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The central octave of the ancient Greek system. The earliest Greek scales were organized in tetrachords, which were series of four descending tones, with the top and bottom tones being separated by an interval of a fourth, in modern terms. The sub-intervals of the tetrachord were unequal, with the largest intervals always at the top, and the ...
When the arc reaches 60°, the chord length is exactly equal to the number of degrees in the arc, i.e. chord 60° = 60. For arcs of more than 60°, the chord is less than the arc, until an arc of 180° is reached, when the chord is only 120. The fractional parts of chord lengths were expressed in sexagesimal (base 60) numerals. For example ...
Greek musical instruments were grouped under the general term "all developments from the original construction of a tortoise shell with two branching horns, having also a cross piece to which the stringser from an original three to ten or even more in the later period, like the Byzantine era". Greek musical instruments can be classified into ...
Band cup, potted by Amasis, painted by the Amasis Painter. Dionysos, Ariadne, satyrs and maenads, '’circa’’ 550/540 BC, Louvre. Battle scene on a band cup by an unknown artist, '’circa’’ 540 BC, Louvre. Band cups are a form of ancient Greek Attic Little-master cups. The lip of a band cup is black and slightly concave.
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Aeolian harmony [10] is harmony or chord progression created from chords of the Aeolian mode. Commonly known as the "natural minor" scale, it allows for the construction of the following triads (three note chords built from major or minor thirds), in popular music symbols: i, ♭ III, iv, v, ♭ VI, and ♭ VII.
The so-called "Memnon pietà", with the goddess Eos holding the body of Memnon: among the inscriptions [1] is the phrase Hermogenes kalos (Attic red-figure cup, c. 490–480 BC, from Capua; at the Louvre). A kalos inscription is a form of epigraph found on Attic vases and graffiti in antiquity, mainly during the Classical period from 550 to 450 BC.
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