Editing Mode (music) (section)

===''Harmoniai''===
{| class="wikitable" align="right" style="text-align:center;"
|+''Harmoniai'' of the School of Eratocles ([[enharmonic genus]])
! Mixolydian
| {{1/4}} || {{1/4}} || 2 || {{1/4}} || {{1/4}} || 2 || 1
|-
! Lydian
| {{1/4}} || 2 || {{1/4}} || {{1/4}} || 2 || 1 || {{1/4}}
|-
! Phrygian
| 2 || {{1/4}} || {{1/4}} || 2 || 1 || {{1/4}} || {{1/4}}
|-
! Dorian
| {{1/4}} || {{1/4}} || 2 || 1 || {{1/4}} || {{1/4}} || 2
|-
! Hypolydian
| {{1/4}} || 2 || 1 || {{1/4}} || {{1/4}} || 2 || {{1/4}}
|-
! Hypophrygian
| 2 || 1 || {{1/4}} || {{1/4}} || 2 || {{1/4}} || {{1/4}}
|-
! Hypodorian
| 1 || {{1/4}} || {{1/4}} || 2 || {{1/4}} || {{1/4}} || 2
|}
In music theory the Greek word ''harmonia'' can signify the enharmonic genus of [[tetrachord]], the seven octave species, or a style of music associated with one of the ethnic types or the ''tonoi'' named by them.<ref>{{harvp|Mathiesen|2001b}}</ref>

Particularly in the earliest surviving writings, ''harmonia'' is regarded not as a scale, but as the epitome of the stylised singing of a particular district or people or occupation.<ref name="Winnington-Ingram-1936-2–3" /> When the late-6th-century poet [[Lasus of Hermione]] referred to the Aeolian ''harmonia'', for example, he was more likely thinking of a [[Melody type|melodic style]] characteristic of Greeks speaking the [[Aeolic Greek|Aeolic dialect]] than of a scale pattern.<ref name=Anderson-Mathiesen-2001>{{harvp|Anderson and Mathiesen|2001}}</ref> By the late 5th century BC, these regional types are being described in terms of differences in what is called ''harmonia'' – a word with several senses, but here referring to the pattern of intervals between the notes sounded by the strings of a [[Lyre|lyra]] or a [[Cithara|kithara]].

However, there is no reason to suppose that, at this time, these tuning patterns stood in any straightforward and organised relations to one another. It was only around the year 400 that attempts were made by a group of theorists known as the harmonicists to bring these ''harmoniai'' into a single system and to express them as orderly transformations of a single structure. Eratocles was the most prominent of the harmonicists, though his ideas are known only at second hand, through Aristoxenus, from whom we learn they represented the ''harmoniai'' as cyclic reorderings of a given series of intervals within the octave, producing seven [[octave species]]. We also learn that Eratocles confined his descriptions to the enharmonic genus.<ref>{{harvp|Barker|1984–89|loc=2:14–15}}</ref>