Ton kithari]sei kly-ton pai-da me-ga-lou [Dios a-] eidete pa]r' a-kro-ni-phê ton-de pa-gon, am[broth' hos] pa-si thna-tois pro-phai-neis [logia, tr]i-po-da man- tei-on hôs hei[les, echthros hon e-phr]ou-rei dra-kôn; ho-te te[oisi belesin e-tr]ê-sas ai-o-lon he-lik-tan sy-rig-math' hi-eis a-thô-pe[ut' eba; nyn] de Ga-la-tan a-rês..n epe-ras' a-sep-t[os] sal-li-ô](?) gen-nan..n thalos phi-lon da-moi-o lo....rôn e-phor.. te-on k.. e-nai k.. ôna ba-thy-den-dron hai la[chete Dios eri]bro-mou thy-ga-tres eu-ô-le[noi] mo-le[te] syn-o-mai-mon hi-na Phoi-bon ô-dai-si mel-psê-te chry-se-o-ko-man; hos a-na di-ko-ry-ni-a Par-nas-si-dos tas-de pet- -ras he-dra-na [me]ta kly-tais Del-phi-sin Kas-ta-li-dos eu-u-drou na-mat' e-pi-ni-se-tai, Del-phon a-na [pr]ô-na man-tei-on e-phe-pôn pa-gon. [ithi] klyta me-ga-lo-po-lis Ath-this, eu-chai-si phe-ro-ploi-o nai- -ou-sa Tri-tô-ni-dos da[ped]on a-thrauston, ha-gi- -ois de bô-moi-sin Ha-phais-tos ai-thei ne-ôn mê-ra tau-rôn; ho-mou de nin A-raps at-mos es Y- -lym-pon a-na-kid-na-tai; li-gy de lô-tos bre-môn ai-o-lois [me]le-sin ô-dan kre-kei; chry-sea d' ha-dy-throu[s ki]-tha-ris hym-noi-sin a-na-mel-pe-tai; 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. O, a semitone below Mesê, and B, a semitone below Nêtê Diezeugmenôn. If we assume that we have before us Chromatic of the standard kind (chrôma toniaion), the complete scale is—
