in early Greek music theory, any of the various arrangements of tones (T) and semitones (S) within an octave (series of eight consecutive notes) in the scale system. The basic Greek scale ranged two octaves and was called the Greater Perfect System. Central to the scale system was the octave E above middle C to the E below (conventionally denoted e′–e), the interval arrangement (descending, T–T–S–T–T–T–S) of which made up the Dorian octave species. The series of notes from d′–d, with the arrangement T–S–T–T–T–S–T, was the Phrygian (Phrygian mode) octave species. Other species were: a′–a, Hypodorian (Hypodorian mode); g′–g, Hypophrygian (Hypophrygian mode); f′–f, Hypolydian (Hypolydian mode); c′–c, Lydian; (Lydian mode) and b–B, Mixolydian (Mixolydian mode). All of these different arrangements of tones and semitones could be transposed to the octave e′–e, which was central to the performance of Greek music (tonos).

The name mode has been applied by some modern writers to the octave species as well as to other concepts in Greek music, such as harmonia and tonos (q.v.).