the Iranian santur) are played as well as percussion instruments, a hand-held wooden clapper (), a pair of "temple" blocks ( and ) that mark the beat and a small drum (). The ten characteristic compositions of Xianshi yue are Zhaojun yuan (Grief of Wang Zhaojun), Xiaotaohong Hanya xishui (Jackdaws Play in the Water), Huangli ci (The Oriole's Cry), Yue'er gao (High Moon), Dababan (Flock of Geese on the Shore), Fengqiuhuang (The Male Phoenix Seeks the Female), Wulianhuan (Five Knots of the Chain) Jinshang tianhua (Adding Flowers upon Brocade). The form of each of these pieces resembles a suite (taoqu) of variations upon a stock melody (qupai or "noted tune"). These are called ban or "beat" variations and follow an ordered sequence with changes of tempo and measure (most pieces have six or eight beat measures). Augmentation and diminution of the melody is used, so that it may repeatedly double in speed through the variations. The technique of cui introduces a division-like filling in of the melody with figures such as repeated notes and neighbouring or passing notes. Perfect-fourth transposition of the melody (fan) also occurs, though the tonal centre remains constant. Four or five main modes (diao) are traditionally identified. However, while elsewhere in China such modes are mainly defined by absolute pitch and by the degree of the pentatonic scale that is taken as the key-note (thus setting the intervals of the scale), the xianshi conception of mode, rather like the Indian raga system, includes motif, ornament and intonation. Pitch is not absolute but the scale is usually constructed on a key-note approximating to western concert F – F#. Modes are pentatonic but all derive from a seven-note scale: no notice is taken of the starting and finishing tones of the melody in determining the mode and the key-note remains the same in every mode. Tunes may be adapted to a new mode, but the mode remains constant throughout any performance of the suite. Apart from the major pentatonic scale two further tones, corresponding to a (sharp) perfect fourth and a (flat) major seventh, are employed. The "missing" steps of the scale in each mode may be used in ornament but are not part of main mode structure. The mode ("Light III Light VI") is the standard major pentatonic. But ("Light III Heavy VI") calls for a heavy string-pressure upon the sixth degree, raising it to the seventh.