The Megalyra is a new kind of stringed instrument for solo and ensemble use. It is strung on both sides of a long board, and the different tuning-schemes of the two sides will take care of widely-differing solo, accompaniment, contrapuntal, and ensemble requirements.

Instead of single strings for each pitch, unison groups of strings are used for chorus effect. This has seldom been done in the contrabass register.

The solo or contrapuntal side of the Megalyra applies a long-tested practice which has given the pedal division of the pipe-organ its impressive impact: Four simultaneous pitch-levels.

Fundamental, octave twelfth (i.e., fifth above the octave, and double octave, each of these being represented by a suitable number of unison strings, so that the first four harmonics of the compound tone blend into a single impression.

This four-fold realization of each note retains depth while giving clarity and definition to the melodic line, all the way down to Contra C, the lowest note on the instrument.

The accompaniment or foundation side of the Megalyra has three groups of strings which generally will be tuned to Contra C, Contra G, and Great C respectively. This scheme was arrived at by experimentation as affording the possibility of playing in octaves as the cello and bass sections of the orchestra often do, and of playing standard bass parts (of almost any bass or contrabass instrument) with the least movement of the "steel" and thus no need for frequent sliding and jumping about.

Stringing both sides balances the stresses on the wooden beam, preventing warping. It also affords a measure of sympathetic resonance in many cases, enlivening the general effect.

On each side of the instrument, magnetic pickups are provided at calculated harinonic positions for both brilliant and subdued tone-colors, and of course these may be combined. Provision is also made for a contact microphone or other special pickup.

The basic technique is that of the steel guitar, using a long metal bar or tube as a movable bridge, but it is quite possible to use wooden bars, and also to strike the strings with the wood or steel instead of plucking them: the clavichord principle, which is very effective on the Megalyra.

Since the strings are very long and relatively heavy, they may be struck with mallets of various kinds, further extending the range of coloristic variation.

The instrument may be played in a horizontal, vertical, or slanting position, as desired. It may easily be turned over to use the other side.

Vnrious connections of the pickups are possible, and as with regular electric guitars, special circuits can be added or built into the instrument.

The instruments so far buiit range in length from 6 ft. (1.83 m) to 8 ft. 2 in. (2.49 m), with from 12 to 16 strings on each side. Thus the design is flexible to some extent, not yet 'frozen'; and custom modifications will be considered on request.

To serve the needs of musicians who already are expert on conventional instruments, two octaves of conventional 12-tone fret-lines are present on each side of the instrument; but in addition to these, two octaves of just-intonation fret-llnes.are also present, in contrasting colors. The color-scheme is: green for the ordinary twelve-tone system; red for the sharps in the just scale, blue for the flats in the just scale, black for the naturals in that scale; yellow for the nodes of the natural harmonics beginning with the 5th, i.e., beyond the two octaves of the two sets of fret-lines.

Of course, when the instrument's board is blue, it can't have blue lines on it, and when it is yellow, it can't have yellow lines on it; so the color scheme is altered to suit.

What this color-contrast means is that despite the inclusion of a just or untempered scale, the familiar 12 tones are still there, so the Megalyra is compatible and ready, willing, and able to take part in any grotip of ordinary instrttments, as well as experimental and microtonal ensembles. It is a bridge between the present and the future, rather than foolhardily burning its bridges behind it.

The two sets of fret-lines, separated by a narrow gap, make the Megalyra a functional comparison-chart which shows the departure of the tempered 12-tone intervals from the most-used just intervals. The color-scheme of these lines gives the instrument the appearance of a Mondrian or Kandinsky Totem-Pole. It is in fact an abstract sculpture.

Notation for the Megalyra parts will not be any problem at first, because one will simply learn from existing music for bass instruments: cello, string bags, bass electric guitar, tuba, trombone, and also the pedal staff in organ music. We recommend, however, that Augusto Novaro's clef substitute system be used in the future when special music is composed for the Megalyra and related instruments.

Compass of the Megalyra is two octaves above each open string and at least three octaves above the thinner strings, which means three octaves within fret-lines for the bass side plus a little more; and five octaves total on the solo side.

Not all Megalyra instruments will have 31 strings; there may be less.

A subcontrabass going down to 16 Hz is under development.