned Timotheus because in his cithara he had added four strings to the ancient seven. The offending instrument was hung up in the Scias (the place of meeting of the Spartan assembly), and apparently was seen there by Pausanias himself (Paus. iii. 12, 8). [Footnote 1: The epigram is quoted in the pseudo-Euclidean _Introductio_, p. 19 (Meib.): [Greek: ho de] (sc. [Greek: Iôn]) [Greek: en dekachordô lyra] (_i.e._ in a poem on the subject of the ten-stringed lyre):-- [Greek: tên dekabamona taxin echousa tas symphônousas harmonias triodous; prin men s' heptatonon psallon dia tessara pantes Hellênes, spanian mousan aeiramenoi.] 'The triple ways of music that are in concord' must be the three conjunct tetrachords that can be formed with ten notes (_b c d e f g a b-flat c d_). This is the scale of the Lesser Perfect System before the addition of the Proslambanomenos.] [Footnote 2: Pherecrates [Greek: cheirôn] fr. 1 (quoted by Plut. _de Mus._ c. 30). It is needless to refer to the other traditions on the subject, such as we find in Nicomachus (_Harm._ p. 35) and Boethius.] A similar or still more rapid development took place in the flute ([Greek: aulos]). The flute-player Pronomus of Thebes, who was said to have been one of the instructors of Alcibiades, invented a flute on which it was possible to play in all the modes. 'Up to his time,' says Pausanias (ix. 12, 5), 'flute-players had three forms of flute: with one they played Dorian music; a different set of flutes served for the Phrygian mode ([Greek: harmonia]); and the so-called Lydian was played on another kind again. Pronomus was the first who devised flutes fitted for every sort of mode, and played melodies different in mode on the same flute.' The use of the new invention soon became general, since in Plato's time the flute was the instrument most distinguished by the multiplicity of its notes: cp. Rep. p. 399 [Greek: ti de? aulopoious ê aulêtas paradexei eis tên polin? ê ou touto polychordotaton?] Plato may have had the invention of Pronomus in mind when he wrote these words.