It is obvious that to have a perfect chromatic scale a separate string or pipe is required for each note in such instruments as the organ and pianoforte, while it is obtained in those of the flute and oboe class by making additional holes in the tube at the correct intervals and covering them with close-fitting pads with levers (keys) within convenient reach of the fingers. (Having mentioned the oboe, it may be remarked in passing that its tone has been called “bagpipe music sublimated.”) Various attempts have been made to adapt similar appliances to the chanter of the bagpipe, but the results have not been satisfactory, and its scale remains practically the same as it was two centuries ago. It will be shown, however, with the aid of the table of vibrations appended to this article, that it does not differ so widely from the natural or “equal temperament” scales as the critics allege. The scale of the bagpipe closely resembles what is known as the Greek scale, having a flat seventh, if we take it as running from A to A^|, with a supplementary note G (the lowest on the instrument). While this is true, a reference to the table of vibrations shows that other scales can be rendered with a fair amount of correctness. A great deal has been written on this subject, much of it tending to show that the bagpipe is hardly, if at all, entitled to be considered a musical instrument. One writer starts with the assumption that the first or lowest note is the keynote of its scale, and thereby, very easily, comes to the conclusion that all the rest of the notes are out of tune. As well might it be asserted that the lowest note in any piece of music is the keynote of such piece; and it is obvious that taking the highest note on the bagpipe for the keynote and descending, quite a different result would be arrived at. There are various other writers who seem unable to distinguish between the Great Highland Bagpipe and the Italian and French bagpipes. With these it has hardly anything in common except the name.