[ 2 ,5 9 ] 
and Fifths of every Key a Compofer might choo'fe* 
Now if, inftead of Tones Mapr and Limmds , we 
take the Tones Major and Minor, with the Semitone 
Major, as the Modems contend we fhould, we fhali 
have a good Scale indeed, but a Scale adapted only to 
the concinnous Conftitution of one Key 5 and when- 
ever we proceed from that into another, we find fome . 
Fourth or Fifth erroneous by a Comma. This the 
Ancients did not admit of. If, to diminifh fuck 
Errors, we introduce a Temperature, we fhali have 
nothing in Tune but the Octave. We fee then the 
Scale of the Ancients was not deftitute of Reafon $ 
and that no good Argument againft the Accuracy of 
their Practice can from thence be formed. 
It was ufual among the Greeks to confider a de- 
fending as well as an afcending Scale ; the former 
proceeding from acute to grave, precifely by the fame 
intervals as the latter did from grave to acute. The 
fird Sound in each was the Proslambanomenos. The 
not didinguifiiing thefe two Scales has led feveral 
learned Moderns to fuppofe, that the Greeks , in feme 
Centuries, took the Proslambanomenos to be the lowed 
Note in their Syftem; and, in other Centuries, to be 
the higheft. But the Truth of the Matter is, that the 
Proslambanomenos was the lowed, or highed Note, ac- 
cording as they confidered the afcending, or defending 
Scale. The Didinction of thefe is conducive to the 
Variety and Perfection of Melody ; but X never yet 
met with above one Piece of Mulic, where the 
Compofer appeared to have any Intelligence of this 
kind* The Compolition is about 1 50, or more. Years 
old, for four Voices ; and the Words are, Vobis da* 
turn eft no ft ere Myjlerium regni c Dci, € uteris autem 
Author 
