(Greek, προσλαμβάνων, the term προσλαμβάνων being found as an exception in Bryennius only) signifies a lower string (χειρός) or sound (ἐχεῖ) added to what was previously the lowest sound of the ancient Greek system of conjunct and disjunct tetrachords. For example, to the sounds BCDE, ERGo, forming two conjunct tetrachords in the lowest part of the scale, was added A, an octave below the last of the sounds above named. This formed a series of sounds similar to that of our minor scale, when its 6th and 7th are made minor; thus, ABCDEFGo, ascending diatonically from A in the lowest space of the stave with bass-clef, to A upon the highest line of the stave with same clef. In this place we may mention, that the ancient Perfect System, or Immutable System of the Greeks, as it is described by Greek writers on music, appears to have consisted of fifteen sounds comprehended within two octaves, reckoning from the Proslambanomenos above described, up to a sound two octaves higher. The order of these sounds, and their ancient Greek names and modern literal names, ascending, are as follows: Proslambanomenos A, Hypate-hypaton B, Parpyrate-hypaton C, Lichanos-hypaton D, Hypate-meson E, Parpyrate-meson F, Lichanos-meson G, Mese a, Paramese b, Trite-diezeugmenon c, Paramete-diezeugmenon d, Nete-diezeugmenon e, Trite-hyperbolon f, Paramete-hyperbolon g, Nete-hyperbolon h. Some of these strings or sounds were called Αρυψι, Baropycni, Mesopycni, Oxyppycni. Some, too, were fixed, and others moveable. For various observations upon Greek scales, and upon certain oriental scales and ecclesiastical scales, see the article Music, and Appendix to Graham's Essay on the Theory and Practice of Musical Composition, 1838.

The texts of the ancient Greek writers upon music are so corrupted, and so obscure in many respects, and contain so little of a really practical or useful nature, that we have purposely refrained from inserting in this work many old Greek theoretical terms, of which the exact signification is now lost. Attempts to explain these could end in nothing better than vague and useless conjectures. Those who feel any particular interest in the very obscure subject of ancient Greek music, may consult the Greek writers edited by Meibomius and Wallis, and various other ancient writers who treat of music expressly or incidentally; also Hawkins, Burney, Forkel, and others.