|
|
|
|
|
|
|
The music returns to the register and harmonic frame of the opening section: tonic a with b c' (and intermittently  ) above, f and e below. In the last two lines a is the highest note, and the melody settles down towards e; the d below makes an appearance to encircle the e at auxet' ageratoi (f d d f f e). The final cadence was probably on f e. The sequence of tonal foci in the work as a whole is |
|
|
|
 |
|
|
|
|
a; b, e, b; e; b, e'; a, e. |
|
|
|
|
|
|
|
|
The general remarks made above on Athenaeus' paean are on the whole applicable also to Limenius'. In this case fourteen notes are used,4 extending from what we have called B to what we have called f'; adjusted to the hypothetical real pitch this becomes  , which is close to Athenaeus' ambitus  . The two composers are virtually agreed on the vocal range to be used. But Limenius sets his tonic Mese a semitone higher within that range than Athenaeus. Consequently, whereas Athenaeus goes down the Perfect System as far as Parhypate hypaton and up as far as chromatic Paranete hyperbolaion, Limenius goes down a step further, to Hypate hypaton, and stops at Trite hyperbolaion at the upper end. The different pitches at which they set their Systems determine that they choose different key-notations, Athenaeus using Phrygian/Hyperphrygian and Limenius Lydian/Hypolydian.5 It is noteworthy that Limenius uses instrumental notation: being a professional citharist,6 he was accustomed to using it. |
|
|
|
|
|
|
|
|
The diagrams in Fig. 10.1 illustrate the scales and modulation-paths employed in the two works. |
|
|
|
|
|
|
|
|
4 Or fifteen, if Hypolydian  is distinguished from Lydian  . |
|
|
|
|
|
|
|
|
5 Phrygian and Lydian differ by a tone. As the difference between the corresponding degrees of Athenaeus' and Limenius' scales is only a semitone, it would not have been surprising if one or other of them had used the intermediate key-group, the Aeolian. |
|
|
|
|
|
|
|
|
6SIG 698 A 21. |
|
|
|
|
|