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The notes of the central tetrachord of the system in ascending order are hypate, parhypate, lichanos (or hypermese), and mese. A second tetrachord is added above, after a disjunctive tone, and the corresponding names (together with the interval ratios of the standing tones) are: [6] mese (4:3) – nete (2:1) (standing) lichanos – paranete ...
In music theory, a tetrachord (Greek: τετράχορδoν; Latin: tetrachordum) is a series of four notes separated by three intervals.In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cents)—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning ...
The first two of these are the same as the first two tetrachords of the Greater Perfect System, with a third tetrachord placed above the Meson. When all these are considered together, with the Synemmenon tetrachord placed between the Meson and Diezeugmenon tetrachords, they make up the Immutable (or Unmodulating) System (systema
[g] A diatonic tetrachord comprised, in descending order, two whole tones and a semitone, such as A G F E (roughly). In the chromatic tetrachord the second string of the lyre was lowered from G to G ♭, so that the two lower intervals in the tetrachord were semitones, making the pitches A G ♭ F E.
Tetrachord obviously refers to four notes, not three intervals. "Adjacent strings" was intended to mean that the strings produced adjacent notes. I fully reorganized the description of Greek tetrachords and scales. The new description makes better sense, but remains in need of references which may come later.
Tetrachord Note order Step to next note (Number of steps) Note name starting from Buselik [1] Buselik pentachord Buselik tetrachord (starting from Buselik) 1 T (9)
Tetrachord Note order Step to next note (Number of steps) Note name starting from Rast [1] Rast pentachord: Rast tetrachord: 1 T (9) Rast 2 K (8) Dügâh 3 S (5) Segâh 4 T (9) (Only for pentachord) Çârgâh - 5 - Neva
This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a ♮ to a , the original tetrachord is recreated from g. The 6th above has no significant role except as a note of resolution for the 5th when used ascendingly (a ♮). The 7th above can be, and frequently is, entirely omitted.