[It should be observed that this use of letter-names is not intended to indicate the absolute pitch. For convenience, the modes are here made to begin at different points. The essential difference between them lies in the position of the short steps, and they should properly begin with the same tone.]
Of the seven species, the Dorian was the most admired, but apparently melodies were composed in all. The several species were felt to differ widely in æsthetic and moral quality, which was much discussed by thoughtful critics.
What was called the 'Complete System' was a scheme of tones
comprising two octaves and composed of four Dorian tetrachords
(one of which varied slightly in form). The various
species or modes were understood to be imbedded in this system,
each including a particular octave. While for theoretical
purposes the system, with its included species, was assumed as
a fixed standard or formula, its absolute pitch might be higher
or lower as the performer might choose—that is, it might be
transposed. But in Greek thought every such transposition had
a character of its own, even though the relation of the tones was
unchanged. Furthermore, similar systems were elaborated for
the chromatic and enharmonic genera, as well as for the diatonic.
To each tone of the system a specific name was given, designating
both the tetrachord to which it
belonged and its place therein.
This cumbrous nomenclature was
taken from the lyre, each tone belonging
to a particular string. The
acuter tones were called 'last' or
'lowest' and the graver ones 'highest'
simply because lyres were held
with the longer strings uppermost.
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Fig. 39.—Fragment of Hymn to Apollo, showing notation above the text.
21. Notation.—The modern letter-names for tones used in the foregoing sections were not used by the Greeks. Besides the long descriptive names from the lyre, however, they did employ letters and letter-like characters, so that it was possible to indicate with precision any given tone in either the diatonic, the chromatic or the enhar-
