190 



safford: pan-pipes of peru 



of these must have sounded the key-note or tonic chord. The 

 Peruvians also recognized, in all probability, the notes of the 

 major or minor third and the fifth, corresponding to the dominant 

 drone of the bagpipe. This would be suggested by a natural 

 harmonic or node in a single pipe, formed after the manner of the 

 harmonic tones of a bugle. Whatever may have been their scale 

 it is certain that they did use instruments in pairs to produce 

 notes necessary for producing a melody; and the variation in 

 size of their instruments point to their playing in symphonious 

 chords. The alternating notes may be compared to those of a 

 mouth-organ or accordion; but in the latter instruments the 

 consecutive notes of the scale are produced by alternately blowing 

 and inhaling the air. It would require too much breath to blow 

 continuously across the open tubes of a syrinx: the resulting 

 music would have a "wheezy" or gasping effect. But when the 

 scale is produced by two players, it is pleasantly legato, each 

 player having an opportunity of catching his breath while his 

 mate is piping a note. Thus: 



Instrument, 

 No. I. 



Instrument, 

 No. 2. 



-<9- 



■(9- 



-«>- 



1 1 1 1 1 rG> T-\ 



mi fa sol la si do re mi fa sol la si do re mi 



lE: 



-n- 





The pan-pipe may be regarded literally as the prototype of the 

 organ, the graduated pipes of which suggest a giant inverted 

 syrinx blown from below. In Peru the orginal Quichua name of 

 the pan-pipe is huayra puhura, or "air-pipes;" but it is now usually 

 designated as zampotla, a Spanish word corresponding to the 

 Italian zampogna. This name is used ordinarily in Spain and 

 Italy to designate bag-pipes, but is likewise applied to pastoral 

 wind instruments of various kinds, just as in English we use the 

 name "pipes." On the shore of Lake Titicaca the pipers held the 

 pipe in the left hand, beating time with a stick, held by the right 



