A Companion to Ancient Greek and Roman Music by Lynch Tosca A. C.; Rocconi Eleonora; & Eleonora Rocconi
Author:Lynch, Tosca A. C.; Rocconi, Eleonora; & Eleonora Rocconi [Lynch, Tosca A.C. & Rocconi, Eleonora]
Language: eng
Format: epub
Publisher: John Wiley & Sons, Incorporated
Published: 2020-07-14T00:00:00+00:00
To form a complete scale within this framework, two additional notes were inserted between the boundaries of each of the two fourths; and since each of these substructures comprised four notes, they were called tetrachords. Their bounding notes remained invariably a perfect fourth apart (they were called “fixed” or “standing” notes), but the notes between them (“moving notes”) could be shifted upward and downward within certain ranges, dividing the tetrachord into different interval‐sequences and creating different types of scale. In principle, there was no limit to the number of different tetrachordal divisions that could be constructed, but in practice they were classified into three groups (called genē, “genera,” from the time of Aristoxenus onward), within each of which up to three regular variants might be recognized. The three genera were called enharmonic, chromatic, and diatonic, and the divisions most commonly mentioned in the literature are represented (expressed in Aristoxenian terminology as tones and fractions or multiples of tones) as follows:
Enharmonic: ¼ – ¼ – 2
Chromatic: ½ – ½ – 1½
Diatonic: ½ – 1 – 1
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