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DICTIONARY OF MUSIC - El Atril

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224 GREEK <strong>MUSIC</strong> GREEK <strong>MUSIC</strong><br />

instruments. The octachord scales are exem-<br />

plifications of it<br />

OcTAOHOKD Scales in the Three Genera<br />

WITH THE Names of the Individual Notes.<br />

Enhak-"]<br />

MONIC. !<br />

Chro- "^<br />

Dta.<br />

TONIC.<br />

--^^:r-^.<br />

5=3^1^^ =^<br />

n<br />

=^ =^"^g=g^Egi ^<br />

Paramese signifies 'beside the middle.' The<br />

last of these methods of collocation practicallydisplaced<br />

the others, for it alone was nmsically<br />

satisfactory. The octachord scale alone has a<br />

permanent tonic ; the others modulate, to use<br />

our term, one into !;he flat, the other into the<br />

sharp keys.<br />

Delicient scales are also common, e.g. Terpander's<br />

scale (see Aristotle, Prohl. xix. 32,<br />

and Nicomachus, ed. Meibom, p. 7)<br />

a heptachord scale obtained by omission of one<br />

note of the octachord ; and the<br />

enharmonic scale of Olympus,<br />

q<br />

^—-j-j^^-j—<br />

a trichord obtained by omission %J~~<br />

of one note of the tetrachord. For other deficient<br />

scales see Aristides Quintilianus, ed. Meibom,<br />

p. 21.<br />

C. Modes, {a) Form of the Modes. If in the<br />

indefinitely prolonged scale arising from the<br />

third method of collocating tetrachords we seek<br />

for a segment capable of supplying the notes for<br />

the first phrase of ' Voi che sapete ' we find it<br />

in the segment<br />

tone tfine A tone tone tone i tnne tone<br />

If again we wish to render the opening phrase<br />

of 'Deb vieni, non tardar/ we are obliged<br />

to abandon that segment, and adopt the following<br />

tone tone J tnne tone tone tone ^ tone<br />

ISTow, since Greek instruments were limited in<br />

compass, difierent instruments or different<br />

tunings of the one instrument were necessary<br />

in order to obtain such different segments. In<br />

this way these segments obtained a certain<br />

importance and gwrtsi-independence, and were<br />

called modes {rpbiroi or dd-q). The schemes and<br />

names of the modes were as follows<br />

MiXOLYDIAN.<br />

Enha r-iMONic TONIC<br />

tone<br />

\ tone \ tone ditone \ tone \ tone ditone I<br />

Chromatic tonic<br />

J tone A- tone 1^ tone ^ tone ^ tone 1^ tone 1 tone<br />

Diatonic tonic<br />

J tone tone tone l- tone tone tone I tone<br />

Lydian.<br />

Enharmonic tonic<br />

J tone<br />

J tnne ditone J tone J tone ditone I tone<br />

Chromatic tonic<br />

^ tone \\ tone \ tone J tone \\ tone j tone ^ tone<br />

Diatonic tonic<br />

^ tone<br />

tone tone J tone tone tone I tone<br />

Phrygian.<br />

I<br />

Enharmonic ton tc<br />

ditone \ tone J tone ditone tone \ tone \ tone<br />

I<br />

Chromatic tokic<br />

\h tone I tnne i tone 1| tone tone \ tone \ tone<br />

Diatonic tonic<br />

tone ^ tone tone tone I tone ^ tone tone<br />

Dorian.<br />

EnHA RMONIC tonic<br />

i tone \ tone ditone<br />

\ tone 1 tone ditone I tone<br />

Chromatic tonic<br />

\ tone \ tone 1^ tonel tone h tone ^ tnne IJ tone<br />

Diatonic tonic<br />

tone ^- tone tone tone<br />

i tone tone tone |<br />

Hypolydian.<br />

Enharmonic tonic<br />

\ tone \ tone ditone \ tone<br />

\ tone ditone I tone<br />

Chromatic tonic<br />

\ tone 1^ tonel tone J tone J tone IJ tone ^ tone<br />

Diatonic tonic<br />

tone tnne [ tone \ tone tone tone J- tone

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