By Charles Burney
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Additional resources for A General History of Music
Exactly the same, and in the same perpendicular order, in all the modes ; only the chromatic Lichani, the distinguishing strings of each genus, are marked, as Meibomius observes, with a dash, to distinguish them from the enharmonic Lichani (n). In all the three diagrams the strings, except the Lichani, 3. have the same characters this will appear in examining any of the modes ascending or descending perpendicularly, and missing the red characters, which are the Lichani ; for the order of the rest, which are black, will be found exactly the same in all the genera.
In examining the three diagrams of Alypius, where the notation of all the fifteen modes in each genus is given, I have frequently tried to find some rule for the use of different kinds of letters, or reason for the confusion in which they appear in the scale. I thought it would have furnished something of 201 historical deduction, if I could have discovered that the simple letters of the alphabet were used in a regular series, to express the sounds ascending or descending, in any one mode of the several genera.
G sharp, had no interval of a or E flat, quarter-tone, and the between B us that the division and bounds of the genera and Aristides Quintilianus till his time which were of the of or intervals, several of species genera, speaks that after the art of highest antiquity ; yet so wild and irregular, music was brought to a greater degree of perfection, and the laws of the three principal genera were settled, they had been totally disused by the best musicians. The same author asserts, that it is of these barbarous divisions of the scale, or old Harmonies, as they were called, and not the common modes of the same names, that Plato speaks in his Republic, where he admits some of them, and rejects Aristoxenus tells were not accurately fixed ; others.