ause of the mathematical
measurement of sounds. This might be plausible for strings,
but pipes could be cut to any size. The positions of the hands
of the executants on the harps and lyres, as well as the use
of short and long pipes, make it appear probable that something
of what we call harmony was known to the Egyptians.

We must also consider that their paintings and sculptures were
eminently symbolic. When one carves an explanation in hard
granite it is apt to be done in shorthand, as it were. Thus, a
tree meant a forest, a prisoner meant a whole army; therefore,
two sculptured harpists or flute players may stand for twenty
or two hundred. Athenaeus, who lived at the end of the second
and beginning of the third century, A.D., speaks of orchestras
of six hundred in Ptolemy Philadelphus's time (300 B.C.),
and says that three hundred of the players were harpers, in
which number he probably includes players on other stringed
instruments, such as lutes and lyres. It is therefore to be
inferred that the other three hundred played wind and percussion
instruments. This is an additional reason for conjecturing
that they used chords in their music; for six hundred players,
not to count the singers, would hardly play entirely in unison
or in octaves. The very nature of the harp is chordal, and
the sculptures always depict the performer playing with both
hands, the fingers being more or less outstretched. That the
music must have been of a deep, sonorous character, we may
gather from the great size of the harps and the thickness of
their strings. As for the flutes, they also are pictured as
being very long; therefore they must have been low in pitch.
The reed pipes, judging from the pictures and sculptures,
were no higher in pitch than our oboes, of which the highest
note is D and E above the treble staff.

It is claimed that so far as the harps were concerned,
the music must have been strictly diatonic in character.
To quote Rowbotham, "the harp, which was the foundation of the
Egyptian orchestra, is an essentially non-chromatic instrument,
and could therefore only play a straight up and down diatonic
scale." Continuing he says, "It is plain therefore that the
Egyptian harmony was purely diatonic; such a thing as modern
modulation was unknown, and every piece from beginning to end
was played in the same key." That this position is utterly
untenable is very evident, for there was nothing to prevent
the Egyptians from tuni