Lydian.

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Around these three may be grouped all the modes in use in classic times. These scales or octave species may be compared rather to our present major and minor modes than to our modern transposition scales, in that their identity is determined not by their absolute pitch, but by the intrinsic character of each mode, based upon the distribution of the large and small steps or intervals within the octave. But here the analogy ends, for the Greek modes cannot really be thought of in the same way as either modern scales or modes, which by long association with our harmonic system have become inseparably identified with it, so that every step of the scale has a harmonic significance as well as a melodic. Hence, there is associated with our scales the idea of tonality, which in its modern sense is entirely foreign to Greek music. Nevertheless a distinct character or ethos was ascribed to their scales by the Greeks (just as our major and minor have their individual character). The Lydian, for instance, was thought of as plaintive and adaptable to songs of sorrow; the Dorian as manly and strong, hence to be employed in warlike strains; and so on.[36]

It will be seen that the above three scales correspond to the three series of notes comprised within the octaves from e to e´, d to d´, and c to c´, produced by the white keys of the piano. (While this does not indicate their absolute pitch, it represents the relative pitch at which they appear as part of the entire system, or ‘foundation scale,’ of the Greeks, illustrated on page 103.) By a transposition of the tetrachord divisions of each of these scales, the Greeks obtained two additional scales out of each of the above three. These derived scales were denoted by the prefixes hypo and hyper (low and high), respectively:

(It is evident from this table that the Hypodorian corresponds to the Hyperphrygian, and the Hypophrygian to the Hyperlydian; hence there are only seven different modes.)

A common relationship was thus clearly recognized between the three scales of each group, which may be thought of as having one common tonic. It may be noted, however, that the Hypodorian probably had an independent existence before being associated with the Dorian, as is indicated by its own ethnological name of ‘Æolian,’ and as such was supposed to be of great antiquity. The Hyperdorian enjoyed an independent existence as ‘Mixolydian.’ Its invention has been variously ascribed to Sappho, Damon and Pythocleides.

We have seen how, by joining two tetrachords, the Greeks constructed their Dorian scale (octachord). By joining additional tetrachords to this scale at either end they obtained their double octave scale or ‘Perfect Immutable System’: