forefinger, the player produced the desired note or chord by the slightest pressure into the cup-shaped key, while the strength of the tone was regulated by a lever under the control of the left hand. The use of this instrument was so simple, that any person with an ear could learn to play a melody with accompaniment much more easily than now to pick out the same tune on a piano.
What many will regard as the chief excellence of this instrument was the fact, that it could, if desired, be played so softly that a person a few yards off might be unaware that the instrument was in action. Little Esua had such an instrument at home. Happening to enter the room where she was practising, I was unaware, till I came close to her, that she was playing.
With a few directions from Esna, I speedily mastered the principle of the instrument. An hour's practice enabled me to astonish Ialma, when she came in, by playing over to her some fragments of music in a style utterly strange to her ear. She called in Ulmene, who also became highly interested on hearing those snatches of longforgotten melody.
Reva had probably heard from Ialma of these performances of mine; for, when she had given us several of her father's favorite songs, she wished to hear from me some of the ancient music, as she called it. As her father joined earnestly in the request. I had no alternative but to comply. I did so on condition, however, that Reva should play the accompaniment. This she was readily able to do after hearing me play over the melody.
Warned by my experience with Ialma and Ulmene, I attempted nothing ambitious. It had been the simplest
