By John Lambert, Esq. 323 
The Scale of the first Mode, as will be seen, embraces the octave 
from D to d, having its fifth from D to a, and its fourth from a tod 
above. 
The second Mode reverses its fourth, placing it in the first part 
of its Scale, which commences on A, and extends to its octave, 
having its fourth from A to D, and its fifth from D to A above. 
The Tonic, or final note, of each of these two Modes is precisely 
the same, and all compositions in both always end on the first note 
of the authentic Mode, viz., D. 
The third Mode commences on F, having its fifth E to } natural, 
and its fourth from } natural to e. In like manner, as in the first 
Mode, the plagal of the second is formed by reversing its fourth, 
commencing on the lower B, its fourth being B to E, and its fifth 
the same as that of the authentic, viz., Eto d natural. By asimilar 
progression, ascending note by note up the Scale, the various Modes 
are constructed, except that no Mode has 4 natural for its Tonic, 
because its fifth f and the fourth above are both imperfect: so that 
by commencing on the note D, and taking each following note in 
succession, viz., E, F, G, a and c, (with the exception of 6 natural,) 
in all six, the number of Modes, (each authentic Mode having its 
corresponding plagal,) may be increased to twelve: and each of 
these Modes will be found to vary from the others, either in the 
distribution of its tones and semitones, or in the position of its 
fourth and fifth; and thus every Mode has a sentiment peculiar to 
itself, and is quite distinct in character from any other. In the 
words of the old writers:— 
‘‘ The first is grave, the second sad, 
Impetuous the third, the fourth is bland, 
Joyful the fifth, the sixth devout, 
The seventh angelic, and the eighth most sweet.” 
The Notation of the Greek Music was by letters, and sometimes 
by numbers, placed under or above the words; and the same system 
was continued by the Romans, from whom it was adopted by the 
Church Musicians. 
There are few examples extant of this kind of Notation, but it 
seems to have prevailed until the seventh or eighth century, when 
the system known as the Saxon and Lombardic Notation was intro- 
