THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 UNIVERSITY of CALIFORNIA 
 
 AT 
 
 LOS ANGELES
 
 GALLO'S BAND BOOK 
 
 PART I
 
 B. M. Co. 6244 
 Cofjyright, 1921, by The Boston Music Co.
 
 at mtet 
 
 GALLO'S BAND BOOK 
 
 A TREATISE ON WIND INSTRUMENTS, 
 SYMPHONY BAND AND MILITARY BAND 
 
 By 
 
 STANISLAO GALLO 
 
 Conductor of the Gallo Symphony Band 
 
 and 
 
 Head Instructor of the School for Bandmasters and Players 
 
 at the 
 New England Conservatory of Music, Boston 
 
 PART I 
 
 WIND INSTRUMENTS 
 
 THEIR TECHNIQUE, NOTATION, TONE-COLOR, 
 AND USE IN BAND AND ORCHESTRA 
 
 The ©oiQQ Mu/ic ocflffeflx 
 
 fio/loD. Ma/rii^ 
 124775
 
 In preparation 
 
 Part II 
 
 BAND IXSTRUMENTATION 
 
 Including a practical band reform; the 
 systematic application of the Standard Score 
 to Symphony Bands and Military Bands of 
 all sizes; and a progressive course in sectional 
 scoring. 
 
 Part III 
 
 EXAMPLES IN FULL SCORE 
 
 With important suggestions regarding the 
 execution: — conducting; open-air concert plat- 
 form and seating of performers; marching 
 formation of the Klilitary Band; etc. 
 
 28 9'-^
 
 
 i 
 
 \Z0O 
 
 PREFACE 
 
 There has lieen no stinting in research and experiment, in (irder to make this book as clear, complete and 
 brief as possible. What others have written on this subject, has been duly considered and compounded; 
 the best masters on each instrument ha\e been consulted; makers of new and modernized devices ha\e lent 
 their counsel; renowned com[)osers and conductors have declared their adherence to whatever no\el prin- 
 ciples and conceptions are here set forth. The book constitutes the result of years of patient and systematic 
 application, offered now to students and musicians in practical and concise form. 
 
 Only those familiar with the complexity of the subject, will, at a first glance, appreciate the enormous 
 help and saving of time which may be gained by the study, in Part I, of the tables and expositions which 
 present all the possibilities of all the wind instruments; point to their analogy and differences; and teach 
 their fittest and surest use. What would ordinarily occupy hundreds of jiages of involved explanations, has 
 thus been set down into condensed and synoptic charts. 
 
 Parts II and III form a comprehensive guide to band instrumentation. The various combinations of 
 
 wind instruments, each of which is a homogeneous unit, are therein presented as mere modifications of the 
 
 Symphony Band, and are treated with the aid of one and the same score. The Symphony Band score, which 
 
 K in the structure, i.e. number and disposition of parts, corres[K)nds to the S\mphony Orchestra score, sim- 
 
 ^ plifies greatly the work of transcribing any s>mphonic composition from orchestra to band, and, moreover, 
 
 affords the composer the possibility of writing for band without the necessity of prior study, as he may 
 
 transfer his conception from the plan of the orchestra directly to that of the band. 
 
 '*>^'^ What is most \aluable to the instrumentator for daily references, such as information concerning the 
 
 compass, notation and transposition of the various instruments used in the band score, or of those found in 
 
 works to be arranged for band, is presented in the Introduction to Part I. Additional data, concerning Itand 
 
 instruments in sundry, special combinations, like the Fanfare, Bugle Corps, Drum-and-Kife Corps, etc., will 
 
 be found in an Appendix following Part III. 
 
 i<] E^•erything has been made subservient to the needs of simplifying and condensing the material essential 
 
 «A to the bandmaster, the composer or instrumentator. Each part or volume, complete in itself, is a practical 
 
 and reliable handbook. Nor is their applicability limited to what concerns only the band, but the whole 
 
 work should pVove equally valual>le to any one desirous of studying the wind instruments in connection 
 
 with symphonic or operatic orchestras. 
 
 It is hoped that thereby the standard band repertoire will be developed and that a greater number of 
 
 >4 comjiosers will be drawn to write more serious and artistic music for such combinations, the actual resources 
 
 ./ of which ha\'e been barely tapped. As the only satisfactory pur\eyor of musical entertainment in the open 
 
 air, the Symphony Band is the logical means by which to bring good music to large masses and to further the 
 
 musical education of the peojjle. 
 
 STANISLAO GALLO. 
 Boston, Mass., 
 January, 1921. 
 
 [51
 
 PRELIMINARY REMARKS 
 
 In order to simplify the explanations in the text, it has been found necessary to adopt some terms for 
 which there are no equivalents in the musical vocabulary. These adopted terms and their respective defini- 
 tions are as follows: — 
 
 Conic-wood (page 34): the section of keyed instruments having a conical tube; comprising all the instru- 
 ments generally known as "wood-wind," with the sole exception of the Clarinets, which have a cylindri- 
 cal tube. (See explanatory foot-note, regarding the cylindrical Flute, page 38.) 
 
 Grand Quintet (page 35): the five principal parts in the band- or orchestral-score, which are performed 
 in mass (redoubled) — by Clarinets, in the Symphony Band and, by Strings, in the Symphony 
 Orchestra. 
 
 Instrumentator (page 42); the composer or "arranger" who scores for band or orchestra an original com- 
 position of his own, or makes a transcription, adaptation or arrangement of an instrumental compo- 
 sition for a combination of instruments different from the original. 
 Other adopted terms are duly explained in the text itself or in foot-notes. 
 
 The term band (appearing in the text in small letters) applies in a general way to any combination of 
 wood-wind, brass and percussion instruments. Likewise the term orchestra signifies any combination of 
 string, wood-wind, brass and percussion instruments. 
 
 When a distinct form of band or orchestra is to be defined, a specific compound name is then employed, 
 viz.: Symphony Band (see page 31), Military Band, Brass Bind, etc.; Symphony Orchestra, Vaudeville 
 Orchestra, Dance Orchestra, etc. (appearing in the text with capital initials). 
 
 The term Symphony Orchestra (page 31) applies to both ths orchestra of the concert-hall and that of 
 the grand opera — both having the same instrumentation, excepting the association of the Voices with the 
 latter. 
 
 [6]
 
 CONTENTS 
 
 Introduction — Souxd-producing Instruments ix Gener.\l 
 
 The band instruments ..... 
 
 To the TE.A.CHERS ...... 
 
 Chapter I — Acousti'c principle of the wind instru-ments 
 
 Chapter II — The transposing wind instruments 
 
 Chapter III — ^The Clarinets (keyed-cylindrical tube instruments) : 
 
 (a) Types of instruments and their notation 
 
 (b) Harmonic series and scales .... 
 
 (c) Technique ....... 
 
 (d) Quality of tone ...... 
 
 (e) Illustrations of the modern Clarinets 
 Chapter IV — The Conic-woou (keyed-conical tube instruments) : 
 
 (a) Types of instruments and notation 
 
 (b) Harmonic series and scale .... 
 
 (c) Technique ....... 
 
 (d) Quality of tone ...... 
 
 (e) Illustrations of the modern Conic-wood 
 Chapter V — ^The Brass (cup mouthpiece instruments): 
 
 (a) Types of instruments and notation 
 
 (b) Harmonic series and scale .... 
 
 (c) Technique ....... 
 
 (d) Quality of tone ...... 
 
 (e) Illustrations of the modern Brass . 
 
 Index 
 
 pages 
 9 
 31 
 36 
 37 
 39 
 
 44 
 44 
 45 
 
 50 
 51 
 
 52 
 52 
 55 
 58 
 59 
 
 61 
 66 
 72 
 75 
 76 
 81 
 
 7]
 
 LIST OF SYNOPTICAL TABLES 
 
 The human voice .... 
 
 Keyed-cylindrical tube instruments 
 
 Keyed-conical tube instruments 
 
 Valve instruments 
 
 Slide instruments 
 
 Polyphonic-wind instruments 
 
 Percussion instruments 
 
 Stringed instruments . 
 
 The band instruments . 
 
 Transposing instruments in unison 
 
 Harmonic series ant) scale of the Clarinets 
 
 Trills and tremolos for the Clarinets 
 
 Harmonic series and scales of the Conic-wood 
 
 Trills and tremolos of the Conic-wood 
 
 Technical and common names of Saxhorns and Tubas 
 
 Mouthpieces of the br,\ss instruments 
 
 Slide and valve instruments compared 
 
 Harmonic series and scales of the Brass . 
 
 Trills of the valve instruments . 
 
 Intervals and glissando of the Slide-trombone 
 
 PAGES 
 1 
 
 12-13 
 
 14-17 
 
 18-22 
 
 22 
 
 23-25 
 
 26-27 
 
 28-30 
 
 34-35 
 
 41 
 
 44-45 
 
 49 
 
 54 
 
 56-57 
 
 64 
 
 65 
 
 67 
 
 71 
 
 73 
 
 74
 
 INTRODUCTION 
 
 Sound-Producing Instruments in General 
 
 The synoptical-tables given in this Introduction will furnish a comprehensive idea of the nature and com- 
 pass of all the sound-producing instruments now used, including some which are no longer in common use. 
 The various groups of the entire sounding mass are classified in the following order: — 
 
 I. THE HUMAN VOICE 
 
 (a) Female 
 
 (b) Children 
 
 (c) Male 
 
 II. WIND INSTRUMENTS 
 
 (a) 
 ib) 
 ic) 
 (d) 
 
 (e) 
 
 (D 
 
 Keyed-Cylindrical Tube 
 
 Keyed-Conical Tube 
 
 3-\'alve, Long Conical Tube 
 
 3-Valve, Short Conical Tube 
 
 3-Valve, one-third Cylindrical and two- 
 thirds Conical Tube. 
 
 4-Valve, one-third Cylindrical and two- 
 thirds Conical Tube. 
 
 3-\'alve, two-thirds Cylindrical and (jne- 
 third Conical Tube. 
 
 4-Valve, two-thirds Cylindrical and one- 
 third Conical Tube. 
 _ Slide, two-thirds Cylindrical and one-third 
 Conical Tube. 
 
 III. POLYPHONIC WIND INSTRUMENTS 
 
 (a) Without keyboard or stops 
 
 (b) With keys and without stops 
 
 (c) With a keyboard and stops 
 
 (d) With three or four manuals (keyboards), 
 
 pedal and stops 
 
 IV. PERCUSSION INSTRUMENTS 
 
 (a) Indeterminate pitch 
 
 (b) Changeable pitch 
 
 (c) Fixed pitch 
 
 STRINGED INSTRUMENTS 
 
 (<z) Plucked 
 
 (b) Percussive 
 
 (c) Bowed 
 
 The inclusion, in this Introduction, of instruments 
 not cmplf)\ed in the band, is intended to give the 
 student all the information needed in connection 
 with band scoring: — 
 
 To become thoroughly efficient in this branch of 
 music, one must be familiar not only with the in- 
 struments of the band, but also with those employed 
 in other branches of instrumental music (such as the 
 orchestral instruments, the Piano, the Organ, etc.) 
 from which, part of the band repertoire is generally 
 transcribed. 
 
 The classification, which in itself provides a clear 
 idea of the nature, character, compass and notation 
 of each instrument, and the brief ex[)lanations on 
 the Organ, Harp, bowed instruments, etc. will enable 
 the student to understand the constructive parts of 
 the different forms of instrumental music. He will 
 then learn more easily as regards their employment 
 and execution, by diligent score reading — at first 
 simply analyzing and then following the perform- 
 ances of such music in the concert-hall or the 
 opera house.
 
 10 
 
 INTRODUCTION 
 
 EXPLANATORY NOTE 
 
 In the following tables the two whole notes 
 •** X indicate the limit of the tonal 
 
 (o ° ) ^ 
 
 compass. 
 
 The eighth-notes 
 
 (i^)' 
 
 ndicate the extreme tones 
 
 obtainable only by a few skilled performers, and, 
 therefore, are to be avoided in orchestral, band or 
 vocal parts. 
 
 The stemless note-heads (#) indicate the tones 
 
 which are lacking entirely in some instruments. 
 
 The notation of the transposing instruments is 
 indicated on the right-hand side of the tables under 
 the heading "Transposition," and denotes as follows: — 
 
 Reading-Transposition: — The first breve (M) 
 indicates the wrillen-C, and the second, the actual 
 sound of the written-C, bewaring the signature of the 
 key which results when the instrument plays without 
 accidentals. 
 
 Writing-Transposition: — The square note-head 
 /r— 1\ represents the tone of the transposing instru- 
 
 ment corresponding to middle-C 1 
 
 " bearing 
 
 m 
 
 the signature of the instrument corresponding to the 
 actual key of C-major or A-minor. 
 
 In several instruments of either extremely high or 
 low register, where the tonal-compass docs not contain 
 middle-C, the square note is then enclosed within 
 brackets to indicate that such would be the note that 
 would correspond to middlo-C, were that note in- 
 cluded in the compass of the instrument. 
 
 The instruments which are most in use are desig- 
 nated by capitals; those rarv:-ly used, by italics, and 
 those which are obsolete, by italics within brackets.
 
 11 
 
 The Human Voice 
 
 Transposition 
 
 (a)FEMALE 
 J 
 
 LYRIC-SOPRANO 
 
 a. -" 
 
 i 
 
 ^ 
 
 SOPRANO 
 
 or J 
 MEZZO-SOPRANO ipb: ui_(£_ 
 
 .. . V llf^ 1^ 
 
 i hi t>^ 
 
 »-^ 
 
 ALTO 
 .(or Contralto) 
 
 J 
 
 ^ 
 
 ^^ 
 
 %=My 
 
 ...SOPRANOS [jj .;^J. ,^l ^ 
 2nd SOPRANOS TTTT V(!{ h- ' 
 
 ^MMfe 
 
 P^^ 
 
 ^ 
 
 ALTOS 
 
 (b) CHILDREN 
 
 1st SOPRANOS 
 
 2nd SOPRANOS 
 
 ALTOS 
 
 (c)MALE 
 
 TENOR 
 
 
 ^^ 
 
 i 
 
 1^^ 
 
 # 
 
 U ' iiJi.." n. 
 
 »[! p «p n 
 
 rtf 
 
 o o 
 
 c Co 
 
 BARITONE . y^J; , V j J) ^ J^ | J^ t, . .-- 
 
 !?S: ^ 
 
 1st BASS 
 (or Basso Caataate) 
 
 2nd BASS 
 for Basso Profondo) 
 
 m 
 
 ^ hi 
 
 ^ 
 
 ji ; ji i ' ">■" - 
 
 ^^ 
 
 1st TENORS 
 2nd TENORS 
 1st BASSES 
 2nd BASSES 
 
 M=^ 
 
 ir ^' 
 
 ^^ 
 
 ^^ ^i ^J) 
 
 ^ 
 
 ..n 
 
 ■'AJ) HJ) l>^^ 
 
 ^15: li 
 
 MM: 
 
 ^■=^^==s= 
 
 -^mm^ 
 
 ■written C : sound middle C 
 
 ^ 
 
 
 ^^ 
 
 # 
 
 # 
 
 B.M.Co.6244
 
 12 
 
 II 
 
 Wind Instruments 
 
 (£^ Keyed-Cylindrical Tubes 
 
 Soprauino Clarinet in aI> 
 
 CO 
 
 Soprunino Clarinet in F 
 
 SOPRANINO CLARINET in Eb 
 
 figure 1, page 51 
 
 iyopranitio Clarinet in D 
 figure l,page 51 
 
 Soprano Clarinet in C 
 
 SOPRANO CLARINET in Bb 
 figure 2,page 51 
 
 SOPRANO CLARINET in A 
 figure 2, page 51 
 
 Transposition 
 
 ^ 
 
 \'±^±^^ 
 
 written Ci 
 
 ^^ 
 
 sound 
 
 ^ 
 
 th-b- 
 
 J _^ -^ rrr 
 
 ^ 
 
 /= ^nit^ 
 
 mm 
 
 /= '■ ft ll ff i'; 
 
 m 
 
 ^ 
 
 ^ 
 
 
 ^ 
 
 J i.r 
 
 J_/ TVf 
 
 ^/<o Clarinet in F 
 (Bassetl-horn) 
 
 ALTO CLARINET in Eb 
 figure 3, page 51 
 
 ^W 
 
 .-^= ^lt^ff'^ 
 
 ^ 
 
 r^w^t^^ 
 
 ^i ■•A.V 
 
 middle C 
 
 ^ 
 
 zfeb 
 
 ^^ 
 
 ^^ 
 
 I" W' » 
 
 I" if M 
 
 At 
 
 W |r ♦ #♦ *» 
 
 B MCo 6244
 
 Keyed- Cylindrical Tubes (Continued) 
 
 13 
 
 Transposition 
 
 « 
 a 
 
 JO 
 
 Treble-clef notation 
 
 BASS CLARINETinC 
 figure4,page 51 
 
 Bass-clef notation 
 
 Treble-clef notation 
 
 BASS CLARINETinB!) 
 figure 4, page 51 
 
 Bass-clef notation 
 
 Treble-clef notation 
 
 Bass Clarinet in A 
 figare4,page 51 
 
 Bass-clef notation 
 
 Treble-clef notation 
 
 Contrabass Clarinet in F 
 
 Bass-clef notation 
 
 Treble-clef notation 
 
 Contrabass Clarinet in Ep 
 
 Bass-cJef notation 
 
 Actual- sound notation 
 
 CONTRABASS CLARINETinC 
 figure 5, page 51 
 
 Octave notation 
 
 1st Transposing notation 
 
 CONTRABASS CLARINET in B|> 
 figure 6,page 61 
 
 2nd Transposing notation 
 
 l^^Mf 
 
 B.M.Co.6244
 
 i't 
 
 (b)Keyed-Coiiical Tube 
 
 Transposition 
 
 E 
 
 J 
 
 (2)0ciirimi 
 
 PICCOLO in r)\> 
 figure 6, page 59 
 
 PICCOLO inC 
 figure 6,page 59 
 
 U- .8 : 
 
 E , - JH 
 
 -Tt 
 
 \Smiill Flute in Eb] fjh ■■' ' ^^^^ 
 
 e in D\> jt .. ' ■' p" P" 
 
 7, page 59 0T> . ■-• ■ ' := 
 
 written C 
 
 ^^# 
 
 let 
 
 Flute i 
 figure ' 
 
 FLUTE inC 
 figure 7,page 59 
 
 Altu Flute in G 
 
 al&o caUtd ''Bass-ftittf^* 
 
 figure 8, page 59 
 
 {Z'Bass Flute inC 
 
 (4) Piccolo Fife in Eb ^ ^ fl ^ 'fa i p ^ 
 also called in"F" fih T' T z;::= 
 
 $ 
 
 (4) Fife in A\> 
 also called in"Bb" 
 
 ^^%^ 
 
 (4) Fife in eI> itKf"^ ^ ) ^^^ 
 also called in"F" T ~ \j-"' 
 
 L^^-M^ 
 
 ^ pi^ 
 
 i " li H- 
 
 !K I' '" 
 
 iK^^^L^ 
 
 ^rt 
 
 =W: 
 
 middle C 
 
 ^^ 
 
 i 
 
 *i^ 
 
 *•»'« 
 
 
 ~g~ 
 
 i^ 
 
 i 
 
 1^ 
 
 
 ^ 
 
 i 
 
 :*!= 
 
 i:=-j 
 
 C^l 
 
 (1) The Flageolet is employed id Handel's "Acis and Galatea',' Cluck's "Die Pilgrim von Mekka',' Mozart's "11 berraglio' and 
 few other works. 
 
 (2) The Ocarina may be appropriately employed as a "Cuckoo-instrument'.' Other sizes of Ocarinas are also found, tuned 
 higher or lower than the one above. 
 
 (3) Anew instrument, recently invented by A. Alhisi (Flutist of "La Scala',' Milan), which has proved very satisfactory. 
 
 (4) The FifesCFlutes with six holes and without keys; can produce only the wri^/en diatonic scales in D- major and G -major 
 These instruments are commonly called by the actual key- note given by their written D; thus the first and thirdFifis in El>are 
 called "in F.'and the second in A!> is called"in Bk" 
 
 B.M.Co.6244
 
 Keyed- Conical Tube (Continued) 
 
 15 
 
 Transposition 
 
 ISopranino Su.vophone i 
 
 \Sopranino Saxophone in EpJ 
 
 Soprano Saxophone in C 
 
 SOPRANO SAXOPHONE in BI> 
 figure 9, page 69 
 
 Alto Saxophone in F 
 
 ALTO SAXOPHONE in Eb 
 figure 10, page 59 
 
 Tenor Saxophone in C 
 
 TENOR SAXOPHONE in B\> 
 figure 11, page 59 
 
 Baritone Saxophone in F 
 
 BARITONE SAXOPHONE in Eb 
 figure 12, page 59 
 
 Bass Saxophone in C 
 
 Bass Saxophone in Bb 
 
 br ^ 
 
 BM Co 62 4 1
 
 16 
 
 Keyed- Conical Tube (Continued) 
 
 Tranposition 
 
 OBOE 
 fignre 13, page 60 
 
 Oboe d'Amore 
 (Jfez to -Soprano Oboe in A) 
 
 ENGLISH HORN 
 
 (Alto Oboe in F) 
 
 figare 14, page 60 
 
 Baritone Oboe 
 (also called "Heckelphone") 
 
 \Pagottinq\ 
 (Small Bassoon in 0) 
 
 BASSOON 
 figure 16ipage 60 
 
 CONTRA-BASSOON 
 figure 16, page 60 
 
 ^opratiino Sarrusopkone in Ew 
 
 \Sopra7io Sarrusopkone in BIjJ 
 
 \Alto Sarrusophone in Ebl 
 
 [TVMor Sarrusophone in Bb] 
 
 Baritone Sarrusophone in Eb 
 Bass Sarrusophone in Bb 
 
 modern notation 
 BASS SARRUSOPHONE in C 
 or sinaply "Sarrusophone" 
 figure 17,page 60 
 
 modern notation 
 CONTRABASS SARRUSOPHONE in C za 
 
 or simply'Cuutra-barrusophone" :^ 
 
 . figure 18, page 60 
 
 (1) Wagner made use of the actual-sound notation in'Tarsifal'.' 
 B.M.Co.6244 
 
 £ 
 
 B 
 O 
 
 a 
 
 ■a
 
 Keyed-Conical Tube {Continued} 
 
 17 
 
 Transposition 
 
 o 
 
 e 
 
 ^opranino Bugle in eM 
 
 VSoprano Bugle in BbJ 
 
 Vs op ratio Bugle i 
 
 \Alto Oph icleide in FJ ^ i 
 
 VaUo Ophicleide in E 
 
 ^ass Ophicleide in c\ ^£. 
 
 ^ass Ophicleide in Bb] V' . ^ 
 
 fCow/rairtss <7;?Ajf/e?rfej>iF] ^V^ 
 
 [CoTt/raAflss Ophicleide iti eU 2 
 
 [S'erpcnF] 
 
 Uiussian Bassoon] ^ 
 
 Abte. The obsolete instruments contained in the above table.are the precursors of the modern valve instruments. Their parts 
 still fonnd In old orchestral and band scores, are now Riven to Saxhorns or Tubas, which, in intonation and tonal-quality, are' 
 farsupeiryfj -y-iir archaic relatives. 
 
 B.M.Co.6244
 
 IS 
 
 (c)Three-valve: Long Conical Tube 
 
 i^orn in Z-alto\ 
 ^orninY^-alt^ 
 ^orn in Aj 
 \Horn in ApJ 
 
 1^0 r« in Gj 
 
 (l) (2) (3) 
 HORN in F 
 figure 19,page 16 
 
 Horn in E 
 
 Transposition 
 
 c 
 o 
 e 
 
 
 e 
 
 a 
 
 a 
 
 HORN in Eb 
 figure 19,page 76 
 
 Note. The obsolete instruments — included in f his section to simplify the classification —were inreaIitynatural-horns(without valves). 
 Dot pocsessiog thechromatic scale.but only the first harmonic series. (See page 37) 
 
 (1) Alto called"French Horn'.' 
 
 (2) At the present time, an instrument called the "Double-horn" is largely used by Horn- players. It is a Horn in F with an 
 extra set of Tubes, controlled by a special valve; when this valve is pressed by the player's thumb, the intonation-key of the In- 
 fit rnment is changed from F to B-flat Alto.thus enabling the performer to play high passages with greater ease of execution. 
 
 (3) In former years, the Bass- clef notes of the Horns were written an octave lower than the above correct modern notation. 
 
 fi.M.Co.6244
 
 (d) Three-valve: Short Conical Tube 
 
 J So, 
 
 Transposition 
 
 19 
 
 Sopravino Suxhorii in £ > £ f _■ ■ "' "[) TT 
 
 (The cuiiical bore Eb Cornet) / jk i ■■ ■ ' ^^^ 
 
 Iigureao.pagc 76 ''^ ^ — .■■•' 
 
 I?- 
 
 RANO SAXHORN in Bb ^ — 
 
 e conical bore BbCornet) mi 
 
 ures21and22,page76 if -D , — ...•■■■ 
 
 SOPRANO ! 
 (The< 
 figu 
 
 MEZZO-SOPRANO SAXHORN in ^\f 
 
 (The Flugelhorn or valve Cugle 
 
 figure 23, page 76 
 
 yAlto Saxhorn in ¥\ 
 
 ALTO SAXHORN in Eb 
 figure 24,page 76 
 
 TENOR SAXHORN in Bk 
 figure 25, page 77 
 
 BARITONE SAXHORN in Ep ^ 
 figure 26, page 77 35 
 
 Modern, actual-sound notation 
 
 Baas Saxhorn in F 
 French.transposing notation 
 
 Modern, actual-sound notation 
 
 BASS SAXHORN in Eb 
 figures27&29,p.77&78 
 
 French.transposing notation 
 
 Modern, actual-sound notation 
 Contrabass Saxhorn in C 
 French, octave notation 
 
 Modern, actual-sound notation 
 
 CONTRABASS SAXHfjRN in Bp 
 figures 28A30,p. 77 i78 
 
 French, transposing notation 
 
 fi.ll.Co.6244
 
 20 
 
 (e)Three-valve: one-third Cylindrical 
 and two-thirds Conical Tube 
 
 JO 
 
 C 
 
 CORNET in Bt 
 (The"Cornet-a-pistons"in Bl>) 
 
 CORNET in A, 
 
 (The"Cornet-a-pistons"in A) 
 
 ^ 
 
 tt tl 
 
 m 
 
 »«■' 
 
 ^ 
 
 ,■2 «, 
 
 IeI 
 
 H^--" 
 
 Transposition 
 
 written C 
 
 sound 
 
 f- if H 
 
 ^ 
 
 a 
 
 ^^ 
 
 Four- valve:one-third Cylindrical and two-thirds Conical Tube 
 
 >l//o T'/'*!? 1)1 e!) 
 figure, 31 page 79 
 
 Tenor Tiiha in Bl> 
 figure, 32 page 79 
 
 BARITONE TUBA in B[. 
 abbreviate d"B'i-Tuba"tThc Euphonium- 
 figure 38,page 79 
 
 Bnss Tuha in F 
 
 a bbreTiated"F-Tub a" 
 
 figure 34, page 79 
 
 BASS TUBA in Eb 
 abbreviated" Eb-Tiiha" 
 figure 34, page 79 
 
 :: : o--' 
 
 I'/th*!': 
 
 1,5 ^- 
 
 ^ 
 
 Co7itrabass Tuba in C 
 
 abbreviated"C C-Tuha" 
 
 figure 35,page 79 
 
 CONTRABASS TUBAinBb 
 abbreviated "BB'7-Tuba" 
 figure 35, page 79 
 
 m 
 
 s 
 
 i 
 
 -WU l^ 
 
 ^^ 
 
 (1) 
 
 o-' 
 
 unison 
 
 ♦* a 
 
 S •* 
 (ft — 
 
 a X 
 
 91 9 
 
 1-1 ^^ 
 
 a 
 
 Te?ior Tuba in B (b1)) 
 
 Bass Tuba in F 
 
 rcwo;- Tuba in E (e1>) 
 
 5ass Tuba in B(Bb) 
 
 ^^ 
 
 ^^ 
 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ztt: 
 
 ^ 
 
 HbF= 
 
 ^^ 
 
 middle C 
 
 ^ 
 
 ^ 
 
 I 
 
 1^ 
 
 -g- 
 
 P 
 
 (1) See foot-tu)te No.4,page 63 
 B.M.Co 6244
 
 (f) Three-valve:'* two-thirds Cylindrical 
 and one-third Conical Tube 
 
 Modern Trumptt in C 
 
 Modern TRUMPET in Bt> 
 figure 36, page 80 
 
 ModernTRjMPET in A 
 figuri; SB.pagc 80 
 
 Transposition 
 
 21 
 
 \Trumpet in GJ 
 
 Tr II in pet ill F 
 figure 37,page 80 
 
 \Trumpet in E 
 
 TRUMPET in Et> 
 figure 37, page 80 
 
 Bass Trumpet inC 
 
 Baas Trumpet in BI»'^^ 
 (saiii(.' tubingasihi- Ti nor Trombone) 
 
 (li The obsolete instruments, included in this section to simplify the classification, were in reality Natural-Trompets (without > 
 valvi-si. 
 (2)See fuotnote No.l.page 28 B.M.Co.6«4*
 
 2Z 
 
 Four-valve: two-thirds Cylindrical 
 and one-third Conical Tube 
 
 Transposition 
 
 ; 
 
 ai 
 u 
 
 ■a 
 
 a 
 o 
 
 a 
 
 0. 
 a 
 o 
 
 o 
 
 XI 
 
 Trcble-clef notation 
 
 Tenor{valve)TrombonetH Bb 
 figure 38,page 80 
 
 actual sounds Bass-clef notation 
 
 i "^H 
 
 *f -■ 
 
 written C 
 
 ^^ 
 
 sound 
 
 M 
 
 middle C 
 
 m 
 
 m 
 
 
 Bass'valre) Trombone I'ji F 
 
 m 
 
 ^iA 
 
 Contrabass [value) Trombone in fib 
 
 (2) 
 
 ^ 
 
 ^^ 
 
 Slide: two-thirds Cylindrical and one-third Conical Tube 
 
 p/^o Trombone {in E^ \^ / — 
 
 TENOR TROMBONE fin Bb) ^ 
 figure 39, page 80 ''^~ 
 
 Bass Trombone in G 
 
 ffpf^ 
 
 
 BoththeTenor-and Bass-cleff 
 are alteraatively used 
 
 *j: ,-'" f I 
 
 BASS TR0MB0NE(in Bband F) ^ 
 
 _13L 
 
 Vq ^f. ^i 
 
 (Large bore Bb Trombone with F- valve) 
 figure 40, page 80 
 
 i.tifoi'] -■" 
 
 M 
 
 ^ 
 
 Contrabass Trombo 
 Employed by Wag 
 
 ^one in fib 
 'agner J 
 
 impracticable as a slide instroment 
 
 (l)The Tenor Valve Trombone in Bt>, the tubing of which corresponds in length and diameter to that of the Bass Trumpet In 
 B!>,is now generally employed in place of this instrument in Wagner's "Ring." Tenor(valve) Trombones in C-onetone high- 
 er than the above instrument — are also made. 
 
 (2) Known in Italy as 'Trombone Basso-Hrdi" SiUer Giuseppe Verdi, who first introduced it in "Otello"2lnd then in"Fal6taf f" 
 
 (3) See explanauory notc.page 70 
 
 B.M.Co.a244
 
 INTRODUCTION 
 
 23 
 
 III 
 
 Polyphonic-Wind Instruments 
 
 (a) Without Keyboard or Stops 
 
 a Musetta or Melody 
 
 Cki 
 
 a BAGPIPE 
 J Drone-pipes 
 
 
 
 
 
 ^ipproxifflat 
 compass 
 
 e 
 
 
 
 
 
 
 
 
 
 
 iJ 
 
 -»■ 
 
 diatooic 
 
 
 
 
 
 
 
 
 
 1 
 
 Differently tuned.freqaontly 
 inB-flat,FandE-flat. 
 
 (b) With Keys and without Stops 
 
 
 i ACCORDION 
 •i: (or Coneertina) 
 
 # 
 
 approzijoiate compass 
 
 Compass aadfiogenog system 
 varying according^ to makers. 
 
 (c)WIth a Keyboard and Stops 
 
 Written compass 
 
 celeste forte 
 Right-hand stops© (D ® ® © (Dor® 
 
 pitch 
 
 (1) 
 
 04 O .' 
 
 I ezpressi 
 
 « HARMONIUM Jl ezpressioo / grand JenCall the stops) 
 Centre stops (^ 
 
 f l ' ^- / 
 
 Left-hand stops ©or ® 
 
 CQ U CO U 
 
 (^ ® ® ® (i) 
 
 forte ^^Jf'"' "" ♦ "■• »■ 
 
 16 
 
 effect 
 
 STi^blgher 
 
 actuU sounds 
 
 8'» lower 
 
 (l) The length in feet given in this table is equivalent to the pitcbur h'nglh of the Organ 
 pipes(See page 24) 
 
 B.M.Co 6244
 
 24 
 
 INTRODUCTION 
 
 (d) With three or four manuals (keyboards), pedal and stops. 
 
 written compass 
 
 pitch, or length 
 of longest pipe 
 
 4, Manuals 
 a. 
 
 - ORGAN 
 
 Pedal 
 
 ..-■^u^ 
 
 m 
 
 \ 
 
 8' 
 IB' 
 
 32- 
 
 effect 
 
 two 8^^ higher 
 B^a higher 
 
 actual sounds 
 8va lower 
 
 two 8ve lower 
 
 FOUNDATION STOPS (Flue) 
 Large or Medium Scale (a) 
 
 Manuals- 
 
 Pedal 
 
 Classification of Registers or Stops » 
 
 Certain groups of stops, each composed of pipes 
 similar in quality or construction, or both, are 
 common to nearly all Organs in the United States; 
 although instruments more recently built show 
 radical departures in general tonal disposition from 
 the older ones. The nomenclature of stops in this 
 country, however, is a matter in which Organs of 
 different builders often vary materially. A list of 
 all the stops found in the instruments of a half- 
 dozen of the most prominent builders would be 
 unduly extended and confusing to the layman. The 
 following table is intended to group only the princi- 
 pal stops (employing conventional American and 
 English nomenclature), without regard to the special 
 designations which may be given to any of them to 
 indicate some nuance of color or quality. 
 
 The figures opposite each stop represent the 
 "speaking length" in feet of its lowest pipe; or of 
 the lowest of each series, where more than one series 
 is indicated. Thus the name of a stop indicates 
 approximately its quality, and may suggest its in- 
 tensity; the number designates the pitch. 
 
 'From information kindly furnished by Mr. Wallace Goodrich. 
 
 'Large Organs have three or four kevl^oards, called manuals, and designated Choir (lowest). Great (middle), and Swell (upper). 
 If there be a fourth manual it is called Solo, and is placxcl above the Swell. The pipes of the Choir and Swell (and Solo) are usually- 
 enclosed in separate "swell-boxes," so-called, wliich are actually rooms inside the organ enclosed on all sides but the front; vertical 
 shutters, operated by a pedal, may be opened or closed to effect corresponding variation in the intensity of the sound. 
 
 Diapason 
 
 16' 
 
 ,8' 
 
 
 32' 
 
 , 16', 8' 
 
 (b) 
 
 Octave 
 
 4' 
 
 
 
 8', 
 
 4' (Super-octave) 
 
 Fifteenth 
 
 2' 
 
 
 
 
 
 
 Flute (c) 
 
 8', 
 
 4' 
 
 
 8', 
 
 i'(b) 
 
 
 Piccolo 
 
 2' 
 
 
 
 
 
 
 Bourdon (</) 
 
 16' 
 
 8', 
 
 4' 
 
 32' 
 
 , 16', 8' 
 
 4' 
 
 Smaller Scale (String-toned) 
 
 
 
 
 
 
 Manuals 
 
 
 Pedal 
 
 Violone 
 
 
 
 
 
 
 32', 16' 
 
 Violoncello 
 
 
 
 
 
 
 8' 
 
 Gamba 
 
 
 
 
 8' 
 
 
 
 Salicional 
 
 
 
 
 8' 
 
 
 
 Dulciana 
 
 
 
 
 16', 8' 
 
 
 16' 
 
 Violin 
 
 
 
 
 4' 
 
 
 
 Voix Celeste (e) 
 
 
 
 8' 
 
 
 
 Unda Maris (e) 
 
 
 
 8' 
 

 
 INTRODUCTION 
 
 25 
 
 MUTATION STOPS (Flue) (f) 
 Simple 
 
 Manuals 
 
 Quint 
 Twelfth 
 
 2%' 
 
 Compound 
 
 Pedal 
 
 Mixture (g) 
 
 REEDS 
 
 
 
 Manuals 
 
 Pedal 
 
 Tuba or Trumpet 
 
 16', 8' 
 
 32,' 16', 8' 
 
 Clarion 
 
 4' 
 
 4' 
 
 Bassoon 
 
 
 16' 
 
 Oboe 
 
 8' 
 
 
 Clarinet 
 
 8' 
 
 
 \ox Humana 
 
 8' 
 
 
 Remarks 
 
 (a) By "scale" is meant the proportion of a 
 pipe's diameter to its length. 
 
 (b) Usually these so-called Diapasons in the 
 Pedal are actually large scale wooden Flutes. 
 
 (c) These stops exist in great variety, both as 
 regards quality, intensity and nomenclature. 
 
 (d) Stopped Flute pipes. Often called Gedeckt; 
 or improperly, although commonly, Stopped Diapa- 
 son (if at 8' pitch). 
 
 (e) Vibrating stops; two ranks of pipes, each: 
 one tuned slightly sharper than the other, but 
 sounding simultaneously. 
 
 (/) Giving from one to six or more of the natural 
 harmonics of the fundamental tone played; the fun- 
 damental tone being absent, unless provided by 
 another stop. Simjilc mutation stops have one pipe 
 for each note plaj-ed; compound, two or more. 
 
 (g) Pipes usually of modified Diapason quality, 
 so voiced as not to produce harmonics of their own. 
 Variously named according to disposition of ranks.
 
 26 
 
 INTRODUCTIOxN 
 
 IV 
 
 Percussion Instruments 
 
 (a) Indeterminate Pitch 
 
 With membrane. 
 
 Of metal . 
 
 Of wood. 
 
 Special construction . 
 
 SIDE DRUM 
 
 Ridlante or Tenov-drum 
 
 BASS DRUM 
 
 TAMBOURINE 
 
 Tabor 
 
 Indian-dnim 
 
 Chinese-drum 
 
 TRIANGLE 
 
 CYMBALS 
 
 TAM-TAM or GONG 
 . Sleigh-bells 
 
 CASTANETS 
 
 Rattle 
 
 . Whip- or Slap-stick 
 J Wind-, Water-, and Crash-machine 
 I Other noise-imitations 
 
 Note. — The rhythmical notation of all these 
 instruments is written on the ordinary 
 staff, or (in score) on a single line, with the 
 conventional treble- or bass-clef. 
 
 (b) Changeable Pitch — with membrane 
 
 TIMPANI ^ 
 
 Large 
 
 Middle 
 
 T*r 
 
 ^^ 
 
 „■«> 
 
 xr: 
 
 Small 
 
 Si 
 
 o (i i » * ^ 
 
 (l)Generally, in band, only two Timpani aro used: the Large and the Small.
 
 27 
 
 (c) Fixed Pitch 
 
 ' C Aiictetit-cymbals 
 
 'maiti' expressly in the required 
 p\tch) 
 
 Chimes 
 (made expressly in the required 
 pitch) 
 
 TUBULAR BELLS 
 
 • ttetc 
 
 Transposition 
 
 Japanese bells 
 
 Anvils 
 (made expressly in the re- 
 quired pitch,orin(fe^er»(«>io<«) 
 
 BELLS or CARILLON 
 
 (ilallets-Olockeaspiel) 
 
 XYLOPHONE 
 
 a 
 
 o 
 
 Belts or Carillon 
 (Keyed- Glockenspiel) 
 
 Typophone or Dulcttone 
 (Steel- tuning- forks) 
 
 (1) 
 
 CELESTA 
 (Steel bars with wooden reso- 
 nators) 
 
 Keyed Hurmontca 
 (Glass-plates) 
 
 V^ 
 
 .o. 
 
 ^0 
 
 5^ 
 
 i 
 
 ^^ 
 
 
 0) Employed ind'Iody's"Cbaot delaClocbe'.' 
 B.M.Co.6244 
 
 i" IS 
 
 a 
 
 4^ — [^ 
 
 & 
 
 ^ 
 
 :t51 
 
 J?L 
 
 m 
 
 m
 
 28 
 
 (a) Plucked 
 
 V 
 
 MANDOLIN 
 
 and 
 
 Mandolin- Banjo 
 
 "Transposed"notation 
 
 Tenor-Mandola 
 and 
 
 Tenor -Banjo 
 "Non-transposed"octave-notation 
 
 MANDOLA 
 (also called Octave-Mandola) 
 
 "Transposed"notation 
 
 Mundo-Cello 
 and 
 
 Cello- Banjo 
 "Non-transposed"two octave-notation 
 
 Bass-clef notation 
 
 Mando-Bass 
 Treble-clef notation 
 
 BANJO, Regular 
 
 guitar'^' 
 
 and 
 Guitar-Banjo 
 
 (2) 
 Steel-Guitar' ' 
 
 Ukulele 
 Bullalaika 
 
 Melody -strings j 
 ZITHER 
 
 Accompaniment 
 
 Stringed Instruments 
 > lilt 
 
 Transposition 
 
 -ttS- 
 
 m 
 
 ^^ 
 
 Sia 
 .a. 
 
 Generally tuned a minorthird above the writ tennotatioi , 
 like the Et-Sopraninos. 
 Also written in actual sounds: minor third higher. 
 
 Occasionally tuned one tone above or below thewTitten 
 notation. likethe D-Sopraninos and Bh- Sopranos, re - 
 spectively. 
 
 This is the usual tuning of the ordinary instrument. Other 
 types of Ballalaikas are also found ,wnich vary each other 
 in their Eize.number of strings and notation. 
 
 The melody strings sound as written 
 
 i" 4 
 
 "leT 
 
 i 
 
 -^ 
 
 (1) There are "Harp- Guitars" so called,with as mi^ny as ten Ofen Bass-strings,fromthe E-flat downward,chromaticaUy,in additioa 
 to the regular six strings. 
 
 (2) Played with a steel bar and three steel picks. 
 B.M.Co.624*,
 
 Plucked [Continued) 
 
 29 
 
 Transposition 
 
 Irihh-Harp 
 Single action thumh-lever 
 
 harmonics 
 
 Sometimps tuned in A-flat major 
 
 ■fe ^ 
 
 tuning of 
 the strings'! 
 
 diatonip'C- major or A? major 
 
 The Irish-Harp produces the diatonic scale of C- major or A-flal major.accordingto the way it is tuned. With the single 
 action every string -independently from its octaves -can be raised a half tone 
 
 HARP 
 
 Double action with pedals 
 
 harmonics 
 
 tuningof 
 the strings' 
 
 ^ 
 
 diatonic.C-flat major 
 
 ^ 
 
 K=r 
 
 The tuning of the strings of the Harp will produce the diatonic scale of C-f lat major.and by the use of seven pedals at the base 
 of the instrument, each pedal acting on all the strings(in octaves) uf the same letter-name, all the notes of the compass can 
 be raised a half-tone or a whole tone, thus enabling the player to tune the instrument in any desired key. 
 
 1\\tgltssundo — which frequently occurs in Harp-music —ispossible in every major, minor or alteredscale,andby the 
 useof homophones 'enharmonic unisons) ^/zssawrfj are also obtainable on all the chords of the diminished- seventh, and on 
 some other four-note chords, as follows: — 
 
 Diminished-7th,or 
 rootless-minor 9th 
 
 Dominant-7th,or 
 augmented (Uh and 5th 
 
 Supertonic-7th in major, or 
 subdominant Tth in minor 
 
 Supertonic-7th in minor or 
 rootless-major 9th 
 
 'Si 
 
 j^.l'"# 
 
 Chromatic -Hii rp 
 
 This instrument, recently invented by F Lyon,of Paris.is without pedals.having a string for each semi-tone throughout the entire 
 compass Very few,if any.of the modern harp-players have successfully mastered the new technique required for theplayiiig of thi* 
 instrument 
 
 B M.Co 6244
 
 30 
 
 (b)Percussive 
 
 PIANOFORTE 
 
 Stringed Instruments {Continued) 
 
 .^ 
 
 Hiaigarian Cembalo) 
 (dulcimer or zimbalon)) 
 
 (c) Bowed 
 
 VIOLIN 
 
 
 m 
 
 Compass for general orchestral use 
 
 strings 
 
 ^ nil ,■■--• 
 
 (■rdinary tones 
 {non-harmonic) 
 
 ..■ Q- 8 
 
 ir 
 
 harmonics 
 
 ai :e 
 
 .,»<«^"* 
 
 VIOLA 
 
 Viol (I d 'Amove 
 
 Viola dii gamba 
 
 VIOLONCELLO 
 
 CONTRABASS 
 (or Double-bass) 
 
 lo 
 
 Scfl 
 
 -zrr- 
 
 :I> a . . 
 
 4cr 
 
 
 ^_ ■■■■•"i% m-r^ 
 
 g 
 
 natur" 
 
 Tor urtifi':'-''^ D - 
 
 actual 
 sounds 
 
 actual 
 
 sounds 
 
 actual 
 sounds 
 
 actual 
 sounds 
 
 actual 
 sounds 
 
 sounding 
 octave lower 
 
 +not satisfactory 
 
 iVb?e/Theorrf2««ry#o«es(non-harmonic),the««/'«rff///rt/-wo7nVsfplayedonanopenstring)andtheor/?/2czV//^ffr7«o«zcs(played 
 on a stopped string) form the Harmonic-seriesfsee paragraph 2, page 37 ) of the bowed instruments,as fol lows: 
 
 Partial-tones 
 
 1st _The string vibrates throughout its whole length, producing the ordinary tones or fundamentals 
 
 vibrates into two equal sections by lightly touching the 8^'^ which produces its unisou.viz.the 8^<-" of the fundamental. 
 
 " " three " " " " " .. 5th " " ■> 8'^, " " 12th " ■' ■■ 
 
 " four " " " " " I. 4th " " " 12th, " " 15th " • " 
 
 [major 
 LSrd " " " 15th, " " 17th " ■■ 
 
 [ininor 
 3rd " " " 17th, >• " 19th' " 
 
 The natural harmonics are generally written in actual sounds and indicated by this sign o above the notes. 
 
 The art«/»cia/A«r/«07J«csused in orchestraparts.are formed exclusively of 4th partial-tones; —The string is stopped hy 
 
 the first finger and lightly touched by the fourth finger a perfect fourth apart,thus producing the 12th of the touched note, 
 
 viz^he 15th of the stopped note. These harmonics are usually written in thei r finger-position with or without the resulting 
 
 notes above, as follows: • i I . . i 
 
 effect (^ #J ^ ,^ j(^ ^) J jjj ^, 
 
 written fis ^ff ..b ^ E. I !<j I n. .fcj , » ''J- L . u . « l etc. 
 
 2nd 
 3rd_ 
 
 4th_ 
 
 5th_ 
 6th_ 
 
 five 
 six 
 
 B.M.Co.6244
 
 INTRODUCTION 
 
 31 
 
 The Band Instruments 
 
 efficiency in the rendering of marching music, 
 though it also possesses sufficient tonal-elasticity to 
 render, to an adequate artiste degree, military 
 program-music. 
 
 Changes or substitutions may be found necessary 
 in the Military Band according to circumstances. 
 For example: when a Military Band of hdy players 
 is to be employed more for marching purposes than 
 for concerts, its martial character may be increased 
 by substituting the following four brass instru- 
 ments : — 
 
 one Soprano Saxhorn (B? Cornet) 
 one Mezzo-soprano Saxhorn 
 one B-flat Tuba (Euphonium) 
 one E-flat Tuba 
 
 in place of: — 
 
 one Oboe (2nd) 
 
 one Sarrusophone (2nd) 
 
 one Bass Clarinet 
 
 one Contrabass Clarinet 
 
 If, on the other hand, the Military Band is to be 
 employed mostly for concert work, or as an accom- 
 [lanimcnt for voices, it will be rendered more flexible 
 by the introduction of three or four wood-wind instru- 
 ments (including another Bass-Clarinet and the 
 Contra-Sarrusophone) in place of three or four of 
 the brass instruments. 
 
 Whenever any of the given instruments of the 
 Military Band are lacking, substitution will then 
 be made with other instruments that are the most 
 suitable for the purpose.^ For example: — 
 
 'Other intermediate numerical proportions and larger combinations, up to ninety players, with tlio ncccssar>' information thereto, 
 will be given in Part 11. 
 
 Mn all these substitutions the band parts remain the same, excepting the necessary transposition for the instruments tuned 
 differently, as f(ir in:;tance the .?rd and 4ih lMl.it Clarinets from the Alto Clarinets, 5th lower; the B-tJat Cornet or Trumpet, 
 from the Alto Saxhorn, 5th Iow^t; etc. (see I'art II). 
 
 In addition to the foregoing brief description of 
 all the instruments in general, a special table of the 
 band instruments exclusively, will be given (pages 
 34 and 35). In this table the various groups are 
 arranged in score order, and the compass character- 
 istics of each instrument is more fully described by 
 means of notational signs, thus providing the stu- 
 dent with a complete and very useful chart to refer 
 to when scoring for band. 
 
 The names of instruments are preceded by 
 special symbols, the use of which serve to simjilifN- 
 the work on scoring exercises (see Parts 1 1 and III). 
 
 At the extreme right of the table, six of the best 
 balanced wind-instrument units are given; i. e. 
 the small, medium and large Symphony Band of 
 twenty-five, fifty and seventy-five players, respec- 
 tively, and the small, medium and large Military 
 Band of twenty-two, thirty-five and fifty players, 
 respectively.' 
 
 The large SYMPHONY BAND of seventy-five 
 players, is modeled after the Symphony Orchestra 
 with elements which, acoustically, are the most 
 suitable for outdoor performance. With this en- 
 semble of instruments, and with competent players, 
 modern works of the most intricate polyphonic 
 structure can be gi^■cn (on a properly built platform) 
 outdoors, with a standard of artistic attainment 
 equal to that of the Symphony Orchestra indoors. 
 
 The large MILITARY BAND of fifty players 
 uses the same and practically all the parts of the 
 Symphony Band, but with the Grand Quintet con- 
 siderably changed in its proportions and instru- 
 ments. This ensemble, designed for infantry bands, 
 or similar organizations, attains the best possible
 
 32 
 
 INTRODUCTION 
 
 Alto Saxophones, or 3rd and 4th Bb-Clarinets in the 
 
 absence of Alto Clarinets; 
 Tenor or Baritone Saxophones in the absence of 
 
 Bass Clarinet; 
 Contra-Sarrusophone in the absence of Contrabass 
 
 Clarinet; 
 Soprano Clarinet in the absence of Soprano Saxo- 
 
 })hone; 
 3rd and 4th B^-Cornets or B^-trumpets in the ab- 
 sence of Mezzo-Soprano and Alto Saxhorn ; 
 Valve Trombone in the absence of Tenor Saxhorn; 
 E!>-Alto Saxhorns in the absence of E>-Horns; 
 Bass and Contrabass Saxhorns in the absence of 
 
 E!'- and BB'?-Tubas; etc. 
 
 When marching, the oboists generally play some 
 wind-instrument other than the Oboe, or else the 
 Cymbals; and the timpanist plays the RuUante 
 (Tenor-Drum) or an additional Snare-Drum. 
 
 The Sarrusophones (see page 60) not only ha\-e 
 the advantage of possessing greater sonority than 
 the Bassoons when used outdoors, but also they can 
 be played while the performer is marching. If, how- 
 ever, the Bassoons are used, instead of the Sarruso- 
 phones, another instrument must then be assigned 
 to each Bassoon player for use when marching. 
 
 From the foregoing comment, it will be concluded 
 that the main point which distinguishes the Sym- 
 phony Band from the Military Band is that the 
 first, though apt to be reduced in its size, the char- 
 acter of its instrumentation remains unaltered ; 
 while, the second, is variable both in its number 
 and kind of instruments. 
 
 Music scored especially for the Symphony Band 
 (see Parts II and III) will undoubtedly give the 
 best possible results under any circumstances, such 
 as the reduction or substitution of instruments in 
 the Military Band. The current band-publications, 
 however, with little or no change in the parts, are 
 also suitable for the Symphon>' Band itself: — 
 suitable in a degree, at least, not inferior as the>' 
 may be to any other form of band. 
 
 The distribution of the parts of other publications 
 to the instruments of the Symphony Band, is sim- 
 plified by stamping the symbols of the respecti\e 
 instruments (pages 34 and 35) on every band part. 
 
 The following shows the correct distribution of 
 the band parts which are generally issued by Ameri- 
 can and English publishers — each part being pre- 
 ceded by its proper symbol. The parts marked by * 
 are not usually found in every publication: — 
 
 Av4 — Eb Clarinet 
 
 Ai — Solo (or 1st) B!>-Clarinets 
 
 Ai' — 1st (or Repiano) B:j-Clarinets 
 
 A2 — 2nd Bb-Clarinets 
 
 A2' — 3rd Bb-CIarinets 
 
 As — Alto Sa.xophones or *Alto Clarinets 
 
 A4 — Baritones ^' or *Euphoniums, 
 
 or *Br)-Bass Clarinets (transposed) 
 As — Basses (or Tubas) 
 
 Bi — 1st Flute or Piccolo 
 
 B2 — ^*2nd Flute or Piccolo 
 
 Bs — *3rd Flute or Piccolo 
 
 Ci— 1st Oboe 
 
 C2— *2nd Oboe 
 
 Di — *Soprano Sa.xophone 
 
 D2 — Alto Saxophone 
 
 Ds — Tenor Saxophone 
 
 D4 — *Baritone Saxophone 
 
 El — 1st Bassoon 
 
 E2 — *2nd Bassoon 
 
 Es — *Contra-Bassoon (or Basses) 
 
 Fi — 1st Eb-Horn or Alto 
 F2— 2nd Eb-Horn or Alto 
 Fa — 3rd Eb-Horn or Alto 
 F4 — 4th Eb-Horn or Alto 
 
 Gi — 2nd (or 3rd) Bb-Cornet or Trumpet 
 
 G2 / 
 
 p \ — 3rd (or 4th) Bb-Cornet or Trumpet 
 
 Hi — 1st Trombone or Bb-Tenor 
 H2 — 2nd Trombone or Bb-Tenor 
 Hs — 3rd Trombone or Bb-Bass 
 H4 — *4th (or Bass) Trombone 
 
 Ii — Solo Bb-Cornet 
 
 I2 — Solo (or 1st) Bb-Cornet 
 
 Is — 1st (or 2nd) Bb-Cornet or *lst Flugelhorn 
 
 I4 — *Solo Eb-Alto or *2nd Flugelhorn 
 
 u\ 
 
 h 
 h 
 
 Baritone » (one or 1st and 2nd) 
 
 -Basses (or Tubas) 
 
 Ji — *Timpani 
 JJ{ -Drums 
 
 Ki 
 
 Li- 
 
 -*Special instruments 
 -*Harp
 
 INTRODUCTION 
 
 33 
 
 EXPLANATORY NOTE 
 
 In the following table, the compass given for the 
 two lowest parts, A4 and A5. are playable by both 
 the instruments of the Symphony Band and those 
 of the Military Band, excepting the high notes of the 
 Bass Clarinets, within parenthesis, which are to be 
 used only when the work is intended to be performed 
 exclusively by the Symphony Band. The abbrevia- 
 tions: Sy. B. and My. B., preceding the names of 
 those instruments, signify that the two parts A4 and 
 As are to be played, in the Symi)hony Band, by Bass 
 
 and Contrabass Clarinets and, in the Military Band, 
 by B!>-Tubas and Eb- and BB^-Tubas respectively. 
 
 The low notes, within parenthesis, of the Alto 
 Clarinets are to be avoided for the time being, as that 
 part may be taken by Alto Saxophones or 3rd and 
 4th B-flat Clarinets, until the Alto Clarinets are 
 more generally used. "*" 
 
 For the explanation of the transposition columns, 
 see Explanatory Note on page 10.
 
 St 
 
 o 
 
 uo 
 
 C 
 
 o 
 
 ? 
 
 o 
 
 Q. 
 "C 
 
 o 
 
 c 
 
 CQ 
 
 re 
 
 X 
 
 o 
 
 i 
 
 s 
 
 N 
 
 e* 
 
 ^ 
 
 ^ 
 
 ^ ^ N 
 
 xC 
 
 N 
 
 M 
 
 «H 
 
 CO 
 
 N 
 
 ^ 
 
 ^ 
 
 M 
 
 ■rt 
 
 ^^ 
 
 W 
 
 N 
 
 M 
 
 
 ?: 
 
 ^< 
 
 
 iH 
 
 
 
 
 N 
 
 *» 
 
 N 
 
 
 
 
 
 o 
 t) 
 o 
 
 0) 
 
 C 
 
 J3 
 0. 
 
 s 
 
 t; 
 
 m 
 
 OJ 
 
 ^ 
 
 ir4 
 
 ^ ^ N « 1^ 
 
 « 
 
 eo 
 
 ^ 
 
 3 
 
 N 
 
 «ii 
 
 ^ 
 
 if4 
 
 «<4 
 
 N 
 
 nC 
 
 N 
 
 « 
 
 
 C4 
 
 ^ 
 
 
 
 
 
 
 N 
 
 N 
 
 « 
 
 
 
 C 
 
 C 
 
 CQ 
 
 o 
 4:: 
 
 o 
 a 
 
 a) 
 
 C 
 
 c 
 
 Q 
 C 
 
 a 
 
 o 
 O 
 
 •o 
 o 
 
 o 
 o 
 tn 
 
 
 U 
 
 X 
 en 
 
 w 
 
 •a 
 
 M 
 
 O 
 
 n 
 
 o 
 
 o 
 
 < 
 OS 
 
 o. 
 o 
 
 (A 
 
 2: 
 
 o 
 
 o 
 
 s 
 
 s 
 
 a. 
 
 
 o 
 
 o 
 
 X 
 
 X 
 
 < 
 
 < 
 
 (/> 
 
 05 
 
 
 o 
 
 OS 
 
 o 
 
 
 
 z 
 
 o 
 
 X 
 o. 
 O 
 X 
 
 < 
 
 u 
 z 
 
 o 
 w 
 
 03 
 
 so 
 
 o o 
 
 ? o 
 
 Cl. Ji 
 
 O Ul 
 
 ^ < 
 
 a. = 
 
 < 
 
 a? 
 
 • K 
 
 <o 
 q:o 
 (-». 
 z* 
 
 c 
 
 3' 
 
 
 «j 
 
 
 
 u 
 
 
 <« 
 
 z 
 
 o 
 
 H 
 
 o 
 
 *> 
 
 u 
 
 
 
 0. 
 
 S-: 
 
 3^ 
 
 3 ■ 
 
 c 
 
 OS 
 
 t/2- 
 
 CE 
 
 H 
 
 Zr 
 
 o 
 
 X 
 
 
 o 
 z 
 
 Ud 
 
 
 Z 
 
 o 
 
 o 
 o: 
 
 (A 
 
 < 
 
 ■ lu.tranjistii '^- 
 
 ol<31l 
 
 
 poojft- 01003 ;n QOijoes 
 
 
 O O 
 
 «• 04 A. 
 
 sscjg 111 nouo^s
 
 35 
 
 N 
 
 ■«• C« 
 
 U 
 
 N 
 
 to K« 
 
 V* N 
 
 tJtzl- 
 
 ■ uuu 
 
 
 
 ctr 
 
 ari 
 
 1.-T 
 -Tu 
 
 «_B 
 
 o« 
 
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 36 INTRODUCTION 
 
 TO THE TEACHERS 
 
 The method of using: this treatise — i.e. the order in which the various subjects should follow each 
 other, the kind and number of illustrative examples to be given and the practising e.xercises to be assigned 
 — should vary according to the musical ability (natural or acquired, or both) of the pupils. 
 
 Together with this, three auxiliary subjects should be associated — the necessary accomplishment 
 for a musician in any branch of the Art — namely: 
 
 First: — Solfeggio, ear training and transposition, i.e., time beating and singing of the notes in 
 actual sounds, in the treble- and bass-clef, at first, and then in the other five clefs (page 42), using the 
 sj'Ilable-system : Do, Re, Mi, Fa, Sol, La, Si. 
 
 N.B. — Not the "movable-Do-system" taught in some public schools — which system, in the practice (playing or writing) 
 is of no use whatsoever — but the French-Italian system in which C, D, E are always Do, Re, Mi, in whatever major or minor key 
 those notes occur. 
 
 Second: — Elementary Piano playing for pupils who play other instruments; or, vice versa, 
 elementary playing of a wind instrument if the pupil is a pianist. 
 
 Third: — Harmony and elementary counterpoint. 
 
 The pupils, thus, may be divided into two classes: 
 
 Class A : — Those who have already learned the above auxiliary subjects, and 
 
 Class B: — Those who merely play an instrument. 
 The courses for the pupils of Class A should be so divided : 
 
 First course: — Parts I and II combined (wind instruments and instrumentation). 
 
 Second course: — Part III and band conducting. 
 The courses for the pupils of Class B should proceed as follows: 
 
 First course: — Part I and primary study of the auxiliary subjects. 
 
 Second course: — Part II and advanced study of the auxiliary subjects. 
 
 Third course:- — Part III and band conducting. 
 
 Each lesson on Wind Instruments and Instrumentation should consist of the study of a number of 
 paragraphs covering one of the different points in the chapter, which point should be commented upon by 
 the iKipil orally, or with written examples, or exercises, similarly to those appearing throughout the 
 text. For instance — in studying the first paragraphs in chapter I (see opposite page): — 
 
 (/) — "Write the harmonic-series of an open-pipo 4 ft. 9 in. in length, which gives, as fundamental, 
 first-space A, bass-clef." 
 
 (2) — "State the length of a stopped-pipe required for producing the same fundamental (first-space A, 
 liass-clef)." 
 
 (J)— "Play on the Piano the harmonic-series, up to the 10th partial tone, produced by a conical tube 
 instrument which gives as fundamental, the second-line Bb, bass-clef" — etc.
 
 CHAPTER I 
 ACOUSTICAL PRINCIPLES OF THE WIND INSTRUMENTS 
 
 I. All the wind instruments are subject to the 
 natural laws of the sound-producing pipes. B>- 
 varying with the lip-pressure, the intensity of the 
 blowing, the column of air in the tube, which in its 
 entire length gives the fundamental, or first partial 
 tone, may be divided into two, three, four, etc., 
 
 \ibrating sections, producing, respectively, the har- 
 monics (or partial tones) Nos. 2, 3, 4, etc., thus 
 forming the harmonic-series of the instrument. 
 
 2. The harmonic-series of an 8ft. -C open-pipe 
 results as follows: 
 
 # 
 
 i 
 
 ^ 
 
 :i|i 
 
 Liliie-^ 
 
 fei 
 
 10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 15 1<> 
 
 3. The harmonics Xos. 7, 11, 13 and 14, marked 
 with +, according to our equal-temperainent-scalc, 
 are not in tune, and therefore not used; — exception 
 is made for the Horn and slide Trombone (see ex- 
 planatory note, page 70). 
 
 4. The longer and narrower the tubing of the in- 
 strument, the larger is the resulting harmonic series. 
 
 The cup-mouthpiece instruments, having, more or 
 less, a very long and relatively narrow tube, can 
 produce an extended harmonic series — the Horn 
 reaching the 16th harmonic; whereas the keyefl 
 wind instruments — the tubes of which are com- 
 paratively short and large — rarely extend beyond 
 
 the 2nd and 3rd harmonics, thus the formation of 
 their scale is based upon an entirely different 
 principle. 
 
 5. The Clarinet, being cylindrically bored in its 
 full length, from the joint of the mouth-piece to 
 that of the bell, possesses the two characteristic 
 properties of stopped-pipes. First, it produces the 
 fundamental tone an octave lower than that pro- 
 duced by a conical instrument (or by an open-pipe) 
 of the same length, and, second, it gives only the 
 harmonics Nos. 1, 3, 5, etc.— skipping the harmon- 
 ics of even numbers.' For example: the Soprano 
 Clarinet in Bb (see page 51) the length of which is 
 
 'An open-pipe 4 ft. 4 in. (1.314 inotrcs) in length gives a fundamental of 128 vibrations and all the harmonics in their successive 
 order: 
 
 -''' " ^J 
 
 ^f-^-^ 
 
 etc. 
 
 23 456 789 10 
 
 A stop(«tl-pipc (or a Soprano Clarinet in A\>) 2 ft. 2 in. (0.657 metres) in length gives the same fundamental of 128 vibrations 
 and only the harmonics of uneven number. ' 
 
 ■ ^ " «^« 
 
 13 5 7 9 
 
 Note:— For the explanation of this phenomenon see V. C. Mahillon's Treatise on the Hiement d'Acouslique. 
 
 I 37 J 
 
 12477;)
 
 38 
 
 WIND INSTRUMENTS 
 
 equal to that of the Oboe (see page 60), gives the 
 scale of the 1st partial tones an octave lower than 
 the latter instrument and it produces only the har- 
 monics of uneven number; note the first over-blout 
 of the Clarinet to the 3rd harmonic — skipping the 
 2nd, viz.: the over-blow to the 12th (see paragraph 
 21, page 44). 
 
 6. With the exception of the Clarinet, all the 
 other wind instruments are more or less conical, 
 either throughout their entire length of the tube, or 
 in part of it, and for this reason they are subject to 
 the same acoustical laws as the open-pipes, i. e., 
 they give the same fundamental tone as an open-pipe 
 of the same length, and produce all the partial-tones 
 of the harmonic-series. 
 
 7. The conical wind instruments are divided into 
 two dififerent groups — viz.: keyed-conical instru- 
 ments and cup-mouthpiece instruments — differing 
 entirely from each other in the production of tone 
 
 and, especially, in the formation of the scale (see 
 chapters IV and \'). Thus the entire mass of 
 wind instruments may be classified in three distinct 
 groups, which are as follows: 
 
 Group I : — Keyed-Cylindrical Tube Instru- 
 ments; working according to the acoustical princi- 
 ples of the Stopped -pipes: single-reed mouthpiece: 
 — Clarinets. 
 
 Group II : — Keyed Conical Tube Instruments; 
 working according to the acoustical principles of the 
 Open-pipes; lateral-hole mouthpiece: Flutes'; single 
 reed mouthpiece: Saxophones; double-reed mouth- 
 piece: Oboes, Bassoons and Sarrusophones. This 
 group will be designated by the term Conic- wood. - 
 
 Group III: — Valve- and Slide-Conical Tube 
 Instruments; working according to the acoustical 
 principles of the open-pipes; cup-mouthpiece: 
 Horns, Saxhorns, Tubas, Trumpets and Trombones, 
 generally designated by the term Brass.' 
 
 'The Flute, by its lateral hoie embouchure is in reality a pipe open on both ends. This explains why the instrument retains the 
 properties of the open-pipe even when it is built with a cylindrical "body," as are most of the modern Flutes — with only the "head" 
 slightly conical. However, to render the classification simpler, no distinction has been made between the Flutes and the reed- 
 conical-tube instruments. The fact that all these keyed instruments overblow to the octave and give the same fundamental tone, 
 with the same length of tube, will justify their being classed in the same group and treated together. 
 
 ^The designations "wood" and "brass" must be considered only as conventional terms, for the material of which the wind in- 
 struments are made has iio effect whatever on the quality of their tone. Many experiments, in this connection, have been made by 
 various instrument makers, all resulting in the conclusion that it is only the column of air in the tube which produces the sound, 
 and not the tube itself. We have, in fact, the pure flute-tone from whatever the instrument is made — either wood, silver or gold; — 
 and the same may be said of the brass, nickel, or copper cup-mouthpiece instruments, and also the brass or wood Contra-Bassoon, 
 Contrabass Clarinet, etc.
 
 CHAPTER II 
 
 THE TR.VNSPOSING WIND INSTRUMENTS 
 
 Each family of wind instruments contains a 
 certain number of instruments of the same nature, 
 but of different intonation. 
 
 8. In order that the player may pass from one 
 instrument to another of the same family, without 
 changing the fingering, a uniform notation, called 
 "transposing-notation" or "uniform fingering sys- 
 tem," has been adopted, based on the notation for 
 a "Soprano in C" — the typical instrument of the 
 family — the reading and fingering of which is the 
 same for the other instruments of different sizes. 
 For example: the C in the third space, treble-clef 
 
 i 
 
 311 
 
 jf the Soprano in C is also, in the reading 
 
 and fingering, the same note for the other instruments 
 of the family, but it sounds either higher or lower, 
 according to whether the mstrument which plays it 
 is smaller or larger then the Soprano in C. 
 
 9. The exact tuning of the transposing instru- 
 ments is generally indicated by the name of the 
 instrument itself — employing a designation borrowed 
 from one of the divisions of the human voice which 
 approximates the range of the instrument, viz.: 
 Soprano, Alto, etc., together with the tonic-note in 
 which the instrument is tuned ("in B't," "in E'?," 
 etc.). For example: the Soprano Saxophone in B> 
 is approximately within the range of the Soprano 
 voice, tind is tuned in B-flat, one tone below the 
 Soprano Saxophone in C 
 
 There are instances, however, — e. g., Bass Flute, 
 Bass Trumi)et, etc. — in which the term bass is not 
 emplo\ fd after the manner of its application to the 
 Bass voice, but derives its significance from the 
 Italian word basso, meaning "low." 
 
 In the Horns, Oboes and a few other instruments 
 the voice-term is not employed at all. 
 
 10. The higher the instrument is tuned above the 
 t>-pical Soprano in C of the family, the lower will its 
 part be written below the actual sounds — ^and vice- 
 versa. Examples: an E'7-Sopranino is tuned a 
 minor-third higher than the Soprano in C, therefore, 
 its part will be written a minor-third lower; a B?- 
 Tenor is tuned a major-ninth below the Soprano in 
 C, therefore, its part will be written a major-ninth 
 higher. 
 
 U. The parts for the low- voiced brass instru- 
 ments — Saxhorns' and Tubas — are written in actual 
 sounds, as the players cannot keep changing to in- 
 struments of higher intonation, due to the consider- 
 able difference in the embouchure, thus the uniform 
 fingering system becomes absolutely unnecessary. 
 
 12. The Contra-Bassoon and Contra-Sarruso- 
 I)hone are written an octave above the actual sounds, 
 like the string Double-Bass. 
 
 13. In all, there are four different notations used 
 at the present time, as follows: — 
 
 I. Actual-sound Treble-clef: for the typical 
 instrument of each family (Sopranos in C). 
 
 II. Transposing Treble-clef: for the instru- 
 ments tuned higher or lower than the Soprano 
 in C, except the non-transposing instruments, 
 indicated Ijclovv (notation III). Occasionally 
 the transposing treble-clef is changed to trans- 
 posing bass-clef, as in the case of the Horns 
 and Bass-Clarinets in Bb and A and Contrabas 
 Clarinets in F and E'?. (See Introduction.) 
 
 III. Actual-sound Bass-clef: for the mid- 
 dle- and low-\oiced non-transposing instru- 
 ments: — Bassoon, Sarrusophone, Tenor and 
 Bass Trombone, Bass and Contrabass Sax- 
 horns, B>-, E>- and BB;>-Tubas and Contra- 
 bass Clarinet in C. 
 
 'In France and Belgium, however, the transposing bass-clef notation is still used for the low-voiced Sa.xhorns (see Introduction, 
 page 19). 
 
 *The middle-voiced instruments — Bassoon, Sarrusophone, Tenor Trombon; and B>-Tubi — jccasionally change to actual-sound 
 tenor-clef. 
 
 [39 1
 
 40 
 
 WIND INSTRUiVIENTS 
 
 IV. Octave Bass-clef: for the Contra-Bas- 
 soon, Contra-Sarrusophone and occasionally 
 the Contrabass Clarinet in C 
 14. Included in the following illustration (page 41) 
 
 are the transposing instruments which are mostly 
 in use at the present time. The unison passages, 
 transcribed for these instruments from the piano 
 score, will show their respective notation. 
 
 EXPLANATORY NOTE 
 
 The Trumpets (in El? and F) and the Horns (inEl> 
 and F) correspond in their tuning to the Altos and 
 Baritones respectively; but, owing to their com- 
 pass extending to the highest harmonics (see table, 
 page 71), and to avoid many added-line notes above 
 the staff, the notation for these instruments has been 
 
 placed an octave lower than the regular transposing 
 notation used by all the other valve instruments; 
 their transposition, therefore, corresponds to that of 
 the instruments vcficed an octave higher, viz.: the 
 Sopraninos and Altos. 
 
 'The actual-sound bass-clef notation is much preferred by the players of the Contrabass-Clarinet (rather than the octave nota- 
 tion), as it obviates the difficult reading of the many added leger-lines in the high rogister or the necessity of changing to the 
 auxiliary tenor-clef.
 
 41 
 
 The Treble- Clef Transposing Instruments (mostly in use) 
 Playing in the Key of F-major in Unison with the Piano 
 
 Db Piccolo 
 
 C Piccolo 
 
 .ifSOPRANINOS 
 '^\Small Flute 
 
 P fSOPRANINOS 
 L Trumpet 
 
 Eb 
 
 SOPRANINOS 
 
 Small Flute 
 
 Trumpet 
 
 nl> Flute 
 
 $ 
 
 JPJJg^ 
 
 miuor 9th 
 
 octav.' 
 
 miuor 6th 
 
 perfect 4th 
 
 minor 3rd 
 
 minor Zad 
 
 PIANO 
 
 ( rf !■ i h.}fll 
 
 [ffm J^^^i 
 
 fmPhiirf 
 
 
 \r^^^ — H 
 
 
 actual souuds 
 
 r SOPRANOS (' Oi 
 
 Bb MEZZO-SOPRANOS ^ ^ ^ 
 
 Cornet 
 
 Trumpet 
 
 ANOS 
 let 
 pet 
 
 r SOPRAN( 
 
 Cornet 
 
 |_ Trumpc 
 
 r ALT 
 
 Eng-lis 
 
 L /A> 
 
 LTOS 
 sA Horn 
 r/i 
 
 El,[ 
 
 ALTOS 
 Horn 
 
 Bb 
 
 TENORS 
 
 Ileckelphone 
 
 Buss Trumpet 
 
 TENORS 
 
 BARITONES 
 
 BASSES 
 
 Bass Trumpet 
 
 Eb BARITONES 
 
 W^^^4^ 
 
 sfe 
 
 ^ gJT^i^E^ 
 
 g£B 
 
 } |*B 3^^ ^g^^ l^ 
 
 ?=¥^ 
 
 ^=^ 
 
 major 2nd 
 
 minor 3rd 
 
 perfect 5th 
 
 major 6th 
 
 octave 
 
 major 9th 
 
 major 13th 
 
 B.M.Co.6244
 
 42 
 
 WIND INSTRUMENTS 
 
 15. It is most necessary that the instrumentator 
 know how to write and read fluently the notes of 
 the transposing instruments in their actual sound. 
 For this indispensable acquirement the following 
 method is the most correct and practical one: — 
 
 The 3rd space-C on the treble-clef 
 
 establishes a point-of-departure note for the seven 
 guide-clefs, to be used in reading and writing the 
 
 parts for the transposing instruments. This note 
 (C)' will be read in the soprano-clef as A when 
 the transposing instrument is in A or A-flat; it will 
 be read in the tenor-clef as B when the instrument 
 is in B or B-flat; it will be read in the bass-clef as 
 E when the instrument is in E or E-Hat, etc. 
 
 16. The seven clefs which are used in reading 
 or writing, in actual sounds, the parts of any trans- 
 posing or non-transposing instrument, are as 
 follows: — 
 
 G-clef 
 
 Treblt 
 
 Clefs and point 
 of departure note 
 
 Intonation 
 of Instruments 
 
 in C 
 
 C -clefs 
 
 F- clefs 
 
 Soprano Mezzo-Soprano Alto 
 
 Tenor 
 
 Baritone 
 
 Bass 
 
 in A 
 OT AI> 
 
 W 
 
 in F 
 
 in D 
 
 1 
 
 m 
 
 also the non-trans- 
 posing middle voicec 
 instrumeats 
 
 in <y 
 
 mEoiElf 
 
 also the non-trans- 
 posing low- voiced 
 instruments 
 
 Observe the order of the notes in descending 
 thirds: When the transposing treble-clef changes 
 to the transposing bass-clef — as in the Bass Clar- 
 inets in Bb or A; or the Horns, etc. — to read in 
 actual sound, one should use as guide the preceding 
 clef (in the above table); e. g., for the lowest notes 
 of the Horn in F, written in bass-clef, use, as guide, 
 the soprano-clef (which precedes the mezzo-soprano). 
 
 17. The key-signatures of the transposing instru- 
 ments are readily determined in the following 
 peculiar manner: — - 
 
 The number of accidentals contained in the key 
 of the instrument's intonation is deducted from 
 the key-signature of the piece. For example, re- 
 ferring to the preceding table, page 41: — The in- 
 struments in A (which bear three sharps less or three 
 flats more) in the key of F have three flats more — 
 
 equivalent to the key of A-flat major. The instru- 
 ments in B? (two flats less or two sharps more) in 
 the key of F, one flat less plus one sharp — equiva- 
 lent to the key of G-major. The Df? Piccolo (five 
 flats less or fi\e sharps more) in the key of F, one 
 flat less plus four sharps — equivalent to the key of 
 E-major, etc. 
 
 18. Now it remains to consider the changes in 
 the accidentals throughout the piece, which appear 
 when, by the use of the guide-clef, the notes are 
 called in actual-sound; and this, also, is very simple: 
 — Those notes which in the natural scale of a trans- 
 posing instrument result fiat or sharp, when in a 
 modulation bear accidentals, are sharped by ^ or 
 flatted by b? when that scale is in sharps; they are 
 sharped by •>!• or flatted by ^ when that scale is in 
 flats. 
 
 'Tlic practice ol Solfeggio, in this connection, is of great advantage, i.e. to sing the notes in their actual sound by using the 
 syllable system: Do, Re, Mi, Fa, Sol, La. Si (see page 36): thus ths pDint-of-departuro note. Do, will be La (soprano-clef) for the 
 instruments in A or A?; Si (tenor-clef) for instrum ents in B or Bl>, etc.
 
 THE TRANSPOSING WIND INSTRUMENTS 
 
 43 
 
 Examples 
 
 For an instrument in A which contains in its intonation-key F-sharp, C-sharp and G-sharp, these three 
 notes (if altered throughout the piece) on the guide-clef will result as follows: — 
 
 Instrument in A 
 Soprano Guide-clef 
 
 Actual Soprano-clef 
 
 Point of -pi 
 
 J ^, departure note ^ ~ 
 
 Ml. 
 
 A gepanure Dote -^ 
 
 W^ 
 
 Hrii l^t> j{ti — xt 
 
 \>]nt l>n t ] »i ^It 
 
 G- 
 
 l>»i t]ii |ii itti 
 
 l>i?o t > o \\f> j|o 
 
 po bo io wo 
 
 For an instrument in B? which contains in its intonation-key B-fiat and E-fiat. these two notes will result 
 as follows: — 
 
 Point of 
 jj /■, departure note 
 Instrument in B-flat |5^ 
 Tenor Guide -clef [<T»- 
 
 Actual Tenor-clef 
 
 & 
 
 t^ 
 
 ^ (ii) 
 
 B 
 
 Wt l] ti f 
 
 ti gn- 
 
 Mmi Imi l^tl ~^ 
 
 ,E 
 
 90 \{o | « 
 
 pyo po Ijo ^ < 
 
 For an instrument in Eb, w-hich contains, in its intonation-key B-flat, E-flat, and A-flat, these three notes 
 will result as follows- — 
 
 Point of 
 J >departare note 
 Instrument in E-flat l / f (r iy ' 
 Bass Guide-clef 
 
 i 
 
 B 
 
 E- 
 
 Actual Bass-clef 
 
 ^P^ 
 
 PO ho to KO 
 
 t>l>o t>o [)o ^ «^ 
 
 t»«l t|tl j^t» «n 
 
 )i[ni \n% t)ti j|»» 
 
 l>" tl" h 
 
 Mill bti l ^ti :^ 
 
 It follows, of course, that the alterations of the 
 accidental-notes occur throughout all the octaves. 
 
 The other notes — those which are natural in the 
 intonation-key of the instrument — whenever they are 
 chromatically altered in the piece, would l)e similarly 
 affected on the guide-clef lay the same accidental. 
 
 It must be understood, however, that this is 
 simply a guide by which to read and write (in actual 
 sounds) the parts of the transposing instruments, 
 as the se\'en guide-clefs used are by no means all 
 correct in their octaves. By applying these clefs 
 to the illustration on the transposing instruments 
 
 (page 41) the student will observe that the alto 
 guide-clef of the D-flat Piccolo sounds two octaves 
 abm>e the actual alto-clef; the mezzo-soprano 
 guide-clef of the Truinpet in F sounds an octave 
 above the actual mezzo-soprano-clef; the tenor 
 guide-clef of the Bl>-Sopranos also sounds an octave 
 above the actual tenor-clef, etc. 
 
 Among all the transposing instruments referred 
 to, only the guide-clefs of the Sopranos in A, Altos 
 in F, Tenors in B'7 and Baritone in Eb, correspond, 
 in the correct octave, to the respective actual clefs 
 of soprano, mezzo-soprano, tenor and bass.
 
 CHAPTER III 
 
 THE CLARINETS 
 
 (Keyed Cylindrical Tube Instruments) 
 
 (a) Types of Instruments and Notation 
 
 19. There are five distinct groups of Clarinets 
 made today' — all being cylindrical-tube and single- 
 reed instruments: 
 
 (1) Sopranino Clarinets 
 
 (2) Soprano Clarinets 
 
 (3) Alto Clarinets 
 
 (4) Bass Clarinets 
 
 (5) Contrabass Clarinets 
 
 20. The Soprano in C, the typical instrument of 
 the family, is written in the treble-clef, actual 
 sound. 
 
 For the Sopraninos, Sopranos in Bb and A and 
 Altos, the transposing treble-clef notation is used 
 exclusively. 
 
 For the Basses, both the treble- and bass-clef 
 transposing notations are used, with the exception of 
 the bass-clef for the Bass-Clarinet in C, which cor- 
 responds to the actual sounds. 
 
 For the Contrabass Clarinet in C the notation in 
 actual sound Bass-clef is preferable (see foot-note, 
 page 40) ; the octave notation — the same as for 
 String Double-bass — is also frequently used. 
 
 Various notations are employed for the Contra- 
 bass Clarinets in F, Eb and Bb — these are given in 
 the Introduction (page 13). 
 
 (b) Harmonic Series and Scale 
 
 21. The first part of the scale on the Clarinets 
 is produced by opening successively, from the bell- 
 joint upward, a number of holes, some of which are 
 covered by the fingers of the player and others by 
 keys. This first part comprises nineteen semi- 
 tones, which are all fundamentals (1st partial-tones) 
 of the harmonic series as follows: — 
 
 Fundamentals 
 
 Commencing from 
 
 for which note 
 
 all the holes are again covered, a second, ascending 
 succession of nineteen semitones is produced with 
 the same fingering^ of all the corresponding funda- 
 
 mentals, but with more air-pressure on the reed; 
 thus giving, instead of the 2nd harmonics, the next 
 nearest partial tones of unequal number, viz., 3rd 
 harmonics, which are a 12th above the funda- 
 mentals: — 
 
 'See figures on page 51. 
 
 'The typical instrument. 
 
 '.■Mso called Bassett-Horn (see page 12). 
 
 On the Clarinets, and some others reed-instruments also, the emission of harmonics is facilitated by the opening of a small hole 
 near the reed-joint, with the so-called "speaker-key" or "vent-key". Some instruments, as the Oboe, the Saxophones, etc., have a 
 second speaker-key for the highest harmonics. 
 
 [44]
 
 THE CLARINETS 
 
 45 
 
 3rd harmonics 
 
 j j J J U hi J ti i ri J ^ 
 
 Fundamentals 
 
 1= ^^ ^ ^ ^ f* 
 
 With further augmentation of the air-pressure the next harmonics of uneven number are obtained, viz., 
 the 5th and the 9th (the 7th harmonics, being impracticable in the equal-temperament scale, — -see page 37 — 
 are not used) : — 
 
 ~5th harmonics . 
 
 Fuiidaoientals . 
 
 9th harmonics 
 
 d i 4 i 4 i i 
 
 Fundamentals 
 
 22. From 
 
 upward, however, this "natural" fingering is not observed in most of the 
 
 notes; instead, "a.iiticial" fingering is used to facilitate the emission of the sound, or tJ impx-uve the tone- 
 quality and intonation (see foot-note No. 3, page 52). 
 
 (c) Technique 
 
 23. The scale of the Clarinets is divided into five registers: — 
 
 low register 
 'CAalumeau" 
 
 
 
 
 intermediate 
 
 . J 
 
 
 middle reg-ister 
 "Clarinetto" 
 
 .•••'^ 
 
 
 high register 
 \^^ 1 
 
 
 extreme 
 
 a it. 
 
 CF.-- 
 
 Each register possesses characteristics of its own : — 
 
 24. The low register Chalumcan is very sonorous, 
 mellow and a little na.sal ; excellent for special effects, 
 such as tremolo, sustained notes, slurred arpeggi 
 etc., and it is the easiest register to execute. 
 
 25. The intermediate register is the weakest 
 part of the instrument. It is suitable for soft 
 rhythmical accompaniments or "dying away" di- 
 ininuendi. In out-of-door music, this register is 
 particularly suited to reinforce the low register of 
 the I'lute — and in oilier like instances. Quick pas- 
 sages on the last three ^ ■ = =: 
 notes of this register, (tS U" 4 ^ 
 
 ^ 
 
 should be a\'C)i(Ied as mucli as possible, especially 
 in solo passages or cadenzas. 
 
 26. The middle register, Clarinetto, is by far 
 the best part of the scale — clear, sweet, but pene- 
 trating and xery expressive. Upon it the instru- 
 mcntator can depend in e\ery instance, throughout 
 all the various modes of expression employed in com- 
 position: from the placifi, whispering {sotto voce) to 
 the most elaborate, animated passage, either legato 
 or staccato. The superb qualities of this register 
 are sufficient to gi\e the clarinets the first place 
 among the wind instruments.
 
 46 
 
 WIND INSTRUMENTS 
 
 27. The high register is distinctly more reedy' 
 than the middle-register — the clarinello — but it is 
 very good and effective in its character, and it is 
 possible on all the Clarinets except the Contrabass, 
 which can only reach the first four semitones: 
 
 "■O- 1^ — " — actual sounds for the Con- 
 
 * J' tral)ass Clarinet in C. 
 
 IS. The extreme register possible only on the 
 Soprano and partly on the Sopranino Clarinets is 
 more or less shrieking, according to the proficiency 
 of the performer. This register is only employed 
 in Clarinet Concertos, or other Clarinet Solos, but 
 not in orchestra or band parts, save the occasional 
 use of the first two or three semitones in a tiilti- 
 fortissimo of the band, when it occurs, to avoid the 
 breaking of a high melody, or passage, in the first 
 Soprano Clarinets. 
 
 The entire compass and notation of the different 
 Clarinets is given in the Introduction, pages 12 
 and 13, and further, 34 and 35. 
 
 29. The Sopranino and Soprano Clarinets are 
 as agile in execution as the Flute, almost approaching 
 the Violin in velocity, both in legato and staccato 
 passages, and in scales, arpeggi, fingered-tremolo, 
 trills, etc. 
 
 These possibilities in the technique of the Clarinet 
 are especially displayed in band music where the 
 
 Soprano Clarinets, together with the Sopranino excel 
 in the principal part, as do the Violins in the or- 
 chestra. - 
 
 30. The other Clarinets — Alto, Bass and Contra- 
 bass — although the fingering is the same, the greater 
 their size, the less adaptable are they to agile 
 articulation, as the low tones are produced with a 
 lesser number of vibrations to a second than the 
 high tones; that is to say, the tones of the low-voiced 
 instruments vibrate slower, and, therefore, are 
 heavier and thicker than the more rapidly vibrating 
 tones of the higher-voiced instruments, thereby 
 losing in tonal-flexibility. — This also applies to 
 every family of musical instruments. 
 
 There are limitations and difficulties in the rapid 
 execution of some intervals of the Clarinets. 
 
 31. In general, it is to be remembered that 
 passages formed of octave-skips are difficult on the 
 cylindrical instruments — the Clarinets — as their 
 fingering changes in each octave; whereas such 
 passages become easier on all the conical instruments 
 — Conic-wood and Brass, for they naturally over- 
 blow to the octave, retaining the same fingering 
 throughout. For instance: the following passage, 
 which is easy in execution for a Flute, a Saxophone 
 and even for a Saxhorn, is quite difficult for the 
 Clarinets — almost impossible in an allegro move- 
 ment: — 
 
 # 
 
 ^ 
 
 ^ 
 
 A 
 
 -^^ 
 
 ^ 
 
 i^ 
 
 J JJ -VJ'' ^ J^'^ 
 
 ^ 
 
 This difference in the matter of easy and difficult 
 execution between cylindrical and conical instru- 
 ments appears in the octave skips only; throughout 
 the other intervals all the keyed instruments (cylin- 
 drical or conical) are subject to about the same 
 degree of difficulties according to the width of the 
 interval, its fingering and rapidity of execution. 
 
 32. It is of prime importance in scoring to make 
 sure that the trills and tremolos used are all prac- 
 ticable. In transcriptions from orchestra to band, 
 
 especially where the Clarinets are given (in fingered- 
 tremolo) both the fingered and bowed tremolo of 
 tiie strings, instances frequently appear, which, 
 by the bad effect they produce, give evidence of the 
 instrumentator's lack of technical knowledge in 
 this particular. 
 
 One has no plausible reason to give in excuse of 
 such errors when, as in the case of band-scoring, 
 he has at his disposal entire families of instruments 
 to which he can distribute in many ways the tremolo- 
 
 'Generally speaking this reedy quality of the high register occurs with the average Clarinet players, but today there are many 
 skilled clarinettisls who can play quite evenly both the middle and high registers with a beautiful Clarinello quality. 
 
 -"The B? Clarinets are to the I\Iilitary-Band what the Violins are to the Orchestra. Indeed they are a good deal more, for where- 
 as in the upper register of the orchestra the wood-wind instruments can take their proper share of extended figures and melodic 
 passages, in the Military Band" (here meaning a band without Oboes and Saxophones), "the Clarinets alone can be used to give 
 adequate emphasis to the transliterations of these parts." ("Orchestration" by Cecil Forsyth. Mac.Millan & Co., London.)
 
 THE CLARINETS 
 
 47 
 
 div. ^^1 ^'^- * 
 
 chord. For instance, an A-major chord of the first V'iohns divisi: ly ^L-jlfj — ^ f^-r^i °^ ^ ^ (■> 
 
 be given to the Clarinet family in four ditiferent ways, with the following results: — 
 
 may 
 
 very difficult 
 
 pood 
 
 EbSopraninos 
 
 BbSopranos I 
 
 M 
 
 out of tune 
 
 veri/ bad 
 
 Bt>Sopranos I 
 
 Bb Sopranos II 
 
 bad 
 
 difficult 
 
 B1) Sopranos I 
 
 B? Sopranos II 
 
 g-ood 
 
 fairly good 
 
 B[) Sopranos 
 (I or II) 
 
 e!) Altos 
 
 good vtrygoud 
 
 In the tables on page 49 can l)e found at a glance 
 the various trills or tremolos possible for tiic Clar- 
 inets — the Sopranino, Soprano, Alto and I5ass 
 (Boehm-system), and the Contrabass (thirteen key, 
 Biiffel-syslem) — with special indications as to the 
 degree of their difificuiiy. 
 
 3>c>. These tables, and also those given in the 
 following chapter on the trills and tremolos of 
 the Conic-wood (pages 56 and 57) are the result 
 f)f careful experiments made, with the co-operation 
 of competent performers on instruments of the 
 most modern systems.
 
 48 
 
 WIND INSTRUMENTS 
 
 EXPLANATORY NOTE 
 
 In the following tables, the possible trills and tremolos are placed vertically, in squares, over each note of the entire chromatic 
 scale of the instrument, beginning with the minor second and ascending— the intervals indicated in parallel position at the left of 
 the tables. 
 
 Thcemptysquaresrepresent the easy trills and tremolos; the numbered squares represent the difficult or defective, and the 
 crossed squares represent the impracticable ones— according to the annotations accompanying the tables; for example: the' trills and 
 
 tremolos on 
 
 '"$ 
 
 of a Boehm-System Clarinet, result as follows: — 
 
 very not . 
 
 difficult difficult impossible in tune ' impossible 
 
 gv -gi W^ ^A 
 
 As a general rule, the smalLr intervals are always the best. 
 
 Certain intervals, like the minor and major seventh and the octave, though of possible execution, are excluded from the 
 
 tables because in any case of tremolo-effects it will be found unnecessary to make use of larger intervals than the 4th or 5th. 
 
 Remark:— Whi:n the Bass-clef notation is used for the Bass-Clarinet, the instrumentator will allow for the difference of an 
 
 octave between this clef and the written treble-clef in the table, thus, e.g., the first note of the seal 
 
 . i 
 
 will correspond to 
 
 a 
 
 # 
 
 (See Introduction, page 13.) 
 
 
 The actual sound bass-clef notation is uscd-for the Contrabass Clarinet in C.
 
 THE CLARINETS 
 
 49 
 
 Tables of Trills and Tremolos for the Clarinets 
 
 Explanatory.n 5-oorf. [T] difficult; [2] very difficult-^\to be avoided inpp; [4j defective intonation;^^ impracticable. 
 
 Clarinets: Sopranino, Soprano, Alto and Bass (Boehm System) 
 
 maj. 6th 
 min.6th(augm.5th) 
 perf. 5th 
 dim5th(augm.4th) 
 perf. 4th 
 maj. 3rd 
 min. 3rd 
 
 2 
 
 
 
 
 i 
 
 3 
 
 3 
 
 2 
 
 2 
 
 
 
 
 
 2 
 
 1 
 
 2 
 
 2 
 
 2 
 
 
 
 
 (These two tables compiled withthe kind sssls- 
 
 
 2 
 
 
 1 — 
 
 
 
 3 
 
 
 2 
 
 2 
 
 2 
 
 4 
 
 
 
 2 
 
 1 
 
 3 
 
 2 
 
 3 
 
 2 
 
 2 
 
 1 
 
 
 tciice uf Mr. M. Arey.of the Detroit SjxBfh' 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 X 
 
 4 
 
 
 2 
 
 1 
 
 2 
 
 3 
 
 3 
 
 1 
 
 
 3 
 
 1 1 
 
 
 3 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 2 
 
 2 
 
 X 
 
 4 
 
 1 
 
 1 
 
 3 
 
 a 
 
 3 
 
 
 
 
 1 
 
 
 
 3 
 
 3 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 1 
 
 
 1 
 
 3 
 
 
 1 
 
 
 3 
 
 2 
 
 3 
 
 
 
 
 1| 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 1 
 
 1 
 
 1 
 
 
 2 
 
 2 
 
 2 
 
 4 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 1 
 
 
 
 
 
 1 
 
 1 
 
 
 
 2 
 
 2 
 
 
 
 
 
 
 
 
 1 
 
 
 
 3 
 
 
 
 
 1 
 
 3 
 
 3 
 
 
 
 jTim. 2nd 
 
 
 
 
 
 
 
 
 2 
 
 
 1 
 
 
 
 
 
 4 
 
 
 1 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 4 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 ^ 
 
 i 1 ! i i 1 1 
 
 i — T-t — ^^ — r 
 
 1 — rr-t 
 
 =¥ 
 
 
 ^ 
 
 =4Mf= 
 
 %? 
 
 
 =^ 
 
 ^ 
 
 r¥ 
 
 f" 
 
 ¥ 
 
 A 
 
 tf^t^ 
 
 m 
 
 <L 
 
 * 
 
 m. 
 
 *y 
 
 P 
 
 i * p * )i* 
 
 hh^^y 
 
 ^5555:p5E 
 
 ? 
 
 J ')H-' 7:^:1 i'l^iitdi 
 
 -H- 
 
 Alt 
 
 and Bass 
 
 —4 — 1 — 1 — , 
 
 1 — . — . — , — . — . — ,__, 
 
 
 
 
 Sopra 
 
 lino and Soprano 
 
 
 Contrabass Clarinet in Cthirteenkfvs: Buffet-svstem) 
 
 =, 
 
 "perf. 4th 
 
 maj. 3rd 
 
 jnin. 3rd 
 
 maj . 2nd 
 
 Lniin. 2nd 
 
 
 
 
 
 3 
 
 
 
 
 1 
 
 
 
 
 2 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 a 
 
 X 
 
 
 
 
 
 3 
 
 
 
 
 1 
 
 
 
 2 
 
 2 
 
 3 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 f^ 
 
 
 X 
 
 
 
 
 
 3 
 
 
 
 
 1 
 
 
 
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 3 
 
 
 
 
 
 
 _£ 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 H 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ;::::•*;: I I ' * •! I * I * I i t : * i * : i i : i 
 
 
 -^'MM' 1' 1' 1^ 1: 1' 1' I: 1' lii ILIiJ 
 
 
 3 
 
 g 
 
 ia 
 
 T=tf1^ 
 
 3^^E^ 
 
 WW' 
 
 :yf4=? 
 
 
 (1) Avoid tremolos ou intervals larger than per feet 5th for the Alto and Bass Clarinets. 
 
 B.U.Co ea44
 
 50 
 
 WIND INSTRUMENTS 
 
 (d) Quality of Tone 
 
 34. The tone of the Clarinets is the most beautiful 
 of all the wind-instruments; rich, expressive and 
 penetrating; suited to portray great diversity of 
 emotional moods; — joy, love, tenderness, plaintive- 
 ness, grief, despair, dismay, etc. — according to the 
 different registers of each of the five instruments of 
 the family, used in all the various dynamic degrees 
 from pianissimo to fortissimo. 
 
 35. Another quality in which the Clarinets excel 
 over all the other instruments is their great tonal 
 flexibility. Thus the Clarinets can be adapted to 
 any desired effect, expressing with the same facility 
 the whispering of the lightest breeze and the fury 
 
 of the hurricane. "No other instrument has so 
 complete a command of -==: ^=- as the Clari- 
 net. This applies to the whole of its compass, and 
 to all the instruments of the Clarinet family. In 
 especial, the Clarinet ppp is the nearest attainable 
 approach to 'nothing at all' in the wind depart- 
 ment."^ 
 
 36. Such qualities in the tone of the Clarinets 
 have placed these instruments in the most prominent 
 part of the band ensemble, viz.: the section which 
 corresponds to that represented by the strings in 
 the orchestra. 
 
 This important role of the Clarinet family is 
 more e.xtensively dealt with in Parts II and III. 
 
 •"Orchestration" by Cecil Forsyth.
 
 THE CONIC-WOOD 
 
 53 
 
 EXPLANATORY NOTE 
 
 The fundamentals are written in whole notes and 
 the harmonics in half-notes, under which the proper 
 generator (or fundamental) is indicated. 
 
 The low quarter-notes are obtained with the length- 
 ening of the tube by closing, with special keys, certain 
 large holes near the bell, and the high quarter-notes 
 in the Saxophones and Bassoons are produced by open- 
 ing small holes near the mouthpiece-joint. 
 
 The scale may be divided simply into low, middle, 
 and high register. 
 
 The low register separated by bracket, thus: 1 
 «s sonorous, but of little carrying power. 
 
 The middle register between the brackets, thus: ][ 
 forms the most sonorous part of the scale, respond- 
 ing easily to every dynamic degree from pianissimo 
 to fortissimo. 
 
 The high register, separated by a bracket, thus: [ 
 is generally thin in tonal quality. 
 
 Several of the extreme low and high notes in these 
 scales are possible, but very difficult in some instru- 
 ments of the family and impossible in others. For 
 the sake of clearness, indications of such notes are 
 omitted in this table, referring the student to the 
 table of "The Band Instruments," on pages 34 and 35.
 
 64 
 
 
 O 
 
 
 P 
 
 
 ^ 
 
 
 O 
 
 
 •a 
 
 
 o 
 
 
 Q 
 
 
 C/) 
 
 
 -4-* 
 
 C/) 
 
 G 
 
 QJ 
 
 O) 
 
 "3 
 
 
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 ;3 
 
 (/) 
 
 U. 
 
 
 -4-» 
 
 '^ 
 
 C/3 
 
 c 
 
 c 
 
 cd 
 
 H-H 
 
 t/) 
 
 (D 
 
 <i> 
 
 ^ 
 
 •1-^ 
 
 ;3 
 
 <D 
 
 ^ 
 
 CO 
 
 .— H 
 
 
 Cd 
 
 o 
 
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 • »-^ 
 
 • 1-H 
 
 c 
 
 c 
 
 o 
 
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 s 
 
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 u, 
 
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 (D 
 
 
 ^ 
 
 
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 ;— C(l 
 
 -(Ml 
 
 l£0-*ll| 
 
 ) u. 
 
 -*l 
 
 --* 
 
 L- 
 
 '-nfcll 
 
 -Til 
 
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 ~'i > t^ 
 
 
 
 —* 
 
 — *l 
 
 
 u 
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 BS 
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 CQ55W 
 
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 ,5 
 
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 << 
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 be 
 
 be 
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 9I0q-J8i3JBT 
 
 paaj-3iJJn!S 
 
 pooj-oiqnoa 
 
 o 
 O
 
 THE CONIC-WOOD 
 
 55 
 
 (c) Technique 
 
 41. The keyed-conical tute instruments vary in 
 agility of tone-production according to tiieir moutii- 
 piece. 
 
 The lateral-hole instruments (Flutes and Piccolos), 
 being the quickest and easiest for attacking and 
 producing the sounds, are the most agile in this 
 section. They are unsurpassed in trills, rapid 
 passages formed on scales or skips — slurred or 
 staccato, in single- double- or triple-tonguing. 
 
 The single-reed instruments (Saxophones) come 
 ne.xt in facility of technique, and last, the double- 
 reed instruments (Oboes, Bassoons and Sarruso- 
 phones) which, although they allow of great possi- 
 bilities in the hands of some virtuosi, are, neverthe- 
 less, the most difficult among the keyed instruments, 
 and the prudent instrumentator will never risk em- 
 plo\'ing them be\'ond the limit of medium velocity. 
 
 Generally speaking, with regard to each group of 
 different mouthpieces — as already said of the Clari- 
 net family (paragraph 30), — the smaller instruments 
 are, by nature, the most agile in tone-production 
 
 42. In the score examples of Part II and III, the 
 student will find practical illustrations of these hints 
 regarding the "Conic-wood." But the diligent study 
 of classical orchestral works is also indispensable for 
 acquiring sufficient knowledge of the possibilities of 
 these instruments. 
 
 It is essential, that the student always bear in 
 mind certain limitations, beyond which the tech- 
 nique of each instrument fails to function; these 
 are especially the emission of high and extreme 
 notes — ^already indicated in the Introduction (pages 
 34 and 35) — and the execution of certain fingered 
 tremolos and trills. 
 
 43. In the following tables (pages 56 and 57) the 
 student will find a complete account, easy to refer 
 to, whenever he employs the conic-wood instruments 
 in trills or tremolos.' These tables are compiled in 
 the same manner as those given for the trills and 
 tremolos of the Clarinets; the student, therefore, is 
 referred to page 46, paragraphs 32 and 33, and sub- 
 secjuent explanatory note (page 48), where the 
 correct use of the tables is duly explained. 
 
 'The following tremolos, which are difficult or impracticable on the ordinary Boehm-FIute (as given in the Flute table) can how- 
 ever, be easily played on the Boehm-FIute with the special C-sharp trill-key, made by Wm. S. Hayncs Co., Boston, Mass. 
 
 4=^=^ 'V' i' ■ ' y i'
 
 B« 
 
 WIND INSTRUiMENTS 
 
 Tables of Trills and Tremolos 
 for the most used Keyed Conical Tube Instruments 
 
 ixpUDitOTy:\\g-ood;\l\dif/icult; Z oery difficult ;\3\ to be avoided inpp; [4~| defective intonation; [)() impracUeablt. 
 
 Flutes and Piccolos (Boehm System) 
 
 maj. 6th 
 
 1 
 
 
 1 
 
 3 
 
 3 
 
 
 (Compiled with the kind assistance of Mr.C.K. North, 
 
 min.6th(augin.6th) 
 
 3 
 
 
 
 1 
 
 
 3 
 
 
 of the Detroit Symphony Orchestra) 
 
 perf. Bth 
 
 
 a 
 
 
 
 1 
 
 
 
 
 
 
 2 
 
 
 2 
 
 
 
 dim.t>th(augm.4th) 
 
 
 
 a 
 
 
 
 2 
 
 
 
 
 
 
 
 2 
 
 1 
 
 2 
 
 
 
 perf. 4th 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 X 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 maj. Srd 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 4 
 
 
 
 
 
 
 2 
 
 
 4 
 
 S 
 
 
 
 min. 3rd 
 
 X 
 
 4 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 2 
 
 
 3 
 
 4 
 
 3 
 
 3 
 
 
 
 
 TrillsP'^J" ^"^ 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 » 
 
 3 
 
 
 min. 2nd 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 S S 
 
 ^ 
 
 i :— ; ! !- — 
 
 1 — 
 
 1 — 
 
 -n — 
 
 ' it !l — ' 
 
 
 u 
 
 ^ 
 
 te 
 
 \ ■ i ■ \-= 
 
 -« 
 
 Ite 
 
 a 
 
 , — -.--i — 1 — , 
 
 — , 
 
 
 
 : " : Piccolo 
 
 : Flute 
 
 Oboe and English Horn (Pans Conservatory System) 
 
 maj. 6th 
 min.6th(aDgm.5th) 
 perf. Bth 
 dim.5th(augm.4th) 
 perf. 4th 
 maj. Srd 
 min. Srd 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 (Compiled with the kind assistance 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 Lenoo^of the Boston Symphony Or 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 1 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 1 
 
 1 
 
 4 
 
 
 
 rmai 2nd 
 
 Trills . „ ^ 
 
 min. 2nd 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 X 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 1 
 
 
 h 
 
 N M M i M M M MJ Ui.joUJ^iH^W^^NN 
 
 i 1 ! 1 1 1 1 1 1 tt II ;I Ih-I lllttll! OI^'lH"! IB ; 1 ! 1 : ! 1 ! : 1 1 
 
 c 
 
 ^ 
 
 English Horn ! 
 
 
 -Ob 
 
 pe _ _ 1 
 
 B.M Co.«*44
 
 THE CONIC-WOOD 
 
 67 
 
 Tables of Trills and Tremolos 
 for the most used Keyed Conical Tube Instruments (Continued) 
 
 Explanatory: M ^oorf,-rij difficult; Vz\ very difficult A^ to be avoided inpp; [4] defective ititonation; ^Q impracticable. 
 SaXOphoneSC'New improved System"- sixteen keys) 
 
 perf. 6th 
 
 
 
 
 3 
 
 3 
 
 3 
 
 
 
 
 
 (CoDipiledwiththekiDdas 
 
 dim.5th(augm.4th) 
 
 
 
 
 
 
 3 
 
 3 
 
 1 
 
 
 
 
 
 
 Mr.E.C.Gately.of Sonsa's 
 
 perf. 4th 
 
 X 
 
 2 
 
 
 3 
 
 
 
 3 
 
 
 3 
 
 2 
 
 
 3 
 
 
 
 3 
 
 
 
 
 
 
 2 
 
 
 
 maj. 3rd 
 
 3 
 
 X 
 
 
 
 1 
 
 
 
 
 
 
 3 
 
 
 3 
 
 
 3 
 
 1 
 
 
 
 
 
 
 X 
 
 
 
 
 min. 3rd 
 
 X 
 
 3 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 Trills P'^j- 2'"» 
 min. 2nd 
 
 
 X 
 
 
 X 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 X 
 
 
 ^ 
 
 M 1 M 1 1,1 ,1,1 ,1 ,1 1 1 \Jx^J.f^i^rhk^rMrMf^ 
 
 W 
 
 w 
 
 lii 
 
 ^ 
 
 1^ 
 
 =^ 
 
 u 
 
 ^ 
 
 ofc 
 
 *i 
 
 -«L 
 
 
 ■^ 
 
 r 
 
 ^ 
 
 4= 
 
 ^ 
 
 ^ 
 
 -h 
 
 -1- 
 
 -1- 
 
 -4— 
 
 —1. 
 
 
 
 
 
 
 
 
 
 Bassoon and Contra-Bassoon 
 Sarrusophonecn oand Contra-Sarrusophone 
 
 > French System 
 
 Tremolos 
 
 Trills 
 
 (Compiled with the kind abbistance of 
 Mr. Domenico DeIledonne,ofth«St.Louis 
 Symphony Orchestra) 
 
 I Cootra-BasBooD and Contra- Sarrusophooe 
 jBassoon and SamsopfaoneOn C) 
 
 B.U.Co.(*4«
 
 58 
 
 WIND INSTRUMENTS 
 
 (d) Quality of Tone 
 
 44. It is difficult to give an adequate description 
 of the timbre of the various instruments. — There is 
 only one practical way of teaching a child to dis- 
 tinguish the colors red, blue and yellow, and that is 
 by a demonstration and identification for him of 
 these particular hues. And so it is with the tonal 
 quality of each of the various instruments. A 
 knowledge of them cannot be obtained by verbal 
 description. One must actually hear the sound 
 produced by the Oboe, Clarinet or Trumpet to 
 become familiar with the individual tonal-character- 
 istics of these instruments.^ 
 
 The following points on the conic-wood instru- 
 ments, however, will help to impress upon the 
 student's mind the quality of tone that he hears 
 whenever the occasion is offered to him.- 
 
 PlCCOLO: — Brilliant and hard in tonal-qualit>-, 
 suited for the depiction of joyous, festival 
 scenes; storm-effects; embellishments in march- 
 ing music and in octave-melodies in tiitti- 
 fortissimo. 
 
 Flute : — The sweetest-toned of all the instru- 
 ments: appropriate for the expression of happy 
 moods; soft whisperings of Nature sounds; 
 plaintive loneliness and sadness. 
 
 SAXOPHONES: — Mellow and penetrating tone of 
 veiled quality, partaking somewhat of the 
 Clarinet and English-horn, but much more 
 sonorous. 
 
 ObOE: — Thin and somewhat nasal tone; lyrical 
 and charming when piano, piercing when/or/e; 
 especially suited for portraying pensive, pas- 
 toral scenes, or lonely, melancholy moods. 
 
 English-Horn : — Smooth and rich quality of 
 tone, reminding one a little of the Alto voice. 
 For reminiscent moods, tragic or pathetic 
 
 scenes, it is unsurpassed by any other instru- 
 ment. 
 
 BASSOON: — Versatile in tonal-quality according 
 to the requirements of the mood for depiction. 
 Sustained legato passages in the low register are 
 either dignified, mysterious, solemn or pontif- 
 ical in character; in the medium register, sweet, 
 gentle and persuasive, somewhat resembling a 
 distant Baritone- voice; in the high register, thin 
 and plaintive. Staccato passages, when piano 
 and mezzo-forte are droll and sportive in their 
 effects, and grotesque when forte. The Bassoons 
 have less carrying power than any other wind 
 instrument. 
 
 Contra- BASSOON: — The lowest octave has a 
 tonal character peculiarly its own: it continues 
 homogeneously the downward compass of the 
 Bassoon, but the vibrations of its large double- 
 reed become slower and increasingly more 
 noticeable when descending the scale towards 
 the lowest fifth — the tones partaking of a 
 "drummy" effect and the intonation-pitch be- 
 coming very indistinct. The middle and high 
 registers resemble, more or less, the respective 
 low and medium registers of the Bassoon, but 
 lacking in delicacy. Very weak in carrying 
 power, like the Bassoon. 
 
 SarruSOPHONE: — Same tone-color as that of 
 the Bassoons, though a little thicker in quality, 
 but much more sonorous and of splendid 
 carrying power, thus rendering these instru- 
 ments excellent substitutes for the Bassoons 
 in outdoor music. 
 
 Contra-S.\RRUSOPHONE: — Same timbre as that 
 of the Contra-Bassoon, but much richer and of 
 great carrying power even when used out-of- 
 doors. 
 
 'See pasie 9, last paragraph. 
 
 'In addition, the student is recommended to read standard works upon instrumentation or orchestration, as Berlioz, Gevaert, 
 Forsyth, Widor, liofmann, Prout, etc.
 
 CHAPTER V 
 THE BIL\SS 
 
 (Cup Mouthpiece Instruments) 
 
 (a) Types of Instruments and Notation 
 
 45. At the present time, the brass instruments are 
 found in a great variety of models and shapes and 
 (excepting those which have a permanent place in 
 the orchestra, viz.: the Horns, Trumpets and Trom- 
 bones) the>' are known by the most diversified 
 nomenclature, and treated in infinitely varied com- 
 binations in the band scores of today. In order that 
 we may co-ordinate our ideas, and comprehend more 
 clearly the situation, it is necessary that we first 
 briefly consider the origin and evolution of certain 
 instruments which are more affected by the present- 
 day chaotic condition in terminology and usage. 
 These particular instruments are the SAXHORNS 
 and TUBAS. 
 
 46. The original family of the Saxhorns, invented 
 by Adolph Sax, in 1842, contained the following 
 seven different t\pes: — 
 
 (a) Sopranino in E? 
 
 (b) Soprano in Bt> 
 
 (c) Alto in E':> 
 
 (d) Tenor or Baritone in B> 
 
 (e) Bass in Bb 
 
 (/) Low-Bass in E'? 
 (g) Contrabass in B> 
 
 47. At the present time, instruments of tlie nature 
 of the Saxhorns are found in eight different types,' 
 namely : — 
 
 1. The Sopranino Saxhorn in Eb or its fac- 
 simile, the E>-("ornet, or Piston iir Ei?; same 
 as the original Sopranino (a). 
 
 2. The Soprano Saxhorn in B> or its fac- 
 simile, the B>-('ornet with conical-tube and 
 Saxhorn-moutii|)iece; tut)ing comparatively 
 small — of practically the same diameter as 
 
 that of the Sopranino but of the length of the 
 original Soprano (b). 
 
 3. The Mezzo-Soprano Saxhorns in B? or its 
 fac-simile, the Flugelhorn or Bugle; tubing of 
 the same length as that of the original Soprano 
 (b), but slightly larger. 
 
 4. The Alto Saxhorn in E? practically the 
 same as the original (c). 
 
 5. The Tenor Saxhorn in Bb practically the 
 same as the original (d). 
 
 6. The Baritone Saxhorn in Bb practically 
 the same as the original (e). 
 
 7. The Bass Saxhorn in E? practically the 
 same as the original (/). 
 
 8. The Contrabass Saxhorn in Bb practically 
 the same as the original (g). 
 
 The foregoing nomenclature is the most appro- 
 priate to the modern instruments, and will greatly 
 aid in the correct employment of this family of brass 
 instruments. 
 
 48. The Saxhorns are, or are supposed to be, in- 
 struments with a bell-cup mouthpiece (figure B, 
 page 65) and short conical-tube, all ha\ing three 
 valves — the additional fourth vaKe being quite im- 
 practicable on instruments of marked conical-tube. 
 
 49. The first four Saxhorns — Sopranino, Soprano, 
 Mezzo-Soprano and Alto- — -are of horizontal or 
 Bugle shape, and the last four — Tenor, Baritone, 
 Bass and Contrabass — of vertical or Ophicleide 
 shape, preferably with the bell bent towards the 
 front (see page 77). This feature (the front bell) 
 in the vertical Saxhorns has proved to be very 
 efficient in preventing the retardation or the dragging 
 response so accentuated in the mellow-tone of these 
 large instruments. 
 
 The last two Saxhorns are also made in circular 
 form, thus to render them more portable for 
 
 'See figures on pages 76 and 77. 
 
 '.Alto Saxhorns of vertical shape, known as "Kl>-Altos," are also used in some bands; often they take the parts of the 
 El>-Horns, in absence of these instruments (.see page 32). 
 
 (61]
 
 62 
 
 WIND INSTRUMENTS 
 
 marching; in this model, also, the bell is bent 
 toward the front (see page 78). 
 
 50. The Sopranino Saxhorn is not generally used, 
 except in Fanfare' (Brass Band) — because of the 
 difficulty of its intonation, very few cornetists are 
 willing to play this instrument. The modern So- 
 prano Saxhorn (the Bb-Cornet), however, — the high 
 notes of which being much easier to obtain than the 
 Sopranino's — reaches with almost the same facility 
 the compass of the latter instrument, thus bringing 
 to nought the only raison d'etre of the Sopranino. 
 Apart from the high notes in its compass, the So- 
 pranino possesses no superiority over the Soprano, 
 wither in its tonal quality or possibilities of tech- 
 nique. Moreover, the low register of the Soprano 
 (five additional semitones) is lacking entirely in the 
 compass of the Sopranino. The gradual disuse of 
 the little Saxhorn is therefore not surprising. 
 
 51. Aside from the Sopranino, all the other Sax- 
 horns, from the Soprano downward — either as 
 complete or incomplete family — are used in ev'ery 
 civilian or military band in all countries. 
 
 52. There are other instruments in use today 
 which are simply modifications of the Saxhorns, and 
 for this reason they are considered, and described 
 in most works upon instrumentation, as such. It 
 is better, however, to distinguish these modified in- 
 struments from the real Saxhorns by designating 
 them with the name — which they have acquired in- 
 ternationally — of TUBAS,- thereby obtaining a 
 
 definite designation for that section of the Brass 
 which may or may not be employed by composers 
 and bandmasters, according to the requirements of 
 the organization. 
 
 53. The family of Tubas used today contain the 
 following five instruments: — • 
 
 Alto Tuba in Eb derived from the modern Sax- 
 horn, No. 4 (i^age 61). 
 
 Tenor Tuba in B'> derived from the modern Sax- 
 horn, No. 5 (page 61). 
 
 Baritone Tuba in Bb' (generally known as 
 Euphonium) derived from the modern Saxhorn, 
 No. 6 (page 61). 
 
 Bass Tuba in F or Eb derived from the modern 
 Saxhorn, No. 7 (page 61). 
 
 Contrabass Tuba in C or Bb derived from the 
 modern Saxhorn, No. 8 (page 61). 
 
 54. The difference between the Saxhorns and the 
 Tubas consists in the latter having a deep bowl-cup 
 mouthpiece'' (see figure C, page 65); a tube which is 
 about one-third its length cylindrical and two-thirds 
 conical; four valves and bell straight upright. 
 
 In consequence of these differences, the Tubas 
 produce a tone of a lighter shade, — something 
 between the Horn and the Trombone,— whereas the 
 mellow-tone of the Saxhorns pertains to the darker 
 shades of all the brass instruments. 
 
 It is therefore necessary to make a distinction 
 between the Saxhorns and Tubas when employing 
 these instruments in the modern band score. 
 
 'In Italy, the Sopranino Saxhorn has been introduced of lite in the Infantry Ban J in place of the Cornel Soloist. In France and 
 Belgium some large Military Bands and Fanfares also use the Sopranino Saxhorn, but not as a solo instrument. 
 
 =The Saxtrombas, instrument invented by Adolph Sax towards the middle of the nineteenth century— which never reached inter- 
 national popularity and soon became obsolete^are described as possessing approximately the characteristics of the modern Tubas. 
 The intonation, harmonic-series and scale of the Saxtrombas are the same as on the original Saxhorns (Paragraph 46). In addition, 
 however, a little Sopranino (Super-acute Saxtromba in B?), tuned a perfect fifth above the Eb Sopranino Saxhorn, completes the 
 family of the Saxtrombas. The compass of this instrument is given by Gevaert ( Nouveau traite d' Instrumentation) as follows: 
 
 written 
 
 Super-acute Saxtromba in Bb 
 
 « 
 
 -I 
 
 i< 
 
 i 
 
 sound 
 
 -&- 
 
 Q. 
 
 'Alberto Franchetti emplovcd in his opera Germn«ia four B^-Tubas (Euphonium^)— mdicated as Tubas i» C— and on3 Bass Tuba. 
 
 'The Tuben that Wagner introrl.irod in the orchestration of the Rinz von Mhclun^cn were supposed to be pl.iycd with a Horn 
 mouthpiece; this the Master wanud, i resumablv, with the thought that these in^-trum.nts would bk-ml b.tter with the Horns, 
 Trumpets and Trombones, and also for nachint; the hii;h harmonics obtainable on the Horn, of which harmonics h- took a.ly.intagc 
 in the first combination of Tubas— two Ten ,r-Tuhcn inB (15-) and Wxo Bass-Tuhen in F. In fact, in this first combinatmn, W agntr 
 used the same notation of the resoective Horn in BS-Alto and Horn in F;— whereas f..r the second combination— two Tcnor-1 uhen 
 in E (Eb) and tno Bass-Tuben in B (Bb)— he used the same notations as for th.- Alto and Tenor-Saxhorns, to which they correspond 
 (see Introduction, page 20). . . u- u u ■ i- » • .i 
 
 Wagner's idea of the Horn mouthpiece, however (as well as in the instance of his chanjiinj o, notation, which he indicates in the 
 score of W'alkiire as ■'ease of score-reading!") has not b:cn followed, for the simple rjason that it was impracticable, and now the 
 parts of these Tuben are played either with real Tubas or with Saxhorns.
 
 THE BRASS 
 
 63 
 
 In order to aid the student in identif\ing the 
 Saxhorns and Tubas as they are indicated in Amer- 
 ican and foreign orchestra- or band-scores (or parts) 
 the following list of these instruments (page 64) in- 
 cludes not only their proper technical names, but 
 also the various common designations by which 
 they are known at the present time. 
 
 55. It will be noticed in this list that the Soprano 
 Saxhorn and the modern conical-bore B^-Cornet arc 
 considered as identically the same instrument. It 
 must be observed, however, that the Cornets (in 
 
 'See Introduction, page 20. 
 
 B> or A), generally used in small orchestra in place of 
 the Trumpets, are built on the principle of the Tubas 
 — with their tubing one-third of the length c>liiuln- 
 cal, and two-thirds conical,' and are played with a 
 deep bowl-cup mouthpiece (figure C, page 65); 
 but in the band the real Soprano Saxhorns (conical 
 bore) are to be preferred to attain the necessary 
 contrast of tone-color between these instruments 
 and the Trumpets; whereas, with the partly-cylin- 
 drical-bore Cornets, such a contrast is lost.
 
 64 
 
 WIND INSTRUMENTS 
 
 TECHNICAL AND COMMON NAMES OF THE SAXHORNS AND TUBAS 
 
 Technical Names 
 
 Common Names 
 
 u 
 
 a 
 o 
 
 o 
 
 Xi 
 
 c 
 
 o 
 
 u 
 
 u 
 
 > 
 
 a 
 u 
 
 B 
 o 
 u 
 
 's 
 
 e 
 ic 
 
 3 
 
 •O 
 C 
 « 
 
 a 
 
 JS 
 
 3 
 O 
 
 a 
 
 3 
 U 
 
 SI 
 
 > 
 > 
 
 English 
 
 SOPRANINO SAXHORN 
 in E!> 
 
 hgure 20, page 76 
 
 SOPRANO SAXHORN 
 in Bb 
 
 figures 21 and 22, page 76 
 
 MEZZO-SOPRANO 
 
 SAXHORN, in Bl» 
 
 figure 23, page 76 
 
 ALTO SAXHORN in El. 
 
 figure 24, page 76 
 
 TENOR SAXHORN in Bb 
 
 figure 25, pago 77 
 
 BARITONE SAXHORN 
 in Bb 
 
 figure 26, page 77 
 
 BASS SAXHORN In Eb 
 
 figure 27, page 77 
 
 CONTRABASS 
 
 SAXHORN in Bb 
 
 figure 28, page 77 
 
 English 
 
 Eb-Cornet 
 Eb-Bugle 
 
 Italian 
 
 French 
 
 Petit Bugle 
 r,- c ^ • Buele Soprano 
 
 Fluorno Sopranmo Bugle So pranino 
 
 Pistonino 
 
 German 
 Piccolo Cornel in Es 
 
 Cornetta a Piston i Cornel-d-Pistons Piston in B 
 
 Bb-Cornet 
 
 bma ore Cornetta Francese Saxlromba Soprano Soprano Cornel 
 
 Bugle 
 Flugelhorn 
 
 „, . Bugle 
 
 fluorno (j^ j^ ^ J Flugelhorn 
 
 Flicorno Soprano ^^^,^ Contralto 
 
 Alto-Cornet Flicorno Contralto Bugle Alto 
 
 Bass 1 rumpet in fc,b 
 
 Bb-Tenor 
 Tenur-horn 
 
 Baritone 
 Bb-Bass 
 
 Eb-Bass 
 Eb-Bombardon 
 
 BBb-Bass 
 
 Bassoflicorno 
 Flicorno Tenore 
 
 Tenor en 5(b 
 Bugle Bar y ton 
 
 Althorn 
 
 Alto Cornet in Es 
 
 Tenorhorn 
 
 Bombardino Barvton 
 
 Flicorno Barilono ' 
 
 Bar\ton 
 
 Bombardone in Mib Bombardon en Mib o ■ n- 
 FlicornoBasso-Crave Contrabass en Mi]f 
 
 Pellittone 
 Flicorno Contra- 
 
 basso 
 
 Helicon 
 Contrabasse en Si? 
 
 Kontrabass in B 
 
 
 
 
 •o 
 
 
 e_ 
 
 
 a a 
 
 ^ 
 
 oH 
 
 
 u c 
 
 .i 
 
 
 
 ■00 
 
 II 
 
 u 
 
 a 
 
 3 
 
 3* 
 
 s 
 
 ■r "o 
 
 u 
 
 S c 
 
 O 
 
 0-- 
 
 <M 
 
 J=>> 
 
 
 4* \eo 
 
 a)-\ 
 
 ■w 
 
 •««« 
 
 
 ^e 
 
 ll> 
 
 > 
 
 ^s> 
 
 
 S 3 
 
 
 
 
 •* 
 
 ALTO TUBA in Eb 
 
 figure 31, page 79 
 
 TENOR TUBA in Bb 
 
 figure 32, page 79 
 
 BARITONE TUBAJn Bb 
 
 figure 3i, page 79 
 
 BASS TUBA {IJJIj, 
 
 figure 34, page 79 
 
 CONTRABASS / in C 
 TUBA \ in Bb 
 
 figure 35, page 79 
 
 Eb-Alto 
 Eb-Tenor 
 
 Tenor-Tuba 
 
 Euphonium 
 Bb-Tuba 
 
 Tuba 
 
 Clavicorno in A/;b 
 Genis, Sax 
 
 Saxhorn Tenor en 
 
 Mib Tuba Alto in Es 
 
 Saxlromba en Mi'? 
 
 Clavicorno in SH> Tuba Tenor 
 
 Eufonio 
 Bassetto in Si\> 
 
 Tuba en 5ib 
 Basse en SH> 
 
 Tuba Tenor in B 
 
 Euphonion 
 Tuba in B 
 
 F- and Eb-Tubas ■^''"' '" ^^ ' ^^'^ lax'tr'^mMBasse Bass-Tuba 
 
 X K Tuba-Contrabasse 
 
 Bass-Iuba Bassi in Do e Si\? Saxlromba Kontrabass-Tuba 
 
 CC-andBBb-Tubas Contrabasse
 
 THE BRASS 
 
 65 
 
 56. The first six Saxhorns — Sopranino to Bari- 
 tone — are written for in the transposing Treble-clef; 
 the last two, Bass and Contrabass, in actual-sounds, 
 Bass-clef. 
 
 The Alto and Tenor Tubas are written for in the 
 transposing Treble-clef, and the Baritone, Bass and 
 Contrabass Tubas in actual-sounds, bass-clef. 
 
 The other brass instiuments, viz.: Horns, Trum- 
 pets and Trombones, all having a distinct part in 
 the Symphony Orchestra, are more under the con- 
 
 trol of competent musicians — composers and con- 
 ductors — and, therefore, are found only in standard 
 models, and are known internationally under their 
 proper names. For the Horns' and Trumpets' nota- 
 tions (see explanatory note, page 40). The actual 
 sound — tenor or bass-clef — notation is used for the 
 Trombones. 
 
 57. The modern brass instruments will thus be 
 classified, after the shape of their respective mouth- 
 pieces and their tubing, as follows: — 
 
 HORN 
 
 SAXHORNS 
 
 Conic-cup 
 mouthpiece. 
 
 Tubing: — long, narrow and 
 conical. 
 
 Side bell. 
 
 Bell-cup 
 mouthpiece. 
 
 Tubing: — short and conical 
 in all its length. 
 
 Front bell. 
 
 TUBAS TRUMPETS and TROMBONES 
 
 Deep l)owl-cup 
 mouthpiece. 
 
 Tubing: — one-third of the 
 length cylindrical and 
 two- thirds conical. 
 
 Upright bell. 
 
 Shallow bowl-cup 
 mouthpiece. 
 
 Tubing: — tvvo-thirds of the 
 length cylindrical and 
 one-third conical. 
 
 Front bell.
 
 66 
 
 WIND INSTRUMENTS 
 
 Note. — Figure A, in the preceding page, shows 
 the correct size of the only conic-cup (Horn) mouth- 
 piece. 
 
 Figures B, C and D show the correct size of 
 mouthpieces for the Sopranos' of each group of 
 instruments. The mouthpieces of the other instru- 
 ments in the group retain the same shape of the 
 Soprano mouthpiece, but increase in size as the 
 instruments are voiced lower. 
 
 The Slide-Trombone mouthpiece — though having, 
 in its proportion, the same shallow cup as figure 
 D — is constructed differently in the lower part, i. e. : 
 the shank is made either almost cylindrical in its 
 exterior (in order to set in the tube in place of the 
 so-called "leader") or, if a "leader" is built into the 
 instrument, the shank is then made shorter, like 
 that of the Tuba mouthpiece — (Fig. C). 
 
 (b) Harmonic Series and Scale 
 
 58. The cup-mouthpiece instruments, owing to 
 their tube (conical in its whole length or in part) 
 work al.so on the principle of the open-pipes, gi\ing 
 the same fundamental toneas an open-pipe of the same 
 length, and the harmonic-series in natural order, 
 with the partial-tones of even and uneven numbers. 
 
 The narrower and longer the tubing of these in- 
 struments, the greater is the number of the har- 
 monics produced (paragraph 4). 
 
 59. Every brass instrument, without the use of 
 valve or slide, produces with its principal tube the 
 harmonic-series of the fundamental tone in which 
 it is tuned, i. e. : the Horn in F gives the harmonic- 
 series of F. The principal tube, however, can be 
 
 lengthened so as to tune the instrument from one 
 to six semitones lower; thus producing, with the 
 principal tube, seven different harmonic-series. 
 
 For instantaneous changes, from one to another, 
 of these seven different pitches, two different devices 
 are employed, viz.: (1) the slide on the Slide- 
 Trombones, and (2) the valves on all the other 
 brass instruments. 
 
 The slide, which is controlled by the player's 
 hand, varies the length of the tube from the 1st to 
 the 7th position, so-called, approximately as follows: 
 — ^For the 1st position the slide is closed; from the 
 1st to the 2nd position the slide is extended 3^ 
 inches; from the 2nd to the 3rd position the slide 
 is extended 3}^ inches; from the 3rd to the 4th 
 position the slide is extended 3% inches; from the 
 4th to the 5th position the slide is extended A}/^ 
 inches; from the 5th to the 6th position the slide is 
 extended 4J^ inches; from the 6th to the 7th position 
 the slide is extended A^i inches. - 
 
 60. The valves open communication from the 
 principal tube to three additional tubes, so dis- 
 posed : — 
 
 1 
 
 1 tone 
 
 2 
 
 Y2 tone 
 
 3 
 
 1J4 tone 
 
 Using a Tenor Slide-Trombone, which is tuned in 
 Bb, and a valve instrument of the same pitch, e. g., 
 a Bb-Tenor Saxhorn (written for in actual sound) 
 the result will be that the two instruments will 
 perform the same seven harmonic-series, as shown 
 on the following page. 
 
 'The Soprano of the Tuba family is in reality the Cornet-a-pistons (see paragraph 55). 
 
 'The above numbers in inches are doubled when referring to the total length of tub2, as the slids is formed oi two parallel tubes, 
 connected at the bottom, forming a U shapj (see page 80j: thus to tun^ the Trombone from one to six s-'mitones lower, the tube 
 measurement of each chan,;e is increased \ in. for every semitone.
 
 THE BR.^SS 
 
 67 
 
 Slide and Valve Instruments Compared 
 
 Po sitions 
 
 ISlidel l3-valvesl 
 
 1st 
 
 2nd 2 
 
 3rd 10 
 
 4th 
 
 00 3 
 
 or 1 2 
 
 5th 02 3 ^ 
 
 6th 103 
 
 •7th 123 
 
 (OO 
 
 10 
 
 1 
 
 2 
 
 3 
 
 !,* 
 
 6 
 
 e 
 
 (I'l 
 
 I. 
 
 
 
 ^ 
 
 !> u r 1 ' ' ' ' 
 
 1 
 
 
 -*¥. 
 
 1 
 
 
 (9 
 
 ¥ 
 
 ;^ 
 
 (^) 
 
 a. 
 
 ? ^ 
 
 2. 
 
 —Z' 
 
 4— 
 
 1 
 
 u 
 
 f 
 
 ¥ 
 
 ih) 
 
 h^ \> 
 
 > 
 
 2. 
 
 -^. j Vp T 1 ..1 1 1 =: 
 
 ^^ \rr. 1 
 
 
 
 (U) U ^P: ^^ 
 
 The notes of the high harmonics, being near each other, can be executed in two or more different 
 ways; the player, ho\ve\cr, chooses the shortest positions, i. e. nearest to the first harmonic-series (in which 
 the instrument is tuned), for their tone is richer and purer on both the shde and valve instruments. 
 
 61. Hence, the scale is formed from the above seven harmonic-series as follows: — 
 
 EXPLANATORY NOTE 
 
 The tones of the first harmonlc-scrles, profliiced l)y the instruments are, numbered al)ove the staff. The numbers under the notes 
 in<Mcate the positions of the shde, which correspond to the positions of the valves as sliown above. 
 
 vcrydifficult 
 
 -^ 10^ 
 
 #f¥¥f-¥f-'## 
 
 76'>-5434 
 
 7 « 5 7 6" 5 6
 
 68 
 
 WIND INSTRUMENTS 
 
 62. The three-valve system, tliat won preference 
 over the six independent-valve system because of 
 its practicability and lightness, has, however, the 
 following defects, which are worth the consideration 
 of the conscientious instrumentator. 
 
 The last three harmonic series (O, F and E) — 
 for performing which more than a single valve is 
 required — lack in their intonation, because the two 
 or three additional tubes, used simultaneously, do 
 not measure the exact and necessary length to lower 
 the instrument to that pitch'. This is easily ex- 
 plained : — 
 
 The Tenor (slide) Trombone (in B'?), from the 
 G to the G\? series, lengthens its tube 81/^ inches; 
 from the Gb to the F series lengthens its tube Sjg 
 inches; from the F to the E series lengthens its tube 
 93^ inches (see foot-note No. 2, page 66). 
 
 On the contrary, the Tenor Saxhorn in Bb — for 
 each of the above three changes — always lengthens 
 its tube about 6/^ inches, thus: — the Gb-series 
 results about 3^ of a tone sharp ; the F-series results 
 about 3^^ of a tone sharp; the E-series results about 
 H of a tone sharp. 
 
 The player, with his lips, can easily correct the 
 5th series, but not so the 6th and 7th, for which a 
 very unnatural lip-pressure is required in order to 
 approach the right intonation. In consequence of 
 this lip effort the tone becomes deadened, unsteady, 
 weak and very difficult of attack. 
 
 63. Fortunately, however, only the harmonics 2 
 and 3 of the 6th and 7th series are found to be used 
 on valve instruments, for the tones of the higher 
 harmonics are also found in the upper series, where 
 they are preferred for their intonation and quality 
 of tone. These false tones of the 6th and 7 th 
 series, however, if overlooked, are enough to spoil a 
 passage of otherwise good scoring, especially so if 
 they are in a prominent solo part or in sustained 
 chords. The instrumentator must av^oid them by 
 interchanging the notes with other instruments of 
 different pitch. The four defective tones are easy 
 to remember; they are the first and second semitones 
 above the tonic-note of the instrument, w-ith their 
 respective descending perfect fifths, e. g., on the 
 Tenor Saxhorn in B? the four defective tones are 
 these: — 
 
 tonic 
 
 written 
 
 T»r 
 
 defect ivp 
 
 r 
 
 
 tonic 
 
 actual d^ 
 sound ^= 
 
 ^E 
 
 defective 
 
 I 1 
 
 zsn 
 
 -cr 
 
 64. Among the valve instruments the Horns and 
 Tubas are exempt from these defects — the Horn- 
 players being able to correct them by changing the 
 position of the hand within the bell, and the Tuba- 
 playsrs by using the fourth additional valve. 
 
 65. The fourth-valve (which adds — to the length 
 of instrument — the respective fourth additional 
 tube) generally lowers the instrument a perfect 
 fourth,* i. e., it takes the place of the first-valve 
 (one whole tone) and third -valve (one and a half- 
 
 'Some instrument makers have, of late, invented a new device called "compensating valves" or "enharmonic valves," intended 
 to correct the discrepancy of the three-valve system. It consists of extra pipe-loops, which enter into communication with the 
 regular additional tutes when these are used in combination, viz.: 2-3, 1-3 and 1-2-3. A device of this nature, if it could be per- 
 fected, wouUl mean an immense improvement in the construction ot valve instruments. 
 
 HDthcr intonations are occasionally given to the fourth-valve, viz.: a minor-third lower, a diminished-fifth lower, etc. from 
 the tonic-note of the instrument; but the perfect-fourth lower is the universally accepted intonation. 
 
 For the sake of completeness we may mention here a new Trumpet in C (yet unknown to us) invented by M. Franquin, of the 
 Paris Conservatory'. It is described as having "the three origin;il valves unaltered and the addition of twinew valves: — the fourth 
 valve raises the instrument by a tone and, the fifth lowers it by a tone and a half or two, as one chooses" (?).
 
 THE BRASS 
 
 69 
 
 tone) together, and it serves, to obtain the 6th 
 position in perfect tune; the 7th position with the 
 combination of the second and fourtii valves, is also 
 much better in tune than willi the first, second and 
 third valves. 
 
 66. It is a mistake, however, to believe that the 
 fourth valve can also be used to extend the down- 
 ward compass of the instrument. This wrong 
 principle — advocated in some text books in con- 
 sequence of insufficient knowledge of the v^ahe 
 system — has lead composers and instrumentators to 
 write occasional passages beyond the lowest limit 
 of the Tubas — -passages, therefore, which must be 
 
 1 
 
 played either an octave higher, or, with the use of 
 the fourth valve, out of tune, producing in both 
 cases — especially the last — undesirable effects. 
 
 One example will suffice to show plainly the 
 illogicalness of this principle: — ■ 
 
 Take, for instance, the Bb-Tuba (Euphonium) 
 and tic down permanently its fourth viilve, thus 
 bringing into function the fourth additional tube, 
 you then have the instrument tuned down a perfect 
 fourth, which, together with an F-Tuba pla\ing in 
 the 1st position, will produce in unison the follow- 
 ing harmonic series: — 
 
 m 
 
 5 
 
 — J, 
 
 Let us consider the two instruments both F-Tubas, 
 and let them play the other six positions with the 
 
 same fingering From what follows you will 
 
 soon be convinced that a Euphonium changed to 
 F-Tuba only in the main tubing, retaining its three 
 small additional tubes, is not very agreeable to the 
 ear — even the profafie ear! 
 
 67. The fourth valve is not employed on the 
 Trumpet'^possibly because the additiomil weight 
 
 would be objectionable to the players of this in- 
 strument. 
 
 On the Saxhorns, owing to their tubing being 
 conical throughout their length, the fourth valve is 
 not wholly practicable: the long additional tube in- 
 terrui)ting the taper of the instrument, would surely 
 impair its scale. 
 
 68. The harmonic-scries and scales of the most 
 used cup-mouthpiece instruments are given in the 
 table on page 71. 
 
 'See foot-note page 68.
 
 70 
 
 WIND INSTRUMENTS 
 
 EXPLANATORY NOTE 
 
 In the following table, the fundamental tones. No. 1 
 (when contained in the instrument), are indicated in 
 whole notes; the harmonics, Nos. 2, 3, 4, etc. of the 
 first series are indicated in half-notes, and the tones 
 produced with the use of the slide or valves (not num- 
 bered), in quarter-notes. 
 
 The extreme low notes, which are divided off by 
 brackets, thus: ], are dull in their timbre, somewhat 
 heavy, though not powerful, and difficult to attack. 
 The extreme high notes, divided by brackets, thus: 
 [, are more or less forced, thin, and very difficult to 
 attack, especially in pianissimo (see also table on 
 The Band Instruments, pages 3-1 and 35). 
 
 The dotted line indicates the "middle register," 
 the easiest and most effective part of the instrument. 
 
 In this table, it will be observed that the instruments 
 of longer and narrower tubing reach the higher har- 
 monics, but do not produce the fundamentals. 
 
 The partial tones, 7, 11, 13 and 14, which do not 
 correspond to the equal temperament scale, are not 
 used on valve instruments, with the exception of the 
 Horn, for the reason that the player of this instru- 
 
 ment can correct them by shifting his hand in the 
 bell, as he corrects the discrepancies of the three- valve 
 mechanism (paragraph 62). 
 
 With the exception of the Horns and Tubas — 
 the latter having the fourth additional tube (para- 
 graph 65) — the defective notes of the 6th and 7th 
 series to be avoided in the other instruments, are all 
 marked with a cross, thus: -\- 
 
 The Bass-Trombone indicated in this table is now 
 used in many bands and orchestras in the third or 
 fourth Trombone part. It is a large bore, B? slide Trom- 
 bone, with an additional tube and relative valve — 
 similar to the fourth valve of the Tubas — which lowers 
 the instrument a perfect fourth: to F. Note that 
 
 the low B-natural indicated 
 
 between two brackets: 
 
 m 
 
 m 
 
 is lacking in the compass — the 7th position required 
 to produce this tone, extending beyond the reach of 
 the player's arm.
 
 lis 
 
 (f) 
 
 
 C 
 
 
 (D 
 
 <D 
 
 1-^ 
 
 cd 
 o 
 
 ;3 
 
 U) 
 
 c/) 
 
 ^a 
 
 C 
 
 c 
 
 
 cd 
 
 C/) 
 
 C/) 
 
 cd 
 
 QJ 
 
 i^ 
 
 •1-H 
 
 CQ 
 
 <L> 
 
 
 CO 
 
 CD 
 
 o 
 
 t/5 
 
 •1-H 
 c 
 
 !3 
 
 (~) 
 
 -*-> 
 
 
 o 
 
 cd 
 
 f— ' 
 
 n: 

 
 72 
 
 WIND INSTRUMENTS 
 
 (c) Technique 
 
 69. The brass instruments in general can display 
 more agility in their middle register — that is (re- 
 ferring to the preceding table) the notes comprised 
 within the dotted line. In this part of the compass 
 the instrumentator can rely for any dynamic degree 
 from the extreme pianissimo to the most powerful 
 forlissimo in either sustained notes, legato or stac- 
 cato passages, etc. 
 
 70. Only in the middle register can the Horns, 
 Trumpets and Trombones and the high Saxhorns be 
 muted with good results — -it is practically impossible 
 to use the low Saxhorns and Tubas with mute, on 
 account of the large bell of these instruments. 
 
 71. The technique for the cup-mouthpiece instru- 
 ments — more than the other wind instruments — is 
 afTected by a natural law, whereby the difficulty in 
 execution increases in proportion to the increasing 
 size of the instrument (see paragraph 30, page 46). 
 The lips, functioning as a reed, in a small cup- 
 mouthpiece can vibrate with great ease, attaining 
 a degree of technique almost equal to that of the 
 small keyed instruments; but as the cup grows larger, 
 
 covering more and more the player's mouth, the 
 vibrating control becomes weaker, rendering it im- 
 possible, even for the most highly skilled performers, 
 to obtain as high a degree of technique as that 
 attained to for some of the keyed instruments of 
 the corresponding pitch. 
 
 This, we hope, will suffice to place the student on 
 the lookout so that he may never attempt to exceed 
 the moderate difficulties in tke parts for the large 
 brass instruments. This rule is strictly observed 
 in the score examples, in Parts II and III. When 
 confined within that limit the Brass will then pro- 
 duce the best possible results. 
 
 72. Rapid tremolos on vaK'e instruments are im- 
 practicable and, even in a moderate movement, 
 repetition of somewhat large intervals should be 
 avoided as much as possible. It may be accepted 
 as a rule that, regardless of the fingering — being 
 simple or awkward — the slurred repeated intervals 
 are quite easy up to the major-thirds, but from the 
 perfect-fourth upward they become more and more 
 difficult — owing to the necessary quick changes in 
 the lip-pressure. For example: — 
 
 Horn, Trumpet 
 or Saxhorn 
 
 easy 
 
 rather 
 difficult 
 
 d'fficult 
 
 vcrv difficult 
 
 
 etc.' 
 
 73. Major and minor trills for valve instruments 
 are also to be used with much caution, as on some 
 notes of the scale they are very difficult or impos- 
 sible. It must also be noticed that the effect of 
 trills on valve instruments is rather harsh, especially 
 in the Horns and low-voiced Saxhorns. Yet there 
 are special instrumental effects in which even the 
 harshest trills in the Brass become very appropriate. 
 
 74. The aid of valves is out of the question for 
 major trills in the high register; these trills — as on 
 the slide Trombone — are executed, without valves, 
 by rapid changes in lip-pressure (see foot-note, 
 page 74). 
 
 75. All the trills possible on valve instruments 
 are to be found in the next table. 
 
 EXPLANATORY NOTE 
 
 In the following table the trills indicated by whole notes arc the best', resulting clear and in tune; and those indicated by 
 quarter-notes are inferior in tune and clearness. The lip-trills, separated by brackets ([) are indicated only for the sake of com- 
 pleteness, they should never be used in orchestra or band parts as very few performers are found who have specialized in these and 
 other tricky executions.
 
 Possible Trills for the most used Valve Instruments 
 
 73 
 
 Whole Tone 
 
 Half-tone 
 
 Whole Tone 
 
 Half-tone 
 
 Whole Tone 
 
 Half-tone 
 
 Horns(m Fand Eb) 
 tr~ 
 
 t-with lips... 
 
 Transposing Saxhoms; CornetS and(Modern)Tri!impetS 
 
 With valves.. 
 
 |„ o j{J«it'" \° ^ff" 
 
 Whole Tone ^E 
 
 Eb Bass Saxhorn and Eb Tuba 
 
 \, 
 
 j bi lli J I" ° '"' '1*^ ^^ ^^ 
 
 with valvKb.. 
 
 Half-tone 
 
 Whole Tone 
 
 Half-tone 
 
 J^l^^ll 
 
 
 Bb Contrabass Saxhorn and BI 
 
 Jb Tuba 
 
 It 
 
 i 
 
 
 ... •■ 
 
 it 
 
 8 S It t 
 
 — 1 
 
 ^%-- 
 
 =4= 
 
 _J ^ u lJ — .— Jt, — e Ilu_ 
 
 h.. !>» Il«* — "- 
 
 ^4^ 
 
 t*"! 
 
 1 
 
 b5 K^ 
 
 with yalvei.. 
 
 fr- fr-~ 
 
 B.M.Co.6244
 
 74 
 
 WIND INSTRUMENTS 
 
 76. Repeated intervals on the slide Trombone are possible only in a very moderate movement. Inte. 
 vals combined with distant positions (1st to 5th, 6th or 7ih; 2nd to 6th or 7th, etc.) are very difficult and they 
 can be used only in very slow passages, e.g.: — 
 
 Moderate 
 
 from Bk.. 
 
 from A. 
 
 ^ 
 
 i 
 
 2--: 
 
 m 
 
 77. Trills are impracticable on the slide Trombone, with the exception of the following major (whole 
 tone) lip-trills: — • 
 
 (r^ 
 
 i" '■° ^ 
 
 
 ki 
 
 » 
 
 ^f t t f 
 
 very difficult . 
 
 _l 
 
 extremely difficult 
 
 but their use in scoring is not advisable as they can be performed only by very few players.* 
 
 78. The Trombone's glissaiido, occasionally used in burlesque- or in dance-music, can be produced 
 only on certain groups of notes which pertain to the partial tones of the same number in the seven harmonic 
 series of the instrument, i. e., the longest gUssando can be played on each group of .seven notes that run 
 straight from position 1 to 7 or vice-versa (see page 67), thus using the entire length of the slide: — 
 
 Partial tone 2 
 
 P. Tone 3 
 
 ^ 
 
 ^ 
 
 52S 
 
 a 
 
 P. Tone 4 
 
 l^ ^- 
 
 etc. 
 
 The glissandi may be curtailed to six, five, four, three, or two notes as required, by using only a portion 
 of the slide. While glissandi are easy to execute on partial tones of the same number, they are impossible 
 on groups of notes pertaining to different partial tones, for example: — 
 
 easy 
 
 P. Tone 3 P. Tone 4 
 
 P. Tone 3 
 
 PTone 5 
 
 -1 r 
 
 all frlissando 234. 
 
 0.432 1 ^^^ fi L 3 4 
 
 impossible 
 
 nioneS P. Tone 3 
 
 PTone 3 PTone 3 PTone 2 
 
 'These lip-trills are formed with two [larti-il tones of the same harmonic series (see page 67), and in order to execute them, the 
 player must submit his lips to a special training, which, in most cases, is injurious to the quality and steadiness of the tone.
 
 THE BRASS 
 
 /o 
 
 (d) Quality of Tone 
 
 79. The quality of tone of the cup-mouthpiocc 
 instruments may be briefly described as follows: — ■ 
 
 HORN'S: — Mellow; rich, highly penetrating and 
 expressive when played naturally, and blast- 
 ing, aggressive, when forced. Excellent, when 
 muted, for distant or echo effects. 
 
 SAXHORNS: — Very mellow; sweet, mysterious, 
 
 gloomy in piano; human-\'oice-like in mezzo- 
 forte and forle, powerful in fortissimo. The high 
 voiced Saxhorns (Bugle-shape) can also be 
 employed with mute; the low-voiced Saxhorns 
 are impracticable with mute (see paragraph 70). 
 
 TUBAS: — Somewhat brilliant; very sonorous, 
 rich and of good blending quality with the other 
 wind instruments. Impracticable with mute, 
 (see paragraph 70). 
 
 Trumpets and Trombones: — Brilliant; pene- 
 trating and of great carrying power; noble in 
 piano; pompous in forle and strident in fortis- 
 simo. The mute can be employed effectively 
 on both the Trumpet and Trombone. 
 80. The foregoing descriptions of the quality of 
 tone of the Brass refer toe:ich of the various families 
 taken in its entirety. The single instruments em- 
 ployed separately, or associated with other groups, 
 according to the situation (harmonic, rhythmical or 
 dynamical), with their timbre will produce new tonal 
 tints, express new feelings or impart more vitality 
 to the ensemble. 
 
 This and other knowledge in the possibilities of 
 wind instruments, the student will acquire through 
 that greatest of all teachers, viz.: "EXPERIENCE" 
 — practical experience in score-reading, instrumenta- 
 ting and conducting.
 
 76 
 
 WIND INSTRUMENTS 
 
 Illustrations of the Modern Brass Instruments 
 
 Fig. 20— SOPRANINO 
 SAXHORN in Eb 
 
 Fig. 2/— SOPRANO 
 
 S.AXHORN in Bb or A 
 
 (Cornet Model) 
 
 Fip. i9— HORN in F or Eb 
 
 Fig. 22— SOPRANO 
 
 SAXHORN in Bb 
 
 (Bugle Model) 
 
 Fig. 2J— MEZZO-SOPRANO 
 SAXHORN in Bb 
 
 Fig. 24— ALTO 
 SAXHORN in Eb
 
 THE BRASS 
 
 77 
 
 Illustrations of the Modern Brass {cor.tinucd) 
 
 Fig. 25 
 
 TENOR 
 
 S.\XHORN 
 
 in Bb 
 
 Fig. 27 
 
 BASS 
 
 SAXHORN 
 
 in El» 
 
 (Upright Model) 
 
 Fig. 26 
 
 BARITONE 
 
 SAXHORN 
 
 in B> 
 
 Fig. 28 
 
 CONTRABASS 
 
 SAXHORN 
 
 in B> 
 
 (Upright Model)
 
 78 
 
 WIND INSTRUMENTS 
 
 Illustrations of the Modern Brass (continued) 
 
 Fig. 29— BASS SAXHORN in Et> 
 (Circular Model) 
 
 Fig. JO— CONTR.\BASS SAXHORN in Bb 
 (Circular Model)
 
 THE BRASS 
 
 Illustrations of the Modern Brass {continued) 
 
 Fig. 31 
 ALTO TUBA in E? 
 
 Fig. 32 
 TENOR TUBA in Bb 
 
 Fig. JJ— BARITONE TUBA in Bb 
 
 abbreviated "B>-Tuba," also 
 
 known as "Euphonium" 
 
 Fig. 54— BASS TUBA' in F or E!. 
 
 abbreviated "I"- or 1".'>-Tulia" 
 
 Fig. J5— CONTRABASS TUBA' in C or Bb 
 
 abbreviated "CC- or BB':>-Tuba" 
 
 'Bass and Contrabass Tubas are also made in circular model, but the upright ones arc m\i-\\ more preferable and are in 
 general use.
 
 80 
 
 WIND INSTRUMENTS 
 
 Illustrations of the Modern Brass {continued) 
 
 Fig. J(5— TRUMPET in B^or A 
 
 Bg. J7— TRUMPET in Eb 
 
 .J 
 
 Fig. J.?— VALVE TROMBONE 
 (Tenor) 
 
 Fig. JP— TROMBONE 
 (Tenor in Bb) 
 
 Fig. 40— BASS-TROMBONE 
 (in Bb with F- valve)
 
 INDEX 
 
 PAGES 
 
 Accidentals in transposition 42-43 
 
 Accordion (or Concertina) — Compass and 
 
 notation 23 
 
 Acis and Galatea: use of Flageolet 14 
 
 Acoustical principles of tlie wind instruments 37 
 
 Actual-sound bass-clef 39 
 
 Actual-sound, treble-clef 39 
 Alto Clarinet (see Clarinets) 
 
 Alto-clef 42 
 
 Alto Cornet in Es 64 
 Alto Flute (sec I'lutes) 
 
 Alto instruments in F and E!> — Transposition 41 
 Alto Saxhorn (see also Saxhorns) — 
 
 Descrii)tion 61 
 
 Technical antl cominoti names 64 
 Alto Saxophone (see Saxophones) 
 
 Alto Trombone in Ei' — Compass and notation 22 
 Alto Tuba (see also Tubas) — 
 
 Description 62 
 
 Technical and common names 64 
 Alto (or Contralto) Voice — Compass and notation 11 
 
 Althorn 64 
 
 American band publications 32 
 
 Ancient-cymbals — Compass and notation 27 
 
 Anvils 27 
 
 Artificial harmonics on bowed instruments 30 
 
 Band- 
 Definition 6 
 See Sym|)I)()ny and Military Band 31 
 Band instruments 31 
 Score order, compass, notation ancl trans- 
 position 34-35 
 Band-parts of other publications distributed to 
 
 the Symphony Band 32 
 
 Bagpipe — Compass and notation 23 
 
 Ballalaica — Compass and notation 28 
 
 Banjo (regular) — Compass and notation 28 
 
 "Baritone" 64 
 
 Baritone-clef 42 
 Baritone instruments in B> and Eb — 
 
 Transposition 41 
 
 61 
 64 
 
 62 
 64 
 
 11 
 
 PAGES 
 
 Baritone Oboe (see Heckelphone) 
 Baritone Saxhorn (see also Saxhorns) — 
 Description 
 
 Technical and common names 
 Baritone Saxophone (see Saxophones) 
 Baritone Tuba (see also Tubas) — 
 Description 
 
 Technical and common names 
 Baritone Voice — Compass and notation 
 Bass Clarinet (see Clarinets) 
 
 Bass-clef (actual sound and transposing) 42 
 
 Bass Drum 26 
 
 Bass Flute in C (invented by Albisi) — Compass 
 
 and nf)tation 14 
 
 Bass Flute in G (see Flutes) 
 
 Bass in Es 64 
 
 Bass instruments in B':> — Transposition 41 
 
 Bass Sarrusophone (see Sarrusophones) 
 Bass Saxhorn (see also Saxhorns) — 
 
 Description 61 
 
 Technical and common names 64 
 
 Bass Saxophone (see Saxophones) 
 Bass Trombone in Bb and F (see also Trom- 
 bones) — Compass and notation 22, 34-35 
 Low B-natural lacking in the compass 70 
 Bass Tuba — Technical and common names 64 
 Bass Trumpet (see Trumpets) 
 Bass Tuba (see Tubas) 
 
 Bass Voice — Compass and notation 11 
 
 Basse en Si> 64 
 
 "Basses" 32 
 
 Bassoon — 
 
 Compass and notation 16, 34-35 
 
 French system 57 
 
 Harmonic series, scale and registers 54 
 
 Illustration 60 
 
 Quality of tone 58 
 
 Bassetto in Sib 64 
 
 Bassi in Fa e Mib 64 
 
 Basso Cantante (voice) — Compass and notation 11 
 
 Basso Profondo (voice) — Compass and notation 11 
 
 Bassoflicorno 64 
 
 81
 
 82 
 
 WIND INSTRUMENTS 
 
 PAGES 
 
 "Bb-Bass" 32, 64 
 
 "BBb-Bass" 64 
 
 "Bb-Tenor" 32-64 
 Bells (see also Tubular Bells) — Compass 
 
 and notation 27, 34-35 
 
 Berlioz 58 
 
 Bombardino 64 
 
 Bonibardone in Mib 64 
 
 Bourdon (see Organ) 24 
 Bowed stringed instruments — -Compass 
 
 and notation 30 
 
 "Brass" — Definition 38 
 
 Brass Band — Definition 6 
 Brass instruments — 
 
 Classified after their tubing and mouthpiece 65 
 
 Harmonic-series, scale and registers 71 
 
 Major and minor trills for valve instruments 72 
 
 Muted 72 
 
 Quality of tone 75 
 
 Section III (see band instruments) 34-35 
 
 Technique 72 
 
 Tremolos impracticable 72 
 
 T>pcs of instruments and notation 61 
 
 Bugles — Compass and notation 1 7 
 
 Bugle Bariton 64 
 
 Bugle Corps 5 
 
 Bugle Sopranino 64 
 
 Bugle Soprano 64 
 
 C-clef 42 
 
 Carillon (see Bells) — Compass and notation 27, 34-35 
 Castanets 26 
 
 Celesta — Compass and notation 27, 34-35 
 
 'Cello (see Violoncello) 30 
 
 Cello-Banjo — Comi)ass and notation 28 
 
 Cembalo, Hungarian, — Compass and notation 30 
 Chaiumeau (see Clarinets) 45 
 
 Changeable pitch (see Percussion instruments) 26 
 Chant de la Cloche: use of Ty|)oplione 28 
 
 Children's Voices — Compass and notation 1 1 
 
 Chimes (see also Tubular Bells) — Compass 
 
 and notation 27 
 
 Chinese-Drum 26 
 
 Chromatic-Harp 29 
 
 Circular model Saxhorns — Illustrations 18 
 
 Clarinets — 
 
 Boehm System 49 
 
 Compa s and notation 12-13, 34-35 
 
 Dynamics 50 
 
 Efficiency in band music 46 
 
 Fingered-tremolos 46-49 
 
 Clarinets — Continued 
 
 Harmonic series and scale 
 
 Illustrations 
 
 Quality of tone 
 
 Registers 
 
 String-tremolos 
 
 Techniciue 
 
 Trills and tremolos 
 
 Types of instruments and notation 
 Clarion (see Organ) 
 Cla\icorno 
 
 Clefs, actual and guide, 
 "Compensating valves" 
 Compass of band instruments 
 Conical bored instruments — Characteristics 
 Conic-wood instruments — 
 
 Definition 
 
 Fingered tremolos 
 
 Harmonic series, scale and registers 
 
 Illustrations 
 
 Quality of tone 
 
 Section 1 1 (see band instruments) 
 
 Technique 
 
 Trills and tremolos 
 
 T>-pcs of instruments and notation 
 Conducting 
 Contents 
 
 Contrabass or Double-Bass (stringed) — Com- 
 pass and notation 
 Contrabass Clarinet (see also Clarinets) — 
 
 Actual-sound bass-clef notation preferred 
 
 Thirteen keys: Buffet-system 
 "Contrabasse en Si>" 
 Contra-Bassoon — ■ 
 
 Compass and notation 16, 
 
 IVench System 
 
 Harmonic series and scale 
 
 Illustration 
 
 Quality of tone 
 Contra-Sarrusophone — ■ 
 
 Compass and notation 16, 
 
 French System 
 
 Harmonic series and scale 
 . Illustration 
 
 Quality of tone 
 Contrabass Saxhorn (see also Saxhorns) — 
 
 Descrii)tion 
 
 Technical and conunon names 
 Contrabass Tuba (see also Tubas) — 
 
 Description 
 
 Technical and common names 
 
 PAGES 
 
 44 
 51 
 50 
 
 45-46 
 47 
 45 
 49 
 44 
 25 
 64 
 
 42-43 
 68 
 
 34-35 
 38 
 
 6 
 
 55 
 
 52-54 
 
 59 
 
 58 
 
 34-35 
 
 55 
 
 56-57 
 
 52 
 
 36 
 
 7 
 
 30 
 
 40 
 49 
 64 
 
 34-35 
 57 
 54 
 60 
 58 
 
 34-35 
 57 
 54 
 60 
 58 
 
 61 
 64 
 
 62 
 64
 
 INDEX 
 
 83 
 
 PA 
 
 r.F.s 
 
 
 PAGES 
 
 Contralto (or Alto) \'oice — Compass and notation 
 
 11 
 
 Flageolet — Compass and notation 
 
 14 
 
 Cornets (see also Saxhorns) — ■ 
 
 
 llicorno Baritono 
 
 64 
 
 Conical bore 1'' 
 
 (),i 
 
 I'licorno Basso-Grave 
 
 64 
 
 Harmonic-series, scale and registers 
 
 71 
 
 I'licorno (^ontrabasso 
 
 64 
 
 Partly cylindrical bore 
 
 63 
 
 Flicorno Contralto 
 
 64 
 
 Transposition 
 
 41 
 
 Flicorno Sopranino 
 
 64 
 
 Trills 
 
 73 
 
 Flicorno Tenore 
 
 64 
 
 Cornet-a-pistons — 
 
 
 Fliigelhorn 
 
 64 
 
 Compass and notation 
 
 20 
 
 Flugelhorn or valve Bugle (see Saxhorns) 
 
 19 
 
 See Soprano Saxhorn 
 
 64 
 
 Flute — A pi|)e open at both ends 
 
 38 
 
 "Cornet Soloist" 
 
 62 
 
 I'lutes — Boehm System 
 
 56 
 
 Counterpoint 
 
 36 
 
 Compass and notation 14 
 
 , 34-35 
 
 Crash-machine 
 
 26 
 
 Harmonic series, scale and registers 
 
 54 
 
 Cuckoo-instrument (see Ocarina) 
 
 14 
 
 Illustrations 
 
 59 
 
 Cylindrical bored instruments — Characteristics 
 
 37 
 
 Quality of tone 
 
 58 
 
 Cymbals 
 
 26 
 
 Transposition 
 
 41 
 
 
 
 Tremolos possible on Haynes' Flute 
 
 55 
 
 Diapason (see Organ) 
 
 24 
 
 Forsyth's OrcJicstration 46, 
 
 50.58 
 
 Die Pilgrimme von Mckka: use of Flageolet 
 
 14 
 
 Fourth-vahe 
 
 68-69 
 
 Double-Bass (see Contrabass) 
 
 30 
 
 Foundation Stops (see Organ) 
 
 24 
 
 Double-rccd mouthpiece 
 
 52 
 
 Franchetti's Germania: use of Tubas 
 
 62 
 
 Drum and I'ife Corps 
 
 5 
 
 I-Vench Horn (see Horns) 
 
 
 Dulciana (see Organ) 
 
 24 
 
 
 
 Dulcimer (see Hungarian Cembalo) 
 
 30 
 
 C.-clef 
 
 42 
 
 Dulcitone (see Typophune) 
 
 27 
 
 Gamba (see Organ) 
 
 24 
 
 
 
 Genis 
 
 64 
 
 Ear-training 
 
 36 
 
 Germania: use of Tubas 
 
 62 
 
 "Eb-Alto" 32, 61 
 
 64 
 
 Ge\aert 
 
 58, 62 
 
 "EI>-Bass" 
 
 64 
 
 Glass-plates (or Keyed Harmonica) 
 
 27 
 
 "Eb-Tenor" 
 
 64 
 
 (ilissando — 
 
 
 English band publications 
 
 3,2 
 
 on the Harp 
 
 29 
 
 English Horn — • 
 
 
 on the Trombone 
 
 74 
 
 Compass and notation 16, 34 
 
 -35 
 
 Glocl<ens[)icl (see Hells or Carillons) 
 
 27 
 
 Harmonic series, scale and registers 
 
 54 
 
 ( jluck's Die Pil'^rimmevon Mekka: use of Flageolet 14 
 
 Illustration 
 
 60 
 
 Gong (see Tam-Tam) 
 
 26 
 
 Paris Conservatory System 
 
 56 
 
 Grand Quintet — 
 
 
 Quality of tone 
 
 58 
 
 Definition 
 
 6 
 
 Transposition 
 
 41 
 
 Section I (see band instruments) 
 
 34-35 
 
 "Enharmonic valves" 
 
 68 
 
 Guitar — Compass and notation 
 
 28 
 
 Equal -temperament-scale 
 
 37 
 
 Gm'tar-Banjo — ^Comi)ass and notation 
 
 28 
 
 Eufonio 
 
 64 
 
 Guide-clefs 
 
 42 
 
 Euphonium (see Tubas, \). 20) 
 
 64 
 
 
 
 
 
 1 landel's Acis and Gulatca: use of Flageolet 
 
 14 
 
 F-clefs 
 
 42 
 
 Harmonic-series of an 8 ft. -C open pipe 
 
 37 
 
 Falslaff: use of Tronibone-Basso- Verdi 
 
 22 
 
 Harmonic-series, scale and registers of the 
 
 
 Families of wind instruments 
 
 30 
 
 Clarinets 
 
 44-45 
 
 Fanfare 5 
 
 62 
 
 Conic-wood 
 
 54 
 
 I'^emale Voices — Compass and notation 
 
 11 
 
 Brass 
 
 71 
 
 Fifes — Compass and notation 
 
 1 1 
 
 Harmonics of the bowerl instruments 
 
 30 
 
 I'iftecnth (see Organ) 
 
 24 
 
 Harmonium — Compass and notation 
 
 23 
 
 Fixed pitch (see Percussion instruments) 
 
 27 
 
 llarinon\- 
 
 36
 
 84 
 
 WIND INSTRUMENTS 
 
 
 
 PAGES 
 
 Harps — Compass and notation 
 
 29, 
 
 34-35 
 
 Harp-Guitar 
 
 
 28 
 
 Hcckelphone (or Baritone Oboe) — 
 
 
 
 Compass and notation 
 
 
 16 
 
 Harmonic series, scale and registers 
 
 
 54 
 
 Transposition 
 
 
 41 
 
 Helicon 
 
 
 64 
 
 Hofmann 
 
 
 58 
 
 Horns — 
 
 
 
 Compass and notation 
 
 18, 
 
 34-35 
 
 Harmonic-scries, scale and registers 
 
 
 71 
 
 Illustration 
 
 
 76 
 
 Muted 
 
 
 72 
 
 Notation octave lower 
 
 
 40 
 
 Quality of tone 
 
 
 75 
 
 Old and modern bass-clef notations 
 
 
 18 
 
 Transposition 
 
 
 41 
 
 Trills 
 
 
 73 
 
 Human Voice (see Voices) 
 
 
 
 Hungarian Cembalo — Compass and notation 
 
 30 
 
 II Serra^lio: use of Flageolet 14 
 
 Indeterminate jiitch (see Percussion instruments) 26 
 Indian-drum 26 
 
 Indy, d', (see T\ puphone) 28 
 
 Introduction 9 
 
 Irish-Harp 29 
 
 Japanese-Bells — Compass and notation 
 
 27 
 
 42 
 
 Key-signature of tlic transposing instruments 
 Keyed-conical tube instruments — Compass 
 
 and notation 14-17,34-35 
 
 Keyed-cylindrical tube instruments (see 
 
 Clarinets) 12-13,34-35 
 
 Keyed-Harmonica — Compass and notation 27 
 
 Kontrabass in B 64 
 
 Kontrabass-Tuba 64 
 
 Lateral-hole mouthpiece 52 
 
 I.yf)n (see Chromatic Harp) 29 
 
 Lj'ric-Soprano — Compass and notation 11 
 
 Male Voices — Compass and notation 11 
 
 Mand(^-Bass — Compass and notation 28 
 
 Mando-Cello — Compass and notation 28 
 
 Mandola — Compass and notation 28 
 
 Mandolin — Compass and notation 28 
 
 Mandolin-Banjo — Compass and notation 28 
 
 Manuals (see Organ) 24 
 
 Mezzo-Soprano-def 42 
 
 Mezzo-Soprano instruments — Transposition 
 Mezzo-Soprano Saxhorns (see also Saxhorns)— 
 
 Description 
 
 Technical and common names 
 Mezzo-So])rano Voice — Compass and notation 
 Military Band — 
 
 Definition 
 
 PAGES 
 
 41 
 
 61 
 64 
 11 
 
 31 
 
 Score-order and proportion of instruments 34-35 
 
 Substitution of instruments 31-32 
 
 Mixture (see Organ) 25 
 Mouth|)ieces (see Classification of wind 
 
 instruments) 38 
 
 Mouthpieces, Brass, — -Drawings 65 
 
 Mozart's // Scrra'^Iio: use of Flageolet 14 
 
 Mutation stops (see Organ) 25 
 
 Muted Brass 72 
 
 Natural harmonics (on bowed instruments) 30 
 
 Natural-horns 18 
 
 Natural-TrumiK'ts 21 
 
 Notations used for wind instruments 39-40 
 
 Oboe- 
 Compass and notation 16, 34-35 
 
 Harmonic-series, scale and registers 54 
 
 Illustration 60 
 
 Paris Conservatory System 56 
 
 Quality of tone 58 
 Oboe, Baritone, (see Heckelphone) 
 Oboe d' A more — 
 
 Compass and notation 16 
 
 Harmonic-series, scale and registers 54 
 
 Ocarina — Compass and notation 14 
 
 Octave (see Organ) 24 
 
 Octave bass-clef 40 
 
 Open-pipes — Acoustical laws 38 
 
 Ophicleides — Compass and notation 17 
 
 Organ — Compass and notation 24 
 
 Otcllo: use of Trombone-Basso- Verdi 22 
 
 Partial tones 37 
 
 Pedal (see Organ) 25 
 
 Pellittone 64 
 Percussion Instruments — 
 
 Classification 9 
 Compass and notation 26, 34-35 
 
 Section IV (see band instruments) 34-35 
 Percussive stringed instruments — Compass 
 
 and notation 30 
 
 Petit Bugle 64 
 
 Pianoforte — ^Compass and notation 30
 
 INDEX 
 
 85 
 
 PAGES 
 
 Piccolos 
 
 Compass and notation 14, 34-35 
 
 Harmonic-scries and scale 54 
 
 Quality of tone 58 
 
 Transposition 41 
 
 Piccolo Fife— Compass and notation 14 
 
 Piccolo Cornet in Es 64 
 
 Piston in B 64 
 
 Piston! no 64 
 
 Plucked stringed instruments — Compass 
 
 and notation 28-29 
 
 Point of departure note (see guide-clefs) 42 
 Polyphonic Wind Instruments — 
 
 Classification 9 
 
 Compass and notation 23-25 
 
 Preface 5 
 
 Preliminary remarks 6 
 
 Prout 58 
 
 Quint (see Organ) 25 
 Quintet (see Grand-Quintet) 6, 34-35 
 
 Rattle 26 
 
 Registers or Stops (see Organ) 24-25 
 
 Rin^ des Xiheliingen: use of Tuben 62 
 
 Rullante 26, il 
 
 Russian Bassoon — Compass and notation 1 7 
 
 Salicional (see Organ) 24 
 
 Sarrusophones — • 
 
 Compass and notation 16, 34-35 
 
 Complete family 16 
 
 French System 57 
 
 Harmonic-series, scale and registers 54 
 
 Illustrations 60 
 
 Quality of tone 58 
 
 Sax, Adoljih, 61-62 
 
 Saxophones — 
 
 Compass and notation 15, 34-35 
 
 Harmon ic-series, scale and registers 54 
 
 Illustrations 5") 
 
 "ImproN-ed S\stem" (Sixteen keys) 57 
 
 Quality of tone 58 
 
 Saxhorns — 
 
 Compass and notation 19, 34-35 
 
 Harrnoiiic-series, scale and registers 71 
 
 Illustrations 76-78 
 
 Origin 61 
 
 QualitN- of tone 75 
 
 Technical and cominon names 64 
 
 Trills 73 
 
 Saxtrombas 62, 64 
 
 PAGES 
 
 64 
 
 Saxtromba Soprano 
 
 Saxtrf)mba, Super-acute, in B';> — Compass 
 
 and notation 
 Score-order of hand instruments 
 Serpent — Compass and notation 
 Side Drum 
 
 Single-reed mouthpiece 
 Sleigh-Bells 
 Slide (see also Trombones) — 
 
 Mechanism 
 
 Positions 
 Slide TromI)f)ne (see Trombones) 
 Slide and vahe instruments compared 
 Solfeggio 
 
 Sopranino Clarinets (see Clarinets) 
 Sopranino instruments in A>, F and Eb — 
 
 Transposition 
 Sopranino Saxhorn (see also Saxhorns) — 
 
 Description 
 
 More appropriate in Brass Band 
 
 Technical and common names 
 Sopranino Saxophone (see Saxophones) 
 Soprano in C (l\-pical instrument) 
 Soprano Clarinets (sec Clarinets) 
 Soprano-clef 
 Soprano Cornet 
 
 Soprano instruments in B[> and A — Trans- 
 position 
 Soprano Saxhorn (see also Saxhorns) — 
 
 Description 
 
 Technical and common names 
 Soprano Saxophone (see Saxophones) 
 Soprano Voice — Compass and notation 
 Sound-producing instruments — Classification 
 Speaker-key 
 
 Steel-Ciuitar — -Compass and notation 
 Stopped-pipes — Characteristics 
 Stringed instruments — 
 
 Classification 
 
 Compass and notation 
 S\-ml)()Is for names of instruments 
 Symphony Hand — 
 
 Definition 
 
 Score order and proportion of instruments 34-35 
 Sym[)hony Orchestra — Definition 6 
 
 Synoptical Tables, List of, 8 
 
 62 
 
 34-35 
 
 17 
 
 26, 34-35 
 
 52 
 
 26 
 
 66 
 67 
 
 67 
 36 
 
 41 
 
 61 
 62 
 64 
 
 39 
 
 42 
 64 
 
 41 
 
 61 
 
 64 
 
 11 
 
 9 
 
 44 
 
 28 
 37 
 
 9 
 
 28-30 
 32, 34-35 
 
 31 
 
 Tabor 
 
 Tam-Tam (Gong) 
 Tambourine 
 Teachers, To the, 
 
 26 
 26 
 26 
 36
 
 86 
 
 WIND INSTRUMENTS 
 
 PAGES 
 28 
 
 42 
 
 26, 32 
 
 64 
 
 Tenor-Ranjo — Compass and notation 
 
 Tenor-clef 
 
 Tenor-Drum (see RuUanle) 
 
 T^nor en Sib 
 
 Tenor-horn 
 
 Tenor instrimients in C and Bb — Transposition 
 
 Tenor-Mandola — Compass and notation 
 
 Tenor Saxliorn (see also Saxhorns) — 
 Description 
 Technical and common names 
 
 Tenor Saxophone (see Saxophones) 
 
 Tenor Trombone (see Trombones) 
 
 Tenor Tuba (see also Tubas) — 
 Description 
 Technical and common names 
 
 Tenor Voice — ^Compass and notation 
 
 Three-valve system, defects of, 
 
 Timpani — Compass and notation 
 
 Transposing bass-clef 
 
 Transi)osing instruments — 
 In unison with the Piano 
 Method for reading and writing their parts 
 
 Transposing-notation 
 
 Transposing treble-clef 
 
 Transposition — 
 
 In the liand score 
 Reading and writing 
 
 Triangle 
 
 Trombones (see also slide) — 
 
 Compass and notation 22, 34-35 
 
 Glissando 74 
 
 Harmonic-series, scale and registers 71 
 
 Illustrations 80 
 
 Lip-trills 74 
 
 Muted 72 
 
 Quality of tone 7,'5 
 
 Repeated intervals 74 
 
 Troml)one-Basso- Verdi 22 
 
 Trumpets — 
 
 Compass and notation 21, 34-35 
 
 Harmonic-series, scale and registers 71 
 
 Illustrations 80 
 
 Muted 72 
 
 Notation octave lower 40 
 
 Quality of tone 75 
 
 Transposition 41 
 
 Trills 73 
 
 Tubas^ 
 
 Compass and notation 20, 34-35 
 
 Harmonic-series, scale and registers 71 
 
 Illustrations 79 
 
 64 
 41 
 
 28 
 
 61 
 64 
 
 62 
 64 
 11 
 68 
 26, 34-35 
 42 
 
 41 
 42 
 39 
 39 
 
 34-35 
 10 
 26 
 
 PAGES 
 
 Tubas — Conlintced 
 
 Origin 61 
 
 Qualil\- of tone 75 
 
 Technical and common names 64 
 
 Trills 73 
 
 Used by I'Vanchetti 62 
 
 Tuba en Sib 64 
 
 Tuben, Wagner's 20, 62 
 
 Tubular Bells — Compass and notation 27, 34-35 
 
 Twelfth (see Organ) 25 
 
 Typical instruments 39 
 
 Typophone — Comjiass and notation 27 
 
 Ukulele — Compass and notation 
 
 Uniform fingering system 
 
 Uniform notation 
 
 Unison passages for transposing instruments 
 
 Unda Maris (see Organ) 
 
 Valves — 
 
 Mechanism 
 
 Positions 
 Valves, compensating, 
 Valv'es, enharmonic. 
 Valve instruments — 
 
 Compass and notation 18-21, 
 
 Defective tones 
 
 Trills 
 Vah'e-Trombones — Compass and nota*:ion 
 Vent-key 
 
 Verdi's Otello and Fahtaff: use of Trombone- 
 Basso-Verdi 
 Vibrating sections 
 Viola — Compass and notation 
 Viola d'Amore — Compass and notation 
 Viola da Gamba — Compass and notation 
 Violin — ^Compass and notation 
 Violoncello — Compass and notation 
 Violone (see Organ) 
 Voices — - 
 
 Classification 
 
 Compass and notation 
 Voice-terms designating wind instruments 
 Voix Celeste (see Organ) 
 Vox Humana (see Organ) 
 
 28 
 39 
 39 
 41 
 24 
 
 66 
 67 
 68 
 68 
 
 34-35 
 68 
 73 
 22 
 44 
 
 22 
 37 
 30 
 30 
 30 
 30 
 30 
 24 
 
 9 
 11 
 39 
 24 
 25 
 
 Wagner — 
 
 Bass Trumpet, l^se of, 22 
 
 Contrabass Trombone, Use of, 22 
 
 Contra-Bassoon written for in actual-sound 16 
 
 Tuben — Compass and notation 20 
 
 Tuben, Use of, 62
 
 INDEX 
 
 87 
 
 Water-machine 
 
 Whip or Slap-stick 
 
 Widor 
 
 Wind instruments — 
 
 Classification 
 
 Compass and notation 
 Wind-machine 
 
 PAGES 
 
 26 
 26 
 
 58 
 
 9, 38 
 
 12-22, 34-35 
 
 26 
 
 "Wood"— Definition 
 Wood-wind 
 
 Xylophone — Compass and notation 
 
 Zimbalon (see Hungarian Cembalo) 
 Zither — Compass and notation 
 
 PAGES 
 
 38 
 6 
 
 27, 34-35 
 
 30 
 28
 
 ^.l 
 
 ERRATA 
 
 Pages 
 
 14 — Foot-note No. 1: Read Die Pilgrimnie for Die Pilgrim. 
 
 26 — Timpani: Read Medium for Middle. 
 
 29 — Put 8^^ .... over the high limit of the Harp compass. 
 
 34-35— Under G2, add G3^ After Trumpets I. II. add III. Put bass-clef to 
 the compass of the Tenor Trombones. Put 8^^ . . . . over the high limit 
 of the Harp compass. For the Symphony Band of 75, change to 3 
 Trumpets and 1 Harp. 
 
 62 — Foot-note No. 4: Read Ring des Nibelungen.
 
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