were three Ladders differently Runged/Jiat is, the Ruogj? 
or fteps placed at (everal diftances. Thefe Scales or 
Ladders thence have attained three diilering Names , 
viz. Enharmonicii , Chromatick , and Diatonick i of 
which the lait is the moft Natural and bell way, and is 
that which is only now ufed. The other two were 
ufed by the ilncients, and therein lay their Varieties of 
Mufick, though the Author thinks them inH^fiicient: to 
perfarm what is now done in Symphony by the Mo- 
derns with the Diatonick Scale, for they only owned 
8ths, fths, and 4ths for Concords; and are fuppofed 
not to have ufed any Concord Mufick, but only fingle 
Notes, which might make ftronger impreffions on the 
Fancy. The Ancienrs afcended either by two Tetrachords 
ccnjunft, which made a 7th. and a ProJlamhanomenoSj 
which made the 8th. Or by two Tetrachords diyund:, 
the fecond Tetrachord taking its beginning at the Fifth. 
In the Diatonick the Degrees were Tones and Semi-toneSy 
Intervals more Natural. In the Chrom-atick the De- 
grees were Hemitones and Trihemitones. But the De- 
grees in the Enharmonick were more unequal, being 
only Diefes and Dittones. Each of thefe Graduations 
he more particularly explains fufficient to make them 
intelligible, and to iliew Vv^hat were thofe Ancient Modes 
of Mufick, called Dorian, Lydian^Phrygian^&^Q, Moods. 
From which proceeded fo much Delight as they relate. 
However he thinks as it has not been for many Ages 
pradifed, fb 'tis in a manner loft at prefent. He there- 
fore leaving that, profecutes his Speculations on the 
Diatonick Scale only in a fnort Digreflion (for gratify- 
ing his Readers Curiofity) has given the Proportions, 
Names, and Gharafters, as they were delivered by the 
Ancients, which I pafs over, being in the Book it feif 
Epitomized. 
He fliews then that there are in every Diatonick Dia^ 
pafoH five -whole Tpncs^ and two half Tones^ and accord- 
' ' ^ ■■ ^ ^ - -'t z irg 
