90 PROCEEDI\GS OF THE ACADEMY OF [1883. 



instruments under consideration to produce them. In answer to 

 this, I will simply state that such an objection would be against 

 the evidence of historical and musical authorities, who have 

 demonstrated that musical instruments of all nations, even of the 

 most savage, have been constructed with a thorough knowledge 

 of their full value and ability in the production of musical tones. 

 This is shown, even in our day, by the savage tribes of Africa, 

 and those of almost inaccessible regions in Asia, who thoroughly' 

 understand the instruments in use among them ; and from these, 

 we, with all our knowledge and liiusical comprehension, produce 

 no other tones than can the natives themselves. 



The flageolets, having been tested and compared with the flute 

 and organ, were found to be pitched in the following keys : two of 

 similar color and shape stand in the key of C natural, and one of 

 like color in B natural ; another, smaller in size, stands in F sharp, 

 and the most perfect sounds emitted came from the flageolet of a 

 dark brown color, which was pitched in tlie key of B flat ; upon this 

 instrument most of the experiments were conducted. It was found 

 that by covering all four holes of the flageolet with the finger, 

 C natural was produced with the bell open (Plate II), and by closing 

 this last-named portion with the little finger, B flat could be ob- 

 tained, thus lowering the instrument a tone and a half in sound. 

 This action I have denominated finger-stopping, and it is a curious 

 fact, that this same method has been practiced by musicians of 

 our day with the hand upon the French horn. The fact having 

 been demonstrated, that the cavity in the cup-shaped depression had 

 been used for this purpose, it was necessary to find whether the 

 finger-stopping could best be accomplished by the fourth finger 

 of the right hand, or the little finger thereof. After repeated trials, 

 the little finger was found best adapted to that purpose, which 

 obliges the musician to hold the flageolet in the following manner: 

 the body of the instrument rests between the ball of the thumb 

 and the first or index finger of the left hand, covering 4 D 

 (Plate II), thus supporting the instrument. Hole No. 3 C is 

 covered by the second finger of the same hand. No. 2 B by 

 the index finger of the right hand, and 1 A b}' the second finger; 

 the little finger is used as stated — for the finger-stopping. The 

 instrument being held as above described, the fourth of the scale 

 or E flat can be obtained by half-closing the second hole or letter 

 2 B (Plate II), 3 C and 4D remaining closed. The sew^^/j, which 



