464 OF THE MUSICAL SCALES 



If we revert to the Shad'ja Grama^ we shall find it 

 composed of two disjunct, but perfectly similar Tcira- 

 ^hords^ separated by a major tone : both l.\trachords 

 are expressed by the name numbers 4. 3. 2; and, if 

 we reject the fractions of the first Tetrachord in the fore- 

 going table, we have the same number : and, as they 

 considered the 2d Tetrachord as perfectly similar to the 

 first, they probably made use of lh« same numbers to' 

 express tJiat ^imiltade. 



There are three kinds of characteristic melody for 

 iht structure of Bagas, either by the use of all, or the 

 ■exclusion of one, or two, particular notes. Those 

 Mdgas, in which the whole seven notes are employed, 

 iire called Hamir^ huran. Those, which exclude one 

 particular note, and only use the remaining six, are 

 called Cad'hlr. Those, which exclude two particular 

 notes^ and only reserve five, are called Orav. There 

 is a passage in Dk. Bukney's history of music, and one 

 in the British Encyclopaedia (speaking of the Guglia 

 IloUa*^ or the broken pillar lying in the Campus Mnr- 

 Jius at Rome,) by which it appears, that there is on this 

 pillar or obelisk the figure of a musical instrument with 

 two strings and with a neck ; that, by the means of its 

 /leck, thisinstrumentwas capable, with only two strings, 

 of producing a great number of notes ; that these two 

 strings, if tuned fourths to each other, would furnish 

 that series of sounds called by the antienrs liefla- 

 chord^ which consists of a conjunct Tetrachord as 

 B.C. D. 1j:4 R. F. G. A; if tuned in fifths, they 

 ivould produce an octave^ or two disjunct Tetrg chords. 



A fragment of an Es^yptian obel'sk of the liighest nnliqui^y^ 

 vhi.:li hud b;jeii Ijrought to Rcmc under Avui ixus. ll is rovv^d 

 yah i,lierog!yj-liics. 



