http://tonalsoft.com/monzo/aristoxenus/318tet.htm


[1:23.12-22]
12 ..... Ο'ι μεν γαρ τηι νυν κατεχουσηι
13 μελοποιιαι συνηθεις μονον οντες εικο-
14 τως την διτονον λιχανον εξοριζουσι•
15 συντονωτεραις γαρ χρωνται σχεδον ο'ι
16 πλειστοι των νυν. τουτου δ' αιτιον το βουλε-
17 σθαι γλυκαινειν αει. σημειον δ' 'οτι του-
18 του στοχαζονται. μαλιστα μεν γαρ και
19 πλειστον χρονον εν τωι χρωματι δια-
20 τριβουσιν. 'οταν δ' αφικωνται ποτε εις
21 την 'αρμονιαν, εγγυς του χρωματος
22 προσαγουσι συνεπισπωμενου του ηθους

....... Hoi men gar tei nun katechousei
melopoiiai synetheis monon ontes eiko-
tos ten ditonon lichanon exorizousi;
syntonoterais gar chrontai schedon hoi
pleistoi ton nun. toutou d' aition to boules-
thai glukainein aei, semeion d' hoti tou-
tou stochazontai, malista men gar kai
pleiston chronon en toi chromati dia-
tribousin, hotan d' aphikontai pote eis
ten harmonian, engus tou chromatos
prosagousi synepispomenou tou ethous

....... It is to be expected that those who are used
only to the style of composition at present in vogue
rule out the ditone lichanos,
since most people nowadays use
higher ones. The reason is their
endless pursuit of sweetness: that this is
their objective is shown by the fact that
they spend most time and effort on the chromatic,
whereas when they do occasionally come to
the enharmonic they force it close to the chromatic,
and the melody is correspondingly pulled out of shape.