We import our modern ways of speech upon musical subjects into the considerations of these matters, and necessarily so, but it is essential to a right apprehension to remember that the Greeks had no way of naming the sounds except by certain names given by them to the strings of the lyre, thus the forefinger string was called “lichanos” and the others had their distinctive appellations. They had no sense of a _tonic_ as we have, no system of harmony, no musical stave, no use of letters, a, b, c, etc., to denote their music. In late times they devised a kind of letter-note method, curiously crude yet elaborate, of letters standing upside down, letters lying on the side, letters mutilated and signs for instrumental sounds different from those for the sounds of the voice, altogether 1,062 varied characters are stated as used, and this knowledge of their written music was by the merest accident preserved to us in a solitary manuscript, by Alypius, 115 A.D. The only date known in the life of Terpander was the year when he gained the prize in the competition for singing, B.C. 676, at the Pythian games; some say that he also won at four festivals in succession. He may have been known to that Demaratus, mentioned _page_ 68 ante, as the date connects them as contemporary. Some time later than this victory he is credited with having increased the number of strings from four to seven, but statements upon this question are very conflicting. Helmholtz says that he added but one string to the Cithara of six strings. According to some ancient writers Chorebus, son of Altis, King of Lydia, he it was who commenced innovation by adding a fifth string. Hyagnis, who in the sixteenth century B.C. invented the Phrygian mode, added a sixth string; Terpander a seventh, and Lychasos an eighth; but Pliny says, Terpander added three strings to the orthodox four, that Simonides added an eighth and Timotheus a ninth. Anacreon as before stated had ten strings, and Timotheus increased the seven strings of the Spartan lyre to eleven. Pythagoras, by equal authority, was the reputed father of the eight-stringed lyre. Through the maze of such traditions (and other statements I could quote, increasing the intricacy for the benefit of research) I have had to make my way, and decide as best I could, upon a line of connected record. So, pending an alternative view to be offered presently, I elect to follow Pliny and allow to Terpander the claim to the increase of the scale of the tetrachord by a trichord above _a_, the highest sound of the four-stringed lyre. Our scale system is based on a _tonic_ sound, and we read upward, but the Greeks in their music thought downwards, and by the laws, the tonic was, in the structure of tetrachords, barred out, for the _a_ was the master tone, and between it and _g_ no semitone was allowed, though what necessity existed for this essential feature of the formation, no explanation is apparent.