|
|
|
|
|
|
|
The Reading aulos (P1.26) has only five holes, and would produce its lowest note with all of them closed and the full length of the pipe resonating. The mouthpiece end is well preserved apart from the actual reed, the extrusion of which can be gauged within fairly narrow limits. The intervals work out quite satisfactorily (Table 4.3). |
|
|
|
|
|
|
|
|
TABLE 4.3.
Intervals on the Reading aulos |
|
|
|
| |
|
|
|
|
|
Both T-IV and IV-End give perfect fourths, while the top note is a rather wide tone83 above T and a fraction over an octave above the bottom note. The T-IV fourth is made up of tone intervals (in ascending order). |
|
|
|
|
|
|
|
|
The two Copenhagen pipes also have five holes, but until it has been established how they should be assembled (it is possible that each contains sections belonging to the other) it will not be profitable to attempt an analysis. But it is clear that, like the Elgin auloi, they had hole-arrays which were out of phase, beginning and ending lower down one pipe than the other. |
|
|
|
|
|
|
|
|
The same is true of the Louvre auloi. These must have had closure collars, since one of them has nine holes and the other seven. With a 3.3 cm. reed extrusion in each case we obtain the sets of intervals shown in Table 4.4. The total length of the two pipes is the same, 41 cm., and Mme Bélis is no doubt correct in her assumption that they were played as a pair.84 She identifies the one with the greater number of holes as the one played by the right hand. It looks as if it |
|
|
|
 |
|
|
|
|
83 Very close to a 'septimal' tone, i.e. the interval produced by the ratio 8 : 7 (231 cents). |
|
|
|
|
|
|
|
|
84 We cannot be certain that this is true of the Elgin and Copenhagen auloi, which are slightly unequal in length. Two pipes of the Classical period found together might represent members of a set playing different modes rather than a pair to be played in tandem. |
|
|
|
|
|
