The diagram now given reproduces in a more logical form the vocal and instrumental schemes; it shows their underlying unity, and points to the use of the vocal scheme as an enharmonic and chromatic exercise for the trained singer. It will be observed that, with two exceptions, the intervals used are the just semitone and simple quartertone.

The instrumental signs which go to the notes of the ditonal Hypolydian scale from eb to eb to which, as I have pointed out, the kithara must have been tuned, are all in their normal upright left to right position. They are Ν, ⊏ (digamma), < (an old Corinthian form of γ), ┐, κ, C, F, ٢. The last may be a mutilated form of Ω. Ν and ┐ are extraneous signs. Γ is known to be an old form of π, but π was never written ┐ in writing from left to right. I think it is a reasonable inference that Ν and ┐ were used to mark respectively the nete and mese. One may deduce the theoretical structure of the Hypolydian as two conjunct tetrachords with an additional tone below.