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seven strings was generally thought to have begun in the mid-fifth century or a little earlier. Simonides (c. 556-468) is named for the eighth, Phrynis (c. 490-420) for the eighth and ninth, Timotheus for the eighth and ninth, or the ninth only, or the tenth and eleventh, or the eleventh only. Ion's poem gives a definite terminus ante quem for an eleven-stringed lyre. Beyond that we cannot establish anything much in detail, but it is clear that a few citharodes were performing with more strings than the usual seven. This was something limited to exceptional virtuosi: it did not bring about a general change of practice, and it is not surprising that comparatively few vase-paintings reflect it. It remains uncertain what weight we should attach to the isolated portrayals of a nine-stringed lyra in the mid-sixth century and an eleven-stringed kithara in the early fifth. |
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Although it is not universally true that lyre strings are arranged in order of pitch, it is virtually certain that this was the case with Greek lyres. The notes of the standard octave were named after the corresponding strings of the lyre: bottom, alongside-bottom, third, alongside-middle, middle, forefinger, alongside-uppermost, uppermost, the adjectives taking the feminine form to agree with an understood chorde 'string'. 'Bottom' was the highest in pitch and 'uppermost' the lowest: the terms do not refer directly to pitch,73 but to the position of the strings on a lyre held tilted away from the body (see below). The strings nearest to the player, therefore, played the lower notes. This is confirmed by the fact that the 'forefinger' note is in the lower part of the scale, and by the explicit testimony of Plutarch.74 The asymmetrical lyres of the west Semitic peoples had the same arrangement, the longer string being nearer the player. |
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Lyres may be played while sitting, standing, walking (for example in a sacrificial procession), or dancing (especially in a group). The professional citharode gave his performances standing on a podium. The player held the instrument against the left side of his body, with |
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73 The Greeks did not as a rule speak of 'high' and 'low' pitch, but of 'piercing' (oxys) and 'heavy' (barys). There are, however, instances of higher/lower notes being called 'above' ''below' (ano kato): ps.-Arist. Pr. 19. 3. 37. 47. Cf. Barker, GMW ii. 385. |
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74Quaest. Plat. 1008e. Cf. Anon. Bellerm. 86-7 ('outward', 'toward', of rising/falling note-pairs). |
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