The old adage says “simple things please simple folk.” Simple the music must have been, because of the very limited compass of such instruments as we see delineated; and I have thought that, maybe, the old folk songs of eastern Europe preserve to us fragments of that ancient music. Simple, indeed, but to hearers and players in those days representing the fulness of art. The suitability of such music to such instruments is clear enough, for the tunes need but a range of a few notes, and come easily into the compass of rustic voices. Century after century these old melodies have been cherished, and seem to have perpetual life. They antedate all histories, and none can trace them to their earliest springs. How that one haunted Beethoven which he put into his Ninth Symphony, and made his chief theme,—a simple phrase of a few notes that seems as if it would go on for ever. For thirteen years it crops up here and there in his works, until at last he found full deliverance for it in the crowning effort of his genius. In the last chapter, I showed you by illustrations the three distinct usages of the double pipes as improved by the Etruscans, and I sought to demonstrate that their new invention comprised, first, a concealed reed in a hollow bulb; secondly, such a disposition of the reed that one, or two, or three bulbs were allotted to each pipe, and that the purpose of such an arrangement was to obtain an adaptability in the reed, that it might be placed at pleasure in either bulb. I judged that the invention had three stages, first when there was one bulb, next when two were used, and finally three. My reasoning is confirmed by a _Kylix_ in the 2nd Vase Room of the British Museum, it is of the early or archaic period (B.C. 480-440) and the pipes are with one bulb only. The player, a female player, has the left-hand pipe longest, thus evidently indicating a transition period in pipes linked to Egyptian custom. These conditions imply corresponding advances in musical art, for by the new methods it becomes possible to play in three different modes or scales; since if we suppose the reed to be placed in the bulb nearest the pipe, the player would produce, as the lowest note, A; if placed in the bulb above, he could produce G; and if in the highest bulb, reach as low as F. Although his fingering would remain the same, the pitch would include a different range in each case, and, as we should say, he would thus be able to play in different keys. I reckon by the relation of the length of the bulb, which is equal to the distance between two holes, that each change would make a difference of a whole tone. The art of the player would greatly alter intervals, especially by partial covering of the holes flattening pitch to required degrees for the particular mode.