too, an _andante_ movement with chorus joining
in every few bars frequently occurs, but in the Persian chorus we
generally find a liking for chromatic diminuendos and crescendos, which
are not so frequent in Beluch music.

Persian music is inspiriting. There are certain musical notes the
vibrations of which seem to go to the heart more than others, and on
these notes the Persian musician will work his melody. Sad love songs in
a falsetto voice are prevalent, and are sung so high that, as with the
Beluch, it makes one really quite anxious for the safety of the singer.
The notes are kept on so long and the melody repeated so often, that the
artery and veins in the singer's neck and temples bulge out in a most
abnormal manner.

There is no actual end to a Persian melody, which terminates with the
exhaustion of the singer, or abruptly by the sign of the hearers who get
tired of it. The musicians every now and then join in the chorus and
repeat the refrain.

Tenor solo songs by boys are much appreciated, and these, too, are very
plaintive with frequent scales in them and certain notes held long at the
end of each bar where the chorus join in. These sustained notes have
modulations in them with infinitesimal fractions of tones. Ululations
with long, nasal, interminable notes and capricious variations at the
fancy of the singer, but based on some popular theme are also much liked
by Persians.

More than in anything else, however, the Persian, like the Beluch,
delights in tremulous notes, of which he makes ample use in his melodies.

The rhythm of Persian and Beluch music is much alike, although as far as
instrumental execution goes the Persian surpasses the Beluch, having a
greater variety in his orchestra and the instruments being more perfectly
constructed.

The _Santurie_, for instance, a kind of zither, with eighteen sets of
three strings each, is a most harmonious instrument from which beautiful
effects can be obtained by the player.

The _thar_> a sort of guitar, has four keys and is played with a
plectrum, and the _Kermanche_, _Cynthour_, _Tchogor_, _the
Tchaminioho_--the latter, a circular instrument covered by a skin, with
one metal and two gut strings, on a long metal stand, is played with a
bow;--the _dumbuk_ (drum), with only one skin pasted round its single
aperture, the lower part being solid; the flute pure and proper, with
five apertures on one side and one on the other, on which very low clear
notes