﻿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 
  E 
  Minor. 
  

  

  ex 
  CX 
  CX 
  CX 
  -#- 
  

  

  :b 
  

  

  Tetrachord 
  in 
  the 
  Key 
  of 
  F 
  Major 
  

  

  p 
  

  

  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 
  F§, 
  

   and 
  the 
  Cfi 
  into 
  C|. 
  

  

  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 
  alio 
  

   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 
  tetracliords, 
  as 
  was 
  that 
  of 
  a 
  more 
  refined 
  people, 
  — 
  the 
  ancient 
  

   Greeks. 
  The 
  lyre, 
  according 
  to 
  Diodorus, 
  was 
  invented 
  by 
  the 
  Egyptian 
  Her- 
  

   mes, 
  and 
  had 
  originally 
  only 
  three 
  strings, 
  — 
  xvgav 
  n 
  h^iv, 
  fa 
  voirisai 
  ryxp&v. 
  The 
  his- 
  

   torian 
  says 
  that 
  a 
  fourth, 
  " 
  called 
  (issri, 
  was 
  added 
  by 
  the 
  Muses 
  ; 
  that 
  Linus 
  added 
  

   vol. 
  xx. 
  part 
  i. 
  2 
  m 
  

  

  