(1) Parthenioi auloi (παρθένιοι αὐλοί), the maiden’s auloi, corresponding to the soprano compass.
(2) Paidikoi auloi (παιδικοὶ αὐλοί), the boy’s pipes or alto auloi, used to accompany boys’ songs and also in double pairs at feasts.
(3) Kitharisterioi auloi (κιθαριστήριοι αὐλοί), used to accompany the cithara.
(4) Teleioi auloi, the perfect aulos, or tenor’s pipes; also known as the pythic auloi (πυθικοὶ αὐλοί); used for the paeans and for solos at the Pythean games (without chorus). It was the pythic auloi and the kitharisterioi auloi more especially which were provided with the speaker (syrinx) in order to improve the harmonic notes (see [Syrinx]).
(5) Hyperteleioi auloi (ὑπερτέλειοι αὐλοί) or andreioi auloi (ἀνδρεῖοί αὐλοί) (see Athenaeus iv. 79), the bass-auloi.
The Phrygian pipes or auloi Elymoi[25] were made of box-wood and were tipped with horn; they were double pipes, but differed from all others in that the two pipes were unequal in length and in the diameter of their bores;[26] sometimes one of the pipes was curved upwards and terminated in a horn bell;[27] they seem to have had a conical bore, if representations on monuments are to be trusted. We may conclude that the archetype of the oboe with conical bore was not unknown to the Greeks; it was frequently used by the Etruscans and Romans, and appears on many has-reliefs, mural paintings and other monuments. For illustrations see Wilhelm Froehner, Les Musées de France, pl. iii., “Marsyas playing the double pipes.” There the bore is decidedly conical in the ratio of at least 1 : 4 between the mouthpiece and the end of the instrument; the vase is Roman, from the south of France. See also Bulletino della Commissione Archeologica Comunale di Roma, Rome, 1879, vol. vii., 2nd series, pl. vii. and p. 119 et seq., “Le Nozze di Elena e Paride,” from a bas-relief in the monastery of S. Antonio on the Esquiline; Wilhelm Zahn, Die schonsten Ornamente und die merkwurdigsten Gemälde aus Pompeji, Herkulaneum und Stabiae (German and French), vol. iii., pl. 43 and 51 (Berlin, 1828-1859).
For further information on the aulos, consult Albert A. Howard, “The Aulos or Tibia,” Harvard Studies, iv., 1893; François A. Gevaert, Histoire de la musique dans l’antiquité, vol. ii. p. 273 et seq.; Carl von Jan’s article “Flote” in August Baumeister’s Denkmaler des klassischen Altertums (Munich, 1884-1888), vol. i.; Dr Hugo Riemann, Handbuch der Musikgeschichte, Bd. I.T. 1, pp. 93-112 (Leipzig, 1904); Caspar Bartholinus, De Tibiis Veterum (Amsterdam, 1779).
(K. S.)
[1] See Pollux, Onom. iv. 69.