

P LIKE THE SYRINX OF THE ANCIENTS. 129 
The division of this scale into two tetrachords in different keys is produced 
by opening the ventilages for the one, and sounding only the notes which were 
omitted by that process for the other. 
Tetrachord in the Key of EK Minor. 






a QQ € Qa Oo -0- 
el 
: @ t 
o- 
E G D A 
Tetrachord in the Key of F Major. 
(qa 
A Cc FP 








The first tetrachord in the minor key is perfect, and is the most easily perform- 
ed ; for it only requires that all the ventilages be left open, and consequently those 
notes will not sound. This in all probability was the favourite Peruvian key, and 
must have imparted, as the minor key always does, a plaintive tone to their music. 
The second tetrachord in the major key is nearly perfect; but the instru- 
ment on this key is half a note above concert pitch, which throws the F¢ into Fy, 
and the C4 into CZ. 
It is, however, to be noticed, that, by different modes of ordinary blowing, 
the tones may be varied nearly half a note; and it is not improbable that the 
notes now imperfectly pitched, were accurately adjusted by stuffing. 
The use of the ventilages now becomes very apparent. They enabled the 
performer to introduce several harmonious modulations, by opening one or more 
of the holes, without embarrassing him with the attention necessary to avoid the 
pipes not to be sounded. In this manner considerable variety is given to the 
succession of sounds, all of which are regulated by the fixed principle of present- 
ing agreeable successions or modulations to the ear. One of my friends was of 
opinion that some very simple modulations, produced by this means, as an accom- 
paniment to the songs or dances of the Peruvians, was one of the designs of the 
inventor of the Peruvian syrinx. 
The Peruvian performers probably used the succession of simple notes, often 
reiterated; and we might infer that they often delighted in slurring them, by 
sliding the instrument along the lip, instead of blowing each note distinctly allo 
staccato, as is usually done by modern performers on the organetto. 
It is worthy of remark, that the scale of the Peruvian instrument is founded 
on a system of tetrachords, as was that of a more refined people,—the ancient 
Greeks. The lyre, according to Dioporus, was invented by the Egyptian Hzr- 
MES, and had originally only three strings,—aveay Te EUREW, NV ToIncoL rely oe0oy, The his- 
torian says that a fourth, “called jon, was added by the Muses; that Linus added 
VOL. XX. PART I. 2M 
