A, II, C, E, and three tones above, h, G, A.
Within this compass our C major scale is com prised, and the fact that the tones have the same names in different octaves proves that the Chi nese understood the principle of the octave. But F was still regarded as the fundamental tone. The fifth tones above and below F are regarded as its helpers. for by means of progression in fifths it was possible to arrive again at the starting tone: E—C—G—D—A—E—B—E,t—Ct'', (F). The first seven of these tones, in the progression, are called 'principles,' the other live 'complements.' Phe fifth above is called Ta-Kincn-Keu (great interval), the fifth below 7'cimu-Kinon-lica (small interval). Every Lb or semitone may be taken as the fundamental tone ()Jung) of a scale, and thus the same scale Ca 11 appear in twelve transpositions. As, more over, every Lii can change its place seven limes within the same scale e. it may be on the first. second, third, etc., step), there arises the total number of 84 scales.
The musical instruments of the Chinese are strictly divided into eight classes, according to the material employed to produce a tone. (Inc of the chief instruments is the king, consisting of a frame on which are hung stone plates, which are struck by a mallet. There are in all sixteen plates, hanging in two rows. They are tuned in the twelve Liis of the octave and four additional tones. The nio-k in g is a king made of especially tine plates, and this instrument is to be played only by the Emperor himself. The cheap is a peculiar instrument somewhat resembling a small organ. It consists of a gourd over which are arranged 12 or 24 bamboo pipes closed the lower end with metal plates, with which are connected reeds. Each pipe has a hole which is
stopped with the finger to produce the tone. The necessary wind is produced by a bellows. The cheng is the diapason of the Chinese. By it all other instruments are tuned. The kin is a stringed instrument with twenty-five strings made of twisted silk. Yo and ehe are flutes made of bamboo. The or is seriously regarded as a mu sical instrument. It consists of a wooden image of a tiger. The end of a concert is indicated by striking three blows upon the head of this tiger and running a small stick (ellen) over the hack of the figure. The drums are built in all sizes, and occupy a position of importance, for the chief purpose of Chinese music is to make as much noise as possible. As everything else, the number of instruments. of singers, etc., is strictly regulated by laws. According to the importance of the occasion, the number of performers may vary from t wo mandarins, two singers, and twelve instrumentalists to as many as thirteen man darins, four singers, and fifty-two instrum•ntal ists. The actual Chinese melodies are devoid of artistic sense; there is no rhythm, no sym metry, no melody. lost of the airs illustrate the ecanservatisin of China by the fact that the tones 11 and E. which were wanting in the oldest scale, are almost always avoided. For full in formation the reader is referred to Ambros, Ce der .1111.0,-, Vol. I. (Leipzig, 18Sf) ; Boussie•, it of serl‘ulions sue le memoir(' du P. iot ermeernant In musigue des Chinois (Paris, 1779).