tone. The sound which is termed lichanos differs from 
the hypate, by a semitone in the enharmonic, two hemitones 
in the chromatic, and three in the diatonic scale. 
The ten sounds by reason of their transposition into the 
different scales, produce a threefold variety of modulation. 
The tetrachords are five in number: first, the grave, 
which the Greeks term hypaton: secondly, the middle, which 
is termed meson: thirdly, the conjunct, termed synemmenon: 
fourthly, the disjunct, termed diezeugmenon: lastly, the most 
acute is called in Greek hyperbolaion. 
The concords natural to man, which are termed in the 
Greek symphoniai, are six in number: these are the diatessaron, 
the diapente, diapason, the diapason with a diatessaron, the 
diapason with a diapente, and the disdiapason'. Their 
appellations are derived from the number of intervals: thus, 
when the voice, after resting upon any particular note, rises 
to the fourth from it, the chord is called diatessaron: when 
it rises to the fifth it is called diapente: to the eighth, diapason: 
to an octave and a half, diapason with diatessaron: to a ninth 
and a half, diapason with diapente: to a fifteenth, disdiapason. 
For neither in vocal nor instrumental music will the second, 
third, sixth, or seventh form a concord; but, as I have 
That is, the fourth, fifth, octave, eighth with a fourth, eighth with a fifth, 
and the double octave. This account of the concords is very different from the 
principles of thorough bass, according to the modern school. It appears strange 
that the fourth should be enumerated instead of the third. The Greek names 
specify the number of intervals by which the concords rise dia tessaron, through 
four intervals: dia pason, through all seven.