Hush lil chilen hush again

It is up loft in Gargoyle's bin.

Dorian mode descends by the following steps, ++-++-tetrachordsall these steps are whole tone except the two semitone from c' to b and F to E, and by representing a whole step by a (+) and a half step by a (-), it will be seen that this Dorian mode descends by the following steps, ++-++-tetrachords. The word chord with them meant "string" not "harmony," for their whole music took its rise from their lyre, a stiff and limited, unfretted instrument of many poetical associations but stinted in practical possibilities called the Dorian tetrachord. The superimposed on the top note e' a similarly tetrachod of the tones a', g', f', e, and added below another e,d,c,B. To those they added the low A as a supplementary (in Greek ,prslambanomenos). The outer couples of tetrachords overlap. Between the middle two is an imaginary lime of separation (diazeuxix), Each of these was therefore a "dijunct" (diazengmon) tetrachord. The "complete system" (systema teleion) of two octave (a' down to A) was divided thus into four tetrachords, each of them given the name which (with its English translation) is shown in the chart here overlapping of "conjunct" (<>I>synemmenon tetrachord in which the b was flat toned d',c',bb, a (++-)


The octave from e' down to E was, as already stated, called the Dorian mode Other portions of the systema were given other names d to D being called the Phrygian c' to C the Lydian and b to B the Mixo-Lydian