nwary reader the impression that the said John
could play a continuous scale of three octaves. But it is quite clear
that Mersenne included the faint D an octave below the lowest harmonic
note, so that Price could produce an _interval_ of three octaves but a
continuous _scale_ of only two octaves. This is not impossible. I can
play two out-of-tune shrieking notes above my high A, or 12th note, so
that I can, after a fashion, get within one note of John Price, and I
live in hopes of acquiring yet another and tying with him. The uppermost
sounds are made by what was technically known as _pinching_, _i.e._
crooking the thumb and forcing the nail into the top hole, so that only a
minute stream of air escapes. An old pipe of mine shows the mark of the
pinching thumb nail. Mr. Forsyth speaks of "an instrument with only a
few notes" as being "much restricted in the way of compass": {105c} this
is not quite just to the taborer's pipe.

In relation to Mr. Forsyth's discussion on the _diauloi_, it should be
remembered that the double pipe still exists in Russia. It is described
by Mahillon {106} under the name of the Gelaika. The fundamental tones
of the two instruments are the lower F sharp in the treble stave, and the
B natural above it. Mahillon adds: "tantot elles se partagent la
melodie, d'autres fois elles font entendre des intonations doubles."

With regard to the Greek double-pipe, I am sure that Mr. Forsyth is
right, and that the bandage (_phorbeia_), which is commonly said to have
served to compress the cheeks, must have had some other use. I have no
doubt that he is justified in assuming that the bandage served to support
the instrument. In a pipe with three holes on the upper surface a
certain amount of grip on the instrument is given by pressure of the
little finger above and the thumb below, and with practice it would be
quite possible to manage the instrument. Still, the bandage would give
freedom to the fingers, and for the four-holed pipe this form of support
would be absolutely necessary. My conclusions are based on experiments
on the penny whistle temporarily converted into an instrument for one
hand.

In speculating on the evolution of the taborer's pipe, it must be
remembered that its harmonics (on which, as I have said, its scale
depends) are those of a cylindrical pipe, and a pipe that is long in
relation to its bore. I like to think that it had its origin in some of
the many natural hollow