The Modes of Ancient Greek MusicMonro, D. B. (David Binning)
History
The Modes of Ancient Greek Music
Monro, D. B. (David Binning)
Music, Greek and Roman
Regarding the tonality of these scales there is not very much to be
said. In the case of the Hypo-dorian and Dorian octaves it will be
generally thought probable that the key-note is _a_ (the [Greek: mesê
kata dynamin]). If so, the difference between the two species is not
one of 'mode,'--in the modern sense,--but consists in the fact that
in the Hypo-dorian the compass of the melody is from the key-note
upwards, while in the Dorian it extends a Fourth below the key-note.
It is possible, however, that the lowest note (_e_) of the Dorian
octave was sometimes the key-note: in which case the _mode_ was
properly Dorian. In the Phrygian octave of Ptolemy's description the
key-note cannot be the Fourth or Mesê [Greek: kata thesin] (_g_),
since the interval _g-c_ is not consonant (9/8 × 9/8 × 28/27 being
less than 4/3). Possibly the lowest note (_d_) is the key-note; if so
the scale is of the Phrygian mode (in the modern sense). In the
Hypo-phrygian octave there is a similar objection to regarding the
Mesê [Greek: kata thesin] (_c_) as the key-note, and some probability
in favour of the lowest note (_g_). If the Pythagorean division of
the tetrachord _g-c_ were replaced by the natural temperament, which
the language used by Ptolemy[1] leads us to regard as the true
division, the scale would exhibit the intervals--
_g_ 5/4 _b_ 6/5 _d_ 7/6 _f_ 8/7 _g_
which give the natural chord of the Seventh. This however is no more
than a hypothesis.
It evidently follows from all this that Ptolemy's octaves do not
constitute a system of _modes_. They are merely the groups of notes,
of the compass of an octave, which are most likely to be used in the
several keys, and which Ptolemy or some earlier theorist chose to
call by the names of those keys.
[Footnote 1: _Harm._ i. 16 [Greek: plên kathoson adousi men
akolouthôs tô dedeigmenô syntonô diatonikô, kathaper exestai skopein
apo tês tôn oikeiôn autou logôn parabolês, harmozontai de heteron ti
genos] (sc. the Pythagorean), [Greek: xynengizon men ekeinô, k.t.l.]]
§ 32. _Remains of Greek Music._
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