n to the Phrygian. The Mixolydian, which was Sappho's mode,
was the mode for sentiment and passion. The Dorian, Phrygian,
and Lydian were the oldest modes.

Each mode or scale was composed of two sets of four notes,
called tetrachords, probably derived from the ancient form
of the lyre, which in Homer's time is known to have had four
strings.

Leaving the matter of actual pitch out of the question (for
these modes might be pitched high or low, just as our major
or minor scale may be pitched in different keys), these three
modes were constructed as follows:

Greek Dorian (E F) G A (B C) D E,
that is, semitone, tone, tone.

/
| Phrygian D (E F) G A (B C) D,
| or F[#] (G[#] A) B C[#] (D[#] E) F[#],
Asiatic | that is, tone, semitone, tone.
|
| Lydian C D (E F) G A (B C),
\ that is, tone, tone, semitone.

Thus we see that a tetrachord commencing with a half-tone and
followed by two whole tones was called a Dorian tetrachord;
one commencing with a tone, followed by a half-tone, and again
a tone, constituted a Phrygian tetrachord. The other modes
were as follows: In the Aeolian or Locrian the semitones occur
between the second and third notes, and the fifth and sixth:
[F: b, (c+ d) e (f+ g) a b]
Theraclides Ponticus identifies the Hypodorian with the Aeolian,
but says that the name "hypo-" merely denoted a likeness to
Doric, not to pitch. Aristoxenus denies the identity, and
says that the Hypodorian was a semitone below the Dorian or
Hypolydian. In the Hypophrygian, the semitones occur between
the third and fourth, and sixth and seventh degrees:
[F: c+ d+ (e+ f+) g+ (a+ b) c+']
In the Hypolydian, the semitones occur between the fourth and
fifth, and seventh and eighth: [F: e- f g (a b-) c' (d' e-')]
The Dorian (E), Phrygian (commencing on F[sharp] with the fourth
sharped), and the Lydian (A[flat] major scale) modes we have
already explained. In the Mixolydian, the semitones occur
between the first and second, and fourth and fifth degrees:
[G: (a b-) c' (d' e-') f' g' a']

According to the best evidence (in the works of Ptolemy,
"Harmonics," second book, and Aristides), these were
approximately the actual pitch of the modes as compared one
to another.

And now the difficulty was to weld all these modes together
into one scale, so that all should be represented an