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correspond (again, in principle) to the ratios between the resonating lengths, measured from the tip of the reed to the opening at which the air-stream escapes from the pipe. The instrument will produce its lowest note with all finger-holes closed so that the whole length of the pipe (assuming that there are no vent-holes) is functioning. Opening a hole half way down raises the note by an octave. Opening one two thirds of the way down raises it by a fifth. And so on. So without knowing the absolute pitch at which a pipe played, we can in theory determine the relative pitches of its notes by measuring to each hole. We could do this even if the bottom end of the pipe were broken off and lost. But it would be essential to have the mouthpiece and reed intact. |
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Unfortunately in the case of Greek auloi we never do have the reed, and we have to guess how far it stuck out from its holder. In any case the exact intonation of a given hole is also affected by its sizea larger hole gives a higher note than a smaller one in the same positionand by its internal contours. In the early aulos the holes were of equal size, but in at least one (undated) case it can be seen that a hole has been 'tuned' by undercutting its rim.72 The player could also vary the pitch by covering a greater or smaller portion of the hole (half-stopping or quarter-stopping), or by cross-fingering, that is, by closing holes below the one that is 'speaking'.73 According to Proclus, 'they say that each aulos-hole yields three notes at least, and more if the side-holes are opened too'.74 Apart from fingering techniques, the player could also modify the pitch by altering the position of his lips on the reed. In addition to the devices mentioned earlier (pp. 84, 86f.), we hear that he could make the note higher by widening the angle between his two auloi; here too a change of lip position must have been the effective factor.75 We hear also that those who blow with warmer breath and project it in a steady, sighing manner produce a lower sound.76 |
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72 J. G. Landels, Hesp. 33 (1964), 395. |
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73 This lowers the pitch slightly. See Schlesinger, 245ff. Achilles Tatius 8. 6. 6 speaks of the aulete closing off all the holes except one. Classical vase-paintings indicate a greater variety of technique, including some cross-fingering; see below, n. 91. Cf. also Aelian ap. Porph. in Ptol. Harm. p. 34. 27 with Barker, GMW ii. 232 n. 102. |
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74 Commentary on Pt. Alc., iii. 41 Cousin. The 'side-holes' are a feature of the later aulos, cf. p. 87. |
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75 Aristox. Harm. 2. 42, Plut. Non posse vivi 1096b. |
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76 Arist. Gen. An. 788d20, Pr. 11. 13. |
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