Two scales are of the Dorian or e-species, viz. parypatai, a combination of Soft and Middle Soft Diatonic:
| e | 21/20 | f | 10/9 | g | 8/7 | a | 9/8 | b | 28/27 | c | 8/7 | d | 9/8 | e |
and lydia, in which the upper tetrachord is of the strict or 'highly strung' Diatonic (diatonon syntonon—our 'natural' temperament):
| e | 28/27 | f | 8/7 | g | 9/8 | a | 9/8 | b | 16/15 | c | 9/8 | d | 10/9 | e |
Westphal (Harmonik und Melopöie, 1863, p. 255) supposes a much deeper corruption. He would restore ta de lydia [kai iastia hoi tou migmatos tou syntonou diatonou tou ... ta de ...] hoi tou toniaiou diatonou tou Dôriou. This introduces a serious discrepancy between the two passages, as the number of scales in the second list is raised to eight (Westphal making iastia and iastiaioliaia distinct scales, and furthermore inserting a new scale, of unknown name). Moreover the (unknown) scale of unmixed diatonon toniaion is out of its place at the end of the list. Westphal's objection to lydia as the name of a scale of the Dorian species of course only holds good on his theory of the Modes.
The only other differences between the two passages are:
(1) In the scales of the lyre called malaka the admixture, according to i. 16, is one of chrômatikon syntonon, according to ii. 16 of chr. malakon. But, as Westphal shows, Soft Chromatic is not admitted by Ptolemy as in practical use. It would seem that in the second passage the copyist was led astray by the word malaka just before.
(2) The iastia of i. 16 is called astiaioliaia in ii. 16. We need not suppose the text to be faulty, since the two forms may have been both in use.
Another point overlooked in Westphal's treatment is that diatonon syntonon and d. ditoniaion are not really distinguished by Ptolemy. In one passage (i. 16) he gives his lydia and iastia as a mixture with d. syntonon, adding that in practice it was d. ditoniaion. In the other (ii. 16) he speaks at once of d. ditoniaion. This consideration brings the two places into such close agreement that any hypothesis involving discrepancy is most improbable.
In practice it appears that musicians tuned the tetrachord b-e of this scale with the Pythagorean two Major tones and leimma.
Of the remaining scales one, called hypertropa, is Phrygian in species (d-d), and of the standard genus:
| d | 9/8 | e | 28/27 | f | 8/7 | g | 9/8 | a | 9/8 | b | 28/27 | c | 8/7 | d |
One, called iastia, or iastiaioliaia, is of the Hypo-phrygian or g-species, the tetrachord b-e being 'highly strung' Diatonic or (in practice) Pythagorean, viz.: