Besides these the Beluch shows much ingenuity in improvising musical instruments to accompany his songs, out of any article which will give some sound, such as his rifle rod, which he balances on a bit of string and taps upon with the blade of his knife, or two pieces of wood which he uses as castanets, and, failing all these, snapping his fingers and keeping time with the melody.
There is a certain weird, barbaric charm in Beluch melodies, and, unlike the Persian, the Beluch possesses a very keen ear, in fact, a thorough musical ear, even according to our rules of harmony. To an unthoughtful European there may indeed be a certain monotony in Beluch melodies, but never a grating discord which will set one's teeth on edge.
Monotony in music, or rather, a repetition of the same melody until it becomes monotonous, is, rather than otherwise—if one comes to think of it—a fault on the right side, for if a melody is repeated time after time it means that the people themselves like it and appreciate it. There is no doubt that anybody with an unspoilt musical ear rather fancies listening over and over again to a melody which appeals to him—and we need not go as far as Beluchistan to be convinced of this—for we ourselves have been known to take fancies to songs of so high a standard as Ta-ra-ra-boom-de-ay, The Honeysuckle and the Bee, &c., and we hum them while soaking in our morning tub, we whistle them as we go down to breakfast, we strum them on the piano after breakfast, we hear them rattled outside by a barrel organ, as many times as there are forthcoming pennies from windows, while we are having lunch, we hear them pathetically sung at afternoon parties by hired entertainers, bands play them in the restaurants during dinner, and we hear them in the theatres, in music halls, and everywhere,—so that we cannot very well blame others for the monotony of their melodies since we largely follow the same course as theirs.
The Beluch plays and sings because it gives him real pleasure, and he is quite carried away by his music. Certain notes and combinations of notes, especially such as are very high and shrill, but in good tune, seem to go straight to his heart, and he revels in them. When singing, therefore, he prefers to sing in falsetto—as high as the furthest strain of his voice permits—and having worked himself into a semi-dazed state gradually descends to low deep notes, which by contrast appeal to him and not only give balance and character to his melody but produce quite a good harmonious effect. The low notes, however, are never ejaculated, but hummed, almost buzzed, with a vibration in the voice which is most melodious. The sound is like an indefinite letter U.
The beginning of a song is somewhat sudden and startling, and usually too loud, as if the singer had not properly gauged the extent of his voice in relation to the instrumental accompaniment, but he soon manages to get in most perfect unison with the melody of the dambura and the violin or other instruments, except in cases of singers endowed with extra musical genius, when they will go on improvising by the hour, using the theme as a guide. They generally sing in a minor key, with pretty refrains at the end of each bar.
The most common and favourite air is the above on which elaborate variations are added.
The Beluch singer seldom changes from minor into major or from one key into another, but he is very fond of repeating the same melody in all the octaves within the utmost limits of the compass of his voice. It is considered a feat in singing to hold a note for an interminable time, as also to go through the greater portion of the melody without taking breath, and it really seemed extraordinary that some of the singers did not break a blood vessel in the process. The eyes of the performers got so swollen and almost shooting out of the head with holding the notes so long, and the veins of the temples and arteries in the neck swelled to such an extent as to cause serious apprehension.
On one occasion I heard an improvised song with the accompaniment of the soroz (violin) only. This time—an exception in my experience—the song was given in a deep, low, nasal voice, each note being tremulous and held on for several minutes in a most plaintive manner.
Some of the love songs were quite pathetic and touching, and in the war songs, the grievances were poured forth very plaintively with an accompaniment of strings and drums and burst out suddenly into fire and anger. At this point, when the musicians were carried away by the martial words of the song, the instrumental accompaniment became next to diabolical. It was very inspiriting, no doubt, and made them feel very war-like. The din was certainly such as might have turned any man into a fighter.