[Symbols:] [Greek:-ou-sa Tri-tô-ni-dos da[ped]on a-thrauston, ha-gi-] [Symbols:] [Greek:-ois de bô-moi-sin Ha-phais-tos ai-thei ne-ôn] [Symbols:] [Greek: mê-ra tau-rôn; ho-mou de nin A-raps at-mos es Y- [Symbols:] [Greek:-lym-pon a-na-kid-na-tai; li-gy de lô-tos bre-môn] [Symbols:] [Greek: ai-o-lois [me]le-sin ô-dan kre-kei; chry-sea d'] [Symbols:] [Greek: ha-dy-throu[s ki]-tha-ris hym-noi-sin a-na-mel-pe-tai;] [Symbols:] [Greek: ho de [the]-ô-rôn pro-pas es-mos Ath-thi-da lach[ôn]]] The notes employed in this piece of music cover about an octave and a half, viz. from Parypatê Hypatôn to the Chromatic Lichanos Hyperbolaiôn. In two of the tetrachords, viz. Synemmenôn and Hyperbolaiôn, the intervals employed are Chromatic (or possibly Enharmonic): in the tetrachord Diezeugmenôn they are Diatonic, while in the tetrachord Mesôn the Lichanos, which would distinguish the genus, is wanting. On the other hand there are two notes which do not belong to the Phrygian key as hitherto known, viz. [Symbol: O], a semitone below Mesê, and [Symbol: B], a semitone below Nêtê Diezeugmenôn. If we assume that we have before us Chromatic of the standard kind ([Greek: chrôma toniaion]), the complete scale is-- [Music: [Symbols:]] If the intervals are Enharmonic, or Chromatic of a different variety, the moveable notes (in this case [Symbols: A K] and [Symbols: 4 3E]) will be somewhat flatter. M. Reinach is particularly happy in tracing the successive changes of genus and key in the course of the poem. The opening passage, as he shows, is Diatonic. With the mention of the Gaulish invasion ([Greek: Galatan arês]) we come upon the group [Symbols: U 4] (_g--a[Symbol: b]--a_) of the Chromatic tetrachord Hyperbolaiôn. At the beginning of the second fragment the intervals are again Diatonic, up to the point where the poet turns to address the Attic procession ([Greek: ithi, klyta megalopolis Aththis, k.t.l.]). From this point the melody lies chiefly in the Chromatic tetrachord Synemmenôn [Symbols: M AK r] (_c--d[Symbol: o]--d--f_)--a modulation into the key of the sub-dominant as well as a change of genus. At the end of the fragment the poet returns to the Diatonic and the original key. With regard to the _mode_--the question which mainly concerns us at present--M. Reinach's exposition is clear and convincing. He appeals to three criteria,--(1) the impression which the music makes on a modern ear; (2) the endings of the several phrases and divisions; and (3) the note which recurs most frequently. All these criteria point to a Minor mode. The general impression made by the Diatonic parts of the melody is that of the key of _C_ minor: the rhythmical periods end on one or other of the notes _c-e[Symbol: flat]-g_, which form the chord of that key: and the note _c_ distinctly predominates. This conclusion, it need hardly be said, is in entire agreement with the main thesis of the preceding pages.