never altered, but
always give the same accompaniment on being twanged together with the
violin string on which only the actual melody is picked out.

There is then the _Soroz_, a kind of violin made of a half pumpkin, which
forms the sounding board, and a handle to it with four keys and four
strings. It is played with a bow of horsehair.

The other instruments in use are the _Seranghi_, a kind of superior
violin such as the two central ones represented in the full page
illustration. It has no less than fourteen keys, is hollow and uncovered
in its upper portion, but has a skin stretched in the lower half of its
sounding case. It is also perforated underneath and is played with a bow
called _gazer_.

The _Rabab_ is a larger wooden instrument of a somewhat elongated shape,
and its lower portion is also covered by a tight sheepskin--the remainder
of the uncovered wood being prettily inlaid with silver and bone. This
instrument is twanged with the fingers and has eighteen _killi_ or keys,
twelve with metal strings and six with gut strings.

The _Surna_, or flute, is made of bamboo with a brass funnel. The
mouthpiece is very ingenious, made of crushed cane fastened into a cup
which is firmly applied to the lips, thus preventing any wind escaping at
the sides. It certainly gives a very piercing sound when played loud.

The _Dohl_, or drum, was also of wood with sheepskins drawn tight at the
two ends while wet, rolled up all round the rims of the apertures, and
kept in position by leather strips.

[Illustration: Beluch Musicians (at Sibi.)]

Besides these the Beluch shows much ingenuity in improvising musical
instruments to accompany his songs, out of any article which will give
some sound, such as his rifle rod, which he balances on a bit of string
and taps upon with the blade of his knife, or two pieces of wood which he
uses as castanets, and, failing all these, snapping his fingers and
keeping time with the melody.

There is a certain weird, barbaric charm in Beluch melodies, and, unlike
the Persian, the Beluch possesses a very keen ear, in fact, a thorough
musical ear, even according to our rules of harmony. To an unthoughtful
European there may indeed be a certain monotony in Beluch melodies, but
never a grating discord which will set one's teeth on edge.

Monotony in music, or rather, a repetition of the same melody until it
becomes monotonous, is, rather than otherwise--if one comes to think of
it--a fault o