The World's Earliest Music / Traced to Its Beginnings in Ancient Lands by Collected Evidence of Relics, Records, History, and Musical Instruments from Greece, Etruria, Egypt, China, Through Asyria and Babylonia, to the Primitive Home, the Land of Akkad and Sumer

by Hermann Smith

When looking at these pipes we should remember that in the day when they were made the feeling for a musical scale was in its infancy; natural science, young indeed, then, had not touched the question of the relation of sounds. In that remote past, the barbaric had its sway, as in the east for the most part it has now; and no idea of harmony, other than that of a consensus of instruments, and a congregation of singers following on traditional methods handed down from generation to generation. Thirty centuries have passed since the calm day when the workers let down the great stone portcullis sliding in its grooves closing the tomb against all of human race, leaving the Lady Maket and her treasures secure in her burial chamber, closed, as they thought, for ever.

At that day Homer was not born, and it would be six centuries before Pythagorus would arrive on this planet, and, destined thereto, turn his steps to the banks of the Nile.

Mr. Wm. Chappell in his “History of Music” writing in 1874, describes the fragment of a pipe which I have referred to, then all that the museum possessed.

“In the Egyptian collection at the British Museum is a small reed pipe of eight inches and three quarters in length. The pipe corresponds so precisely to the description of the Gingras given by Greek writers, as to leave hardly a doubt of its identity. The Gingras has four holes for the fingers. Athenæus says it was employed by the Carians in their wailings, and that their pipes were called Gingroi by the Phœnicians from the lamentations for Adonis, ‘for your Phœnicians call Adonis, Gingras, as Democlides tells us.’ So this Adonis pipe was admittedly of Asiatic origin, and was most likely common to the various nations of Asia as well as of Egypt.”

In the previous chapter I laid emphasis on the conclusion that the fingers were the fates of the musical scale. In these pipes I read the same lesson, and recognize that the scale was due to digital decision. The mystery of numbers pervading the thoughts of the people, and ruling their daily goings, consorted here with convenience of the fingers. The sacred number “four” took the first place, after that the number “three,” and—the union of these producing the number “seven”—the thoughts of numbers moved in an enchanted circle, from which the human race has not yet escaped. We call it superstition to believe in lucky threes and sevens; to these old Egyptians, numbers were a sacred power never to be disregarded. Here, in the four holes of the first pipe we have the primitive tetrachord, planned before the sounds were heard, before the issuing notes had names; and it was this tetrachord that was taken up by the Greeks, and by them moulded into mathematical relations and blended by art into musical form. A similar primitive tetrachord was, I conceive, common to all races of men possessing a musical scale. The second pipe has but three holes; there was room for more,—why restricted to three? Who can tell?

It is as easy to have faith in one mystic number as in another; and when we are inclined to believe in the mystical, nature helps us with the utmost readiness.

In using the word “tetrachord” bear in mind that the meaning is a series of four notes in an order of succession, and not the union of notes as a compound sound or “chord.”

Pipes with but two holes are common in pastoral use now, and in early times doubtless preceded those with three and four holes; and, however slow the changes, progress could not be absent. In Lady Maket’s pipes we see evidence of a great change, a tetrachord with an added tone, and this supplied by another pipe. Who can tell how many centuries of civilization such progress indicates?

An interesting speculation centres upon the means by which the sounds were produced. Were the pipes lip blown at one end, or reed blown; and, if the latter, by what reed? One of the hautboy kind, or one of the clarionet type such as the arghool? The first is called a double, and the other a single reed. Fig. 6 is an illustration of the arghool reed, full size, as used at this day in the arghool; it is called a beating reed; the reed tongue is made by cutting a slip at the side and lifting it a little, and, as it is bound by string at one end, the tip tilts, allowing passage for the wind through the aperture that the cutting has left beneath, upon the edges of which it beats in vibrating.