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likely that the a was the 'tonic', the centre of reference, the cardinal note in the melody. The b made a fifth with the lowest note e, while the  , three-quarters of a tone higher, perhaps served as a leading note or affix to the b.46 |
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Six other early scales are recorded. Aristides Quintilianus preserves them, saying that they were used by 'the most ancient' musicians. It is probable that they were originally described by Damon, the teacher of Pericles, since Aristides mentions Damon elsewhere as having recorded some irregular scales; I shall refer to them as the Damonian scales. Certainly they seem to date from the latter part of the fifth century.47 They are all closed systems containing enharmonic tetra-chords. Two of them, identified as 'tense Lydian' and 'Ionian', resemble the Spondeion scale in spanning less than an octave and in being constructed from one infixed fourth plus one or two higher notes: |
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 48 |
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The c' makes the concord of a fifth with the f, and the d' in the Ionian makes a fourth with the a. |
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The other four scales span an octave or, in the case of the Dorian, a ninth: |
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It is to be noted that the Dorian's extension beyond the octave does not involve recurrence of the interval-series at the octave: the low d |
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46 If Winnington-Ingram, CQ 22 (1928). 89f., is right in restoring  in place of f, the relationship of this note to the e would be replicated a fifth higher by that of  to b. |
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47 Aristid. Quint. p. 18. 5-19. 10, cf. 80. 29; J. F. Mountford, CQ 17 (1923), 126-9; Winnington-Ingram, Mode, 22-30, 59; M. L. West, JHS 101 (1981). 117-19; below. p. 247. |
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48 Again the notes should not be taken as indicating absolute pitch. Aristides appends to his descriptions note-tables which would place them about a minor third lower, but it is unlikely that the original fifth-century source had the means to specify pitches. For the other four scales the pitch-ranges indicated by the tables are: Dorian  , Phrygian e-e', Lydian  , Mixolydian  . |
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