C 75 8 ] 
disjunction (diazcuCtic tone), where almoft every one 
imagined (meaning in the middle of the diapafon, 
for fo it was in the Dorian, which was moft familiar 
to the Greeks), but at the acute, made the figure of it 
fuch as that from paramefe to hypate mefon (33)* * 
The next pafiage informs us of a very remarkable 
circumftance, viz. that, after the addition made to 
the lyre of the tetrachord hypaton, no ufe was made 
of thole firings in the Dorian mode, though they 
were employed in the reft. Speaking of the earlier 
times, and arguing, that the antients had omitted 
many things, rather from choice than ignorance; 
“ It is manifeft (fays he), that, in refpeCt to the 
[tetrachord] hypaton, it was not through ignorance, 
that they abftained, in their Dorian [compositions], 
from this tetrachord ; for they employed it in the 
reft of the tones, as plainly knowing it ; but, for the 
fake of preferving the ethos, they left it out in the 
Dorian tone, as refpeCting the beauty thereof (34);” 
From this pafiage it is evident, that the Dorian 
melody, which, in its proper character, according 
to the mufical doCtrine, was terminated by hypate 
mefon, was in fuch efteem with the Greeks, from 
a long habit of hearing their beft pieces com- 
pofed in that fucceflion, and within that compafs, 
(33) Al }<flf 0 (®W7) AetpTDpQHhSct <¥■ 'k$WCU0V ffVVlKvlo.OTl XX.C!’- 
’TOJJT^O. i'/J* J OTK %-lS'CV CiO'/IO, ctKA C.OT T 00 £<-’ , 
Tifi.TW ciuT'U ci?ify •!<?&£; a .1 to yn yet to Sot cs/n \sS'et])i 
\!zrd.TMv. PI march Dial, de Mufica. ( ^ 
( 34 ) AhAoI' j >y T TTiei \X 70 TUV, 0 T! K JY CtyVOlAV OTTri'x 0 /! 3 W 
JYpi'o/f ns TisTv, auriKct ctj T honrav Tci’wv eypai^o, S'rsXo- 
1/07 1 ilS'OTif S'tS. Q T T 8 tpUKOKVV C7H Tti /'&’£!« TOI'K, Tl- 
y.wi'Jis to ko.\w lorn . Ibidem. 
that 
