/
This library is built in the open.
If you spot an error, have a suggestion, or just want to say hello — we’d love to hear from you.

| Ee | la | ||||
| Dd | Tone | la | sol | ||
| Cc | Tone | sol | fa | ||
| ♮ | Minor semitone | mi | |||
| Bb | Major semitone | fa | |||
| Aa | Minor semitone | la | mi | re | |
| g | Tone | sol | re | ut | |
| f | Tone | fa | ut | ||
| e | Minor semitone | ||||
| d | Tone | la | sol | re | |
| c | Tone | sol | fa | ut | |
| ♮ | Minor semitone | mi | |||
| b | Major semitone | fa | |||
| a | Min. semi. | la | mi | re | |
| G | Tone | sol | re | ut | |
| F | Tone | fa | ut | ||
| E | Semi. | la | mi | ||
| D | Tone | sol | re | ||
| C | Tone | fa | ut | ||
| B | Semi. | mi | |||
| A | Tone | re | |||
| Γ | Tone | ut |
The diagram includes extensive annotations on the left regarding Greek musical theory, such as the Tetrachordum Hyperbolaeon the highest tetrachord, the Systema maximum the complete system, and the Diapason the octave. On the right, it notes the classification of final clauses, such as the final clauses of the eleventh and twelfth, and the final clauses of the first and second.