The constant employment of chorus with well-developed musical instruments of different tone quality would seem to have suggested to the Assyrians at least some elementary harmonic effects. But that is entirely a matter of conjecture. As far as we know, they did not possess any system of musical notation, and, lacking that, they could not have developed an harmonic system that was anything but very crude or very haphazard. It is the opinion of Engel[21] that they 'produced together different notes which appeared to them agreeable in concord,’ but that their instruments were too incomplete for a systematic combination of a fixed number of different parts. A scale system of some sort they must have had, but what it was we are at a loss to determine. Engel, pointing out the analogies between the various old musical systems of Oriental countries, concludes that the Assyrians probably used a pentatonic series consisting of the tonic, second, third, fifth, and sixth. Such a scale is found in China, Japan, India, Burmah, Siam, and Java, and is supposedly of high antiquity in those countries. The deduction that it was also used by the Assyrians is based on the assumption, which Engel supports by much plausible evidence, that there was a common fountain-head of all Asiatic musical art. It is also pointed out as a significant fact that the Nubian _kissar_, which so closely resembles the Assyrian lyre, is tuned in that scale. On the other hand, from the construction of the Assyrian instruments, and from comparison with the music of other peoples, even those in a more primitive state of musical development, it may be inferred that the Assyrians were acquainted with other effects and may have used other scales. II