ἑπτάτονος

The adjective is first attested in fr. 4 Gostoli of Terpander of Lesbos, quoted by Cleonides before Ion’s fr. 5 Gent.-Pr. In fact, Terpander is considered the πρῶτος εὑρετής of the heptachord (Strab. 13, 2, 4; Plin. Nat. hist. 7, 204; Suda τ 354 s.v. Τέρπανδρος; Nicom. ap. Boeth. mus. 1, 20, p. 205 Friedlein), a system consisting of two joined tetrachords that replace the primitive tetrachord. Giorgio Sincello’s Ecloga Chronographica also refers to the same innovation when he attributes the ἑπτάτονος ἁρμονία to Terpander (p. 253, 22 Mosshammer). Ἑπτάτονος is used as a synonym for ἑπτάχορδος («with seven strings»); it is evident from the other occurrences that always associate it with a stringed instrument: e.g. Bacchilides, fr. 20B, 1-2 Maehl. (βάρβιτος); Euripides, Alc. 446 and Herc. 683 (χέλυς); Aristonoos (third quarter of the 4th BC ca), Hymn. Hest. 8 (φόρμιγξ). A gloss in Hesychius’ Lexicon also moves in the same direction (ε 5558 s.v. ἑπτάτονος· ἑπτάχορδος).

A. GOSTOLI (ed.), Terpander, Romae 1990; E. ROCCONI Le parole delle Muse. La formazione del lessico tecnico musicale nella Grecia antica, Roma 2003.

Terpander, heptachord, prōtos heuretēs