[ 268 ] 
into the Mufic of his Times. However, what re- 
mains of the Writings of this great Mufician, joined 
to my own Obfervation and Experience, has enabled 
me, I hope, to throw fome Light upon the obfcure 
Subject of the ancient Species of Mafic. 
By the Manner in which Euclid and others find 
the Notes of their Scale, it muft have been conv 
pofed of Tones Major , and Litnmds . Hence the 
feven Intervals of one Oftave would be thus expreffed 
in KTnmhrrv SL 2 *6 9, 9. aj_6 9. _9 
in iNuniDcrs, 8’ 243’ 8 5 8’ 243’ a*' 
Some modern Authors have from this inferred the 
Imperfection of the Greek Mufic. They alledge we 
here find the C D it onus, or an Interval equal to two 
Tones Major expreffed by in (lead of the true 
Third Major expreffed by f. As there can be no 
Queftion of the Beauty and Elegance of the latter,, 
the former therefore muft be out of Tune, and out 
of Tune by a whole Gomma r which is very fhock- 
ing to the Ear. In like manner the Trihemitone of 
the Ancients falls Ihort of the third Minor by a 
Comma ; which is-alfo the Deficiency of their Hemi- 
tone or Limma , from the true Semitone Major , fo 
effential to good Melody. Thefe Errors would make 
their Scale appear much out of Tune to us. This 
1 readily grant,* and add, that it appeared out of 
Tune to them 5 fince they exprefly tell us, that the 
Intervals lefs than the c Diate.ff'aron or Fourth, as alfo 
the Intervals between the Fifth and Octave were dif- 
fonant and difagreeable to the Ear. Their Scale, 
which has been called by fome the Scala maxima , 
was not intended to form the Voice to fing accu- 
rately, but was defigned to reprefent the Syftem of 
their Modes and Tones, and to give the true Fourths 
and 
