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The structure of the scale does not fit well with the tetrachords of theory. The fifth g-d' is not the sum of a tetrachord and a disjunctive tone; it is clearly felt to divide into a major and a minor third, with b as the principal stepping-stone. These cardinal degrees g-b-d' are avoided in the half-cadences at the ends of the first three lines, c' and f being used instead so that no premature impression of finality is given (cf. p. 210). |
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In the first line the melody rises from the tonic g to the 'dominant' d', in the second it descends again, and in both the third and the fourth it starts from the tonic, rises to the d', and returns past g. The only consecutively repeated notes in the piece are the first d' and the last g. |
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For notational purposes the tonic g had to be identified with the diatonic Lichanos of the Perfect System to achieve the desired interval sequences. So in this case the standing notes of the System such as Mese and Hypate do not correspond at all with the notes that are structurally important in the music. The notation-key is Ionian. |
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16 Invocation of the Muse
(Original a tone higher) |
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(Sing for me, dear Muse, | begin my tuneful strain; | a breeze blow from your groves | to stir my listless brain.) |
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The first, second, and fourth notes of line 2 are missing in the manuscripts and supplied by conjecture. The note transcribed as  in lines 3-4 is an 'accidental' alien to the notation-key in use (Lydian), and its interpretation is not wholly certain in the circumstances: it might be  . I have followed the usual view.7 |
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7 See Winnington-Ingram, Mode, 41; S. Baud-Bovy, Revue de musicologie 70 (1984), 259f. |
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