(g—a♭—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 (ithi, klyta megalopolis Aththis, k.t.l.). From this point the melody lies chiefly in the Chromatic tetrachord Synemmenôn
(c—d♭—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♭-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.
The symbols O and B, which do not belong to the Phrygian scale, are explained by M. Reinach in a way that is in a high degree plausible and suggestive. In other keys, he observes, the symbol O stands for the note b (natural). Thus it holds the place of 'leading-note' (note sensible) to the keynote, c. It has hitherto been supposed that the standard scale of Greek music, the octave a-a, differed from the modern Minor in the want of a leading note. Here, however, we find evidence that such a note was known in practice, if not as a matter of theory, to Greek musicians. If this is so, it strongly confirms the view that c was in fact the key-note of the Phrygian scale. The symbol B, which occurs only once, answers to our g♭, and may be similarly explained as a leading note to g, the dominant of the key. We infer, with M. Reinach, that the scale employed in the hymn is not only like, but identical with, the scale of our Minor.
The fragment marked C by M. Weil resembles the hymn to Apollo in subject, and also in metre, but cannot belong to the same work. The melody is written in the Lydian key, with the notation which we have hitherto known as the instrumental, but which is now shown to have been used, occasionally at least, for vocal music. The fragment is as follows:
t' e-pi tê-les-ko-pon tan[de] di-ko-ry-phon klei-tyn hym[in] Pi-erides ai ni-pho-bo-lous mel-pe-te de Py-thi-on Phoi-bon on e-tik-te L[a-tô]
M. Reinach connects this fragment with a shorter one, also in the Lydian key, but not in paeonic metre, viz.—
