By John Lambert, Esq. 321 
and consisting of a perfect fifth and a perfect fourth, forming to- 
gether an Octave. In this manner the relative positions of the 
tones and semitones, or of the whole notes and half-notes, differ in 
almost every one of the Modes, whilst in modern Music the Melody 
is confined to one Major and one Minor Scale, which are the same 
in every Key. 
It was this variety in the disposition of sounds which constituted 
the peculiar character of the Greek Modes; and the four strings of 
the Lyre were tuned according to the Mode in which the Music was 
composed; thus in the first, or Dorian Mode, commencing on D, 
the strings represented the notes D E F G; in the second, or 
Phrygian, E F G a; and in the third, or Lydian, F G a 6 flat. 
Each one of these successions of notes forming a Tetracord, with a 
different disposition of notes, and deriving its distinctive name from 
the people or country where it was in most general use. 
It seems almost incredible that Music, so simple in its construction 
as that of the Greeks, could have produced such great effects, as 
those of which we read; but, when we remember that the whole 
musical Scale consists of a few different sounds only, we shall have 
less difficulty in understanding the varied sensations arising from 
the disposition of the four notes of the Tetracord. The Dorian 
Mode, with its plaintive minor third, sweet and soothing. The 
Phrygian, with its minor second and minor third, so decided and 
combative, that the Spartans excluded it from the education of 
their young men. And the Lydian, with its major second and 
major third, of which our own Poet so justly speaks, when he sings, 
‘« And ever against eating cares 
Lap me in soft Lydian Airs, 
Married to immortal verse. 
Such as the melting soul may pierce 
In notes, with many a winding bout 
Of linked sweetness long drawn out. 
With wanton heed and giddy cunning 
The melting voice through mazes running, 
Untwisting all the chains, that tie 
The hidden soul of Harmony.” 
The Greek Modes, first consisting of Tetracords, were afterwards 
extended by Terpandre, who added three notes to each Tetracord, 
thus giving to each Mode seven notes. 
