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introduced in the praflice of the fcience ; for both 
the players and compofers, having now a greater la- 
titude would not fail to take advantage of the en- 
largement ; and though the fkilful among them 
mio-ht, in their excurfions upon the new firings, pre- 
ierve a due attention to the proper characters of the 
fcveral modes, yet the melody peculiar to each could 
not be fo eafily comprehended, when carried beyond 
its ufual limits. An artificial help, therefore, to the 
learner, was now become indilpenfably neceilary ; 
and with this view, 1 make no doubt, but that the 
fyftem was invented. It was, indeed, admirably well 
contrived for the purpofe ; for its fuccefiion being the 
fame with that of the lyre, in its Dorian tuning, with 
which the Greeks muft have been the befl acquainted, 
as being the proper mode of their favourite inftrument, 
it was the mod eafy to be learnt and retained, and the 
knowlege of this fucceflion was all now required ; foi , 
by imagining only the fyftem removed to fome other 
pitch, and tuning all the firings in the fame relations 
to a new mefe, the melody of the old eight firings 
was thereby changed, and a new fpecies of diapafon 
gained thereon, without the trouble of ftudying the 
the mufical doCtrine, which was now left to the mu- 
fician, or melopceius, who was anfwerable for the 
choice of the fucceffions he fele&ed for his various 
fubje&s, whilft the hacmonician followed him through 
the intricacies of his compofitions, by the eafier me- 
thod of the tranfpofition of the fyftem. And this .1 
apprehend to have been the origin, both of the 
fyftem itfelf, and of the harmonic do&rine of the 
tones. But now, as it often happens, what was de- 
signed for the improvement of the fcience, became, 
