[Illustration: musical notes.]
which would be our major scale of E were not the keynote A. The names
imply an Asiatic origin. We need not here pursue further the
much-debated question of Greek scales and their derivation; it will
suffice to remark that the outside notes of the tetrachords were fixed
in their tuning as perfect fourths--the inner strings being, as
stated, in diatonic sequence, or when chromatic two half-tones were
tuned, when enharmonic two quarter-tones, leaving respectively the
wide intervals of a minor and major third, and both impure, to
complete the tetrachord. (A. J. H.)
See the article by Theodore Reinach in Daremberg and Saglio,
_Antiguites grecques et romaines_; Wilhelm Johnsen, _Die Lyra, ein
Beitrag zur griechischen Kunstgeschichte_ (Berlin, 1876); Hortense
Panum, "Harfe und Lyra in Nord Europa," _Intern. Mus. Ges._, Sbd. vii.
1, pp. 1-40 (Leipzig, 1905); A. J. Hipkins, "Dorian and Phrygian,
reconsidered from a non-harmonic point of view," in _Intern. Mus.
Ges._ (Leipzig, 1903), iv. 3.