ation in the name distinguishing this key from the one in which Fa actually coincided with this note. The keys of the former class correspond with those in the Chinese system in which Koung in the referred scale falls on one of the first seven Lu; and those of the latter class to its coincidences with the intermediate members of the series. Just as in Chinese music the seven modulations in the first seven Lu — that is, in the notes of the primal scale — have been recognized from antiquity, according to Prince Tsai-yu, as the fundamental ones; so in Greece the keys in which Fa in the scale of reference coincided with the outlines of the seven ancient modes in the referred scale were the earlier and principal ones, and those in which it fell between them, keys of later growth. As in the Chinese, so in this nomenclature, regard was had to the coincidences of a certain note in one of the two related scales with various notes of the other, and the same note (Fa, Koung), was used as the note of comparison in both systems; but while in China the name came from that note of the scale of reference with which the Koung of the referred scale coincided (modulations in Chang, pien-Tche, etc.), in Greece the name came from the mode upon whose boundary note in the referred scale the Fa of the scale of reference fell (Dorian, Lydian, etc., Tonos or Tropos).
In the representative names of keys used with its individual nomenclature, the modern world has let fall the Greek usage and taken up that of the Chinese, making changes therein which are the expression of a fundamentally different attitude of the musical consciousness toward the scale. These changes we shall find, and the fact is a most surprising one, have had a counterpart in the process which has brought the newer (or mediæval) musical system of the Chinese out of their ancient (or immemorial) theory of the art.
At the downfall of the Græco-Roman civilization, a few fragments of its theory of music were preserved for the uses of the Christian church. These were a two-octave diatonic scale beginning and ending on the note La (with its higher interval, La-Si, divided into two hemitones), and the ancient schemes or sequences of tones and hemitones between the various notes of
