uments of
his day. The bellows, he states, borrowed from the organ, were added to the
musette about forty or fifty years before he wrote his treatise. The
compass of the improved musette of Hotteterre was as shown:--

[Illustration: 0:F4 1:G4 2:A4 3:B4 4:C5 5:D5 6:E5 7:F5 8:G5.] the eight
holes of the grand chalumeau.

[Illustration: G4# B4b C5# E5b F5# G5# A5.] the seven keys of the grand
chalumeau.

[Illustration: G5# A5 A5# B5 C6 D6.] the six keys of the petit chalumeau.

The four or five drones were usually tuned thus:

[Illustration: C3 G3 C4 G4 C5.]

The chaunters and drones were pierced with a very narrow cylindrical bore,
and double reeds were used throughout, causing them to speak as closed
pipes, which accounts for the deep pitch of these relatively short pipes
(see AULOS). Martin Hotteterre was hardly the first to introduce the second
chaunter for the bag-pipe, since [v.03 p.0205] Praetorius in 1618 figures
and describes the Magdeburg _sackpfeife_ with two chaunters, but without
keys and with a conical bore.

The _surdelina_ or _sampogna_ is described and illustrated by Mersenne[22]
as the _musette de Naples_; its construction was very complicated. Mersenne
states that the instrument was invented by Jean Baptiste Riva (who was
living in Paris in 1620), Dom Julio and Vincenze; but Mersenne seems to
have made alterations himself in the original instrument, which are not
very clearly explained. There were two chaunters with narrow cylindrical
bore and having both finger-holes and keys; and two drones each having ten
keys. The four pipes were fixed in the same stock, and double reeds were
used throughout; the bag was inflated by means of bellows. Passenti of
Venice published a collection of melodies for the zampogna in 1628, under
the title of _Canora Zampogna_.

The modern _Lowland bag-pipe_ differs from the Highland bag-pipe mainly in
that it is blown by bellows instead of by the mouth.

The _Northumbrian_ or _Border bag-pipe_, also blown by means of bellows, is
chiefly distinguished by having a chaunter stopped at the lower end so that
when all the holes are closed, the pipe is silent. There are seven
finger-holes, one for the thumb, and a varying number of keys. The four
drones are fixed in one stock and are tuned by means of stoppers, so that,
as in the musette, any one of them may be silenced. A fine Northumbrian
bag-pipe[23] from the collection of the Rev. F. W. Galpin is illustrated
(fig. 1. (5)