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an ornamental  . The adventitious semitones are used in particular in undulating figures,  , or to embellish the outer edges of scalar intervals, as when the underlying melodic progression  is dressed up as  . |
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The same mannerism appears in the little anonymous hymn to the Muse (16). The basic scale consists of the six notes d e f g a b (tonic e), but a couple of semitonal ornaments enable the progression  to become |
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 11 |
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The Oslo papyrus (30) also shows touches of chromaticism. I have mentioned that it modulates between a scale with f and  and one with  and  . But in places f and  are deployed alternately for the space of a bar or two, as if to keep surprising the hearer. And in the sections that have  , we also encounter an exharmonic  . It is juxtaposed with the 'correct'  in the figures b a  , and b  , each set to a single word. |
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The Berlin Ajax fragment (42) perhaps deserves a mention here because, although it has no notes outside those of its own scale, the scale itself has an irregularity of which the effect is similar to that of occasional chromaticism. The compass, at any rate in the surviving bars, is limited to a fifth, with the tonic (c") in the middle and two degrees below and above it. But instead of the expected a' b' c" d" e", we find a' b' c"  e", with the fourth degree slightly sharpened. This gives the melody an interesting tang. |
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The surviving texts are predominantly vocal, as was Greek music overall. We must next consider the relationship of the music to the words. |
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The rhythm, as explained in Chapter 5, reflected in a formalized |
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11 Following the MS text. See the notes on the piece in Ch. 10. |
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