And Its Instruments , Must Necessarily Have Points Simi Lar with Works Written

T HE W IN D —BAN D

A N D IT S IN ST RUM ENTS

N N TH EIR HI STO R Y , CO STRU CTIO , N A N D A C O U STICS , TECH IQU E C OMBI N ATIO N

F OR

DM S S D S M S U D S B A N A T E R , B A N E N , T E NT A N D T H E G E N E R A L R E A D E R

H U R A C L PPE A R T . A ROYAL MILITARY SCHOOL OF M USIC ; SOMETIME TEAC HER OF MUSIC AT THE N TED ST TES MI T C DEM WEST PO N T U I A LI ARY A A Y , I

WI TH N UM E R O US IL L US TKA TI ON S

G C a p e -5

LO N DON WI L LI A M REE VE S

8 SS D 3 , CHARI NG CRO ROA , W . C . 1 9 1 2 P 1 1 1 CO YRIGHT , 9 , BY H ENR Y H O LT A N D C OM PA N Y To

H Mainr I . A . m anna

. s M ETI ED U AR Y (R R ),

WHOSE PROFOUND KN OWLEDGE OF ALL THINGS PERTAININ G TO THE W IND- BAN D AN D

N S M S IS A D I TRU ENT UNRIV LE ,

THIS BOOK IS IN SCRIE ED BY

THE AUTHOR .

PR EF A C E

HIS on - T book , the Wind band and its instruments , must necessarily have points Simi lar with works written

u concerning the orchestra , for wind instr ments at least some of them are the coloring elements of that organization .

ins tru Again , in works treating of orchestration , wind R ments come in for consideration . egarded from much the same point of view as the painter looks upon his colors , they are there valued accordingly and discussed

a s i in their relations prim ary colors , in their blend ng

d iﬂusive possibilities to produce new tints , in their t capacities , in heir powers for vivid contrasts and for their qualities to enrich orchestra ensem ble. In neither instance are they dealt with as indivi du a lities of Special and distinct value , but rather as parts f o a whole and subordinate to string instruments . This

of . condition results , course , from environment They are essentials , but aliens , and , though they may have the loudest voices , speak only by permission . Their

o loquacious neighbors have m st to say , in fact , talk all

t of k the ime and , naturally , insist upon priority ran in

n their ow domain . Wind instruments have a republic of their own in the w - one ind band , where each is sovereign , not subject , vi PRE FAC E

t and all may express themselves freely , for here they are i the paramount power . In th s book it is sought that each instrument shall be accorded respect as beﬁts its speciﬁc importance . For that reason , the qualities of each are taken into consideration from the viewpoints of ni history , acoustics , construction , tech que and col lec tive utility . That the treatment is adequate to the im portance of the subject is not claimed . On the contrary , the author believes it possible to develop the themes and make a

of . t work larger proportions At present , however , here is no book in the English language dealing with wind instruments and the wind - band in plan or scope herein in . i as attempted Errors and shortcomings may ex st , evitable with all pioneer work ; but thi s much may he

of insisted , such incidents do not result from any want

’ the r i of desire , on author s part , to se ve the true nterests

- the wind band and those who play its instruments . CO N T E N T S

CHAPTER PAGE

N D AN D S S M S . I . WI TRING IN TRU ENT IN GENERAL

SS F OF N D S M N S II . CLA I ICATION BA IN TRU E T

ON S S N D III . ACOU TIC OF WI

D S P S OF N P S S M S IV . I CRE ANCIE TU E IN I TON IN TRU ENT

ON M N D - DS V . FOR ATION OF WI BAN

S - D N S M S VI . INGLE REE I TRU ENT THE CLARIONET , THE SAXOPHONE

- V II . D D S M N S : O COR S OUBLE REE IN TRU E T THE BOE , ANGLAI ,

SS N S S P N E . BA OO , ARRU O HO

P P S SID - M H : OP S . V III . EN I E WITH E BLOWN OUTH OLE FLUTE .

SS S M S P P D M P : IX . BRA IN TRU ENT WITH CU E OUTH IECE THE

H MP M N AN D FRENCH ORN , TRU ET , TRO BO E , CORNET

A N S S XHOR .

S M S OF P SS : D MS SID D M X . IN TRU ENT ERCU ION KETTLE RU , E RU ,

SS D M M S SP S BA RU , CY BAL , GLOCKEN IEL , BELL , XYLO

P PS HONE , TRIANGLE , TRA

THE D M S XI . BAN A TER

S M S As To D S M S XII . O E FALLACIE WIN IN TRU ENT

AN D D D- XIII . TONE COLOR TONE BUIL ING IN THE WIN BAND

M S D M S D- D XIV . U ICAL YNA IC IN THE WIN BAN

N D- N D XV . TECHNIQUE IN THE WI BA

S M VV IN D XVI . EN E BLE IN TIIE

- . N S P SAX M D I D IN XVII ANTOI E JO E H , THE FATHER OF O ERN W N STRUMENT CO N STRUCTIO N ACKNOWLEDGMENTS

IN DEx .

I L L U S T R A T I O N S

- M MP S MP S AN GLo S MP . . R O AN TRU ET, CHINE E TRU ET , AXON TRU ET “ ” D MP N M N H MP S CURVE TRU ET OR BUCCI A , RO A ; EBREW TRU ET , “ ” “ ” “ ” CHATzozE RA S P S R MP , HO HAR , KEREN ; TURKI H T U ET M CLARIONET FA ILY .

REEDS AN D SAXOPHONE ANCIENT BA SSOON AN D OLD FORM OF OBOE O AM M D MS BOE F ILY , O ERN FOR FRENCH HORNS AN D P RE DECESSORS SS S M S : UMP F M B RA IN TRU ENT TR ET, CORNET, LUGELHORN , VALVE TRO BON E AN D SLI DE K EY : S P SS OPHI BUGLE TRIBE ER ENT , K ENT BUGLE , BA BUGLE , CLEIDE M D N F AN D M , O ERN I ANTRY BUGLE VALVE ATTACH ENT . . M M P S F OR SS M INTERIOR FOR OF OUTH IECE BRA INSTRU ENTS . SS S M S : SS P M LARGER BRA IN TRU ENT CIRCULAR BA , EU HONIU , BARI N D P D M TO E , ALTO , U LEX OR OUBLE BELL FOR OF BARITONE OR SS BA . SIX- VALVE SAXHORN TYMP ANI

SID E OR SNARE BASS DRUM

M ILITARY BAND

XYLOPHONE . TRIANGLES ' CASTAGN ETS WITH HANDLE TAMBOURINE EGYPTIAN DRU M H W D M P EBRE RU , TO H X ILL U ST RATIONS

ANCI ENT POLI SH KETTLEDRU MS A F RICA N SIG N AL AFRICAN ARUWI MI WA R DRUM A N D M A RIMBA OR A F RICAN XYLOPHONE BO UN DAW JAVANESE KETTLE DRU MS AN D P LAYER DIAG RA M OF NODES AN D DIAGRAM OF DYNA MIC RELATIVITY OF WIND INSTRUM ENTS M U SI C I N T H E T E XT

OPEN NOTE S OF THE FRENCH HORN HARMONICS OF CUPP ED- MOUTH PIECE INSTRU M ENTS H RM S OF A ONIC THE CLARIONET .

Illustra tions of Dis cr epa nci es of I ntona ti on of P is ton I nstr um ents

M OF S 1 2 CO BINATION VALVE , , 3 ' S D RD a 8 0 S N R N S TAN A , 7 I GLE VIB ATIO M OF S 2 A N D S I CO BINATION VALVE , 3 VALVE , 3 ’ TH E N S d c OTE ﬁt, g , , ’ P R SS D S N N S M 6 to ROG E IVE E CE T OF OTE FRO g# , l l TH E N S d b C OTE g ) ) g ) fll) # ) f# THE S F C NOTE # , C , # , C

’ SHOWING THE NOTES A F F ECTED B Y SAX S INVENTION OF THE RING OF KEY , ON THE LOWER J OINT THE CLARIONET N OTES A F FECTED ON THE CLARIONET BY I MP ROVED TRILL M ECHAN

ISM . .

MP SS M AN D I F M CO A , NO INAL ACTUAL , OF THE CLAR ONET A ILY

N S S D F F R N N OF P N - P P OTE HOWING I E E CE IN LE GTH THE FLUTE , O E I E

P I P AN D I S PP D- P P P I N P R NCI LE , THE CLAR ONET, TO E I E R CI LE HARMON I C TWELFTH ON THE CLARIONET SEQUENCE OF HARMONIC TWELF TH S ON THE CLARIONET A TWE LF TH A N D A TWELF TH HIGHER N NOTES ILLUSTRATI N G D E F ECTIVE INTONATION ON THE CLARIO ET . MP SS M S CO A LI IT OF THE OBOE . COMP A SS LI MITS OF THE SARRUSOPHO N E GROUP N A N D F S OF S P S A N D S N A N D OTATION EF ECT FLUTE ICCOLO , I GLE D D N S R M N S 6 OUBLE REE I T U E T 9 , 9 7 IIARMON IC OR OPE N SOUN D S OF THE FRE N CH HORN 1 0 2 “ ” SON S ETOUF F ES OR CLOSED SOUNDS 1 03 SCALE FOR A Two- VALVE FRENCH 1 05 M USI C IN THE TEXT

HARM ONICS OF A Two- VALVE FRENCH DI F F ERENCE BETWEEN NOTED A N D ACTUAL FUL L SCALE OF Eb FRE NCH HORN DIFFERENCE BETWEEN NOTED A N D ACTUAL SOUNDS OF TRUMP ETS D S S IN IVER KEY . THE LOWEST DI MINI SHED FI FTH ON THE SLIDE P S S S ID M S G SS AN D Eb O ITION ON L E TRO BONE , ALTO , TENOR , BA

' S IN B AN D Eb S DI c A S ACTUAL EFFECT OF CORNET b , A , , OUN NG ; L O MP SS M S To CO A LI IT , PLAYING COMP A SS OF

SCALE FOR TYMPANI . ILLUSTRATING RESULTS OF FA ULTY C H O F G G B L A R T S F I N E R I N , T A ES A N D D I A GR A M S

“ MP S DS S N R S ; CO O ITION OF BAN IN VARIOU COU T IE (TABLE) . Z

SS F N D - N D S CLA I ICATION OF THE WI BA (BRITI H). 43 EXAMPLES OF BAND FORMATION 44

S - - SUGGE TION FOR CONCERT WIND BAND OF SIXTY F OUR P LAYERS . FORMATION OF A BRASS 4 8

- M M o I SE S S . CLAR ONET FINGERING CHART, KLO BOEH Y TE s 6 6 RD S S M . CLARIONET FINGERING CHART, O INARY Y TE 4, 5 o SAXOPHONE FI N GERING CHART . 7 O M S S M 2 BOE FINGERING CHART , BOEH Y TE 7

O N R N - S S M BOE FI GE I G CHART , EIGHT KEY Y TE 73 BASSOON FINGE RI N G CHART 7 8 SARRUSOPHONE F INGERING CHART 8 2 M S S M 88 FLUTE FINGERING CHART , BOEH Y TE R D S S M 2 FLUTE FINGE ING CHART , OR INARY Y TE 9 AN D S S P S AN D S AN D D NOTATION EFFECT , FLUTE , ICCOLO INGLE OUBLE

D S M S . 6 REE IN TRU ENT 9 , 9 7 S OF S D A N D P S N D S 1 02 1 0 FRENCH HORN CALE CLO E O EN OU , 3 FRENCH HORN SCALE OF F I N GERING F OR TWO- VALVED I N STRU M ENT 1 05 MP AN D N N W TRU ET FRE CH HOR FINGERING CHART , THE LATTER ITH HAND OR Two OR THREE VALVES M P S S E B G SS AN D E TRO BONE , O ITION FOR b ALTO , b TENOR , BA b S BA S . . P S S M S D SS I TON IN TRU ENT REA ING IN THE BA CLEF , CHART OF FIN

GERING FOR . P S N S M S D N F I TON I TRU ENT REA I G IN THE TREBLE CLE , CHART OF F F O INGERING R . . P M F S F EU HONIU , IVE VALVE , CHART OF INGERING Eb SS F S BA OR TUBA , OUR VALVE SAXHO RN WITH SIX PI STO N S TUNING N OTES FOR F xiv CHA RTS O FIN GE RIN G ETC .

H RM D M N D S AN D S GM N S A ONIC IAGRA , O E E E T TABLE OF P RESSURES ON WIND IN STRUMENTS M ENTAL EF FECT OF RELATIVE DYNA MICS TABLE SUGGESTING RELATIVE POWER VALUE AMONG VOICES OF INSTRUME NTS IN THE WIND- BAND T H E WIN D - BA N D A N D IT S

IN ST RU M EN T S

CHAPTER I

WIND AN D STRING INSTRUM ENTS IN GENERAL

WIND and string instruments have in all times been indispensable to certain phases of musical expression .

They enter more largely into musical li fe to - day than at

has any period in the history of the art . This been — brought about by invention and development inven tion of new forms and development in the facilities of older ones . Of the former may be cited the saxophone

of of and sarrusophone ; the latter , the application pistons to brass instruments , and , to wood wind instruments , the

Boehm harmonic system . Those , together with the ex

oi of tension the clarionet , by bass and contrabass ; the

or contra fa otto oboe , bassoon family , by the gg , and devel o m ent of p brass instruments in the lower bass section , ' eﬁected are amongst the most important improvements .

In many instances , in fact nearly all , development has

e preceded r quirement by composers , while in a few cases ' neW form S or extension of old ones have originated as the di rect result of demand by some one of the great masters . — 2 THE WIND B AND

- I . RoMAN MPE AFTE LUCIN IUS . HIN ESE ﬁ rm s rs. TRU T, R C AN GLo- X N ET 5. SA O TRUMP .

t of i n s in Never heless , development w nd i strument , crease of expression and broadening in the realm of art ' are so nearly correlated as to m ake the diﬂerence in

4 THE WIND - B AND with greater vividness and reality th a n possible to com posers of earlier times . The family of string instruments the b one and marrow of our orchestras appears to have reached its full growth some three hundred years ago . Construe tion and form then attained the highest point of pe rfec

s o r . tion , far as the instruments themselves were conce ned The same cannot be said of their indispensa ble auxiliary the bow for only in comparatively recent years has it become possible to procure a bow corresponding in excellence of construction with the instruments them

f r c selves . But if they had reached the pinnacle o pe fe

or a tion three centuries more , the same cannot be s id .ago f of performers . The light shed by players o those days pales into insig niﬁca nce under the rays of Virtuosi who have illumined the ﬁdicinal and art world in recent years . Existing instrumental forms are the linea l descend

Oi ants primitive ones , having their origin in the early

f . o t . history mankind The conch , high bone , reed , etc ,

of i d were progenitors wind instruments , be ng transforme ,

r of in course of time , into trumpets , sackbuts (forbea s l . as as the the present trombone), f utes , oboes , etc , well majestic organ . From the shell of a tortoise man con ceived o f ra vanas t ron the idea the lyre , , lute , crwth ,

n to o i . Viol , and so , our wonderfully perfect Violin fam ly Tomtoms and other contrivances for rhythmic and Signal purposes of primitive man were the ancestral stock of

the of m f - o . family percussion instru ents to day Thus , AND ITS INST RUM ENTS 5

our or it will be seen , all instruments used in bands and ches tras , as well as the piano and organ , were developed

ex eri from the most Simple elements , along the line of p ment by makers , in the ﬁrst instance without aid derived

of from knowledge the science of acoustics , which , later on un , was applied to formulate and explain laws that , wittingly , had been employed in their construction . In

of m practice , the laws governing production har onics seem to have been recognized by players long subsequent to their enunciation by ancient philosophers who had little idea of the great use to which they would be put

our on in days , by composers , performers speciﬁcally

s string instruments and makers . The wonderful po sib ilities of the piano and grand organ , and great facilities f a forded by the Boehm system to ﬂutes , oboes , clarionets , f . o etc , are among the direct results serious study and application to wind - instrument making of the science of — a has acoustics science that , only in recent years , reached its highest stage of development at the hands of

Wheatstone , Helmholtz , Huxley and others . The structure of wind instruments in the early middle

so ages was very crude , it can be no cause of surprise that

one for they were ill fitted for association , with the other , production of harmonious eflects . Even in the days of “ ” Shakespeare , Noise was the English designation for a band of musicians . That the term was apt will become apparent from the statement that the common field tru m

of - pet , bugle and military ﬁfe to day are immeasurably superior acoustically to the wind instruments of three 6 THE WIND —B AND

1 hundred and ﬁfty years back . As late as 496 it was thought the neatest me thod of hollowing out a stick

i for was to requ red musical purposes , burn through It “ ” n n with a spit . Commenti g o that fact Sir John Haw “ not li n kins remarked , it is un kely but that four hu dred years before that , an organ pipe was perforated in no better manner ; we may fairly conclude that both the organ and the music of the eleventh century were n equally rude and artiﬁcial . This side light o the method of boring tubes very clearly Shows that early n n pipes , ﬂutes , and all other i struments of the oboe ki d , were not constructed with any idea of beautiful tone

or o color accurate intonation , and certainly p orly adapted to indoor performance or combination with the more n musically voiced crwth , rebec , etc . Wi d instruments were associated with the outdoor life of the people a s

or to n n accompaniment to song , play Simple da ce tu es such as were then in vogue . Bands of musicians were attached to the courts of kings and nobles as early as the reign of Edward I of

England . The following is the instrum enta tion of the band of Edward III .

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O AN D ITS INSTRUMENTS 7

The terms trompette and pyper need no expla ” “ i of nation . The citole was a k nd dulcimer ; tab ” ” - or rete , a drum ; clarion , a high voiced trumpet bugle ; “ “ ” or wa hte fedele , a viol primitive ﬁddle , and yg , an

of orthum b erland oboe . Henry , ﬁfth Earl N , maintained

of tab rete a smaller establishment , consisting , lute and “

his . IV rebec , also , of course , trompettes Edward “ ” “ m ns trells n had a band of thirteen y , comprisi g trom ” f es . One o pets , Shalms and small pyp the number “ ” “ was all fes t vall the virger , which directeth them y dayes in their s ta tyoneS of blowing and pyping s to such ofﬁces as the oﬂi ceres might be warned to prepare

’ for the king s meats and soupers ; to be more redyere

AS of in all services and due time . part the allow ance made to K ing Edward ’ s musicians there were “ ” ni h el e a m on es te iii divided g t y g them all j galanes ale . Provision was also made for servants to carry their instruments .

of alto Bands ﬂute players , including soprano , , tenor

not uncom and bass ﬂutes , and sometimes drums , were mon from the eleventh century in certain European

countries . Bagpipes , and other double reed instruments , were Often played in groups of greater or lesser propor tions ; but , generally speaking , instrumental performance was individual rather than collective before the seven

teen h . t century Town bands , after a fashion , were maintained in some continental towns and citi es . They

f on k consisted o few performers the zin e , cornet (a coarse

S a d s ackb ut com b ined ounding reed instrument) n , at times 8 THE WIND —B AND

with other instruments previously mentioned . Their music was traditional , played by ear , and , more often than not , in unison . These town bands had their orig in “ ” of 1 2 6 in an act special grace granted , in 4 , by the

Emperor Sigismund to the town of Augsburg , by which “ its citizens were permitted to maintain a body of town ” trumpeters and kettle drummers . The nearest likeness to a modern band is to be found in the instrumentation of the one attached to the court

of f K K . Blu f ing Hal , otherwise ing Henry VIII For royal banquets and state functions it consisted of four teen trumpets , ten trombones , two viols , three rebecs , one bagpipe , four tambourines and four drums . Trum pets in those days were considered the prerogative of

us e . kings and nobles , and none other might them They

for Of were employed for signaling , performance fanfares and ﬂourishes , and upon occasions where a loud musical noise was thought necessary to add impressiveness to state or other functions .

of XIV Military bands were formed , in the reign Louis f o . France , of oboes , bassoons and snare drums Follow

of ing the example Prussia , where improvements in band formation had already been made , the B ritish Coldstream

1 8 r of Guards , in 7 3 , fo med a band eight musicians , two

two . oboes , two clarionets , horns and two bassoons In

1 of one s ix 7 9 5 French bands consisted ﬂute , clarionets ,

one one and three bassoons , two horns , trumpet , serpent

e ﬁectin several snare drums , g quite an improvement over the days of Louis XIV . The foregoing shows that the AN D ITS INSTRUMENTS 9

military band was in an embryotic condition as late as

the close of the eighteenth century . Though clarionets had already assumed their present form and trombones and trumpets were much improved

not n of in bore and appearance , it was until the begin ing the nineteenth century that wind instruments in their several varieties could be combined in performance with

any degree of certainty of producing satisfactory results . Instrument makers of that date improved the French

horn and added a Slide to the trumpet . Later came

the key bugle , said to have been invented by Halli

lz . Stoe el day , an Englishman Subsequently a German ,

claimed to have invented the valve . The fact

to appears be that he bought the invention from an oboist ,

t f r Blii m el . The earliest patents taken ou o the valve in

1 8 2 England are credited to John Shaw , the ﬁrst in 4 , “

or 1 8 8 . and second , for a rotary swivel action , in 3

1 1 eﬂected Though Sax , the elder ( 79 had many

improvements , it is not until we arrive at the mid

of his son 1 8 1 career Antoine Sax , ( 4 that evo lution from the chaotic condition of wind instruments became truly apparent . He was the ﬁrst to con struct all brass Wind - instruments on exact and scientiﬁc ih principles , by which close approximation to correct

of tonation and sympathetic unity tone , as well as cor — respondence in design as in the saxhorn family

o of am ngst various members the group , was secured .

of He improved the bore the tubes , establishing correct

so dimensions , achieving better mechanical results , and — 1 0 WIND B AND AND ITS IN STRUMENTS

a i as to t perfected valves , rot ry and p ston , make hem

His i really useful auxilia ries . mprovements and crea tion of the saxophone family supe rseded the use of se r

n e pents , ophicleides and other such weird contriva c s ,

n of i - and i augurated the era the w nd band proper .

Wie recht was i i p , the Prussian bandmaster , do ng art s tically for bands what Sax had undertaken for the me cha nica l of i r m and scientiﬁc improvement w nd inst u ents .

1 8 8 i In 3 he gave a concert at Berlin , in which S xteen

i r infantry bands , S xteen caval ry bands and two hund ed

all 1 200 drums , in something like players took part . Subsequently he w as in trusted with the task of reorg a n f o r . 1 8 in izing the military bands P ussia In 45, Spont i reorganized the French military bands along most liberal m lines , including in their ranks the most i portant wind i of . R i instruments the day Austria , Spa n , uss a , Italy and England fell under the Spell of the spi rit of improve

of in ment , with the result that by the middle the n e teenth W - t century , ind bands were cons ituted much as

- they are to day .

— 1 2 THE WIND BAND

h n ruso o e . a p , is not accurate A better classiﬁc tion would be one indicative of the inﬂuence controlling the vibra i m n m t ons of the air colu n , by which wi d instru ents would be di vided into four classes : thus :

1 . O H S ME S as h M UT IN TRU NT , ﬂutes and piccolo , wit

r a cylind ical tube , where the Vibrations are c used by the air from the lips being broken up against the sha rp i em bouchure . edge of the mouth hole , techn cally

2 . S M S P Y D H A S N D IN TRU ENT LA E WIT I GLE REE , in which the column of air is set in vibration by means of a Single reed attached to the mouthpiece by a ligature .

This group includes clarionets and saxophones , which are as important in the band as are string instruments in l the orchestra . The clarionet tube is cy indrical , while

r that of the saxophone is conical . Thus the cla ionet acts somewhat as a stopped pipe and the saxophone as

i or . an open one , in relation to their harmon cs overtones

. S M S P Y D H A DO E D 3 IN TRU ENT LA E WIT U B LE R E , wherein the air column is set in motion by vibration o f

unct a s a n lais b as soon s a rruso that adj , the oboe , cor g , and

of s . phones , the ﬁrst three made of wood , the last bra s

These instruments have conical tubes in common , the smaller end being that where the reed is afﬁxed . The harmonics of this group are those usual in all open tubes .

4 . INSTRUMENTS P LAYE D WITH A CUPPED MOUTHPIECE . In this group the player ’ s lips act as reeds and thereby

s impart a vibratory motion to the ai r column . Pre sure of li s con ointl with the mouthpiece against the p , j y normal ,

r i of i i increased or relaxed tension , dete m ne Speed V brat on AND ITS INSTRUMENTS 1 3

and account for height or depth of resulting sounds .

h ﬂii elhorn T is group includes trumpet , horn , cornet , g ,

or B b trombone , alto , baritone euphonium , E b tuba , B B and b basses , the Six last mentioned belonging to the

or saxhorn family . The harmonics overtones follow in

of Similar order from the fundamental sound each , though not in extent , in all the foregoing . The tube is

on conical all the above , excepting the trumpet and trombone , where it is cylindrical to the bell joint . All

- of of cupped mouthpiece instruments , irrespective shape w “ ” tube , have a conical enlargement , other ise bell , the

ne- i three last mentioned having it in o th rd their length . The proportions of the bell are said to a ﬂect the accu racy of the harmonics .

of dim en The shape the mouthpiece , together with

of of sions tube , are potent in determining the quality tone in the several instruments of this class . Roughly ” stated a cup , approximating a hemisphere in Shape , is

or more less blatant , as the throat or oriﬁce (the narrow

of est part the mouthpiece), through which the breath passes into the instrument , is near or further removed from the lips . The more nearly the cup approaches the cone shape , the sweeter will be the tone produced . A

of somewhat elongated cone , as in the case the horn mouth

of piece , assists and in fact is essential to formation a A . S soft , velvety voice instruments vary in length and

so d o f internal dimensions of tubing , mouthpieces di fer

of - i in Size , the cup being , course , larger for deep sound ng instruments than for those emitting tones in higher — 1 4 THE WIND B AND

scales . It will be perceived that the inner Shape of the

on mouthpiece exercises a great inﬂuence tone character , a fact pointing to the moral , that selection of a mouth

or piece must not be made haphazard whimsically , but , on the contrary , governed by the law of eternal ﬁtness .

i of f Finally , dimension , that is , d ameter tubing , a fects

di ﬂerence of tone character , as is apparent in the tone

rn subsisting between trumpet , trombone and ho , with long narrow tubes , and the saxhorn family of corre

s ondin of i . p g pitch , whose tubes are wider d ameter The reason of this is greater richness of harmoni cs of

of the narrow tube , as against their paucity in those

and more ample dimension , resulting in greater clarity purity of tone in the former than in the latter .

S M S OF P SS O . 5. IN TRU ENT ERCU I N This group has l already been referred to . It is on y necessary to add that this Class may be divided into those with d eﬁna ble

resona nce . , as kettledrums , bells , etc , and those with i nde na ble res ona nce or ﬁ , as the Side snare drum . bass drum , cymbal , etc . The foregoing grouping shows ﬁve classes of ins tru ments in use in the band , which , again , may be arranged in family groups according to their distinguishing tone color .

I . F c . . lutes and piccolos in all deg rees of pit h d e c Eb . c 2 . e Clarionets , in luding those in A , B , C , , etc , alto larionet in

e F c e c c . l , bass larion t and ontrabass larionet g n i c . 3 . Saxophones , in luding soprano , alto , tenor and baritone

. ’ d O cor s a nd 4 . boe , ang lais , oboe d amour (rarel y used), ba soon contra c c bassoon . b " e e c t E Sarrusophon s , soprano , alto , t nor , baritone and on rabass ;

v e i ca 1 8 6 b the F e c m s a . in ent d (C r 5 ) y r n h band a ter , S rrus AND ITS INSTRUM ENTS 1 5

6 1 v k 0 v . . Trumpets , trombones of all inds , tenor and bass , slide al e

. r 6 7 The cornet , uniting in some degree the characte istics of class with c those of lass 8 . iz 1 so 8 . Saxhom s . v V This family comprises se en members , ( ) Eb 2 B b B b B b pranino , ( ) soprano , (3) Eb alto , (4) baritone , (5)

6 B B b . alto B b bass , ( ) Eb tuba , ( 7 ) bass The , baritone , bass ,

Eb tuba and B B b bass are all used in American bands . The B S b oprano should be , it being superior in tone q uality to the m co et , with which it is identical in pitch .

. e Its 9 Flugelhorn is the modern form of the old k y bugle . pitch is

Similar with the com et and soprano saxhorn . By reason of the c k wider diameter of its tubes , its tone olor is less li e the former

W kin . than the latter , ith which it is , on that account , nearer of

All the foregoing cupped - mouthpiece instruments are

the equipped with pistons , used to ﬁll Spaces between notes of the series of natural harmonics . They were

Bliim el invented by , a Silesian and applied ﬁrst to i the horn ; but Sax , a Belgian maker resid ng at Paris

1 8 . about 45, improved them into their present form The Slide trombone is the only exception to the foregoing ; its l Slide , pushed outward or drawn inward at will , fu ﬁlls the same purpose as do the pistons . The slide trumpet has become obsolete .

1 0 P ﬁ k . ercussion instruments of de nable resonance , pair of ettledrums c or tympani , ea h being tuned , note by note , to create usually v ﬁ c c the inter al of a fourth or fth between the two , as ircumstan es ck may req uire ; glo enspiel , xy lophone , tubular pipes , metal bars

ﬁ c . c to imitate small and large bells , all of xed pit h Ea h of the

four last named has a complete chromati c scale .

1 1 . P ind eﬁnab le c S ercussion instruments of resonan e , as the snare or ide

drum , bass drum , tomtom , cymbals , triangle , gong , tambourine ,

ca st a net s . U c g , etc nder the general title of traps are in luded ’ S cocoanut hells to imitate the beats of a horse s hoofs , sand

S - c v c paper and heet iron ontri an es to imitate wind , rain , thunder , '

. m c aﬂairs etc , as well as those more usi al to imitate birds and

so on . — I 6 WIND B AND AN D ITS IN ST RUM ENTS

In conclusion it may be stated that the material from whi ch wind instruments are made has no inﬂuence on i their tone quality , their sonority exist ng in the air column within their tubes . Brass instruments are made of that

for of metal reason its ductility , which lends itself readily R m to any form of structure . epeated experi ents have shown that instruments made of gutta percha , plaster of u as paris , wood or any other material , have q ite good

a s d tone those devised from brass , providing har ness ,

d n . density , iameter , length and ﬁ ish be equal in each CHAPTER III

ON THE ACOUSTICS OF WIND INSTRUM ENTS

MUSICAL sounds may be deﬁned as the effect pro d uced on the brain by transmission through the ear and

of the auditory nerves , by the successive striking waves ” of air on the drum of the ear . “ When a column of air contained in an open tube is set of in vibration by the lips , it produces a series waves , the length of which can never be greater than the length of the tube which holds the air . If the air in the tube

end vibrate as a whole , from to end , the sound produced

of is called the fundamental sound . If the pressure the

of lips be increased , the column air can be made to vibrate

or in two , three , four , ﬁve more equal parts , and the waves 1 thus produced In the air will be In length 2 , 3 , 4 , 5, etc , f o the open tube . The sounds produced by causing the column of air in the tube to vibrate in these different ” parts are called the harmonics of the fundamental sound .

M a ha n .

Thus , whatever the nominal pitch of an open pipe , if it

or be sounded in its entire length , the fundamental , lowest f o . on tone its scale will result In practical band work ,

i of the smaller nstruments , emission those fundamental f tones is impossible . The lowest sound o the tube usually produced on instruments with cupped mouthpieces is the

I 7 — 1 8 THE WIND B AND

of a t its ﬁrst harmonic the fundament l tone , o herwise i octave , excepting on those with wide d ameter , as the B b

i u i on a s a i . bass , wh ch the f ndament l more easily obt ned

ou t fund a m en Cornet soloists , however , often bring the f f tal tone for purposes o e fect . Instruments with cupped mouthpieces are the simplest form of consonant tubes , varying in length from 3 feet

7% inches to 1 9 feet 4i inches . The French horn (C low)

1 f has a length of about 7 feet . The method o exciting the vibration of the air column within their tubes is the i same in all instruments of th s class . At the smaller

m i extre ity is the cup , form ng an expansion of the bore , carrying a rou nded edge against which the tense li ps of the player are steadily pressed . The reed thus consti t ut ed of not i is the membranous kind , d ssimilar to the f f vocal cords o the human larynx . The method o its vibration is totally diﬂerent from the reed of the oboe or

for n clarionet ; , whereas in these the lower harmo ic notes are damped by the appended tube and one of the hi gher

ins t ru and sweeter partials reinforced , in the cupped ments every successive harmonic from the very lowest is practicable , and all but the extreme bass sounds are actually used successively in producing the scale . The sequence of sounds in the harmonic series , modiﬁed i Slightly accord ng to the particular instrument , depends for its production entirely on the varied tension of the lips , and is commonly termed the scale of Open

Notes . It is to bridge over the long gaps and inter

a of v ls between these open notes that all systems valves ,

— 2 0 THE WIND BAND

Increased pressure has the same effect upon the air waves

of as that dividing and subdividing the string , excepting that the direction of the oscillations differ ; those of the air column being lateral , those of the string transverse . Open pipes have invariably a segment at each end and

odd of m produce the and even tones the har onic series , which are identical with those obtained by di visions of the string .

of The ﬂute , oboe , bassoon , and other instruments their class , the saxophone and sarrusophone , are all Open pipes , m uttering the harmonic series in Sequence Si ilar with ,

iﬁ rin d e . but g in pitch , from that already given Thus ,

ﬁn er a skillful ﬂute player , making no alteration in the g

of of ing the holes , but altering the character his blast , can produce not only the ﬁrst note but any one of several ”

Ai r . of its harmonics . y

All soprano cupped - mouthpiece instruments (except ing the French horn) nominally give as their

ﬁrst open sound , the same being an octave higher than the fundamental . Consequently the series ” of open sounds or harmonics expressed in writing for one covers all ; thus

"9 “ ba

B B ut as instruments in A , b , E b , F , etc . , are used , it must be remembered that the C above given is nominal AND ITS INSTRUM ENTS 2 1

l not on y , actual , the true sound being that from which the instrument is named .

Inasmuch as the ﬁrst open sound of all bass instruments ,

B or B b for instance b , G F trombones , and E b basses , corresponds with the actual pitch , it is a matter simply of of or transposition to obtain a plan the open sound , harmonic series sui table to each in accordance with its pitch name . The seventh note of the series above given is not in tune with the B b of our scale of equal temperament and therefore not available in practice . The clarionet differs from other instruments in the

of its of nature harmonics , having the characteristics a stopped pipe . “ The stopped pipe of an organ is merely a pipe with a

or plug at the end , cap upon it , so that the wind has to

li or . travel to and fro to obtain an exit at the open p , notch The column of air is thus doubled in length and the note produced is therefore an octave lower than that of an

of of open pipe . A clarionet is the nature a stopped pipe , and although closed only at the end next the mouth , the effect of lowering the tone by an octave is the same . One foot in length of the clarionet produces the same C as two

o i feet in length on a ﬂute . Only tw harmon cs can be

. : produced from a clarionet , viz a twelfth and another f twelfth above it the latter , with di ﬁculty , on account of of its hi gh pitch . The peculiar harmonics the clario net were ﬁrst brought into notice by Sir Charles Wheat ” ha e s F . R . . ll . tone , S C pp — 2 2 THE WIND B AND

The sounds above referred to are

n i The Professor Ty dall , follow ng Helmholtz , says ,

1 i clarionet has the harmonics , 3 , 5, 7 , by open ng the ” holes at the side . This statement is based on the prin ciple that stopped pipes in general produce the odd — “ number harmonics of the open pipe series . Openi ng the holes at the Side of a clarionet is , as Chappell “ ” remarks , to change the fundamental note and intro duce a principle in disagreement with that applied to

the r the open tube . From this it will be noticed , cla ionet stands in a class peculiar to itself . It was an Old theory that no difference of pitch could subsist between pipes Of equal length unless one of them

o chanced to be a stopped pipe , as width was supp sed only to increase loudness . Modern practice proves the exi st ence of such a variation . When pipes are but two to three feet long the variation is very small , but in larger pipes

f F r increase o diameter appreciably ﬂattens the pitch . o

of 1 instance , by reason its great diameter 5 inches a pipe 2 8 feet 6 inches in length is found in practice to

2 - n 1 6 v produce a 3 foot tone , havi g ibrations to the second .

eﬂect - A Similar shows itself in wind instrument making . “ so as a c For , if it is desired to enlarge a tenor horn to

a quire baritone quality of tone , the tube of the former being 6 feet 6 inches in length will only be shortened by AN D ITS INSTRUMENTS 2 3

one i is inch , although the d ameter increased by several

on Sizes . And yet , the other hand , there will be a varia tion of one inch and a half in the length of two horns of

small Size , to produce the same note from both . The

actual scale for horns having two - thi rds of cylindrical tube and the lowest thi rd of conical form ending in a bell is as follows :

- d o A Tube é inch iameter , length 4 i inches , sounds t}. 7 - 1 Al . Tube T g inch diameter , length 4 % inches , sounds l Difference of form of the two cones may be one cause

of for the variation , the more dilated the cone , the ﬂatter

so i the pitch . B ut there are many bear ngs in these ” is one of di fﬁ cases that the subject considerable culty .

Chappell . Drums are described as instruments in whi ch a

of stretched disk elastic parchment is struck with a sti ck . In the big drum and Side drum no musical note is aimed at ; but in the kettledrum used in the orchestra the

parchment can , by screws on the circumference , be given

f hi on dif erent degrees of tension , w ch , the principle ex

ff of plained for strings , will give di erent degrees pitch . In this drum also the membrane is stretched over a hollow cavity whi ch acts as a resounding chamber and ” considerably improves the tone . Most of the instruments depending on the percussion of solid bodies for their vibration , such as tuning forks ,

or triangles , cymbals , xylophones , elastic metal bars bells “ so l called , give rise to what may be called irregu ar over

tones , having inharmonic relations to the fundamental . — 2 4 WIND BAND AND ITS INSTRUMENTS

F or of example , the ﬁrst overtone a tuning fork gives an

r v undeﬁned va iable note , ibrating somewhere between

u and times as fast as the f ndamental , and the others are equally inharmonic . “ The subsidiary tones thus produced are called i n ha rm oni c overtones ; and the compound sounds which contain them lose in proportion as they prevail , the satis factory character of musical tones no rmally constituted for which reason their use in music can only be tolerated i when the fundamental largely predom nates , and even

o then only wi th certain precautions . P le. The foregoing offers some explanation why the attempt to play the metal - bar bells or any other employed

or of in band orchestra , in harmony third , sixth and so i on r . , is never satisfacto y to the crit cal ear CHAPTER IV

DISCREP ANCIES OF TUNE IN PISTON INSTRUM ENTS

BEF ORE proceeding to the consideration of instruments w individually , historically , technically and else ise , it is necessary to point out some of the defects incidental to the application and use of pistons . These defects are inseparable from , and emphasize the limitations imposed

of by , the piston system structure , especially when em ployed in combinations , as they must be , to facilitate production of complete scales and the performance of

n music as ow written for the several instruments . The Slide trombone Shows the basic principle un derly f o . ing the invention and application pistons B ut , while that instrument will utter tones at accurate pitch , in the h descending c romatic scale from its ﬁrst position , by “ ” len thenin s or of successive g g Shifts its tube , the pistons

eﬂect m of other instruments , designed to Si ilar length enin s so g , do only approximately when combinations of those pistons become necessary , as they frequently

of do . In rapid passages discrepancies intonation are passed unnoticed , but in Slow movements and sustained t n harmonies hey become distinctly apparent , u less the

use of i . i performer , by ear and l ps , corrects them In th s

a s is b e instance , in many others , to be forewarned to

25 — 2 6 THE WIND B AND

for ins t ru forearmed , which reason players on piston ments should be acquainted from the outset with those f discrepancies and the cause o their existence .

of a t Each piston controls a certain length tubing , ta ched to the instrument and through whi ch the air may

‘ - iS o ened be caused to pass , when the air way p by pressing the piston down . The second piston controls tubing sufﬁcient to add a half tone to the length of the normal i tube ; the ﬁrst piston a full tone , and th rd piston a tone

- f one . o w and half By combinations two ith three , one

one ll with three , and and two with three , sti further len thenin s f g g can be e fected , thus descending to the

on lowest tone practicable the instrument , which in every

on - m n instance , three valve instru ents , is a sou d at the

of i i interval an augmented fourth , or d min shed ﬁfth , as it may be variously expressed , from the (41h) (51h)

of : ﬁrst Open sound the instrument , thus B To bass instruments , such as the b b bass , E b bass and even BB bass , a fourth piston has been added .

It is a well - known principle of acoustics that the num ber ofVibrations per second furnished by the fundamenta l

of sound or by any harmonic an air column is , for the

of same diameter , inversely proportional to the length

s a m the column . That is to y , the longer the colu n the fewer the number of vibrations per second . This rela tion between vibrations and length makes the discussion

f one i i o the question a Simple , because d mensions , wh ch

i of i are v sible , can be used instead vibrations , wh ch are

— 2 8 THE WIN D BAND

are a little sharp as compared with piston 3 , consequently when the rule is laid down that pistons 1 and 2 must give

as in the same sound piston 3 when the instrument is tune ,

or 2 or of it amounts to saying that either I , both them ,

or . must be ﬂat , that piston 3 must be sharp Such a rule is absurd for any three - piston instrument made in the ordi nary way ; and the absurdi ty arises from the very nature of the instrument itself . To obtain the

2 F 14, written pistons and 3 must be used . The true length of tube required for thi s F If is 6 feet

: inches . The length obtained by the pistons is

L . ength of the natural tube . 4 ft in . 2 md additional tube 3 rd

Total 6 ft . in .

l one- of which is inch too Short , a most Sixth the length of d the second ad itional tube , and hence nearly a twelfth

n of a tone hi gh . This borders very closely o the line of

. too to . F or intolerance Still it , , may be allowed pass

F 1 h, written pistons and 3 are needed . The true length of tube required for thi s F is 6 feet

inches . The length obtained by the piston is

L eng th of natural tube 4 ft . in . I s t additional tube 3 rd 1 1 08

Total 6 ft . in .

one - i which is inch too short , slightly more than th rd of of or the length the second additional tube , more than

n - o e seventh of a tone Sharp . SO thi s combination is AN D ITS INSTRUMENTS 2 9

of inadmissible except in rapid successions notes , where

of n the ear has not time to take in the falsity the sou d .

F or E , written all three pistons must be used . The true length of tube requi red for this E is 6 feet inches . The length obtained by the pistons i s :

Length of natural tube 2 md additional tube N I SL

3rd Total

e two- hi which is inches too Short , v ry nearly t rds

of or the length of the second additional tube , , rather , f more than quarter o a tone sharp . Thi s is in ad i missible except in a very rapid passage , where th s

r combination would be scarcely more than touched . Fo

tuna tel of - one hi y , the thirty notes w ch form the ordi

of m nary scale the instru ents with three pistons , from nl as written , o y eight require the

use of one of more than piston , and these eight four are made with

2 i i pistons and 3 , wh ch , as has been seen , will pass ; wh le

only two , and are made with

1 two and 3 ; and ,

and are made with all three pistons . 33 . These four notes Should be avoided if pos

of Sible . In very rapid successions notes , like scales and

trills , they are permissible , thanks to the imperfections hi l of the ear . The question w ch natura ly presents itself — 30 THE WIND BAND is : t ? is this Can these defects be rec iﬁed The answer , i i i They can be greatly d m n shed , but they cannot be i wholly removed . To explain this the more intell gently n let the written notes be substituted for the true sou ds , bearing in mind that the latter are a tone lower than the f written notes . The lowest sound of the open tube o the com et is that represented by The second piston gives the ﬁrst piston , t h e t h i r d piston , It has been Shown that the com bination of pistons

1 2 one- of i and is in error by about twelfth a sem tone ,

s a defect o slight that it can be neglected . This being so of n , it is superﬂuous to have two ways maki g the same

u s note , especially as the third piston gives such poor res lt in two of the three combinations whi ch it can make wi th the other pistons . Suppose now that the third addi tional tube be tuned to give a major thi rd instead of a mi nor

i for i th rd below the open tube , the notation the th rd piston will be instead of Thi s gives the length of the thi rd a d d i t i o n a l tube , in this case inches . To obtain the written i pistons 3 and 2 would have to be used . Th s combination gives :

Length of natural tube . 3 rd additional tube 6 ‘ ( I 2 nd Total

But the length of tube required for this G (tru e sound F l?) 6 is feet inches , hence the combination is only AND ITS INSTRUMENTS 3 1 — too one of inch Short , or a little less than eleventh a tone

is Sharp . This a great improvement over the G (true

ne sound F q) obtained before . That was more than o

f i one is less one - seventh o a tone Sharp , th s than elev enth ; thi s can be admitted as suﬂi ciently satisfactory

F or and a good and are obtained . the written the ﬁrst and third addi tional so tubes are needed , and the length obtained is

Length of natural tube . 4 ft . in . 3rd additional tube I I st

6 . Total . ft in .

But the length of tube required for the true sound (E) is

6 of feet inches , hence the combination tubes is too

n - short by inch . This is a little less than o e ﬁfth of i a tone high , a l ttle better than what was had with the

of of other combination pistons , more than quarter a tone , but still unsatisfactory . To add the second additional tube would give a sound very much too ﬂat . The only method of having a good E and consequently a good

(both written), is to add a fourth piston

u or tuned to the F ll, a diminished ﬁfth below the

. m natural tube If this piston were added to the co et , or O of to any ther instrument Similar construction , there need be no interference with the ordinary ﬁngering of the

for use or instrument general , but in cantabile playing in sustained notes the two notes given above would be true . — 3 2 THE WIN D B AND

Having then an instrument with four pistons tuned as

: 1 2 nd follows st piston , a major tone ; piston , a semi

rd th tone ; 3 piston , a major third ; 4 piston , a diminished

ﬁfth below the open tube , there would be had a complete scale , satisfactory to the ear from the lowest to the high

is one est note . There danger to be feared in the addition

of viz . the fourth additional tube and piston , , that com

i or posers and arrangers , not understand ng not troubling

of i l themselves to study the true use this add tion , wou d

of misuse it , as they have done with the fourth piston

i s o- the B b bass , to cont nue a called scale downward from

all E to E , in which the intermediate notes 4 : are false , without exception , the inac curacy increasing with each semitone , until it reaches very nearly a half tone at the which is nearly i a whole tone higher than the E , wh ch

4 is the fundamental of the instrument , and which

of is true . The real use the fourth piston is to g ive

F to an accurately tuned # , and not extend downward f the compass o any instrument . When it is necessary to of descend below this , an instrument lower pitch

Should be used . It is not likely that an instrument with four pistons tuned as above indicated will soon be made . Prejudice on the part of perform ers will alone sufﬁce to make such a change next to impossible . The falsity of intonation due to the combination of pistons can be

f r o . corrected , within limits only , by the lips the perfo mer

To secure this result much time and practi ce are requi red . No mechanical means ca n correct a defect inherent in the AN D ITS INSTRUMENTS 33

wo very nature of the instrument . T and two can never

— - a - how in make four and half , no matter much time and g enuity may be expended in trying to produce a mech anism to accomplish this result . So the combination of two or more pistons will never , under the general form of construction , produce any other than a tone which is i more or less sharp . The piston instruments are l ke all

i . other instruments , there is none wh ch is perfect The ’ n in player s individuality must enter i to his work , and di vid uality requires more study and greater care in its development than does anything else . When Rossini was asked what were the three most necessary qualities

‘ for : is a Singer , he replied The ﬁrst voice ; the second is

’ voice ; the thi rd i s voice . With the player it may be said that the ﬁrst necessity is work ; the second is work ; i the third s work . Work continuous and incessant is the

one for price which must pay success ; and , other things

to being equal , the player who works the hardest over come the natural defects of his instrument to over

i one come , for they can never be erad cated is the to

a ha n . whom will come honor and distinction . M

In conclusion , it may be remarked , the fourth piston as employed by all modern makers , increases the length of the normal tube sufﬁcient to obtain a perfect fourth below the ﬁrst open sound usually recognized , although

' by reason of the wide dimension of tubing the funda mental sound is more easily obtainable on instrum ents

B b on of a s such as the bass than those narrower bore ,

as h already been pointed out . The combinations of that WIND—BAND AN D ITS INSTRUMENTS

a ﬂord s piston , possible with others , additional facilities “ ” in ﬁngering , and enables the player to produce ebro

on matic semitones in the lower range , impossible a three

. a s has valve instrument Those notes , Major Mahan

out out pointed in a preceding paragraph , are much of tune . The greatest care must , therefore , be used in their production . To correct them , some makers have

use of added a fifth piston , by of which the notes the gap between the fundamental tone and its octave may be played with greater approximation to correct pitch . The fifth piston simplifies the fingering in some instances and renders trills possible , which , heretofore , had been impossible .

— 36 THE WIND BAND

ro ri a te v w p p or logical , iewed by art standards , is a ide

for l r open question . Bands formed mi itary se vice should

r be distingui shed by virile sonority . F o that reason it might be supposed that brass - wind and percussion i ns t ru

Yet ments exclusively would be employed . what d o we ? ﬁnd In American government bands , regulated at

- - twenty four members , are employed about three fourths

w for fa m il brass , never organized ith consideration y group

- i ing , and one fourth reed , includ ng piccolo ; which gives just sufﬁcient reed color to di sturb and of course not

of . enough to be artistic value Further , from the point

of i one- i of Of View viril ty , the army band loses about s xth “ ” its tone power by the incorporation of the reed ele ment . The employment of reed instruments in our army bands is a concession to military social requirement . It being admitted that such is necessary and there can be no doubt on that point the better way to meet it would be to increase the strength of our army bands to i forty players , wh ch number would allow for a properly balanced reed section and make the band tonally strong enough to meet all demands on the march .

i hand s so On the other hand there ex st concert , called , in which the assortment of instruments appear to have been drawn together for variety and without considera tion of appropriateness . Bands of more or less reputa

i ot tion , awarded by an uncritical publ c , are n uncommon i in wh ch we ﬁnd incomplete families of reed instruments , for instance clarionets without their alto , bass and contra

aSS kin b , and E b alto saxophones , lacking their comple AND ITS INSTRUMENTS 3 7

of . ment soprano , baritone and bass Again , trumpets

of are rarely found , and certain valuable members the

h m as ﬂti elhorn sax orn fa ily , well as the g , are actually tabooed .

SO our vil The military bands , called , of towns and

i . lages , are nondescript organ zations They are more often than not the manifestation of good will toward

on of of music the part certain members the community , but just as frequently they are exhi bitions of the inefﬁ cacy of good will without proper di rection . Cacophony is hardly the term to apply to the performance of many of

’ them ; the noise in a boiler- maker s shop is harmony by R l . comparison . And yet the fau t is hardly theirs ather

in is it attributable to lack of instruction , example and di fference of a public that has yet failed to perceive the

- n iff r art potentialities latent in the wind band . If i d e

of l ence the pub ic must be condemned , the obtuseness and lack of foresight on the part of composers of note are

of worthy double condemnation ; for in these days , when a high degree of perfection obtains throughout the several groups of instruments from which an excellent wind

r band might be formed , more than equal in musical e sources with the orchestra , their failure to write for such is for i obviously gross neglect , wh ch the only excuse that

ﬂered of may be o in extenuation is want precedent . The hom ogeneity of the orchestra is the result of the f i o . harmon ous combination its elements In other words , hi i it is a picture in w ch the string color predom nating , the tints and Shades of other instruments impart richness — 38 THE WIND BAND

l and variety , emphasizing by re ief the stronger color

r n without marring o detracting from its value . The co cert band m ight be made equally homogeneous were

or i clarionets employed , complete in their class fam ly , t i in propor ion and manner , comparable with the str ng family in the orchestra . The string quin tet is the back bone oi the orchestra ; the clarionet quintet Should be

ae considered as the vertebr of the concert band . Nu m ericall r u y , cla ionets Sho ld preponderate ; ﬁrst , second and third clarionets , alto clarionets and bass clarionets being employed in proportions equal with the ﬁrst and

of . second violins , Violas and celli the orchestra The contrabass clarionet might be used to complete the

eﬂects a i choir , for special , or to ssist in mparting a “ ” reedy quality to the band ; but for the foundation

i b e bass , the tuba and BB b bass must necessar ly the con

u stant element . E b clarionets wo ld , in such an arrange B b ment , be employed to strengthen the clarionets in

out sonorous passages , and to carry motives in the upper F ranges lying beyond the compass of the latter . or practical purposes they would be considered primarily

of . as instruments extension Surrounding the clarionets , a s a ll in it were , piccolo , ﬂute , oboe , bassoon and brass s trum ents would contribute the effect of their special tone

eﬂect the l of the color , enhancing their as centra ﬁg ure organization .

To impart additional color , strengthen the impression “ ” of of reediness , and assist in amalgamation clarionet

t of r e tone wi h that the brass , with characte istics pe n AND ITS INSTRUMENTS 39 liarl own y their , a quartet of saxophones would appear

i of in almost indispensable . Th s ﬁnely voiced family

AS strum ents is not appreciated as it should be . a

or is special choir , in combinations , it most expressive , and worthy of the serious consideration of composers and bandmasters . Of the sarrusophone group , very little f used , the alto and baritone could be employed e fectively to supplement the bassoons in sonorous passages . Simi la rly the soprano sarrusophone might be used to supple ment the oboe and , ﬁnally , the contrabass sarrusophone would be found of great value in adding sonority and i agility to the bass section . In th s connection it is perti

sa rruso nent to remark that the contrabass clarionet , d i phone and bassoon , use conjointly with the ord nary brass basses — which might be reduced in number f would give an e fect of sonority without blatancy , and more comparable with the string bass tone , than now

of obtains by the present , almost exclusive , usage brass basses with cupped mouthpiece .

of of By reason the greater sonority clarionets , as against Violins , oboes and bassoons Should be used in

or double quantity in the band , supplemented , as pre viousl su es ted b of y gg , y members the sarrusophone group , t not by saxophones , as is some imes the case . The tone of the latter does not suggest the piquancy of the double

Or of reed oboe the lugubriousness the bassoon .

out i Following the suggestion of kinsh p , cornets might still be used , but it would be preferable to employ trum m pets , for ing a choir with the trombones , to whi ch they — 4 0 THE WIND BAND

of r of are very nearly related by reason Simila ity tube ,

of mouthpiece and , above all , tone color . Their range compass and ﬂexibility of mani pulation are equal wi th

of m h those the co et , to w ich they are much superior in virility and brilli ancy of tone . Bands are to be con gratulated on the increasing tendency to use B b trum “ ” pets instead oi B b cornets . The choir formed by the

m of B B b trumpet fa ily consists b and E b trumpets , tenor trombone and G or F bass trombone . The French horn stands unique among brass instru ments for compass and beautiful velvety quality of tone .

of It is employed in concert bands in quartet ﬁrst , second ,

l for third and fourth , and is inimitable in adaptabi ity f Special e fects , where soft , sweet , tender , pastoral motives

i or are to be depicted , in jocund hunt ng strains , in their

of power sustaining harmonies and thus cementing , by

i of i their blend ng quality tone , the whole harmon c structure . They assim ilate with both reed and brass

- in better , perhaps , than any other cupped mouthpiece

s t rum ents .

x viz . : Sa horns are seven in number , E b sopranino , B B b B b soprano , E b alto , baritone , b bass , Eb bass and

. f BB b bass The baritone and B b bass di fer only , in that the latter has tubing of greater dimension than the for i l mer , by reason of wh ch its low notes are fu ler and easier

of utterance , but , on the other hand , high notes are harder

. n to produce than on the ﬁrst named The E b sopra ino ,

to excepting in France and Belgium , has given way the E b cornet in brass bands ; the B b soprano saxhorn is AND ITS INSTRUMENTS 4 1

m has likewise superseded by the co et , which artistically much less meri t ; otherwise , with occasionally more or less modiﬁcation peculiar to different makers for business

of i reasons , the remaining members the saxhorn fam ly are to be found in our bands .

fl elhorn f The ii g is a descendant o the old key bugle . It wa s SO named (fug elhorn or fliig elhorn) from the fact that the player of that instrument in German regimental brass bands marched at the right - hand corner of the n front rank and was known as fingelrnan . The instru

of m ment , in quality tone , is broader than the co et . Its tubing is of wi der di mensions . Hence its lower notes i come out more freely , for wh ch reason it would , at least , f be more e fective than second and third cornets . Of percussion instruments it is only necessary to sa y their number should be lim i ted and use conﬁned to occa sional and Speciﬁc effects . It would seem as though band

or masters , other persons responsible for the formation of

of i of some our bands , were warm adm rers the J anissary

of music the Turkish army , where predominance of shrill

of tones and clangorous reverberations gongs , cymbals , i . . cus etc , and drums are keenly relished The pern cious tom of attachi ng one cymbal to the bass drum to be struck by its fellow in the left hand of the drummer f should be checked . It is ruinous alike to tone o cymbal

’ l of and drum . A so the practice employing cymbals con s t a ntl y , whenever the bass drum is used , has nothing to

. . k commend it On the contrary , it is retrogression It lin s

of us with the savage rhythmic impulse a primi tive age . — 4 2 THE WIND BAND

The following table gives examples of the composition of bands in various countries .

m n . Ins u e s . e a tr t c i n s y s l a u a r t F R

P D iccolo and Flu te , b Concer t Flute Oboes

Clarionet , Eb B b Clarionet ,

Clarionet , Al to

Clarione t , Bass

Clarionet , Contrabass .

Saxophone , Soprano .

Saxophone , Al to

Saxophone , Tenor

S axophone , Bass

B assoon .

Bassoon , Contra

B 2 Cornets , b or Eb

F lugelhor n

Trumpets . Fren c h horn

Al to horns , Eb B b Bari tone , Trom bones E u phonium or B b Bass Eb Bass , B B Bass , b . Per cu s s ron I nst ruments .

N ote One or t wo con b f e in m a n One A cla ionet tra assoons are o t en a dd d Ger y . b r is use d in Germ a ny a nd Aust r ia ' The ab ove a b le exce in o a b a n howin cons i erable i ver enc i com t , pt g S us s d . s g d d g y . s ' ” ile f om Kalkb renncr Ba p d r s nds in a ll Lands .

— 44 THE WIND B AND

The following examples of band formation are : ( 1 )

- n was l by Sax , the great wind i strument maker , who cal ed upon to organize a model band for the French Guides

2 of R (circa , ( ) Bandmaster Pares the epublican

Guards , Paris , at the present time .

o o o o o o o o o o o o o o o o o o o o o o o o o o o o

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bassoons Double Sarrusophone Eb Clarionets B b Clarionets Bass Clarionets

Soprano Saxophone . Alto Saxophones Tenor Saxophones Baritone or Tenor

Bb Com ets . C Tru m pets Eb Tru m pets Fren ch Horns Trombones n Eb Soprani o Saxhorn , B b Soprano Saxhorn , Eb Alto Saxhorn , Bb Baritone Saxhorn ,

B b . Bass Saxhorn , Double Eb Bass Doubl e Bb Bass K ettledrums (pair) Snare Drum Cymbals

D o o o o o o o o o o o o o o o o o o o o o o o o o Bass rum o

The last two examples are much the best Of those

i of R given . The instrumentat on the epublican Guards , AND ITS INSTRUMENTS 4 5

i of with Sl ght changes , is worthy acceptance as standard

. F or for bands concert work , the balance of the organi i i hi z a tion 0 . , 5 per cent reed , is excellent Fam ly k ns p is well maintained throughout and variety of voicing most l judicious . Improvements which might be made wou d

m i be to drop the co et and sopranino saxhorn , elim nate one C trumpet and one E b trumpet as well as one B b

one bass , and in their stead employ two B b trumpets , E b bass and one bass saxophone . The two latter would add i sonority to the foundation , wh ch in the table appears to

i . need strengthen ng Further , the bass saxophone would impart variety in color and link the tone of the double

of . sarrusophone with that the brass basses Again , in

of view the great sonority of the brass elements , the oboe

and bassoon seem to need additions . So large a band

should have four oboes and four bassoons . It might be preferable to use but three of each and add a soprano and tenor sarrusophone to take the place of the fourth ;

by so doing the latter fam ily would be nearly complete .

As the band is tabulated the double - reed section appears

weak .

is one The brass band , that formed from instruments

with cupped mouthpieces and drums only , is in its true

sphere as a marching band , where it is preferable to the

composite band for such a purpose . There is more of

. m i litaf the y spirit about it , its tone being resonant , f . o virile , brilliant Lack tone variety , incidental to brass

of bands as at present formed , could be obviated by use

ﬂii elh rns r o o . trumpets and g , soprano saxhorns THE WIND—B AND

' H N N N N N N H H « N OO ST Q N N H H

. . . D S m v v a 2 a u a n B d . o o S S D J n o o e o S g o n n c c o r o o o o St - r r r c —a ﬂ —a —a —s ﬁ EU u U U U u O m 8 m A A A A A a o o m m m m m m 5 m ? m AND ITS INSTRUMENTS

H H H H H H H H H H H N N H H H H — 48 WIND BAND AND ITS INSTRUMENTS

The following table suggests what m ight be achieved

m i m . in the for ation of a brass band , numerically l ited F or an organi zation of the above character drums are essential .

f m N um b er o I nstru ents . N a m e of m en I nstru ts . 1 1 1 4 1 5 1 7 2 0 2 2 2 4 2 5 2 6

c m n Eb o et or sopranino saxhor . B c b ornet or soprano saxhorn . . B b trumpe t

F lugel horn . B a r rt one s Al tos

Trom bones . Bass D rums ( brass and snare )

From the foregoing remarks and presentations in tabu lar form it will be apparent that band instrumentation is yet in chaotic condition . The remedy lies in the hands of composers . If only they can be brought to consider

- z the wind band seriously , and , recogni ing its potentialities as an art factor , be induced to write works sui ted to its

of genus , taking into account its remarkable variety

its i of l . voicing , inﬁn te shades tone color , order wi l result He who can and will evolve order from this chaos will

for of earn a niche himself in the Hall Fame , and wi th out doubt some consideration tangible and immediately

i for ava lable mundane comforts . CHAPTER V I

SINGLE- REED INSTRUM ENTS CONSIDERED INDIV IDUALLY

THE I O m CLAR NET, being the most important instru ent of - for the wind band , naturally comes ﬁrst in the list

. on consideration But , before passing to its invention ,

is i structure and utility , there someth ng to be said on the i manner in wh ch its name is spelled . Chappell , in his “ ” of of History Music , treating the single and double “ to f hi reed principles , remarks , Horace refers pipes o s

or time as being bound with copper bronze , and as emu f lating the power o the trumpet . He contrasts them with pipes of more ancient days whi ch were of small

. bore The ancient pipes accompanied a chorus , but

of own to those his time served rather drown it . This emulation of the power of the trumpet in pipes seems to have suggested the modern name clarionet ; for a clarion was one a trumpet an octave above the ordinary , and ” “ ” clarionet is its diminutive . The term clarion has always been used in the Engli sh language — and in France

hi or in to t s day to designate a high , shrill trumpet , f strument o Similar character . The Itali an term cla ri na s has been u ed for the same purpose , and for that reason

i i cla r i net r many persons have adopted the d minut ve , o

clarinette of r i w even , instead the Anglican fo m , wh ch , ith 49 50 THE WIND - B AND

- i l English speak ng people , Shou d be esteemed the more correct . The present author has always used the English

SO i orthography and does throughout th s work , for the

’ reason stated in the quota tion from Chappell s work .

is - m The clarionet a single reed instru ent , and the prin ciple underlying its vibrations has been known to man ki nd for very many centuries , far more than the groping

f r m mind o the antiquarian can fathom . Inst u ents con structed on that principle are known to have been used in ancient Egypt , as representation on a tomb at

Memphi s shows . They were also employed by Grecian i musicians when celebrating the Pyth an games , during which a ﬁght between Apollo and the Python was rep re sented . The reed used on those occasions wa s a very

f one sti f , the object of the musicians being to produce a i harsh , strident tone . An instrument , possess ng similar h w characteristics , but of igher development , was kno n ,

on Schahn Schalrnuse or u later , as Shawm , , Chal meau ,

ca la m us n i h from the Latin , a reed , u t l about t ree

. 1 6 0 r centuries ago At that period , 9 , John Ch istopher

Denner , an instrument maker , at Nuremberg , Saxony ,

x C e perimented with the halumeau , having in View the i improvement of its tone and capabili t es . From those

found a experiments he educed the clarionet , laying the tion for experiment by subsequent m akers and musi cia ns , at whose hands the clarionet as we know it

- to day became a fact .

of aff It is an instrument beautiful in quality tone , ord

its i ing great facilities to the player , by reason of mobil ty

I l l

O O O P O I l l

O - O O —O —O Q‘ l l l “ t o o m w a f i n l l u l i o o m n L. l l u w . i fi o o fl w w. l l u i s 0 O w l l o o j fi } w g | I u

O —O —O

I "

l l

l |

l I AND ITS INSTRUMENTS SI — 52 THE WIND B AN D

- and extended compass of over three and one half octaves .

Y et a s as ln , great are its resources , it is imperfect to tonation and exhi bits defects in other di rections ; facts pointing to need of still higher development . Among the makers who in recent times have contributed to development of the clarionet may be mentioned Sax and

f - of A M a hillon of Bu fet Crampon Paris , lbert and Brus

f r h . o sels , and Boe m The system invented by the latter ( the ﬂute but later adapted to the clarionet) di d more to remove the tramm els which had previously conﬁn ed its “ ” possibilities to a few keys ranging on one Side of C to i on . om n A and the other to E b It is now , practically , toni ue l q , that is , can be played in any key with a most equal ease . Claims are made , however , that the addi tional Side holes , necessitated by the system , have injured its purity of tone . It is an open question whether the increased facili ties of digital manipulation compensate for the alleged injury to the tone . For use in the

- l wind band , and until all instruments are equal y free

u from key trammel , it wo ld seem that clarionets with

ﬁfteen keys are equal to all emergencies . The Boehm

- one or system gives twenty more keys to the clarionet . Comparison of the facilities thi s elaborate mechani sm

f - u a fords , with the four Six and eight keyed instr ments of n former days , shows the enormous adva ce and superi ori ty of the up - to - date clarionet over those of bygone times .

SO Not many years since , clarionets were made from

or oil i r boxwood , varnished ﬁn shed , othe wise the natural AN D ITS INSTRUMENTS 53

color of the wood remained . The joints and bell were

of as ornamentally mounted with rings ivory ; keys , such

of they were , made usually of brass , occasionally inferior whi te metal and infrequently of silver . The mouth

was of of piece made ebony , but instead the simple i modern ligature , wh ch brings an equal pressure on the reed , the performer bound his reed to it by numerous laps of cord . Clumsy appearing blocks were precursors of the contrivances where now graceful keys snugly ﬁt . Clarionets have been con

as structed from various materials , such glass , gutta percha , ivory and even metal . At present wood is most generally em

cocus renadilla ployed , and g being most in

. V com demand for that purpose ulcanite , a posite of india rubber and other hardening ingredients , is also used . For hot climates , or to those variable and running extremes , the latter material is the most suitable . It is more impervious to climati c changes £22353 ; than wood and neither checks nor splits . The clarionet remained for nearly one hundred and twenty years much as J . C . Denner had left it and , indeed , until the early part of the last century continued to be quite a primitive affair . Limited as w a s i ts mechani cal

n capacity , and though its tonal beauties were o ly half d reveale , the instrument had begun to attract the atten tion of composers as a possible new tone color to add to

of the meager resources the orchestra in those days . — 54 THE WIND BAND

1 8 1 0 R . 1 86 About , Ivan Muller (born at eval , Dec 3 , 7 ) f h ef ected many improvements , among w ich he increased

u i . M il ller the n mber of keys to th rteen , who resided at

Paris when his improvements were brought forward ,

ri n i was one of the greatest cla o et s ts of hi s day . He made a successful concert tour through Europe , the beautiful tone and mechanical facili ties of his perfected clarionet

im attracti ng attention wherever he performed . His p rovem ents and inventions inaugurated a new era of

n usefulness for the instrument . Composers vied o e with

for i the other , wri ting solos and extend ng its employment

M ller . ii in the orchestra Besides there were others , no doubt , whose achievements are not recorded , who con

. m a tributed to its development The increasing i port nce , di in as in cated the scores of composers of the period , marks gradual development and unfoldi ng of its resources . That fact furnishes data sufﬁcient to justify the opini on that others , with Muller , contributed to the improvement of the clarionet . That Weber wrote his magniﬁcent

for a s 1 8 1 1 B aerm ann solos the instrument as early ,

a the techni playing them in that year , is mple proof that

not - i n cal and tonal resources had , mushroom l ke , spru g to the surface in a night , but rather had developed slowly

’

oak . r and surely as an tree Spoh s works may , also , be

f hi s of o fered in evidence , treatment the clarionet mark ing a very great advance upon that of Bach . The gradual development of the instrument may be traced during a period of forty - eight years 1 763 to 1 8 1 1 in the

of z B e W works Haydn , Mo art , ethoven and eber , and AND ITS INSTRUMENTS 55 the date of the addi tion of each essential key added thus

of approximated . The activity Sax , the elder , born at

1 1 Dinant , Belgium , 79 , contributed largely to improve

on . ments the clarionet , ﬂutes , serpents and bassoons Those improvements gained for him a medal at the

i 1 8 20 as Industrial Exh bition , , as well appointment as hi m Instrument Maker to the Court , and brought

ﬁnancial assistance in developing his business . Hi s more

son 1 8 1 talented , Antoine Sax , born also at Dinant , 4 , early displayed remarkable ability as an instrument

of im maker , and to him must be credited many the provem ents by which wind instruments became of real ﬁ practical value as mediums of re ned musical expression .

1 8 2 so In 4 he settled at Paris , and two years later made ﬁne an exhi bit at the French Exhibition as at once to place him at the head of all manufacturers of wind in s trum ents . He greatly improved the clarionet in bore

i . and key mechan sm Berlioz , composer and author of

on a celebrated treatise instrumentation , was a warm

m i . ad irer of the gen us of Sax From the work referred to , it may be inferred that the “ ring ” key on the lower joint of l the clarionet , faci itating the trills , was added by Sax . This invention superseded the old side key . At the time Berli oz wrote his treatise those trills were classed

e . among oth rs as impossible Later in the work , writing on improvements made by Sax , the foregoing trills are

of stated as possible , and , besides , mention is made i f the add tion o a long key near the mouthpiece . Sax 56 THE WIND - BAND may have introduced the mechanism by which the t rills

a l bec me practicable , but Ber ioz no where makes mention of it ; on the

x contrary , he shows e plicitly in his table of trills that they were impossible in his time .

Sax extended the compass a semitone downwards , thus giving a low E b to the clarionet . Why that improve ment has not generally been adopted is di fﬁcul t to sa y .

Klosé , whose textbook for the clarionet is considered

m in a standard work , adapted the Boeh system to the strument in the early part of the last century . Modi

ﬁca ti ons of , often by suggestion players , have been successfully made by more recent makers . The pres ent key mechanism appears to meet all technical requi re

of . i l i ments the modern score Add tional tri l , dupl cate

of and extra ring keys , none which add new tones , are contrivances attached for the more convenient operati on of r n of the original thirteen keys , to facilitate perfo ma ce

fﬁ s a many otherwise very di cult , if not impossible , pa s ges , have come into use Since the days of Sax . Credit for

’ them is mainly attributable to Klosé s attempt to adapt the Boehm system for ﬂute to the requirements of the clarionet . Until about 1 800 the smaller form s only of the clario

1 80 . i net were known In 5 Dumas , goldsm th to Napo i leon I , presented a bass clarionet he had nvented , for approval of the Imperial Conservatoire . In 1 8 28 Strei t

a Goe tti n en r the h wolf , manufacturer at g , const ucted as — Set horn an alto clarionet in F . During the following

— 58 THE WIND BAND

e e e c B b e e Some play rs . sp ially on Clarion ts , xtend t he com

pass upwards to C i n all . AN D ITS INSTRUMENTS 59

compass the only point to commend it . Each clarionet

s ha des of i is distinct from the other in tone , a d stinction quite as pronounced as amongst string instruments . The

- ponderous gravity of the contrabass , Violoncello like

f of m - l e fect the bass clarionet , sy pathetic and viola ike

of quality of the alto clarionet , beautiful mezzo tints the A and B b clarionets and crystalline brilliancy of those

f for in C and E b , a ford ample opportunity expression in every degree of emotional force a composer seeks to depict in the string quartet and quintet . The possibili ties of the clarionet family are great and have never yet

of been done full justice to . Although some the great

u masters have written for the individual instr ments , no continued effort has ever been seriously made to Show off the characters of all in concerted action . The pitch of the normal sound of a wind instrument is

n f . F or dependent o the length o its main tube instance ,

i of the speak ng tube a concert ﬂute , about two feet in

of i length , gives the C clarionet , Sim lar length , em its a sound a Sixth lower , that is

That difference involves two principles . In the pipe organ there is employed a class of pipes li plugged at one end , from which sound issues at a p situated a short distance from the opening , through whi ch the wind is injected with force suffi cient to pass

of the point emission and onward to the plug , where it is

e on div rted , doubles back itself , retraversing the pipe until reaching the lip , where it ﬁnds egress . Those pipes , “ i termed stopped pipes , emit sounds , the pitch of wh ch — 60 THE WIN D BAN D is of w equal with that of open pipes t ice their length . The doubling backwards of the air colum n withi n the tube explains why such a result is obtained . The clarionet “ ” - acts on this stopped pipe principle . All other reed instruments , including the oboe , bassoon , saxophone

i on and sarrusophone , have con cal tubes and act the “ ” - Open pipe principle . The clarionet ha s a cyli ndrical tube . The peculiarity affects the ti m bre or tone color of the

to l clarionet , imparting it that veiled character , especial y

low i so in the and med um registers , at once noticeable and

. on ﬁn er pleasing Further , it exercises an inﬂuence the g

not ing , for the reason that its harmonics do occur in sequence similar with those of other instruments men

tioned or of . , those having cupped mouthpieces On the

of ﬂute , oboe , saxophone and sarrusophone , ﬁngering any given note in a lower octave is the same as that in the

in octave above , the upper sound being produced by creased pressure of wind and slight contracti on of the

for i lips , wh ch reason they are sometimes termed octave

. not instruments The clarionet , as a stopped pipe , does give an octave when the ﬁngers lie in positi on for its lower sounds and attempt is made to produce a bi ghe

sound . On the contrary it gives a twelfth

m by opening the har onic key , numbered

1 2 on charts of ﬁngering . It may here be noted that

the key just referred to , as well as the long Side key , fulﬁlls its chief function when employed to fa cilitate “ ”

the of m . a s d o emission har onics They create nodes , AND ITS INSTRUMENTS 6 I the fingers when lightly touching certain points on violin strings to produce harmonics . Without the twelfth key it would be impossible to pass to the upper register of the clarionet . More knowledge of acoustics pertain ing to his special instrument , than at present obtains , would benefit the instrumentalist . Every one concedes such knowledge as necessary to the instrument maker , but it is surprising how few musicians appreciate the advantages to be derived from the study and its prae “ tical application to fingering . To learn fingering by rote is not sufficient . He should know how and why exceptions can be made . Thus equipped he may over come difficulties inseparable from his particular ins t ru ment with more ease than is possible from knowledge gained from the average textbook . Harmonics of the clarionet are said to follow each other

of 1 on inst ru in the ratio , 3 , 5, 7 , whereas all other wind

of 1 2 6 8 . ments they occur in the ratio , , 3 , 4 , 5, , 7 , , etc

According to that theory the harmonics of the clarionet , from its fundamental sound , would occur in the following sequence : From this statement it is obvious ' that the next sound above the low 5 7 ° est possible wi th the same fing ering excepting with the addition of the twelfth key for the purpose already f noted is the twelfth . Reference to any chart o clarionet fingering will Show that the succession of first with twelfth obtains throughout the chal umeau

and clarion registers . — 6 2 THE WIND BAN D

Th us

I ‘ t F r ‘ ﬁ

the upper sounds with harmonic or nodal key open .

AS o noted in a previous chapter , Chappell d es not

i the admit the existence of any harmon c on clarionet , U ﬁ excepting the third , that is , the rst twelfth and a twelfth higher In this he takes issue wi th Helmhol tz and his disciples , on the ground that to open a key changes the fundamental note , apparently overlooking the nodal point obtained by opening the twelfth key ,

a s which , every clarionet player is aware , covers a very

’

. n ri small hole Many clarionet players when ﬁ ge ng b , third line , have occasionally been surprised by a sound

n i in its r other than expected . The sou d , wh ch c ude “ ” ua a ck state resembles the much dreaded q , is really no other than the ﬁfth in the series of harmonics . That and other sounds similarly produced can be cul tivated , not only to facilitate ﬁngering , but also to add variety

to tone color at points where desired in a solo .

l chal umea u The clarionet has four registers , entit ed ,

’ ca la m us t b from , a reed , extending from e to f , a nin h a ove ;

’ ' throa t b i the Second , or , from g to b , a m nor third (this is really the break between the ﬁrst and third registers); ' cla rion b - i the third , or , from to a n nth above , and ”' hi h the g from d upwards . It is in satisfactorily con necting those registers that much of the art of clarionet AN D ITS INSTRUM ENTS 63

playing lies . Each one , being as distinct in character as

of are the chest , head and falsetto registers the human

as voice , requires quite much practice to master its manipulation . The peculiarity of the harmonics of the clarionet di s ting uishes it from all other instruments . There is no instrument used in the band at once more useful by reason of nor its compass and easy manipulation , more desirable on account of its exqui site tone color and the readiness

h - with w ich the same blends with either double reed , brass ,

string or vocal families of the tone world . Each reg ister

of has a distinctive tone color , capable being fused into a

chain of sounds great in variety , rich in texture , uniting the gravity of the low sounds of the viola to the plain

tiveness of of u the oboe , the clear utterance the tr mpet

and the crystalline brilliancy of the ﬂute . Although the clarionet is an almost incomparable medi um for musical

In i . expression , it is not without defects of intonat on herent defects are noticeable in the series of twelfths

so in above the chalumeau register , particularly the following :

In the ﬁrst series the upper sounds have a tendency to t ﬂa ness ; in the Second the variation is complex , the lower

i to sounds inclin ng Sharpness , with the reverse in the

’ the r l h upper , excepting upper b natu a , w ich , on many — 64 THE WIND B AND

0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 D O O O 0 0 0 0 0 0 O O O

0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 O O 0 0 0 0 D O O O O

0 0 0 .

0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 .

66 THE WIND—BAN D

instruments , is too sharp . The throat notes are not only

i the weaker in quality , but also are more suscept ble in

m i matter of pitch , owing to their proxi ty to the mouth

n of piece , from which may be i ferred that the inﬂuence

of r rising temperature , caused by the steady ingress wa m

i of breath , is more read ly and earlier felt in the part the instruments wherein those notes lie . The notes of the i I I I h gh register , beginning with c sharp , require to be very

’ ” carefully watched ; the hi gh e and f are particularly ” prone to flatness . B ut as from c upwards each note fi may be ngered in two or more ways , it is possible for the performer , by judicious selection , to overcome these radical defects so as to leave li ttle to be desired . There is no defect so great on a well - constructed clarionet that it may not be overcome by the player who will sed ulously and logically study the instrument . Next to the flute the clarionet is the most flexible of all wind instruments . While better adapted to lega to

stacca to its in execution , the is by no means foreig n to

. s ta cca to possibilities Extreme rapidity of , single , double

on . and triple tonguing , easily possible ﬂute , cornet , etc , is next to impossible on the clarionet . Sections and

S of stacca to or hort phrases notes , single iterated , may be accomplished at considerable speed , and continuous ' a r e z passages at a moderate gait . Flowing scale and p gg o

or t l passages , and those in mixed varied ar icu ation , have

th e no speed limit and are better adapted to clarionet , besides being more conducive to development of its tone . “ on the Purity of tone is much dependent reed , the AN D ITS INSTRUMENTS 67 relation of whi ch to the clarionet is similar to the vocal cords in the human larynx for production of sound . It is

or the vibratory medium , and its beats , oscillations , de termine in great extent the quality of tone . If the reed f be sti f the tone will be harsh , and its production entail much labor on the player . If it be too soft the tone will

- REEDS AN D Mom m a t s .

ise . O oe . . Mo iece f r rione ss oon and S so one . 2 . Cor n o t. 1 . Ba arru ph a g la 3 b 4 uthp Cla ” r a S m i re d s t i n b i c . e w e e in n o or Saxophone s how ng fa e o l y . 5 a th d h l po y " i T m o iec e d i ﬂers in s i ze for r io s ione s and Saxo ones t re . is l g a u h uthp va u Clar t ph .

as so oes 6 s owi n form of ee for ose ins m en s . al d , h g r d th tru t be thi n ; the reedy quality will dom inate that pipe - like

f f ﬁne character noticeable in the e forts o players .

Further , on either it becomes almost impossible to con trol the intonation , especially in the upper clarion and high registers . The reed most to be preferred , as best

of i adapted for all purposes , is one med um strength ,

ai n d having a str ght , eve ly isposed , close grain , elastic and progressively opaque toward its feather edge . 68 THE WIND—B AND

The mouthpiece exercises great inﬂuence on the tone ' in of a clarionet . Its form is thus desc ribed Grove s “ Dictionary of Music and Musicians ” “ The mouth

a piece is conical stopper , ﬂattened on one side to form

i i on the table for the reed , and th nned to a ch sel edge the

n other for convenience to the lips . The cyli der bore

- passes about two thirds up the inside , and there termi nates in a hemi spherical end . From this bore a lateral ﬁ ori ce is cut in the table , about an inch long and half as

h n wide , w ich is closed in playing by the thi edge of the

n i reed . The table o which the reed lies nstead of being

the ﬂat is purposely curved backwards towards point , s o as to leave a gap or slip the thickness of a Sixpence between the end of the mouthpiece and the poin t of the f reed . It is on the vibration o the reed again st thi s curved table that the sound of the instrument depends .

The curved table is of considerable importance . The reed and mouthpiece should be regarded as of th e highest importance and great care bestowed on their selection and preservation . When purchas ing a new mouthpiece for an old clarionet the diameter of the bore

’ of both should conform to a hair s breadth ; regard should “ ” of t s also be paid to the lay the mou hpiece , otherwi e the merits of a good body may be sacriﬁced to a defecti ve

head , as is often the case in other things besides clarionets . The instrument is susceptible to change of tempera

or . ture , its pitch being raised by heat lowered by cold Once it has absorbed heat or cold it retains the sa me much I longer than do brass instr um ents . ts tendenci es m us t AN D ITS INSTRUMENTS 69 be carefully watched by the player and any deviation ” ﬁ con corrected at once . The throat , coming rst in

’ tact with the player s breath , naturally warms and sharpens more rapidly than the lower parts . Thi s fact

’ accounts for the ﬂat pitch of the low e and m iddle b and adjacent sounds noticeable amongst careless players .

To in counteract this defect requires great exertion , creased pressure on the reed and mouthpiece being meces

has sary , until an equal temperature been established throughout the tube .

THE SAX OP H ONE is a single- reed instrument made of brass and has a conical tube , its mouthpiece being simi lar to that of the clarionet . It is of comparatively m od ern invention and originated from the fertile brain of

Sax . The ophicleide a now nearly obsolete brass in strument having keys and cupped mouthpiece is sup posed to have suggested the saxophone . The discovery of Mons . Sax lay in substitution of the reed mouthpiece for the cupped mouthpiece and certain modiﬁcations in diameter and form of tube , as well as key arrangement

diﬂerence and equipment , which now mark the between the saxophone and its prototype .

of E h E b B The family consists soprano , alto , b tenor or E or n i baritone and b baritone bass , havi g a collect ve

of compass about four and a quarter octaves . an extent of sounds suﬂi cient to meet requi rements of composition and satisfy demands of players . Works ﬁndin g their

i n expression in the med um range , rather tha the ex — 7 0 THE WIND B AND t rem el or i y low h gh , are always more acceptable by the

a l public , and in such works saxophones are particul r y expressive . As the harmonics of the saxophone are identical with

of its ﬁ i those the oboe and ﬂute , ngering exh bits many i f points of sim ilarity . It d fers materially from the clario

in of . on net each those respects However , players the three instruments last referred to ﬁnd little difﬁculty acquiring mastery of the former . Flute and oboe players require to adapt themselves to change of mouthpiece

ﬁ clarioneti s t only , ngering being nearly the same , and the , already accustomed to the reed and form of mouthpiece ,

i fﬁ ﬁn of experiences little d culty with the gering , as that the second octave of the saxophone is identical with the

of clarion register the clarionet , the lower octave on the saxophone being ﬁngered as though he were reading an octave higher than the expressed notes .

or of of Scale range , compass , each the family extends through about two and a quarter octaves . In the hands of i good players it may be extended a third h gher , but , it

ﬁ of should be remarked , all notes in the upper fth the

ﬁ ful f range are apt to be t in quality o tone and intonation . Saxophones have a quality of tone color peculi ar to

u themselves , seeming to unite the tone of reed instr ments

of with that the brass , with a tendency to the nasal and

- . l somewhat string like It is a composite qua ity , and as produced by an efﬁcient player possesses a vague charm that carries the hearer into the region of doubt as

for in the to the true nature of the instrument ; , medium

— 7 2 WIND BAND AN D ITS INSTRUMENTS the former its possibilities nearly equal those of the clario i net in scale passages and arpeggio . But (and th s applies progressively to the whole family) the breadth of i ts tone appears to indicate movements of a cantabile na ture as the best sphere in which i ts characteristics m a y be dis i i played . There , and in sustained harmon es , the fam ly chieﬂy excels . Its rich tonal coloring , to say nothing of i of of ﬁn e sonority , is such as to arrest attent on lovers musical effect and point to the conclusion that the saxo

a i phone possesses most necessary and , it may be sa d , indispensable voice to add to and fuse with others of the — wind band . This quality has long been recognized by

of bandmasters France and Belgium , where saxophones In have a permanent place in band instrumentation . n America , England , and many continental Europea

n . countries , their usefulness is bei g slowly admitted

is Teutonic conservatism , no doubt , commendable ; but sometimes , as in this instance , it retards the wheels of progress .

CHAPTER VII

DOUBLE - REED INSTRUM ENTS

TH E O B OE hautboy or hautbois belongs to

- - of the double reed conical tube family wind instruments , in which it occupies the position of soprano to the cor anglais and bassoon respectively . Its harmonics are those

r common to all open pipes , occu ring in

of I 2 6 . the ratio , , 3 , 4 , 5, , 7 , etc Next to the ﬂute it is probably one of of the oldest wind instruments , being known in a primitive form to Egyp tians , Phoenicians , Greeks , Romans and all nations of antiquity . The Egyptian collection at the B ritish Museum con tains a small pipe , eight and three

in quarters inches long , into which is o s rted at one end a split straw , forming the reed . The principle of the reed corresponds precisely with the modern

a s oboe reed , and the instrument , a L M a m BASSOO N

2 Ow F R“ O F ﬁts O a s . whole , well with the description of ” a of the Gingr s the old Greek writers . The Phoeni “ cia ns of Gin roi called the same kind pipes g , and employed them (as also the Carians) for lamentati ons

73 — 7 4 THE WIND BAN D

o e for the dead . From this fact the instrument is supp s d

- to be of Asiatic origin . A well executed picture of a

- n s Roman youth , holding two conical shaped i strument

ﬁ as tted with double reeds and pierced with holes , are oboes of the present day , is to be seen in the B ritish

a of Museum . This , the oldest pictorial represent tion the oboe extant , proves that the Romans were acquainted with the oboe .

M ersennus I (born a French writer , and the author of several erudite works on music and musical ins t ru “ one Ins t rum entis Ha rm onici s ments , in of which ( De he gives descriptions of all instruments then in use . “ “ Among others he describes the hautboy as a treble

ins t ru instrument invented by the French , and also the ments used in concentus with it , namely , the Bassoon ,

B m r r n rv l o b a d t Cou ta t Ce e t . , Fagot , and He gives

of . illustrations a treble , tenor and bass hautboy The

of latter was ﬁve feet long and conical shape . Its appear ance is peculiar from the fact that three of the eleven holes with which it is pierced are covered by a b ox sur

a rounding the instrument little above the center . Those

of holes are reached by keys , part which are seen in the illustration to be protruding from the box which is liber

to ally perforated with holes to permit the sound escape .

The treble and tenor hautboys , exhibited by the author , being very similar in appearance with the Roman haut

as the d boy above referred to , raise a doubt to soun ness “ of his claim that the instrument was invented by the ” French . The hautboy was formerly held in esteem as AND ITS INSTRUMENTS 7 5

- the highest toned wood instrument . Hence its name “

ha ut boi s . , high wood The hautboy was used in England as far back a s

1 2 1 A ll was the reign of Edward III , 3 7 to 37 7 It

Wa e ht of there known as the g , three which were

’ Included in the instrumentation of the King s private band . The name had its origin in the fact that the ” or Castle Waight , Watchman , was required to carry and play a rude kind of hautboy at stated hours of the “ “ “ h ” i ht ” ” Wa tes Wa s or . night , hence , yg , g Waits The oboe has been used as an orchestra"instrument — 1 6 1 0 since about 1 7 2 0 . Bach ( 85 7 5 ) employs two kinds

“ ” “ ’ ” of oboes in his Passion Music , the oboe d amore , a “ ” - h was sweet toned variety , and oboe da caccia , w ich similar to the cor anglais of modern times . Beethoven was very partial to the oboe , employing it frequently in “ ” “ his scores . In his Pastoral and Eroica symphonies he uses it as a solo instrument and assigns a delicious “ ” obbligato to it in his opera Fidelio . Haydn , Handel ,

Mozart , Mendelssohn , and in fact all composers since their times , have used it freely . Rossini evinced his ” “ for liking the oboe in The Italians in Algiers , Wil liam Tell and others of his operas . As a rule the great

or writers have used it to express contentment sorrow , or to depict pastoral eﬂects . That it has higher possi b ilities is evidenced in the many brilliant solos written for it by practical oboists .

is of The oboe tone plaintive , pastoral color , but in the

in hands of a good player is peculiarly sweet , and the low — 76 THE WIND B AN D and medium registers somewhat resembles the human voice . It requires judicious treatment , otherwise rebels , displaying waywardness in faulty intonation , disagree “ ” able q uaacks and tones rivaling the chanter of a bag n pipe . Well played it is most sympathetic , respondi g

of readily to the mood and desires the player , at times f . o blithe and gay , at others sad and doleful Capable the utterance of reﬁned emotions and brilliant ﬂights it can never become impressively noble or grand . It is the feminine sex amongst wind instruments , quite as coquettish and variable as womankind in general . The

so tone possesses penetrating qualities , much so that two oboes afford ample color for an orchestra of sixty

- or a wind band of about forty . In the softer passages their tones are clearly distinguishable , while in louder ' eﬂorts not so their absence would be felt , although obvious under such circumstances . The oboe has a range of compass from All styles of articulati on are pos

le a to unta to or sible from extreme g to p , quick

a r e i o of slow . Octave and p gg passages and rapidity

l of execution are limited only by abi ity the player . A good ear and sensitive embouchure are among the chief ﬁ i essentials to mastery of the instrument . The nger ng is of very similar to that the ﬂute and saxophone , and ,

i of being an octave instrument , the adaptat on the Boehm system a ﬂord s every possible key facili ty for overcoming any difﬁculti es to be encountered in modern writing .

— 7 8 THE WIND B AND veni ence i as r in play ng , but objections to it , inj u iously a flecti n iffi ul b g the tone , and d c ty in creating the ore to avoid a certain interference with and deflection of the

u li air col mn , led to its being constructed as a near tube by one Brood . The form of the bell exercises an influence on the tone of the instru ment by first allowing the air column to exp and and next by again compressing it before fi i nal em ission . The key arrangement is identical w th

of m has that the oboe in all respects , and the Boeh system been applied to it with equally good resul ts . AS its early hi story is bound up with that of the oboe

is n r and bassoon , it u necessary to make fu ther reference to it .

THE B ASSOON belongs to the double- reed family and h forms the natural bass to the oboe . It as a very exten sive compass , beginning with E and ascending to All chromatic semi b; tones withi n its

f r compass o three octaves are possible . Th ough ﬁ ifﬁ l the lower fth of its scale rapid passages are d cu t , each note being produced by slidi ng the thum b of the left hand from key to key . Trills are impossible in

h of that register , and in the igh range the instrument are ' fﬁ often ve ry di cult . The bassoon is written for in bas s

use of li in and tenor clefs , the latter to avoid ledger nes the high range .

of n t The great extent its compass , combi ed wi h modern

one of the key facilities , makes the bassoon most useful

f n r or o wind i struments either in orchest a band . It is

— 80 THE WIND BAND

a ll G possible to play in tonalities , but those of C , , D , F , B E A l b , b and b are the easiest and most genera ly em

ia . in a r e ployed Legato passages , connected and p gg , can

n as be performed with great rapidity , excepti g before noted ; but the staccato is less adapted to the ins tru

ﬁ u of i the ment and more dif c l t acquirement , ow ng to breadth of its reed .

of in Its tone is sympathetic character , approach g

of V l somewhat that the ioloncello , and blends readi y with

n ins tru the ﬂute , clarionet , French horn , oboe , all stri g l ments and the voice . The tendency inc ines to the nasal ,

in especially in the medium and upper registers , but the low scale its tone is more broad and sonorous . Though

h f a s hig ly e fective in sympathetic and serious melodies , ” le in in in Robert Diable , and extremely useful susta ed

i of harmon es , there is a vein jocularity in its tempera ment . This characteristic has been brought out in grotesque and comical situations by several of the great

not a s masters , who have hesitated to employ it the clown

’ “ of S m the orchestra , notably in Beethoven s Pastoral y

” ’ “ ’ ” phony , Mendelssohn s Midsummer Night s Dream ,

’ “ of t Gounod s Funeral March a Marionette , and o her compositions . The bassoon has been recogni zed as possessing great

’ usefulness subsequent only to Handel s time , that com

for hi s poser , with one exception , scoring it , as did

or predecessors , to supplement strengthen the voice and

’ string bass parts . Handel s one exception is to be found ” hi s i t with ﬁne eﬂect in oratorio Saul , where he employs AN D ITS INSTRUMENTS 8 1

of of . in the scene Saul and the Witch Endor Lully , the

’ French composer and director of the king s music is said to have been the ﬁrst to introduce the bassoon in the orchestra . N ow most important parts are assigned

of or so to it , and from being the drudge a century ago , it has become one of the most useful reed instruments i n orchestras and wind - bands pretending to be well balanced . Besides the bassoon ordinarily used there are two other varieties the ba ssoon- gui nte and the contra b ﬁ ass oon . The former is smaller and voiced a fth higher than the B b bassoon , and the latter , much larger ,

one voiced octave lower . Thus , there exists a com

lete - i l p family of double reed instruments , hav ng conica “ of tubes , whose harmonics are as those the open pipe ,

: already referred to . The family is as follows

n Ob oe Sopra o.

Cor A nglais Contralto.

- Bassoon qui nte Tenor . B oon n a nd b Bass Barito e Bass . on b oon a nd on C tra ass Bass C tra .

Introduction of this complete family would beneﬁt the

- concert wind band . It would enrich the harmony and impart a tone color impossible to obtain from any other instruments . The contrabassoon has a powerful tone ,

a of well dapted to that the brass basses , subduing their

u harshness and rounding o t their volume .

is re Afranio de Ferrara , a Catholic priest the

uted f of p inventor o the bassoon . By reason its resem — 8 2 THE WIND BAND

of a otto blance to a bundle sticks , he named it F g , and

M e rse nnu so . s i it is still named in Italy , writ ng about a hundred years later , makes a distinction between the fagotto and the bassoon , the former being analogous

- with the bassoon quinte , and the latter including the larger varieties . Afranio may have improved the bas i soon , but that he invented it is doubtful . Accord ng to “ Stainer and Barrett , There is reason to believe that the

of bassoon is Eastern origin , introduced in western Europe in the twelfth century , and that it is an improvement of

- f the drone pipe o the bagpipe . The Egyp tian word for

of a pipe of deep tone , and for the drone the bagpipe , is ,

‘ Z u according to E . W . Lane ( Modern m m a ra h- bi - s oa n Eu , and the manner in which the word z a i ne B ui si ne , is used in medieval manuscripts , shows

’ 7

w n . the possible connection ith this origi Again , the B om bos of the Greeks and B om ba rdt of the middle ages are understood at the present time to have been similar in tonal character with the modern bassoon . Other

in wise , its equipment of keys , improved bore and general appearance it is much superior to the bassoons rep re sented by the quaint engravings to be found in histories

of music , illustrative of those used in the days of Afranio and Lully and probably earlier times .

T HE S SOPHO ARRU NE , invented by the French band

of master , Sarrus , the second empire , after whom it is

- its named , is a double reed instrument , and harmonics are identical with those of the oboe and bassoon groups .

AN D ITS INSTRUMENTS 83

It is ﬁngered the same as the oboe and saxophone and

one- ﬁfth possesses a similar compass , that is , two and

of i octaves . The sarrusophone , made brass , has a con

Its cal tube , several times curved about itself reed is ” ﬁts on as similar to that of the bassoon , to a crook , is

f to the case with the latter , but dif ers in size according the varying requi rements of each member of its family . The idea of the inventor appears to have been to pro — vide wind - bands with instruments of double reed tonal characteristics , wherein the sonority should be greater f than that of oboe and bassoon . In point o sonority he

f of l succeeded , but failed in his e fort to obtain a tone equa purity with those named . The quality is more vague ,

not and while it does lack in roundness , seems to suggest a loss of the free vibrations so noticeable with other

- double reed instruments . In that sense it is a hybrid , but none the less valuable as an adjunct to wind - band instrumentation , where it might be employed to supple ment the oboes and bassoons , without , in large bands , replacing them .

of: 1 B The sarrusophone family consists ( ) b soprano ,

2 E b b b b ( ) alto , (3) B tenor , (4) B baritone , (5) B bass and 6 E b ( ) contrabass , and has a collective compass of ﬁve and a quarter octaves . E b i The alto is a beaut fully voiced gw bm m .

u - instr ment , worthy a place in the concert wind band , but is rarely employed . The contrabass is more i re

not quently found , but so often as its merits demand .

Its tone is of great sonority and depth , and the colorable — 84 WIND BAND AN D ITS INSTRUMENTS vibration of its double reed blends splendidly with the i brass basses , than wh ch it is more facile of utterance and agility .

i li has In point of mechan cal possibi ties , what been said of the oboe and bassoon applies to this fami ly . It is essentially lega to in its characteristics and qui te at home in scale and arpeggio passages .

86 THE WIND—B AND

i the present day . Ca n was head of the fam ily from

i and whom Jubal was s xth in descent , and in Arabia

r l is K a ne Persia the generic te m app ied to musicians y , or descendants from Cain .

2 0 e Exodus xv , , furnishes the next reference to the pip ,

ﬁfe or i n t l ﬂute pr nciple , and after that none other u i the

was ﬁl days of Samuel . The interim led with the noisy “ ” f r blasts of trum pets and cries o victory . The pipe e

d 1 ferre to in Samuel x , 5, is said to have been made from

or . either reed , bone wood In the Jewish canon the term

hhalil hka all to th is , a verbal from , pierce , to bore rough ; i a utos . in the Septuagint (Greek) it is , a flute From th s allusion it is evident that the Jews had profited musically from their association with the Egyp tians , amongst whom the flute in various forms was a favorite instrum ent . This carries our consideration of flute hi story by a back ward step into the land of the Pharaohs . There can be li ttle doubt that the eflect produced by wind blowing across the edge of broken reeds fir st drew attention to their possible musical quali ties an d led to f their utilization in the form o pipes . The discovery that the height and depth of sounds evolved by blowing at right angles across the end of reeds was dependent

one upon their length , was that would speedily be made once the ﬁrst effect had been observed . It was a case of cause and effect and from it came the acousti c law of

i the inverse ratio . The fashioning of those reeds nto

’ so r l form of Pan s Pipes , called , was a esu t as natural to

s of al in our m in occur a the combination met reeds ti es , AN D ITS INSTRUMENTS 87

is the mouth harmonica . The basic principle of each the

’ single reed . Pan s Pipes were well known to the Hebrews G and recians , who unquestionably acquired their theo retical and practical knowledge from the Egyptians .

1 0 1 is i Daniel iii , 5, , 5, the only place in wh ch the above i m a shra s referred to in Holy Writ . The Hebrew word is

i tha s kara or . g y , derived from the word g , to hiss whistle

s ri nx In the Septuagint it is rendered y , the Greek name

’ our for Pan s Pipes , while in version it is translated as

ﬂute . By many it is still held to refer to the double ﬂute

c n of the kind still used in Arabia . This instrument o

of n sists two tubes , bound together and blown i to at the

one of same time , which , perforated with four holes , is for playing the melody , and the other , very much longer ,

for . S playing a drone bass Double and ingle pipes , as

as well the ﬂute proper , were in use among the Egyptians in the beginning of the fourth dynasty . The pyram ids of Memphis and Gizeh furnish illustrations of musical

m am organizations , in which pipes (termed ) and side blown ﬂutes (seba or sebi) were both used . Pipes and

flutes of great length were employed . In some of the illustrations engraved from the originals in tombs and pyramids the above instruments are so long as to give rise to the supposition that they were an octave lower in f pitch than concert flutes o the present day . The side blown flute was used in the worship of the Egyptian god

Serapis . Other ﬂutes and pipes were employed indi s crim ina tel y in religious service , revelry , war and peaceful pleasures . Some pipes used by Egyptian musicians 88 THE WIND—BAND

ﬂa eole is had a stiff mouthpiece . From them the g t descended . The Grecians copied their musical instruments from the Egyptians , but endeavored to hide the source of

of their knowledge . Thus , discovery the pipe , attrib uted of to Osiris in the older mythology Egypt , is in the

Grecian myth credited to Pan by Virgil , Mercury by

e . Pindar , and to Marsyas and Silenus by Athena us Pipes and ﬂutes were known in Greece under the generic ti tle of a ulos tibi a , and later amongst the Romans as and

fistula . The m a teria ls employed by the ancients for construe i tion of flutes and pipes were of various k nds , such as lotus wood , laurel , pinewood , boxwood , elder wood , ivory , di flerent of of sorts of reeds , leg bones animals and large i birds , as the eagle , vulture and kite . Horns of an mals “ ” and also metal were used to make the bell ends of certain pipes . In Greece , the names assigned to pipes

S ond a uloi i indicated their use , such as p , for supplicat ng

C hora uloi Choriki the gods ; , for accompanying choruses ; , for accompanying choral dancing ; Dactylic pipes , for a

of Hi o horb oi r sort dance in common time ; pp p , for ho se

so on . keepers , and others for travelers , shepherds and “ of a Chappell , source of much the foregoing , s ys , pipes were sometimes named after the country or nati on from

a which they were derived , as Alexandrian , Tusc n , The

L b ia n n bian , Scythian , Phoenician , y , Arabia , which were

or B erec nthia n . very long pipes , and Phrygian y The

L b ian Pla ia ulos . y was a true ﬂute , blown at the side ; a g

AN D ITS INSTRUMENTS 89

of so w as i It was made lotus , and d stinct from the horse ’ i i L b a . keeper s ﬂute , wh ch was also attributed to y The

’ ’ or Theb ian Scythian were eagles vultures legs , and the were made from the thigh bone of a fawn and were

of covered with metal . The length the Arabian pipes

of was proverbial , and a man whose tongue there seemed ” to be no end was called an Arabian piper . i The Monaulos was , accord ng to Sophocles , derived

w as from Egypt . It a single pipe , blown at the end ,

ﬁn made from reed , was punctured with ger holes and

’ Tit rin known as the Shepherd s pipe of y us . On account f of the sweetness o its tone it was employed at weddings .

Pla iaulos - s o The g , or side blown ﬂute , named from the f fact o being held laterally while playing , was also known as the Photinx among the ancient Greeks . The Tibia

wa s k f Obliqua of the Romans the same ind o instrument . An interesting account of ﬂutes or pipes used among the natives of Peru is given by Ga rcila sso de la Vega in “ ” the Royal Commentaries of Peru . The author nar “ in rates , music they arrived to a certain harmony , in i wh ch the Indians of Colla did more particularly excel , having been the inventors of a certain pipe made of canes

of f glued together , every one which , having a dif erent

of of note higher and lower , in the manner organs , made

of a pleasing music by the dissonancy sounds , the treble , tenor and b ass exactly corresponding and answering to each other ; with these pipes they often play in concert and made tolerable music , though they wanted the quavers , semiquavers , aires and many voices , which — 90 THE WIND BAND

perfect the ha rmony amongst us . They had also other

or ﬁve i pipes , which were ﬂutes with four stops , l ke the pipes of the shepherds ; with these they played not in

to concert , but singly , and tuned them sonnets , which

of was they composed in meter , the subject which love and the passions which arise from the favors or dis

n I i pleasures of a mistress . These musicia s are nd ans , trained up in that art for diverti sement of the Incas and

hi s i as u the Caracas , who were nobles , wh ch , r stic and

was not w barbarous as it , was common , but acquired ith ” great industry and study . From which we learn that pipes and ﬂutes , similar in form and purpose to those used by the Egyptians , Grecians and Romans , were also used by the semicivilized inhabitants of America at the time of the Spanish conquest . That the Aztecs of Mexico i i had them is well known , and discoveries am d the ru ns of Yucatan Show that the former people of that interest ing country were acquainted with ﬂutes and pipes . In

now so l fact it is certain that the Indians , ca led , from i north to south on the American cont nent , were familiar

n with pipes in some form . This opens up an i teresting anthropological inquiry outside the province of this sketch . Until about a century ago the term ﬂute was appli ed

. fla eole t was a uto dritto ft te a to all single pipes The g fl , fi bec or - n la uto (beaked flute) English flute , the side blow j traverso being known as the German flute . The nam e

luta m ﬂute is derived from j , Latin for a la prey , or small eel on i d , caught in Sicilian seas , having seven holes ts bo y

— 92 THE WIND B AND AND ITS INSTRUMENTS 93 with them it was required to protect the cheeks and lips of the player by leathern bands , in form somewhat like a halter . Phorb eion and Capistrum were the terms applied respectively by the Greeks and Latins to the bandage which served to support the facial muscles in the effort to produce high sounds . Alcibiades drove the ﬂute out of fashion among high - born Athenians by insisting that to play it disﬁgured the beauty of the mouth . A sculpture In the British museum indicates that some

to clever person arose equal the emergency , and by

of ﬁ invention a mouthpiece , tted into the mouth hole , restored the ﬂute to favor . Necessity no longer exists for bandaging the cheeks , neither do modern players ,

on male or female , fear that performance the ﬂute will impair the beauty of their lips .

of e From the days Cavali re , Peri and Monteverde , the “ ” of ﬂute has been included in scores opera , oratorio ,

of i . symphony , concerto and all kinds nstrumental music

Its usefulness , great ﬂexibility , sweet tone , extended

of compass at least three octaves , and great popularity , no doubt ac counts for the liberal manner in which it has

for been written by eminent composers , as well as those of less attainments . Up to a certain point the technique of ﬂute playing

for is easily acquired , a reason accounting the numerous

, ﬁa utis ts in embryo to be found on every hand and alti tude from basement to attic and midway in the drawing room . In the hands of a good player it is possible to ﬁ i k surmount the greatest technical dif cult es and , than s — 94 THE WIN D BAN D

has of to the Boehm system , in any key . It a tone much

m i beauty , which , lacking in breadth and dra at c intensity , is suited to passages of reﬁn ed brilliancy and pathos . The concert ﬂute is best known to amateurs and the dilet

i - tanti , but others are used in the orchestra and w nd band for extending the range upwards beyond limits possible E to the former . Of such are the b and F ﬂutes , so called ,

re and the C and E b piccolos . Incidentally it may be E D E b marked that the b flute is really b , the F flute and the E b piccolo is D b . The pitch of a piccolo is an octave higher than a flute of similar denomination .

i n can No orchestral instrument , except ng the violi , compare wi th the ﬂute in its capabiliti es for execution . ' Le a to or sta ccato a r e i o or l g , p gg connected passages , tri ls ,

- b i n near y intervals or extended sk ps , si gle , double , triple or quadruple iterations of notes may be played with the

Im most remarkable degree of rapidity and precision . provement in intonation inaugurated by Gordon ( 1 739) and perfected by Boehm extending to diameter of

of ﬁ r n the tube and readjustment its nge holes , ra ks the ﬂute among the most accurate of musical instrum ents and gives it an importance previously unknown .

Though there is little authority , if any , for the state

i of ment , the applicat on the movable headpiece for tuning has been ascribed to Quantz . An old engraving shows an Arabian double ﬂute (date uncertain), the drone

is its pipe in which divided , manifestly for changing pitch at pleasure . The harmonics of the ﬂute are similar in sequence with

HE — 96 T WIND BAND

TABLE OF NOTATION AN D EFFECTS .

N TS D D D IN STRUK E . FLUTES PICCOLOS AN D S INGLE AN OUBLE REE ,

d P o o in The notati on of Flutes a n icc l s all keys is expressed n of o n , In key C , the Flute s u ds as writte Piccol o a n octave higher .

E a nd P o o (8ve). EFFECT . b Flute icc l n m B oth m is a ed , their pitch

is Db . . m n m F ﬂute also is a ed , is really Eb The playab le com pass in alt falls som e what short of the exam ples .

n S o on a nd Ob oe cor a gla s , ax ph e , i n Sa rruso Sarrusoph one (excepting Co tra n n for pho e), all writte

— Ob o n , EFFECT . e as writte n in o n . C or A glais , F , s u ds

d Soprano B b Saxoph one a n S u o on B b arr s ph e , sou nd

d Tenor B b Sax oph one a n o on B b Sarrus ph e , sou nd

d Baritone Eb Sax oph one a n S o on Eb arrus ph e , sou nd

o on in B b . Bass Sarrus ph e , AN D ITS INSTRUM ENTS 9 7

— ’ F A D Conti nued TABLE O N OTATION N EFFECTS .

. on S o on in Eb EFFECT C tra arrus p h e ,

s s 8ve ba a .

Bassoon a nd Contra Bas oon n for k s are writte ali e ,

at concert pitch . The n v o latter sou ds 8 e b el w .

Notation for all Clari onets excepti ng on k C tra Bass is expressed ali e , thus as for C Clari onet

— on in B EFFECT . Clari et b

Eb Alto

B b Bass

Contra Bass in B b Written

8ve b s s a a .

This last instrum ent is v oiced one oc b tave el ow the Bass Clari onet . Its ad d itiona l key m echanism enab les production of no o n to b o u tes d w A A A as a ve , act al

8ve a b ssa . CHAPTER IX

BRASS INSTRUM ENTS WITH CUPPED M OUTm ’ IECE

THE F H H O of - h RENC RN , all brass , cupped mout piece

for a instruments , may justly claim precedence music l

of s m beauty tone , rich color , dynamic ﬂexibility and y

i i ts pathetic vibrancy , but wh ch , by reason of great

of l of length , narrowness tube and smal ness mou thpiece , ffi is more di cult to play .

of Prior to the beginning the eighteenth century , a

cor de cha sse in its b n horn , named , hav g tu es arra ged in spiral convolutions simi lar with those of the French horn

- its a of to day , was used in France , hence n me ; but , it

’ cor d ha rm onie n may be observed , is the ti tle assig ed to

n it in that country . The tone of the hunting hor , being

was d d s i powerful and brilliant , well adapte to pro uce g f na s of the chase . Those qualities precluded its use among the orchestral resources of the period . Subjected

ﬁ the to modi cation , it was later admitted to orchestra , but not without strenuous opposition by sticke rs for “ ”

v l . musical purity , as being coarse and u gar Once it had been introduced the French horn speedi ly won its i way into all the leadi ng orchestras of Europe . Th s may be seen from the statement that between the date ( 1 7 20) of its ﬁrst employm ent in England by the ope ra band of

’ “ ” a Radam is ts and 1 0 the Haymarket , in H ndel s , 7 7

1 00 THE WIND - B AND

f when Hamp , the Dresden horn player , discovered that by i ﬁll inserting the hand into its bell , notes requ red to gaps in the fundamental series of open tones coul d be prod uced

it had won recognition from all composers of eminence . “ ” “ K a e i According to pp y , in Mil tary Music , the horn was introduced into the orchestra of the Imperial Opera

1 1 2 1 0 i t at Vienna , from 7 to 74 , after wh ch it seems hat ” m its use was discontinued for a ti e , a period which the

ﬁ w as a i same author assigns as over fty years , when it ga n employed as the Wald /m m . The sta tement is not borne out by facts . Fourteen years after the horn is said to

n r se have been discontinued Joha n We ner , cond

r for horn player in the above opera orchest a , brought ward an invention “ by whi ch the longer crook could be ” inserted into the center of the horn . He further states , “ the records of the Royal Theater of Dresd en Show that there were two horns in the orchestra in The fact is that the date at which the horn was ﬁrst adm i tted to the orchestra is uncertain and its period of desuetude

f b orn i more or less a myth . The introduction o the nto

French orchestras is attributed to F . J . Gossec

- thirty seven years later than its advent in England . — 1 68 1 0 s r J . S . Bach ( 5 7 5 ) included part for ho ns in — 1 68 1 and many of his scores , as also did Handel ( 5 7 59) Haydn ( 1 73 2 The foregoing and o ther compose rs “ ” t d i scored con inuously for horn , during the perio wh ch ,

is w or K a e . t pp y states , it fell into disuse Ei her he rong , “ ” of the i um e c t composers , regardless c rc stanc , s ored wi h an eye to the future . AND ITS INSTRU M ENTS 1 0 1

For about sixty years after its ﬁrst introduction into

of the orchestra , horn players had only the sounds the

of 1 2 6 so on 1 open tube , in ratio , , 3 , 4 , 5, , 7 and to 9 , at their disposal . At that time it was customary to sub due the then coarse tone of the oboe by inserting a pad of

Ham l cotton wool in its bell . p , above referred to , pre s um ing that the same substance would be similarly effec

w r tive in the horn , experimented ith it and was su prised to ﬁnd it raise the pitch of his instrument a semitone . “ “ Struck with the result , writes W . H . Stone , he em

of ployed his hand instead the pad , and discovered the first original method by which the intervals between the harmoni c series of open sounds could be partially bridged ” “ over . The notes thus produced were termed hand notes and the instrument itself became known as the “ Hand horn . In France those sounds were designated sons etouflés stuffed or m ufll ed sounds because their quali ty as “ closed sounds differed much from the open sounds . This discovery , greatly extending its usefulness , was speedily adopted by players and composers . It filled ou t the scale of the harmonic skeleton , increasing the possibilities in combinations of sounds for purposes of

so harmony , and enabled composers to write their horn parts that when weird or mysterious eﬂects were required “ ” they employed hand notes , or , in more frank and “ of joyous mood , availed themselves the open sounds . In the early days of the horn in the orchestra it was

i - necessary , as w th clarionets to day , for a horn player to i f be equ pped with instruments in di ferent keys . But — 1 02 THE WIND B AND

this , cumbrous and expensive as it must have been for

wa s the player , an advance artistically upon the practice

n immediately preceding , when all hor s being made in the

of key F , they could be used only when a composition chanced to be written in a key wherein some of their open sounds could be employed . In the beginning of the eighteenth century this clumsy and ineffective system was overcome . The horn was reduced in length from ff twelve to about seven and a half feet , and di erential “ ” t one crooks , varying in leng h from and a half to ten and a half feet , were made , thus enabling the player , by

one or u addition of the other to his instr ment , to place

of it , practically , in any key within the compass an octave . n The following are the open sounds , or harmo ics ,

to previously referred , some of which require considerable ” humoring to make them correspond with our scale of equal temperament .

The following scale exhibits the improvement effected

’ “ ” Ha m l s o by p discovery , the closed s unds being indi “ ca ted by black notes , and the open sounds by whole notes .

— 1 04 THE WIND BAND

rota ry or swivel valve has i ts ﬁrst au thenti c record

1 8 2 1 8 8 . in patents taken out by John Shaw , 4 and 3

Blii m el StOlz el or i d al is Whether , Shaw nvente the v ve

n v immaterial to the present consideration . The co tri

was r of il ance but a ge m that , in the hands more sk lful

t n r li . men of later date , developed into a hi g of g eat uti ty Antoine Sax early recognized the latent poss ibiliti es in the crude valve of his pred ecessors and lent his energy and great mechanical ingenui ty to its development . To “ ” him has been ascribed the application of the piston valve to the horn . In Austria and Germany the piston

has as as attachment never become popular in France ,

England and some other countries . The action of the rotary valve is said to be more readily res ponsive to

’ the touch of a player s ﬁngers than is the piston

i the i d valve , wh ch may explain preference exh bite by

Austrian and German musicians . On the other hand i it is claimed for pistons that they are more rel able , and much less likely to get out of order than is the more delicate and complicated mechani sm of the rota ry valve .

as i The function of valves or pistons , appl ed to brass

too k t instruments in general , is well nown to need fur her

. h the comment in this place Yet , owing to the fact t at sounds most used on the French ho rn are the high ones of ha m i onic a the series , it is advis ble to point out

a ll two that for practical purposes valves are sufﬁcient . Equipped with them an extensi ve chromatic scale may be o b taine d . The only notes missing which might be AND ITS INSTRUM ENTS 1 0 5 had by use of a third valve are Here stop ” ping with the left hand would W be necessary . The low F f; is practically worthless with the combina

1 2 . tion of valves , and 3

- The following scales will show the possibilities of a

- two valve French horn .

I I 2 O 0 O I 0 I 2 0

' O 2 2 0 I 0 I 0 2 O f O l 0 1’ 2 I I O 2

Chromatic notes are ﬁngered as follows

C l o sed 1

of Besides which , owing to the close sequence harmonics generated by each change of valve are many excepti onal

ﬁn erin s . g g A word of explanation is here necessary . Presum ing the main tube of a b orn to generate a given i series of sounds , each valve when pressed down , open ng an air way into additional and successively greater lengths of tot a l t in tube , will naturally change the leng h of the

r o f st ument , thus generating a new series sounds lower

i a s in each case , but having the same rat o those of the

. r ﬁ m open tube For instance , refer ing to the rst exa ple — 1 06 THE WIND BAND

given , it is seen that the upper harmonics begin wi th the seventh , thus

The second valve lowers the pitch of the entire ins tru ﬁ ﬁ ment a semitone , the rst valve a full tone , and rst and

- second combined , a tone and one half . Transposing the

for l i above as indicated , we obtain each the fol ow ng series of upper ha rmonics :

2 d val ue .

I s t val ue .

I s t 2 d values .

A comparison of these ﬁng ering s with those ﬁrst given will prove interesting and instructive . From the fore going it wi ll be apparent that the valves may be used to

of take the place crooks , presuming the player should

a s r i wish to use his instrument a hand ho n , wh ch may become necessary in old composi tions where composers

as fe require closed sounds , the two valves proving ef ctive i as three crooks . Combinations resul ting from addit on

— 1 08 THE WIND BAND the bass clef,stands at its t rue pitch when the horn is in

so . C , and approximately when in any other key For some “ ” e reason , explainable only by the word conveni nce , parts for horns have invariably been noted in the treble clef from their second open sound upwards , consequently an octave higher than the true sounds .

for is con Again , when writing four horns it usual to

i as ﬁ sider the h gher pair rst and third , and the lower as ﬁ i second and fourth . As the pair rst ment oned deals with the upper sounds , players , as a rule , use a mouth piece having a somewhat smaller cup and face than do the second pair . Especially is this the case with the

n fourth horn player , who has to produce the lowest sou ds and occasionally the fundamental . The use of a larger

or in mouthpiece permits the lips to vibrate more freely ,

one more relaxed manner , than does the smaller ; thus the low sounds are more easily enunciated . B Horn parts being written in various keys , from b

B low e high to b , the following table is given to show th difference between the noted and actual sounds

As noted

A B f) h i gh AN D ITS INSTRUMENTS 1 09

l n Finally , Ber ioz gives the followi g as the compass of in i li horn with three pistons , a m xed key ke the key ” of E b .

V ery rare a nd difﬁcult t o k eep steady .

a nd all chrom at ic s o u nds t o

ff l Note the apparent di erence between the ast note , F, f ﬁ t f o o . l the bass , and rst , F a, the treble series It i lus trates the previous remarks as to the singular manner in which horn parts are plotted .

THE MP TRU ET is an instrument with long , narrow tube , cylindrical in two - thirds and conical in one - third of its

l . ength It has harmonics incidental to all open pipes ,

of but which , by reason of the small diameter its tube , are more clearly voiced than in the co m et and other ins t ru “ f f ments of similar bore . The quality o tone o the trum

is pet noble and brilliant ; it suits with warlike ideas ,

Of w of with cries fury and vengeance , as ith songs triumph ;

of it lends itself to the expression all energetic , lofty and f grand sentiments and to the majority o tragic accents . ﬁ It may even gure in a jocund piece , provided the joy I — N 1 1 0 THE W ND BA D

elho n w o a y ul a . ne . . F ug i h T um e . 2 . Co 3 l v v x. r p t r t r t r t r Sli e Trom one . 5. d b

AND ITS INSTRUMENTS 1 1 1

assume a character of impulse or of pomp and grandeur .

B er i l oz .

Formerly the orchestra trumpet did not have valves ;

of in later , a slide , similar to that the trombone , was

t rod uced . , and still later pistons were adopted When the valveless trumpet was used it was necessary to “ ” — — employ shanks or crooks lengthening pieces in order to change its pitch and thus meet the exigencies of the composition . Open sounds only were then the rule , a s none other , similar with the cavalry trumpet , could be produced . To meet the requirements of key changes , the player had to carry with him shanks and crooks

fﬁ to hi s B su cient to enable him put trumpet in b , C , D ,

E nd n a so o as . b , E natural , F , G , occasion demanded

The slide trumpet obviated , to some extent , the need of lengthening pieces , for by simply changing the posi

of f tion the slide , the e fect derived from them was the same . Further , the slide enabled the player to obtain a full chromatic scale from or to its seventh or lowest t is . posi ion , as the case with the slide trombone The

of introduction pistons did away with the slide , and now any but the valve trumpet is rarely employed in orchestra

- and never in the wind band . B E b . Trumpets are now made in C , b , and F To

n two obviate necessity for the player owni g the last , a

' e tIal of crook , q to production a full tone lower , is fur

h . ished with the F trumpet by makers Others , also ,

- may be b ad if required . Parts written for the old style trumpet still exist . In the following table the actual — I 1 2 THE WIND BAND

n and nominal sounds , from the third open sou d of the n tube , are i dicated . As noted

£i t t Db Dfg Eb Eh;

The trumpet in C utters its written notes at actual

ff b orn of i pitch and therein di ers from the , the tube wh ch is twice as long , and it sounds an octave lower than those of the former . Trumpets in B b should be used more generally in — i wind bands than they are , if not to ent rely supplant the

m a nd co et , at least to impart a rich vibrant tone color , that in its compass cannot be produced from any other brass wind instrument . It should also be supported E by trumpets in b or F , to connect with the trombones , which furnish its natural tenor a nd bass .

an The trumpet , in some form or other , is of great i t ui t . h q y The C inese , whose authentic history dates

2 000 B C back , have always included the trumpet among

i w as i their musical nstruments . One shaped l ke an

ﬁsh enormous cigar , another resembled our common horn , “ ” and still another is said to have had a slide . The most

— 1 1 4 THE WIND BAND

It is probable that Moses acquired the straight trum

now pet from Egypt , as it is known to have existed in

hi s . that country in day Further , the Egyptians had

of trumpets various patterns , some measuring a few

n inches , others upwards of four feet , but all termi ating

s al i nx kerux with a dilated bell . Under the titles p and trumpets were used by the Grecians . The Romans

of named any short , straight trumpet metal or other

bucci na u material ; their cavalry tr mpet , made from

li tuus i bronze , was known as ; besides wh ch they had the

tuba cornu . an d , the latter curved and quite large In medi eval times tru mpets were the preroga tive of h kings , princes and nobles , and could be used only by t em

f r or in their service . They were used o fanfares and signals and in bands of musicians attached to courts or

s em ire a l of other regal or g establishments the nobility . From the foregoing it is apparent that trumpets have an universal and interesting past ; they date almost from earliest recorded hi story and have been associated with events that changed the destinies of nati ons . They have

l of civiliz a ti on and marched in ine with the progress , their perfection has been attained correlatively with our own present standing in that scale .

TH E OM O in TR B NE is kin to the trumpet , to which , its

and s . several varieties , it forms the natural alto , tenor ba s

It is cylindrical in two- thirds of its length and coni cal “ - one . in third , which ends in a bell Its tubing is of

r of f nar ow diameter , varying , course , in dif erent members AN D ITS INSTRUM ENTS 1 1 5 of of the family , and its harmonics are those the open

s tube . Of all brass instruments none are o perfect as the Slide trombone . Each note in its chromatic range of two and a ﬁfth octaves may be produced accurately

of i a d in tune , by manipulation the slide , d rected by f monitions of a good ear . Discrepancies o intonation incidental to valve instruments have no exi stence on the

of its slide trombone , but , by reason simple structure , it ,

ff for i like the violin , a ords vast opportunities d scordant f ﬁ utterances in the hands o an inef cient player .

S on fi The lide operates a xed inner tube , which it “ to lengthens , by being pushed outwards , stated posi ” of tions , at the distance a semitone apart , until the inter val of a diminished fifth below the sound of its first “ for B b position is reached , which , the tenor trombone ,

least an octave lower , may be voiced , but “ ” ” the gap between these fundamental or pedal notes ﬁ and their octaves cannot be lled , for reasons already “ given . Each movement of the slide is termed a posi ” of ﬁ tion , which there are seven , including the rst , or “ closed position . ff Trombones have been made in many di erent keys , E E from the b alto to the b bass trombone , an octave

m lower than the for er . Those most commonly used are “B E E b or . the tenor , and F , G b bass ; the b alto rarely

of of n By reason the great length tubi g in bass trombones ,

ﬁ d u they are tte with a swivel handle , attached to the pper “ ” of l to stay the slide , to enab e players reach the lower

— 1 1 8 THE WIND BAND o f of r the left hand the player , could be used for t ills , or to lower its pitch a semitone , when pressed down to open

to the air way . Further , it could be employed enable fill the player to , chromatically , the gap existing between E B fundamental sounds ( b to h)and their octaves , already fi referred to , the pedals of the rst four positions con tinu fi li ing the compass down to G , one octave below G , rst ne b ass . The Slide trombone has always been held in high esteem

for of by composers the dramatic possibilities its tone , which in turn becomes awe inspiring , terrible , exul ting , jubilant and even sympathetic . It possesses all the virile

ﬁ in and energizing appeal of the trumpet , ampli ed by

r crease of diameter . F o those reasons its employment

- not in wind bands is most desirable , only , as is usual , in

of B of or of pairs b tenors , but also by addition one other the more voluminous , if less agile , bass trombones . Em ployed in that manner , and where trumpets (not cornets)

of form part the instrumentation , it would be possible to organize a quartet having the true trumpet ring from soprano to bass . Thus :

1 B o no . b S pra Tru m pet .

2 . E o b (Alt ) Tru m pet . B no o 3 . b Te r Tr m b one .

. or E om bon . 4 F , G b Bass Tr e

f or of For special ef ects , tone color , enrichment har

- mony , such a quartet is invaluable to the wind band .

not As will be apparent , the slide trombone is adapted

of le a to a s tacca to for performance g pass ges , the style of AN D ITS INSTRUM ENTS 1 1 9

articulation being best adapted to its character . Its

SO su construction , especially in the bass trombones , is g

es tive of ﬁ g distinct , digni ed utterance , rather than rapid ff of S . i ty peech Consequently , all solo e orts should be directed towards maintenance of its individual tone

character . Historically the trombone covers Similar ground with

for of ﬁ the trumpet , , indeed , it is a trumpet ampli ed

dimensions . The principle was known to Assyrians ,

Egyptians , Hebrews , Grecians and Romans , which latter

com a i ts used a large curved trumpet ( ), bore suggesting

of the diameter the trombone , and , as has been shown ,

of when treating directly the trumpet , it was largely util

is iz ed by the ancients . It interesting to note that the Romans had instruments structurally similar to modern

slide trombones . During excavations at Pompeii , in

of the reign George III , instruments of the kind were

of recovered from the ruins that unfortunate city , and presented to his majesty by their ﬁnders .

or Valve piston trombones are , as the name implies ,

trombones with those auxiliaries attached , and much that has been said in respect to the valve trumpet applies

o to them . Pistons enable the player t lengthen the main tube of his instrument and in effect fulﬁll the objective f purposes of the Slide . Discrepancies o intonation inci l denta to all valve instruments are in evidence , requiring equal skill and judgment to attemper and overcome .

le a to B ut limitation as to g , present in the slide trombone ,

as a s for is removed and , in that respect , well in facility — 1 2 0 THE WIND BAND

is on making the trill , the valve trombone a plane of

n Sim l i equality wi th all other i struments i arly equ pped .

N TE R M n I R10 F O R or M oum rec es t o B u ss IN STRUMEN TS .

. nc n . . T m e . . e n r Trom on . 1 F re h Hor 2 ru p t 3 F l ug lhor o Sa xhorn. 4 . b e

o ne . . T 5. C r t 6 uba ( Bass ).

THE CORNET stands in a class by itself among cupped h mouthpiece brass instruments . It as a conical tube of

. Its narrow diameter , like its ancestor the old post horn

, mouthpiece differs in form of its cup from those of the

of French horn and trumpet , as it does also in style tube , and for those reasons acquires a distinctive quality of tone color . It occupies a position between the trumpet

of and soprano members the saxhorn family , withou t

of the exhibiting the noble clarity the former , or sonorous sweetness of the other , for which reasons it may be con s id e red a hybrid instrument . “ ” - has It is in the open pipe class , and the ha rmonic

of sequence that form , but , similarly with all other s oprano cupped - mouthpiece instruments with a tube of

— 1 2 2 THE WIND BAND

All r of n n a r e io an va ieties phrasi g , excepti g the p gg d

S in extended kips , are possible , and even the exceptions ,

of i movements moderate rapid ty , may be played . Rapid

or r iteration of notes , by single , double , triple quad uple

of tonguing , are a somewhat ﬂamboyant feature cornet playing . Trills are possible on nearly every note of the compass . Volume of tone may be reduced to proporti ons of an

- echo , by insertion of a pear shaped contrivance , termed “ ”

of m . a mute , into the bell a co et A mute with piston arrangement is sometimes attached to a com et ; the effect is the same , but its ungainly appearance and cumbrous ness are against its general adoption .

B wi - ﬁ b cornets are employed in the nd band as rst ,

for two ﬂii elhorn or second and third , but , the last , the g , i B b soprano saxhorn , having wider tub ng and vibrating

more freely in the lower (and , in fact , the upper) register , would produce better results , by broadening the tones for accompanying parts . The name cornet would appear to indicate a simi larity of const ruction and pu rpose with an instrument of the same designation used in medieval tim es . Such is not

for n the case , the ancient cornet was a reed i strument , i f much used in England and orig nally made o horn . From

or it is descended the cor anglais , corno inglese , a mem ber of the oboe group . The cornet has never been t aken seriously by great

to r writers , who have always ignored attempts int ude it among the recognized resources of sym phony a nd operati c D IT AN S INSTRUMENTS 1 2 3,

f orchestras . The following excerpts furnish an idea o the estimation in which it is held by intelligent writers “ The habit which exists nowadays of hearing in ball

l di s tinc orchestras , melodies devoid of all origina ity and

u tion executed on this instr ment , together with the char

of h acter its quality of tone , w ich has neither the

of nor of nobleness the horn , the loftiness the trumpet , renders the introduction of the cornet - a- pistons into ﬁ ” the high melodial style a matter of great di f culty .

B erli oz . “ has The cornet obtained a most prominent place , and being of easier manipulation than the trumpet

ﬂii elhorn and g , it has pushed into the background

of i these two instruments, both wh ch have a better

K o a . tone color and character . pp y “ It has been brought into di scredi t by being unwisely used in some orchestras as a substitute for its parent the n ” of h . trumpet , with the grandeur w ich it can ot compare

Sta i ner and B arrett. “ i m M a han . The co et s a true bastard .

Its tone is , however , much more coarse and vulgar “ is ﬁt (than the trumpet), and far more for the perform ance of dance music than for classical compo ” i i n . P ou s t o s r t.

i a m i n de P a ri s Th s instrument is the g of the orchestra , more at home in dance halls and café concerts than in

or m l grand opera sy phonies , whence it wou d be well that

Lavi ri ac . it should disappear . g Many simil ar opinions as to the musical merit of the — 1 2 4 THE WIN D BAN D

uffi cornet could be gathered , but the foregoing are s cient to indi cate the disesteem in general in whi ch it is held f co noscenti . f by the g Consequently , in any e orts made ,

i of - tend ng to the artistic betterment the wind band , the questi on of perpetuation or elimination should be gravely discussed in all its bearings .

XH O S . i SA RN This fam ly , comprising seven members , f o . originated in the labor Sax , hence its name It con sists of

1 E So n no S orn. . b pra i axh

B So no S x o n. 2 . b pra a h r

E o S o n. 3 . b Alt axh r

B on S o n. 4 . b Barit e axh r

B S x o n . 5. b Bass a h r

E S o n . 6. b Bass axh r

BB S o n. 7 . b Bass axh r

l l They have conica tubes , with harmonics incidenta

l of to all open pipes , and the usua complement pistons . in l Sax made them originally upright form , but ater

of changed some them to be played horizontally , as is f “ m . o the co et Berlioz remarks them , Their tone is

i of round , pure , full , equal , resound ng , and a perfect ” of homogeneousness through all the extent the scale , results whi ch could be obtained only by mathematical

i of i n cety formation of their tubes , and conformat on and adaptation of a mouthpiece to each best ﬁtted to assist in producing a gradually increasing breadth of tone throughout the whole family . In France the E b sopranino and B b soprano are largely used to take parts which with us are assigned to E b and

1 2 6 THE WIND - B AND AN D ITS INSTRUMENTS 1 2 7

B b cornets , a preference that evinces judiciousness and “ f superiority of musical taste . The mouthpiece o the

is li soprano saxhorn deep from the p to the throat , approximating in this respect somewhat to the mouth piece oi the horn . This gives the mellowness of tone whi ch this instrument possesses . Its large bore gives a “ fullness and richness to the notes below which cannot be had by the cornet . Mon

e of é sieur Par s , bandmaster the Garde R publicaine of

m of i Paris , himself a co et player h gh order , says that the low notes come out much more easily and with

ff on better e ect on the soprano saxhorn than the co m et .

a r excellence of Furthermore , he calls it the singer p the ” lum B M a . band . In Belgium , also , the b saxhorn is

' used in preference to the com et . The soprani no pos sesses the quality of brilliancy devoid of the shrillness f E associated wi th the tones o the b cornet . The ﬁve remaining members of the fam ily are known

as E b B b B b E to us simply alto , baritone , bass , b bass

(or tuba) and B B b bass (or bombardon). The baritone B di ff i and b bass have the same pitch , erence in d ameter of tubing accounting for the broader quality of tone of i i ﬁ the latter . The euphon um is a mod cation of the B b bass saxhorn , that is , when retaining the proportions introduced some forty years or so Since by Mr . Pha sey of f London . With the majority o players the two names l are interchangeable and app ied indiscriminately . The B B b baritone is called b althorn in England .

s a xot rom b as Sax also introduced the , which had tone — 1 2 8 THE WIND B AND

quality more resembling the trumpet group , occasioned by narrower diameter of tubing . Some modern makers B approach that form in their altos , baritones and b basses , with a resul t that is far from satisfactory when played with other instruments of the true form .

l of ﬁve six App ication four , and even pistons is by no l i means immediate y modern . Sax experimented w th all

n n in and made i struments accordi gly . We hear these

of ﬁ n n days fth valves , compensati g pistons , tra spository valves and many other contrivances , as though they were

of i or ﬁrm new inventions th s , that the other , but Sax ﬁ antedated them ; his genius embraced the whole eld ,

n m s even to the circular forms of the deeper bass i stru ent ,

- as shown in his sax tubas .

ﬁ n u Before Sax entered the eld as an i str ment maker ,

- e wind bands , such as they were , present d a weird

wond erq aspect , and produced a most y complex , often inharmonious not to s ay discordant agglomeration of i i sound . The elements entering nto their format on were

of or r all awry , no uniformity dimensions fo ms , no scientiﬁc adaptability of mouthpiece ; some instruments

of i in had keys , others valves various k nds , imperfect construction and ill - ﬁt ti ng ; relationship by groups of

of instruments had not been thought , in fact no such

i - th ng as kinship existed , and the wind band was a hetero

eneous of i as g mass badly assorted sound med ums , such i n the key bugle , ophicleide , serpent and Russ a horn , “ for f o f all calculated ef ect sound and fury , sig nifying ” t i m nothing but noise and hat in volumes m easurable .

— 1 30 THE WIND BAND

ou t of Sax evolved order this chaos , and the saxhorns

to above treated of contributed , in large measure , that desirable end . The playi ng compass of each member of the saxhorn l family is given below . It is need ess to remark that

a ll of i their musical possibilities are great , and styles art c ula tion are quite as easy to perform as on any other brass

. i instruments Beyond this , the superior qual ty of tone should lead bandmasters to more general incorporation of the complete family in their organizations than at present obtains among them .

SA X H O RN S —C L EF O P , TREBLE G R U

S X H O S SS - O P A RN , BA C LEF G R U

I n o all o n o r o n t this gr up s u ds are actu al c cer pitch . D AN ITS INSTRUMENTS 1 3 1

(N CO

' v-N Q

v-t CN CO

v-c N

ﬁ g m m

N V

‘ m n s co

N 10

F UN N ﬁ ‘ lo

v-t ﬁ ‘ lO

ﬂ m v m

v-UN SCO 01 00 10

01 00

M M Q‘ IO

H OO Q‘

F ‘N CO V ‘ IO

ﬁ n ed ) 9 4 v — 1 3 2 WIND BAN D AN I) ITS INSTRUM ENTS

— 1 34 THE WIND BAND

i i dom nant to tonic upwards , in others from ton c to

m : N E —i do inant downwards , thus E i i : The Javanese use an almost

of in complete scale kettledrums , arranged convenient manner , which example furnishes a hint from Orient to Occident of development that could not fail to be

ff . F or as our t e ective in the modern orchestra , ket le

Oncnzs m x. s xnnm l s .

drums are now made , they may be employed to reenforce tonic and dom inant (or occasionally other) ha rmonies i only , and thus be consonant , or , if elsewhere ntroduced , become discordant elements in the orchestra . Berlioz

of recommended employment other drums , and to each

s u pair a drummer . The Javanese accomplish all he g gested with only one player . Kettledrums are played with sti cks having padded “ ” x heads , the stick being made from some ﬂe ible material AND ITS INSTRUM ENTS 1 3 5

or . such as cane whalebone Single stroke , double stroke

of and rolls are played with ease , degree force from extreme pi ani ssi m o to the most resounding forti ssi m o; consequently they are invaluable in s t rum ent s in working up

crescend o vi ce versa . a , or All drums are described as having a stretched disk of elastic parch ment to be struck with a r CAVALRY D um . stick . But kettledrums differ from other pulsatile instruments in having their single elastic disk stretched over large metal basins , which ﬁ act as resonators . Hence their de nable sounds .

THE SM D M ALL RU , variously known as side drum ,

is or from the manner in which it carried , snare drum , by reason of the several ” snares or gut strings stretched across its lower i parchment disk . Th s drum is employed to reenforce rhythms in their various forms and aid the produc Sm m m tion of crescend o and dim in “ ” uend o , which can be accomplished by certain strokes ” “ of its n n or two sticks , k own variously as si gle double — 1 36 THE WIND BAND

“ "I

ﬂa m s s o on . strokes , , paradiddles , rolls and To the snare drummer is usually conﬁded the use of certain “ ” n a s l o characteristic elements know traps , a so the xyl phone , bells , etc .

THE BA SS DRUM is a three or four- fold enlargement of

two m 01 the former and like it has parch ent disks , heads , strained to suitable ten

sion by leathern tugs , acting on rope attached for the purpose to two

or straining hoops , by screws set on their cir

cum ference n on , acti g

metal rods . This latter method is more generally used in connecti on with the snare drum than for

its larger colleague . The i i st ck used , wh ch must i be somewhat ﬂex ble , has a padded head about i f o . BASS the s ze a tennis ball

YM S of C BAL , usually employed in pairs , are formed

n one n circular metal disks , varyi g in sizes , each havi g at in l its center a concavity , pierced the midd e for insertion of of l a looped carrier or holder , made eather through which the player may pass his ﬁngers to obtain his grip .

— 1 38 THE WIND BAND

i - r m t wh te metal lyre shaped frame , o na ented wi h colored

s et horsehair tassels and upon a tu rned wooden handle . The bars were tapped with

or a metal beater , hammer

a ﬂi xed to a ﬂexible handle , and the instrument was carried

in of directly front the player , the lyre frame being about on

a level with his head . The

pitch was usually B b or A b . This form seems to have suc ceed ed one in which the bells

- i in r were saucer l ke fo m , the same being mounted on a metal rod passing through N M ILITARY BA D GLo c N SPIEL . holes in their center . Occa siona lly a regular small bell was pendent from each of the ornamental curves on the upper part of the lyre frame .

S so or carillon t of BELL , called , , are ano her form

ne the glockenspiel . They range in compass from o to i two octaves (in C), with all chromatic sem tones , and ,

r on m in fo m of ﬂat metal bars , are laid lateral fra es in a

on one i box , diatonic tones being , with chromat c notes

on a a a . nother , in suit ble juxt position The player having two strikers fl exible handles with small round metal

c heads a n a tt a in gre a t speed in executi on . These contrivances may be had ﬁtted with a keyboard sim ilar D AN ITS INSTRUMENTS 1 39

of with that of a piano , a method construction whi ch l lends faci ity in performance .

O CHES on N D E S I ON . R TRA BA B LL , CAR LL

THE XY OPHO i L NE is sim lar in principle , but as the bars

and strikers are made of wood , i t emits a very di fferent

of “ ” quality tone , hollow but loud and somewhat tubby ff in character , but nevertheless e ective . Descriptive

XY OPH L ON E . music offers a ﬁeld for employment of all the foregoing

on - k of instruments the bell li e principle vibration . It should be noted that double notes are not effective in

performance , for reasons elsewhere given . — 1 40 THE WIND B AND

TH E A as rod in TRI NGLE , the name implies , is a metal s trument bent to triangular fo rm ; the ends of the rod not being united pe rmi ts free vibra

tion through its length . It is

or l struck singly , titil ated , to f produce a shivering ef ect , in the

of lower closed corner , by means

a short metal rod . To the upper

or corner , apex of the triangle , a string loop is attached by which

n the player holds the i strument .

TRAPS is the generic term for a multitude of contrivances TRIAN GLE . designed for use in character ﬁ is tic or descriptive music . Some have de nite musical

not . ﬁ ins t ru tones , others have Of the rst class are

i of ments imitat ve of the calls birds , as the cuckoo , quail ,

f the . o um lark , etc ; the second , much more n erous , are the cock crow , baby cry ,

of en call the katydid , i gine wh stle , sand paper on wooden slabs to im i

fli n tate shuf g feet , clog

ca s ta nets tom - dance , g , tambou rine , tom , sheet iron to

l on w i en . mi tate thunder , sleigh bel s and so i thout d

sa and They all have their use , and , it may be id , abuse ; , while they may appeal to the ears of an uncul tivated ' i ou tre eﬂects e us can publ c , preferring to legitimat m ic ,

— 1 42 THE WIND B AND

Crusaders returning from Palestine are responsible for

of r the appearance and use d ums in Western Europe .

The practice of carryi ng drums suspended across the neck of a horse was copied

as from the Arabs , also was “ ” or r the snare side d um , and their introduction cred

ited the . AN CI EN T POLISH to above source ’ Drums , in Chaucer s day ,

na ker na kerers . were termed , and drummers , That term is na a ra h i derived from the Arabian word g , wh ch appears

na ua r to have kinship with the East Indian g , a drum “ ” i to n . n with o e head The name k ackers , appl ed the “ old i colored m nstrel bones , was , no doubt , derived from the above

na ker . The aborigines of Africa evince

u great fondness for d r ms , of which they possess quite a variety . Some

entirel of are made y wood , others ‘

or have one two skin heads , according F IC N S N A R A IG AL TUB E. to tribe or usage . One of the most degenerate tribes of mankind , the South Af rican Bos es m en us e u i j , a rather unique dr m , s mply a wooden bowl , with tightly stretched skin head , into which they pour water to regulate the pitch . Double drums are

the used in the Congo regions , and among negroes of n rn l l n orthe Africa a cy inder , arg er at o e of its ends AND ITS INSTRUMENTS 1 43

than at the other , is formed from the tamarind tree . The ends are covered with goat ski n from whi ch the hair has been removed . The heads are tightly strained and laced together with thongs , and their tension recovered or maintained by aid of heat from a ﬁre . In parts of West ern Africa it is customary to afﬁx human skulls to drums by way of decoration . (P) Drums are employed through out the continent to warn off unwelcome nocturnal visitors , for communication among the

of separated kraals a tribe , AF E RICAN K TILEDRUM . to sound alarms , drown the

of of s tim u cries victims war ,

a vic late revelry , celebrate

tory , at religious rites and to

solemnize a funeral . In some tribes all the drummers as semble to beat up the new

la r o i a n moon , beginning g , p

i ssi m o ﬁ , when rst it appears , A W M M RU I I WAR DRU AN D WOMA N . and continuing to increase in speed and force of drumming as the luminary ascends to midheaven . Women have the prescriptive right among the Aruwimi to sound the alarm for war on a — 1 44 THE WIND BAND

very large drum kept for that particular purpose . It m b is a wide stretch fro Wa uma to the Sandwich Islands ,

F C N X O PHON E OR M IMB A RI A YL AR A .

yet in the matter of drums they are by no means remote .

Each possesses at least one drum nearly identical in fo rm . Instruments corresponding with the xylophone are found in two styles in Africa and B urmah , termed in the b r m a ri m a a lala k. fo mer , in the latter p

of tsou The Chinese have eight kinds drum , named , kou a kow hi nen- kou ki n- kou ta o- kou a - kou o- ou , y , , , , y , p j

- ki tten- leo and po sou . The n is a drum of immense pro

on . portions , raised a pedestal several feet high The tones of the po-fou are modiﬁed by partially ﬁlling its body with rice husks . That people celebrate the advent of the New Year by incessant drumming throughout night and day . Their martial neighbors the Japanese ,

of I ori have many and similar drums . One , ndigenous

Ta iko can gin , , resembles an hourglass in form and be

l r played at both ends . They have a so a side d um ,

h a w ich they call ka le/e .

of l u Metal drums , and others usual materia s , are sed in

. m Java B ut the Javanese use a kettledru combination ,

— 1 46 WIND BAND AND ITS INSTRUMENTS

“ hue/m elt r made entirely of wood , and the , cu iously ca rved and painted and covered at the top wi th ca refully ” i i l in r n prepared deer sk n , was sim ar fo m but larger , bei g about three feet long . The latter was beaten by the

n hands , the former with sticks , the k obs of which were fo rmed of an elastic gum called ul e . These drums were

of a l common in the days Cortes , and are s id to be sti l used in remote parts of the coun try by descendants of the Aztecs . The foregoing shows the ancient lineage of the drum i m and its universal ty in past and present days . Dru beats girdle the globe and their vibrations are among “ ” those touches of nature that make all the world kin . CHAPTER XI

THE BANDM ASTER

THE term bandmaster is taken to signify master of

- of the wind band . Mastery implies possession power ; in ﬁ h this case , special knowledge and certain tness , w ich may be assisted in development by education but can only exist in perfection as an inherent trait of artistic

r . i i character o temperament Lack ng th s high essential ,

’ it matters not how profound a bandmaster s learni ng

i how may be , how painstaking his teach ng , exacting his methods in the rehearsal room , their ultimate result , as

hi s . shown by performance of band , will be unsatisfactory

of Precision attack , correctness of dynamic expression , accuracy of tone , tune and time may all be present , but

of failing the infusion emotional expression , the vital Spark which viviﬁes and illumi nates the inner meani ng

or of musical works , , if there be wanting , the contagious enthusiasm that shall arouse in each member of the or

a niz a tion hi s ow n g high impulses commensurate with ,

of his ll the playing band , while pedagogically perfect , wi

of . inspire the feeling being learnedly dull Bandmasters , i like poets , are born , not made . Th s verity must not be t taken o imply that education is unnecessary . On the a contr ry , it is often necessary to awaken the latent talent , or genius , and always requisite as a guide to direction and a of i n s ttainment ts fullest ma ife ta tion . x47 — 1 48 THE WIND B AND

as The foregoing statement , well as those which fol low n n i , are necessary to cou teract the prevaili g opin on that any instrumentalist is qualified to fill the position fi of bandmaster . Specialists are they who con ne them selves t o the cultivation of some one branch in parti en

f r o . o or lar their profession A soloist , ordinary band i in orchestra instrumental st , is usually a specialist that

ﬁ hi or l . s sense He con nes energies , more ess , to the ardu ous task of mastering the technical difﬁculties of some

too instrument in particular , and frequently much neglects to inform hi mself of other matters considered essential to the acquirement of a sound musical educa ﬁ tion . An instrumentalist in ordinary thus becomes tted

one of of as the parts a machine , truly essential in his

not l ﬁ i place , but qua i ed by lim tations of education to exercise the functions of a controlling power . A sailor the before mast , or a soldier in the ranks , may be most

ffi or one on e cient as sailor soldier , but no , general prin ci les fi p , would admit either as being tted to take com mand of a ship or a regiment . Yet this unsound positi on is recognized as justifiable in its application to the appoint

of ment bandmasters generally in the United States , and

w n - particularly in government (army and navy) i d bands , f ﬂi i by which the mode o procedure begets o c al sanction .

m i Abroad , where bandmasters and bands en are pa d

a much less than they are here for their services , b nd m asters can only attain to such rank a s the result of successfully passing a very severe musical examination .

This method obtains in France , Belgium , Italy and

— 1 50 WIND BAN D AND ITS INSTRUMENTS

o n o n om o on n um nt on o m s and n a n c u terp i t , c p siti , i str e ati , f r , acquai t ce o in on to i n n m n l m o with ac ustics relati w d i stru e ts , as wel as usical hist ry in in general a nd particular . “ (4) Capacity to read scores a nd i nterpret them . P o b n n n a nd onin of the in (5) edag gic a ility ; teachi g , tu i g t g w d b a nd a nd

6 for on o on n . ( ) Capacity directi , therwise c ducti g

ll Just as water , under ordinary circumstances , wi not

h so ﬁnd rise igher than its level , may we never expect to a

- wind band better than its director . If he be a man of l high attainments , ideals and energy , he will ift the quality of the organization towards his level ; but should

n . e he be the reverse , the band will si k to his status Op ra

of of f v tion the law cause and ef ect being ine itable , it is futile to expect good bands as the result of employm ent of incompetent bandmasters . m Hence , it is obvious and requisite that the band aster

of i should be a man good musical and other educat on ,

ﬁ of m instinctively re ned , magnetic tempera ent , and of gentlemanly deportment . Possessed of those q ua liﬁca

ﬁ e tions he will command the esteem , con dence and resp ct of the musical profession and the general public . CHAPTER XII

S OM E FALLACIE S AS TO WIND INSTRUM ENTS

IT is impossible to state where the idea originated that over - blowing permanently injures the intonation

of . a wind instrument So obvious , indeed , is this fal

it of m e lacy , that appears almost a waste ti e to ref r to it . Yet , illogical as it may appear , that idea is still current , as well among amateurs as among some pro

fessionals . , who should know better Truly , he who could produce such a result would have been hailed victor in musical contests connected with the Pythi an i games . It s feared that he would have required some contrivance stronger than the pkorbei on to bandage and sustain his facial muscles . Sound is the result of a vibratory condition of the atmosphere . Musical instrum ents are means by which

s et the air may be in motion with speed and periodicity , sufﬁciently rapid and uniform to be appreciable to our ears as concordant sounds . In any case , aerial vibrations themselves , acting upon the delicate machinery of our

of ears , are the sole cause sound , and the explanation as

f . to their e fect This fact upsets the theory , advanced

c n of by ertai makers and agents , that vibrations the body of an instrum ent are contributory to sound production . — 1 52 THE WIND B AND

m i i i It is said , the hu an ear is capable of d st ng uish ng sounds beyond the limi ts of vibrations necessary to pro

r or i duce the lowest tone of a st ing bass , the h ghest sound of of i 2 800 a piccolo , the range wh ch extends from 4 to 4 vibrations per second . In fact , we know it is possible to hear the tones of a 3 2 - foot organ pipe im parting 1 6 vi bra tions a second , and we are conscious from experience with certain other mediums that the ear can recogniz e sound f at greater altitude than the highest tone o the piccolo .

two lon i tudi na l Vibrations are of forms , g , as is the case

m of w tra nsverse with the air colu n ind instruments , and ,

i or in as those resulting from bowing , pluck ng strik g a

of stretched string . The length the air column fo rmed

i f of i with n a tube a fects the pitch a w nd instrument , — and its width that is diameter is responsible for

of . i breadth tone Narrow tubes give incisive h gh tones , iff wide tubes produce broad ones , but the d erences of

or pitch subsisting between soprano , alto , tenor bass

of instruments is entirely dependent upon length tube .

of in w B readth tone , generally speak g , is coincident ith

of and in diameter , and pitch with length tubes , is no way n the result of any molecular disturba ce , if such exist , of material employed to conﬁne and mold the ai r col um n on its passage outwards . The fo rm ative medium employed

of t of at the moment incep ion , as the lips player on i nstruments with cupped mouthpieces , and ﬂutes , reeds of

or f l or of the clarionet , oboe , af ect qua ity color tone ; as

of well also , but in less degree , does form tube , whether

or as conical cylindrical , broad or narrow , above stated .

— 1 54 THE WIND B AND s o arranged as to admit the insertion of thi n meta l disks having a few small perforations to perm i t passage of the breath . Those disks were intended to prevent oscillations of d em ons t ra the air across the nodal positions , thus t ing their nonexi stence . Placing three di sks wi thin the i bugle and then blowing nto it , he showed conclusively that they offered no impediment to the producti on of the note C , but that they did prevent the production of any other notes possible to the bugle under ordinary condi

i of tions . Wh le it was apparent that insertion disks at

of nodal points do not inﬂuence the pitch the tube note , he made i t evident that small modiﬁcations in the form of any one of the sections of a tube will affect it most seriously . He demonstrated this by replacing two por tions of the tube where segm ents occur with others of slightly differing taper . In the experiment he endeavored

so n to produce an octave , but fell short , in doi g , by about one semitone , a fact from which the precept may be deduced that prompt remedial attenti on to bru ises or

’ leakages is essential to tone , tune and an instrument s

- well being in general . m Another fallacy prevalent among instru entalists is ,

or that tone color is inﬂuenced by , and in fact is more less dependent on the character of the material used in building a wind instrument . They point to the violin “ s a ri h and the piano and y , If mate al t ere assists vibra ” s o u ? tion , why may it not do in case of wind instr ments

The answer is immediately available . There can be no analogy between the two classes of instruments in di rec AN D ITS INSTRUMENTS 1 55

f i tron o the query , because the viol n body acts as a reso

fi of nator , or ampli er sound , and the piano is equipped fi with a sounding board , otherwise reflector and ampli er ; whereas the tube of a wind instrument is simply a soun d

no m conveyor , and in sense can it , by sy pathetic oscilla

or of tions , enhance volume character tone by reﬂecting or amplifying its requisite vibrations . Hardness of mate rial and internal ﬁni sh of the interior of a tube are the only conditions required as supplementary to length and

of . not width for production sound Brass is employed ,

or or because it is thick thin , that it vibrates any more

for freely than other metals , but the simple reason that it is or i easily bent , curved into any form requ red in the construction of wind instruments . Experiments with

of - paper , plaster Paris , wood , gutta percha , horn and other materials have been made , and in each case it has been shown that the substance used had no effect on tone color , providing only that acoustic requirements were ﬁ ful lled .

Again , there are players who hold the opinion that he who can inject wind into a tube with greater force than some colleague will produce the best tone . When it is understood that breath travels through an instrument at

of i a rate from three to n ne inches the second , relatively

of with size instrument , it will be perceived that the

’ of of speed inrush breath is not a very important factor .

i of To demonstrate th s , have a couple small holes bored immedi ately under the rim of a cup mouthpiece ; then

’ t or below hose holes stretch a piece of goldbeater s skin , — 1 56 THE WIN D B AND

as similar material , entirely across the mouthpiece , so to

the r prevent the breath from passing into inst ument , thus compelling it to seek egress through the two holes above referred to . It will be found that the breath striking against the stretched skin will throw the air column within the instrument into vibration , and as a result all sounds peculi ar to i t can be obtained in their i proper intervals and quality , the only element lack ng

of r . h being that intensity , otherwise fo ge T is proves that vibration of the air column acts independently of

’ i i m immed ate contact with the player s breath , and cl i nates the theory of possession of Herculean wind power

u of for n as a prereq isite good tone , , as has been show , that quality is present even when that force is much curtailed . Still another fallacy is one connected with the subject of temperature and its inﬂuence on the pitch of ins tru ff ments . As every musician knows , cold and heat a ect

one h eleva t pitch , in the case by lowering , in the ot er by l i n ing ; but the fallacy ies , in th s i stance , in the failure to attribute that rise or fall somewhat to atmosphe ric conditions and only in part to the temperature of the

B la ikle l instrument itself . M r . y , a ready men tioned , made some experiments going to Show that some of the phenomena of rise and fall of pitch must be sought else where than in the conditional temperature of the bod y of “ : a of an instrument alone . He remarks The true c use

f of the i so sharpening is the ef ect heat upon air , wh ch is o great as to cause a rise ofpitch of a semitone between 3 7%

CHAP TER XIII

T ONE COLOR AN D T ONE BUILDIN G

TONE color is one of the most beauti ful incidents of

ti m bre i musical sound . In France the word is appl ed to

kla n a rbe i i it ; in Germany , gf ; wh le in England , nvestiga tors have sought to render it intelli gible by combini ng “ ” “ ” the words clang and tint , thus forming the com l cla n ti nt. m pound g Tone color , ti bre , k angfarbe and cla n tint i g mean the same th ng , and are terms used to designate differing Shades of tone resulting from sounds identical in pitch and intensity b u t varying by method of production and medi um from whence they proceed . The sensation we kn ow as musical sound is the result of aerial vibrations comm uni cated to the ear by soun d

m i inten waves of regular and periodic ﬂow . I med ate s ity impresses itself on the ear by sounds at higher or ﬁ lower pitch , which , tting into our scale , are desig nated accordingly . These sounds are not , as is thought by the

on uninitiated , simple , but the contrary formed , and in i measure characterized , by a combinat on of others , much

v more feeble , arising from the di ision of a pipe or string

m or into seg ents , and accompanying the prime funda

ai r w t mental tone , when a string or the column i hin a pipe is thrown into vibration . The accompanyi ng feeble

1 58 — WIND BAND AND ITS INSTRUMENTS 1 59

u d so n s are termed harmonics , and their fusion with the fundamental produces tones more or less agreeable proportionally with the balance obtaining among them . Constituent vibrations of musical sound can be optically

’ of demonstrated by means resonators , Chladni s plates , or u Ko an instr ment invented by nig , by which it becomes possible to render those component vibrations visible to K o i ’ a large audi ence . n g s contrivance is thus described

’ “ ” “ in B la serna s Theory of Sound The apparatus is composed of eight resonators adapted to the ha rmoni c series of the fundamental note c . At the back of each one an Indi a- rubber tube puts the oriﬁce in com m unica tion with a capsule , closed by an elastic membrane . In front of thi s gas enters and burns under the form of a

. cor small , very mobile flame Eight flames , therefore , respond to the eight resonators . When the air vibrates in one of the resonators the vibration is communicated to the flame , and its vibrations are observed by means of

hi . a revolving mirror , w ch is turned by a handle In order to know if the sound of a given instrument or of the human voice contains harmonics , and what they may be , all that is needful is to produce close to the apparatus a note corresponding in pitch to the large resonator that — t a c is o s y whi ch represents the fundamental note . i Then , if there be harmon cs , they will set the resonators

and i and in action , thence the correspond ng ﬂames , a glance at the revolving m irror is all that is required in ” m order to recognize them im ediately . The ord inary phonograph affords an illustration of how vibrations — 1 60 THE WIND B AND

m a y be made visible , and , furthermore , demonstrates f reﬂection o musical sounds .

c Brass instruments with cupped mou thpie e , having pistons or slides designed to elongate the mai n tube by seven successive additions , can be caused to produce

of r m seven series ha monics , each a se itone lower than the

sa rru so other . Flutes , oboes , bassoons , saxophones and phones have harmonics identical in sequence with those of r n the open pipe , as also have st ing i struments and the

. ff i n human voice Clarionets di er ; their harmon cs , bei g

of of 1 . those a stopped pipe , are in the ratio , 3 , 5, 7 Tone color is largely inﬂuenced by num ber and quality

of . i in h harmonics The human voice , be ng richest t em , is of u - i the most musical all so nd producing organ sms , m and string instruments rank next in order . Instru ents poor in harmoni cs are weak and thi n of tone . For in

of has stance , the tone a tuning fork , which none , is ex t rem el y feeble , and to become distinct , at even a short f t distance away , needs to be reen orced by contact wi h

or iﬁ . h some body acting as a resonator , ampl er W en

is of the lower harmonics prevail , the tone broad , open ,

of i ﬁ i soft character , course subject to mod cations cont n gent on size of the inst rument ; but if th e upper ha rmoni cs

a s the be strong , in the trumpet and trombone , tone is shrill , penetrating and vibrant to a degree . Thus , it will be seen , diversity of tone color observable among instruments is connected wi th the phenomenon of musi cal tones .

i f as o s Again , tone color d f erentiates do the meth d by

— 1 6 2 THE WIND BAND muscles and that part of an instrument through whi ch the wind enters . The method by whi ch b e dete rmi ned “ the pressures withi n the thorax is thus described : A water gauge was connected with a small cu rved piece of tube by means of a long ﬂexible rubber pipe . The curv ed

n of di d tube bei g inserted in the angle the mouth , not , li i i after a ttle practice , nterfere with the ord nary playing of the instrument . The various notes were then sounded

i m o successively , and the height at wh ch the colu n sto d was noted The following table of pressures was ob t ained as an average of many experim ents :

TABLE OF PRESSURES

o n . Ob oe 9 to 1 7 ins . C r et um Clarionet 1 5 to 1 8 ins . Tr pet o m Bassoon 1 2 t o 2 4 ins . Euph niu

to 2 ins . om b on Horn . 5 7 B ard

The table is interesting as exhibiti ng the relative average wind pressure necessary on the several i ns t ru ments to produce tones of good quality at medi um intensity . A somewhat similar experim ent was conducted by

’ x i i on i . . Ched iwa L E os t U l J J of Odessa at p n versel e , i 1 88 . r n Paris , 9 He te med the i strument by wh ch he

d na m om etre m us icale . established pressures , y It regis t ered dynam ic pressure of the ai r colum n of bras s ins t ru ments as it left the tube and came in contact wi th the

of atmosphere , showing degree pressure involved when f f producing various notes in dif ering degrees o force . AN D ITS INSTRUMENTS 1 63

The foregoing contrivances are among the parapherna h i lia by w ich it becomes possible to d scern , at least , the

of of operation the laws sound in their vibratory motions , already palpable by the eardrums , and remove theories from the ﬁeld of speculation into the region of demon s t ra b le facts . Consideration of them teaches necessity

ins t ruc for study of tone color , from the moment when

tion begins until , having garnered knowledge by the way , “ the student may say I have conquered . The coarse tones of a young beginner or a careless musician present ﬁ a vivid contrast with those of the nished player , i wherein are found mobil ty , richness , warmth , resonancy and all qualities conducive to perfect homogeneity and f a hi gh state o development of tone color . Conformation of the mouth exercises an important

on for bearing tone color , , as is well known , harmonics vary accordi ng to the position assumed by the interior of the mouth , lips and teeth when singing the vowels

A , E , O , U and I , changing the tone color of the same

as one note the singer passes from to the other . The experience of wind instrumentali sts point in the same di rection , as changes in mouth and lips incidental to vary ing range of compass must exert their inﬂuence on tone

m of color . Furthermore , confor ation mouth peculiar to each individual player will to some extent modify tone color , which explains , at least in part , the many sh a des or diversities observable among players , even when using instruments identical in const ruction and from the same

. of the air co maker Impetus . lumn originates in the — 1 64 THE W IND BAND

is ﬁ of thorax , and somewhat modi ed by the position the

l . larynx , tongue and mouth in genera Each part must exercise its function in orderly succession or sim ul ta ne ous l in n y , controlled by the player , and thus , origi ation , form , direc tion and power create the force that is to set the air column in vibration . Failure to employ those contributory agencies with wisd om and discretion in volves the penalty of imperfect tone color , which in its

u perfection , with the impinging req irements of correct i tune , are two of the most essent al qualities demanded in

- e as wind instrument playing , to be recogniz d ag reeable to and acceptable by cultured musicians . Corelated with tone color is what may be termed tone b uildi n g , that is , the constructive process which , by hewing and polishing each indi vidual tone in the com

e ﬁ pass of his instrument , a musician creates an di ce of

r i of sound which , similarly with the pe fect real za tion an

s of architect , shall present an harmonious a semblage components uniting to form a building of graceful pro

the im portions , thus exhibiting , at one and same t e , the effects of patient indust ry and observance of the laws of art . Musicians o f exp erience are cognizant of the immense labor required in the process of building up a good tone . The voice requires much polishing to b ec ome a med ium o f correct musical expression . Manufactu red wi nd ih s t rum e nts are simply implements for the prod ucti on of

m o sound , and , no matter how carefully ade , do not abs lve the player from the necessi ty for unremi tting labor in

— 1 66 THE WIND BAN D

i i c unan m ty of tune , and agreeable tone olor among the

o elements f the organism . Whether or not we regard voices or instruments as

of mediums musical utterance , inﬂuence of the tempera ment of a player must be recognized in the single ins t ru ment and in the collective effort of any body of musicians . Otherwise it would be impossible to accoun t for those variations of tone shades which cha rm us equally a s indi

r o vidual shades o as distinctive tone colors f a clas s . A rose emi ts an odor differing from that of a li ly and a

of i l lily from that a violet , and all three are d ssimi ar in appearance . Yet to pronounce one less fragrant or beau tiful than the others wo uld create a disti nction calling

. t n i forth dissent As a truth , among hi gs nherently beau tiful it is impossible to create strong distinctions . Con t ra s ts of r e fo m , color and odor are apparent , but b auty i is constant and eternal . We may say th s thing pleases

r us , or that one is distasteful , for there we express pe sonal O i m i pin on only ; but if , on the other hand , we dog at cally l insist that the thing pleasing us is alone excel ent , we are

i a rro a t wrong , and by so insist ng become unreasonable , g ing to ourselves a right inherent in no m an . The analogy holds in the world of tones , where that which appeals to us and infl uences the statement of our preference has not f always a similar effect o n our neighbor . Wan t o recog nition o f this truth has led to bitter disa g reements in the art world in the past and still conti nues to provide ma te rial for critics to wrangle over a nd f riends to discuss with

one more or less warmth . There is point upon which all AN D ITS INSTRUM ENTS 1 67

— may agree , blight on the petals of ﬂowers mar their

l ins t ru beauty , and defective , b ighted intonation among

r ments equally injures tone . Furthe more , if the notes of

f or the scale di fer in intensity , clearness of expression , if certain defects inherent in voices or instruments be not eliminated , and the whole thus brought up to a general level of excellence , the tone builder has failed and the result cannot be good .

i of O Tone building , like build ng more material bjects , ﬁ is a cumulative process . Beginning with the rst effort to produce musical sounds from an instrument , to the moment when it can be said that mastery of those sounds l has been attained , in all their requirements and possibi i

oi i ties absolute accuracy of tune , interm nable degrees of

of dynamic force and the quality living expression , the accretion is so slow as to become monotonous and tire some . There are moments in the life of every man of artistic temperament when he despairs of attaining the

of . goal perfection Nevertheless he persists , and by exercise of will power ﬁnally reaches the poin t where

his l men praise work , and his labors as a tone bui der

i . become , in some measure , satisfying to h mself Two other essentials associated with the considera ” tion of tone color and tone building are pitch and “ ” amplitude .

m i Pitch , in its li ited application , refers to the posit on any given note maintains in relation to an assumed stand a rd , but in a broader sense is understood to include “ ” “ tune or intonation . 1 68 THE WIND - B AND

n n As o e of the properties of musical sou ds , apparent to every one , pitch is the result of atmospheric vibrations i communicated to the ear in intermittent , period c shocks m n i of greater or less rapidity . When the i pi g ng aerial

a n low vibrations are slow , pitch of the resul t nt sou d is ;

. i when very rapid , it is high Period city of vibrations is

r . essential ; othe wise , instead of music , noise would result From the fact that rapidity of vibration determines the pitch of musical sounds , it follows that each is dependent for position in the scale on some given number of such vibrations , just as much so as that a pound of sugar shall f contain so many ounces or a yard o cloth so many inches . It is known that sounds inaudible to man are heard by the lower order of ani mals and that among men there exist many differences in aural sensitiveness . In

of o general , the range human hearing extends over s me

1 6 800 thing like eleven octaves , ranging from to 4 vibra tions a second . There are several methods by which rapidity of vibra

’ m tions may be deter ined , among them Savart s ratchet “ ” n r i wheel , an i st ument termed Siren , and deduct ons by

of mathematics , when length , weight and tension a string

has is known , or length and diameter of a tube been

. the established Vibrations are said to be double , that is motion of the air wave consists of a to- and - fro osci llation somewhat like the pendulum of a clock . The sound C

a 1 6 a with its fund mental stated at vibr tions , doubling at

o f a c h o a s 1 6 2 6 1 2 8 2 6 1 2 the rise e ctave , , 3 , 4 , , 5 , 5 , and so on the , represented by pipes , frequency of their vibra

1 70 THE WIND - BAND

or t l tice , must be more less detrimen a to homogeneity

v n in l t r as in indi idual playi g and col ec ive pe formance ,

- in the wind band .

a of is Systematic , extremely critic l education the ear the only safeguard against faulty intonation . The task is

of la in in arduous , but the habit p y g tune is an accomplish

o ment which , once acquired , becomes a valuable p ssession more than compensatory of the labor involved . Inci

sol e io l dentally , it may be suggested , a course of f gg wi l be found of great service in educating the ear . It teaches the mind to measure intervals and trains the ear to verify t d them in practice , better , perhaps , than any o her metho T — of instruction . o aim at rapidity of execu tion a fault only too common before the musica l ear has been

r fo med , works great injury ; for hearing is blunted to such ’ an extent that it a fterwa rd s becomes impossible to whet it and to acquire that sharp edge of tonal disc ernment s o necessary to precision and accuracy of in tonation .

AS a m litud e of to volume , or , technically expressed , p

o f sound , gradations are limited only by the capacity the

- d sound producing me ium , as may be perceived by com paring the voices of children and men or ton es of ﬂutes and tubas . Sounds are classed , in relation to strength , as loud and soft . A vigorous attack of the b ow on a violin string will excite more atmospheric comm oti on than arises

a from a more gentle impact . Degrees of amplitude v ry ,

o r but , no matter how powerful weak sounds may be ,

o t a the m d a the vibrati n quanti y rem ins sa e , provide alw ys that accessories to production operate correctly and AND ITS INSTRUMENTS 1 7 1

or uniformly at all times ; thus , faulty method of attack , of

of i n conditions embouchure , wh le not affecti g proportional strength of sounds , will materially inﬂuence their intona tion , a fact showing the necessity for care in the exercise of musical dynamics . Sound may be sustained at any degree of force b e

or tween loud and soft , made to pass through many

r gradations of intensity from pi a ni ssi m o to fo tissi rno. To establish an absolute standard of tonal dynamics is impossible , but , assuming the player to have an

hi s ins t rum ent in approximate idea of the capacity of , either direction he may formulate a guide for himself .

Musical nomenclature states seven degrees of force , thus

of ppp, pp, p, f, ff and fff, the relative strength which mu st necessarily differ among individual players and combinations of instruments . A good working plan sug

es tin f of i g g the mental ef ect relative dynam cs , as well as

of evenness force in duration , is to state the degrees by

: lines , thus

PPP PP P mf f ff If"

The use of such li nes tends to im press the mind with the necessity for sustaining tones evenly a t the seven

of degrees strength , a requisite needing sedulous cultiva

. m a t a nd tion Next to these , aug ent ions diminutions of

S or n ra c force , hort lo g continued . must be carefully p ticed . The symbols expressive of those qualities are — 1 7 2 WIND B AND AND ITS INSTRUMEN TS

r e b e most approp iate ; in fact none bett r could conceived , thus :

l n s so l d Fo lowi g the above come explosive tone , cal e ,

A s s z so . symbolized variously by , f, f and on Control of relative dynami c expression is indispensable

n to the process of tone buildi g , for only by it can the habit be acquired of giving to each tone its compara

of tive strength value , compatible with capacity player and instrument and the requirements of a compositi on .

i is Essential as is this requirement to the ind vidual , it much more so in collective performance , for there dynamic values must be so attempered and balanced that the tone

or ins t ru produced by any single instrument , group of ments — excepting where special effects be requi red shall not exce ed that of another . Concerted playing exhibits the nearest possible approach to an absolute

n i dynamic standard that can be adva ced , and wh ch appears to lie about midway between pia niss i m o of the feeblest instrument and j ortiss i rno of the loudest . From the foregoing observations it wi ll be apparent

e i as n that ton color and tone bu lding , applied to wi d

i u instruments , are not fanciful considerat ons , req irements or on of theories , but the contrary are essentials tonal ex cellence d i , which must be thoroughly studie , their nter

the ﬁ relations understood , and bene t their development will bring fully appreciated .

— 1 74 THE WIND B AND

i as in In his in th s respect duty bound they ought to b e . “ ” R l book On Conducting , ichard Wagner found fau t with the skilled instrumentalists of Germ any for disregard of the requirements of dynamic signs and expression . S ai d “ i r he , Let any conductor ask any orchestral nst ument , no orte matter which , for a full prolonged f , and he will ﬁnd the player puzzled and will be astoni shed at the

’ I trouble to get what he asks for . Later on he remarks , “ N ow i a no"w the strings produce the latter "p ith ease , but the wind instruments , particularly the wood winds , ” “ do not . And again he says , Of course it is easy enough to produce a buzzing vibration by gently passing the bow over the strings ; but it requires great artistic command of the breath to produce a delicate pure tone upon a wind instrument ” These strictures were not passed upon second or third - rate players of an unmusical

of one nation , but addressed to the best products reputed musical to its core . If then superior musicians were found lacking in appreciation and expression of Simple dynamic

not elements by a master of the art , is it fair to assume i that they were equally , possibly more , d sregardful of the

of nua nce i variety not ind cated by conventional words ,

or i letters signs , and wh ch are only inferable from the structural elements of a composition ? The faul ts con d em ned by Wagner are world - wide and limi ted to no

o f i nation or class musicians , except ng , of cou rse . the cultured a nd conscientious . The latter recognize the

o f importance attaching to the study of intensity sound , as r lae u s a l indicated by the usual fo mu , and nder t nd a so AN D ITS INSTRUM ENTS 1 7 5

s o s a that while the former is of the body , to y , equal if

to not greater value adheres , and much more industry and intelligence is requi red for expression of intensity

of . under the surface , not written , and which is the spirit

hi to T s quality is vague , unmeaning the average musi cian or , only dimly guessed at by him , though he may have spent many years in the profession .

of di The following table letters , words and signs in cating varying degrees of tonal intensity comprises those most commonly employed :

DY NA MIC V OCABULARY

S T RMS AN D S S OF MP SIS LETTER , E IGN E HA

TERM PRON U N CIATION M EAN I N G ' P n m o or P eea h- nis s ee- rno r o ia issi , pp ppp . Ve y s ftly ’ ' P no or P eea n no a s - sa h ee o ia Assai , pp ppp Very s ftly ’ P no P So eea h no . . ia , p ftly o n ’ ' Less s ft tha M no no m M a no P eea h no e pia , p y precedi ng pia no ’ ’ PinPiano P yoo peea h no Softer ' ’ M o o m M ed zo orr ta o ezz f rte, f f y Rather l ud o n ' ’ Less l ud tha M no o m M a no orr ta e f rte, f y f y precedi ng forte ' ' Poco forte pf P o ko forr tay Rather l oud ' o F o orr ta . F rte, f y L ud " ’ o m o or F or - tis s ee- m o o o b F rtissi , ﬂ fff L ud as p ssi le ’ ' Piu o P oo orr ta o F rte , pf . y f y L uder ‘ ’ ' ’ Poco pitr forte P o ko p yoo forr tay A little l ouder ' n o - hen d a in r c es ra s k . c ea s Cresce d , r C y Gradually ’ ’ ’ Poco a poco crescend o P o ko a po ko cr a y- s hen d oli ing l oud ness — ' Decrescendo Dee- cra y shen dak Gradual d im inu ' D m n n i m De - m e- o n oh on of o n o d . e e no e d i i ue d , ti s u d ' P n o i —d en- d o D n erde d si P a r s ee . yi g away ' M n n o M a hn- ka hn d oh Sub s id rn a ca d . g ' Sm ore nd o Z m o- r en d oh Exti nguishi ng — ’ M ore ndo M o ren doh Dyi ng — 1 7 6 THE WIND BAN D

S MS AN D S S or EMPIIASIS onti nua l LETTER , TER IGN (C )

T ER M PRO N UN CIA TION MEAN IN G ' S o n o s or A S ar t-s a hn doh a ck d f rza d , f j . Att e with ' n o n o r or Kem o t- s a hn doh n o c Ri f rza d , f f r sudde f r e With exceedi ng S o o s a r s or s z S art- s a h to): as sale cc f rzat a s , f" / j strength ’ M arca to M a rr - ka h toh M arkedly ' B en m a o B en m a rr - ka l arc t . h toh Wel m ar ked He vrl m s ’ y , I pre P n or Pa -salm ta a esa te , y y srvely H m m d Sud ' a ere , - - M ll o . M arr tcl h toh arte at la . d enl forcrb l y , y

Cresce ndo Dim i nu endo

l of is o As app ication the foregoing relative , not abs lute ,

u to m ch is left the taste of the player , or conductor , each of whom is required to decide the tone force best suited

i or or . of to th s that section , phrase period Exercise discrimination in this respect marks the work of the care

r i ful musician , in what may be te med the convent onal n technique of musical dynamics . Study of the foregoi g

of i in all varying gradations is worthy serious attent on , more especially as they are only relative . Intimately associated with the study of dynami cs in “ ” their various relations is the subject of pitch . More or ﬁ is nin less dif culty experienced in maintai g even pitch , when passing through the various modi ﬁcations or gra

f s of i a no dations of tone force , or in sustained ef ort p and

or i n forte . Sudden accessions dim nu tio s will be marked

i or of l a and in by heighten ng lowering pitch , un ess e rs t ellig ence be on the alert to counteract the tendency . Particularly is care needed where sudden transitions from

1 78 THE WIND - B AND

f portance in enhancing the e fect of a composition , just as much s o as diversity of light and shade on the central ﬁ f gure o a painting . The unwritten law of dynamics takes account of in

ﬂec tions ﬁ i , modi cations , emphases not ind cated by con ventiona l words or signs , but felt to be necessary to

of perfect development a composition and its artistic ,

i . if not always ideal , nterpretation The equation of per sonal taste enters here , but other than it the considera tion deals with the expressive element , the inner spirit of a work and the intent of the composer .

not There are , nor can be , any indications for those dynamic s ub leties of expression which heighten the

of inten emotional character a composition , because the sity and force of nua nce varies in each phrase and period N as does the play of sunlight on rippling water . o two perform ers render the same passage in li ke manner with respect to tonal force and accent . Each one delivers it with the passion or power he personally feels to be suit

its able to inner meaning , and were it possible to grade intensity and underlying intent by mathematical signs ﬁ i . and gures , it would still rema n the same In music the emotional nature of man must have full play ; it cannot be trammeled by pedantic rules , but may be directed by

. i l education A ref ned , educated musician wi l exp ress himself in music with elegance of dicti on as does the . in cultured orator . The grammar of art may have

ﬂuenced i his style , directed his ene rgies and ass sted the

of has his development his talent , but not suppressed AN D ITS INSTRUMENTS 1 79

in individuality . Operative all he renders , there is no more trace of stiffness or pedantry than is to be found in ﬁ d the lovely , chaste gures of a sculptor , wherein rigi ity of mathematical proportions , softened by art , becomes

n l graceful and pleasing to the eyes . Efforts of the u cu tiva ted musician abound in crudities ; those of the un imaginative , painstaking musician are pervaded by the Of spirit neatness , regularity , precision , everything as

ﬁ r i to ul speci ed and always strictly acco d ng r e , no more

of nor less ; but those of the musician of imagination ,

of soul , are full spiritual meaning , and rule and order become the handmaids of art to assist its outer mani testation . He becomes the medi um to interpret the

’ of to composer s thoughts , the deliverer a message man

of kind , and thus by inﬂuence the higher power with

own i whom his nature is in harmony , sways the emot ons of x mankind , entreating , coa ing , arousing , exciting , dom ina tin a s to hi m g each in turn , it comes in the mood of the message he interprets .

of in Artistic renderings musical dynamics , their end

i or less gradations , visibly ind cated invisibly suggested , ﬂi di cult . apparent in skillful performance , are to describe

The visible are concrete blocks , but the invisible are as impalpable as ether ; they pulse around us ; we are cogui

l n zant of their existence , rea ize their inﬂuence , but ca not grasp their substance . A noted writer approximately de scribes the elements of artistic dynami cs in the following

f n : words , wherein cause is stated but e fect left unexplai ed “ Every composition and every phras e requires the so — 1 80 THE WIND BAND

nori ty of intensity of sound sui ta ble to its structure .

nua nces l h The , therefore , embrace not on y the rhyt ms ,

for of note note , but the whole a musical composition

r the from its ﬁrst to its last phrase . They fo m cement or n i s link which unites , con ects , and comb ne these dif ” f ren un e t . 0 a dynamic elements T test this , t ke some ti familiar melody and copy it without me signature , bar li nes and dynam ic indications ; play it through

own as of according to your ideas , to occurrence time ,

n . nuance , increase and decrease of i tensity , etc , then compare your rendering with the original indications . Thi s experiment will assist in the realization that music is dependent for its expression not only on vi sible indica

on i tions , but also that impalpable something wh ch , for ”

of r or . want a better term , is te med taste style

ff as E orts to heighten musical declamation , laudable

l exa er they are , unless kept within bounds are iable to gg ation and abuse . To rise to their full level of usefulness they must appear as the spontaneous ebulliti on of a deeply artistic nature upon which education has exer cis ed its corrective inﬂuence . There must be no striving

’ ff for ff after e ect e ect s sake , but everything must appear

i 01 natural , and just what this note , sect on , phrase period seems to demand for its proper dynamic utterance . Per sons will differ in their reading of music as othe rs do in prose or poetry . Those variations enphas iz e the fact that each earnest man imbues the work in hand wi th his ow n personality . In the world of players it cannot be pointed out where any two men agree precisely as to

— 1 82 THE "V IN D BAND

. i has ai e parts The man who , cla ming that he att n d per fection by faithful appli cation of all the words and i signs indicating musical dynam cs , misses more than half the requirement , and stops short of midway to the goal which he professes to have reached . The remaini ng points to be gained are not s et down on any chart ; they are spiritual , hence invisible . That , perhaps , is why he does not appreciate them . l li The fo lowing table , in outline somewhat resemb ng an

on n East Indian pagoda , is based the carryi g power of the tone of each instrument named . As a general rule , the more rapid the vibration of musical sounds the more quickly they dissipate themselves by friction . Compare the incisive tone of the piccolo or the sound of a pistol with the profound tone of a B B b bass or reverberations

f f n of a cannon . Comparison o the number o dotted li es in any one section with those in another will give some idea of the relative strength of tone subsisting between i them , and thus may be gained a fair concept on — instrument for instrument of tone - balancing in the

- wind band .

Naturally , such a chart can convey an approximate

of of i ns tru idea , only , dynamic relativity the several ments named . Nevertheless , the attempt to measure ff the mental e ect and make it apparent to the eye ,

to e a of will , i t is hoped , conduce a bett r underst nding instrumental tonal proportions than at pres ent obta ins among students and the music - loving but unskill ed public . AN D ITS INSTRUMENTS 1 83

TAB LE SUGGE STING RELATIVE P O WER VALUE AM ONG

- D VOICE S OF IN STRUM E NTS IN THE WIND B AN . CHAPTER XV

TECH NI OUE

LIMITED application of the term techniq ue (F r . ) is

Its s i synonymous with di gital facili ty . broader gniﬁ cance implies all elements entering into , or being com b ined on of l in , musical performance the plane mechanica exposition , or exp ression .

‘ Digital facility is acqui red by s tudy a nd practice of

ﬁn i methods of gering , usual and exceptional , perta ning t o all notes within the compass of an instrument . By this is intended that ﬁngering commonly taught as apply ing to each note of the scale shall be supplemented by

of knowledge exceptional methods , as shown to be pos sible from acquaintance with the harmonic nature of

m . F or h individual instru ents instance , t ere are four

ﬁ on th e m ways to nger E , third space , treble clef , co et

: 0 fi and other brass instruments , thus , rst and second , or or fi third , rst , second and third valves . (The latter f — out o . is much tune ) Wood wind instruments , also , present many exceptional fing e ring s . Upper fifths and octaves , etc . , on flute , oboe , saxophone , may be forced

ﬁ t as from the nger positions of a lower oc ave , shown by the law of harmonics . The low B b and its twelfth above

G B b C the (F), middle B and C , s, , C , it and D above f l staf , all serve to il ustrate what the clarionet has to offer

1 84

THE WIND—B AND

its n l homogeneous in all elements , co sequently musica , n i ll besides bei g del ghtful to the ears , wi be heard at

n s of l greater distance than a complex sou d , or noi e eq ua

m . dyna ic intensity Steady wind pressure , no matter i m S i i . which the dyna ic ign , is an nd spensable cond tion

of one l ui Variation force is of degree on y , and the req re t n ment of an even , steady pressure of brea h i to the tube

knows no modi ﬁcation . Rigidness of the foregoing re

uirem ent m crescendo di m i nuend o or q is not itigated by , ,

of of any form emphasis , for unless pressure air from the

i as lungs be steady , no such th ng perfect augmentation

i m of or le a to and d inution sustained tones , g passages , can

s c t f be obtained . In tac a o the ﬂow o breath is checked by the movement of the tongue at intervals of more or less

of rapid occurrence , but this check is in the nature a

i i a ﬂect pulsation only , wh ch should not be perm tted to

of th e i b e steadiness force , otherwise tone quant ty will l come spasmodic and lacking in uni ty . Cu tivation of the ca nta bile style of playing acts as deterrent to the form ation of a jerky style of playing and enh ances the charm of instrumental performance by its approach to good vocalism .

of i t Firmness embouchure is most essent al ; wi hout it , true pitch cannot be steadily maintained . The term “ ” embouchure is employed to designate : ( 1 ) the part of a wind instrument applied to the mou th ; ( 2 ) disposi i tion of lips , tongue and other cont guous organs and muscles operating to gether in the effort to produce a ”

. the is musical sound To embouchure due , writes AND ITS INSTRUM ENTS 1 87

of W . H . Stone , not only the correct quality sound produced , but also slight variations in pitch which enable the player to preserve accurate intonation . Correction ” of the Slight variations referred to is known among “ “ ”

or . musicians variously as humoring , nursing When the mouthpiece of a brass instrument is applied

i of to the mouth , the l ps form a pair elastic cushions i between its face and the teeth . Techn cally the lips vibrate when playing , with rapidity necessary to the pitch of any given note ; but thi s change of rapidity is coin eident with more or less alteration of the lips and read

of justment of the facial muscles . Control embouchure enables the player to ( I ) draw the lips tightly across the

2 or teeth , or to slacken them ; ( ) to compress extend the oriﬁce between the lips a t will ; and (3) to prevent escape i of wind from the angles of the m onth . Th s unconscious

of or process stretching , slackening , compressing extend

on hi ing goes continually w le the musician is playing ,

no two and sounds , be they only a semitone apart , can be produced without involving one or more of those move ments . Position of embouchure varies from that of a

ﬁrm normal condition for medium tones , to one consider

for low or of ably relaxed sounds , greatly compressed ten sion for high ones . For each sound there is only one position suitable to its accurate intonation . If the a d

not r justment be precise , pitch will be too ﬂat or too sha p , as the lips are too much relaxed or tightened for its

. ﬁrm expression The embouchure should be at once , elastic and sensitive . Care must be taken to guard THE WIND - BAND against depreciation of pitch in cident to atta ck of any

for of on its note , the tendency the wind , passage , is to

out l force the embouchure of position , and if the ips be not properly adjusted at the moment of atta ck and pre l pared for resistance , the wind force wi l relax them and thus affect the intonation . From sim ilar cause there is always some di fﬁculty in preserving accurate pitch

of crescend r di i during progress the o o m nuend o. It is necessary that intelligence shall coOpera te with the embouchure in direction of each other mechanical opera f tion involved in perfo rmance . Cultivation o the fac ult i k y for th n ing sounds will be found valuable , for thereby form , substance and position become as men tal pictures , to be transferred with accuracy and made l manifest by the accomp ishment of techni que .

Cultivation of the perception of pitch , in its most f minute dif erentiations , is a very essential element of

- wind instrument technique . Average aural capacity is ﬁ by no means suf cient for the musician , whose hearing sho uld be supersensitive to a degree . He is operati ng under enactments of the most exacting character and giving musical expression to the laws of mathematics as applied to sound . The practice in general of leaving it all - or most of it to the instrument is altogether — wrong , for wind instruments even the best are inherently defective , and for that reason alone make

em b ou great demand upon the aural capacity of , and chure control by , the player .

of Study scales , chords and intervals , undertaken

CHAPTER XV I

ENSEMB LE

THE ensem ble the s i term , borrowed from French , g niﬁes 1 ff i , ( ) the general e ect of a mus cal performance ; ( 2 ) the union of the whole company of performers in a concerted piece . Some of the most important elements contributo ry i to perfect ensemble are rhythm c impulse , appropriate tem o i p , smooth execution , correct intonation , dynam c ﬁ l . mobi ity , good tone color and re ned exp ression By rhythmic impulse is meant the im petus given to performance by correct accentuation ; ( 1 ) accordi ng to the di vision of the measure ; ( 2 ) in keeping with the

of phrasal construction the melody , especially where , as i l m n k is frequently the case , th s qua ity do i ates and ta es precedence over the reg ular up and down dual or triple accent indicated by the time signature ; and (3) the occasional or irregular accent interposed wi th design of introducing a rhythm ic impulse at variance with expected grouping of the measure . In all instances wherein several k h players are ta ing part toget er , the attack and delivery o f each quality of accent must be coincident ; also the fractional divisions of notes into which rhythm and measure are divided must appear on the same instan t of t i l time and wi h correctness of melod c ﬂow . Cu tivation

1 90 — WIND BAND AND ITS INSTRUMENTS 1 9 1 of keen perception for duration value of notes in their varying proportions is a desideratum whi ch must not

of or i be neglected . Hesitating attack metric rhythm c

of accent , anticipation or delay entry , misplaced accent , as is common where rhythms begin with initial or starting

of notes , and again where groups notes in their rise and fall suggest an accentuation differing from that required

as by the time signature , are all faulty ,

i which , suggest ng a dual rhythm , would be rendered by a careless player as though written for the most part in 8 time , thus

is Again , where division by groups of three notes , there ff often appears diversity in delivery , injuriously a ecting ’— ' — ~ o o o i ensemble , as , wh ch is not infrequently

h a —c a rendered a . The foregoing examples will suggest many other confusing enunciations brought

who about by thoughtless players , , though they may be — 1 92 THE WIND B AND

m in the inority , will cause a loss of clearness and thus

of create a condition accentuation much to b e deplored .

and In some orchestras , whose directors are careful

to b ow t exacting , it is the custom have the violins heir

i n hi s b ow in a phrases al ke , each player movi g the s me di rection at the moment required . Thi s brings about uni formi ty of strength and precision of atta ck in phras T ing . o insure this identity of movement the several

i m i v H po nts where doubt ight ex st are marked or , signi fying up or down bow ; and though thi s careful

as - reﬁn em ent method is often sneered at an over , there can exist no doubt among good musicians as to its desir ability and beneﬁcial effect . A simi lar practice should

- i of be adopted in the wind band , by wh ch identity

i n of con breath ng poi ts would be established , for want

i i l t in r s n form ty with that requ rement resu s bad ph a i g ,

i h i rre u weakens attack , confuses del very and t us , by g

la rit of m n the . y rhythmic i pulse , i jures ensemble Tem po exercises an undoubted inﬂuence on rhythmi c i ﬁ expression . Irrational mod cation of tempo , miscon ception as to speed appropriate to the composition as a

n s s whole , dragging , or hurryi g in phra es or pa sages , each and all produce bad effects on ensemble . Schumann aptly described this irresolution of tempo as resembli ng

’ the gait of a dru nken man . The value of playing in

f l in the i time , and the habit of faith ully fol ow g ind ca

im too tions of the conductor , cannot be overest ated , nor strongly impressed on the attention of members of the

- wind band .

— 1 94 THE WIND B AND

o r a f rmity is absolute in each and eve y note of the sc le . There is nothing haphazard in the matter of musical pitch ; its requirements are based on the mathematical and proportional vibratory relati on of all sounds in the full scale with the fundamen tal tone of our musical “ system . Beats among the lower instruments of slow

u w - u i i vibrations , eq ally ith trill like q iver ng naccuracy i i among the h gher ones with rapid vibrat ons , should not be permitted ; they are certainly ruinous to ensemble . i Intensity of sound has its bear ng upon tone color , for tones overforced or too feebly incited lose in character of quality . Subtleties of shades of intensity in inﬁn ite vari

li of i of i ety , ke tints color at the d sposal the pa nter , are available to the musician and should be un der his control . f In concerted playing , discretion must govern the ef orts

w the of each instrumentalist , other ise the tones of larger instruments will dom inate those of the smaller ones

f . and destroy their ef ect One coarse , loud tone from a single instrument in a movement designed to b e rendered smoothly and softly will rui n the ensemble ; one ﬂaw has depreciated the value of the diamond .

of s Musicians , by the hundred , speak expres ion as though the total of its requirements were sum m ed up in attention to words and signs used to signi fy gradations

. th e e of dynamic intensity Expression , in broader s nse ,

i or in implies enunciation of a composit on in whole , its

’ s in w h the n component part , accordance it writer s i tent and inner meani ng . Abnegation of pe rsonal idiosyncrasy to demands of composer and conductor is the spirit in AN D ITS INSTRUMENTS 1 95

- hi which the wind band player should approach s work . Many players seem loath to merge their indi viduality into that of the conductor , yet experience teaches that

one - i i a strict , man d ctatorsh p , tolerating no approach i to musical insubord nation , is essential to a homogene ous performance by any body of players . The more i they realize this fact , the better w ll be the ensemble playing of the organization with whi ch they are iden ﬁ ti ed . CHAPTER XVII

ANT OINE J OSEPH SAX

MENTION of the name Sax has been so frequent in the

of i as course th s book , no doubt , to awaken curiosity as

h of t a m a n to the career and ac ievements hat t lented , m who , above all , deserves to be revered and reme bered

of n . as Father modern wind i strument structure To , in

the some measure , satisfy that legitimate curiosity fol

S i s his lowing ketch , written immed ately sub equent to

. 1 8 death , Feb 9 , 94 , is presented

was u N ov . Antoine Joseph Sax born at Dinant , Belgi m ,

6 1 8 1 hi s a , 4 , father being the celebrated instrument m ker ,

Charles Joseph Sax , whose labors to improve the clarionet and inventions connected with bra ss inst ruments had won for hi m a prominent position among the luthi ers of

as Belgium . Antoine , sometimes referred to Adolphe ,

of h early displayed a taste for the vocation his fat er , and h also manifested great musical abili ty . The fat er took

h i i aﬂ ordin the special care to foster t ose ncl nations , g lad

the as l as in every encouragement in workshop , wel direct g

ol his studi es in music . When d enough he entered the Brussels Conservatoire de Musique and studied the clario

s net and ﬂute . Under the celebrated ma ter , Bender , he

e s acquired great skill on the clarionet , but se m never to

redi l have applied it in a profess ional capaci ty . His p ec

1 9 6

— 1 98 THE WIND BAND tion may be judged by the following quo tation from a ” for the r Method Saxhorn and Saxotromba , w iter of “ : which remarks No coherence , no unity between the

of one individual members the group , in case keys , in

e another valves , a small compass , an imp rfect scale , lack of of accurate intonation throughout , bad quality tone , variations of ﬁngering requiring fresh study in passing i from one instrument to another . The keyed bugle , bu lt on f i false proportions , of ered no prospect of mprovement ;

of r the mechanism the valves themselves , by their ab upt

of and angles , deteriorated the quality tone , the absence of intermediate instruments caused gaps in the general ”

i . scale , and at times false combinat ons

eﬂort These evils Sax perceived , and directed every of his genius to overcome . Two years after ta king up hi s residence at Paris he won a silver medal for his display of brass and wood instruments at the French hi Exhibition . One year later he took out patents for s “ r of i saxhorn , an improved fo m bugle , and for a fam ly of

s a xot rom bas n r cylinder instruments called , i te mediate ” between the saxhorn and the cylinder trumpet . Each of these instruments was characterized by material change in prevailing models and immense improvements i in acoustical construction . Further , he organ zed brass

n i o i l instruments i to groups , obtain ng a corresp nd ng tona

and quality from lowest to highest in each group , greatly Hi improved the mechanism of the piston . s saxhorn

o f ou r - n ins tru family , the prototype modern brass ba d

of : o r n in ments , consisted at least seven members s p a o AND ITS INSTRUMENTS 1 99

E E b F , b and D , contraltos in C and B b , tenors in F and , B E b baritones in C and b , basses in F and and contra

r . basses , circular in fo m , in BB b As well in form as in name these instruments have undergone change since

a r their invention by Sax , but in essenti l p inciples they

- remain the same to day as then , and , it must be added , no improvement of later times has taken place that was not suggested it not positively initiated by thi s great

. l maker For instance , dup icate (duplex) bells for

brass instruments , increase in number of valves , and , “ ” m i above all , the syste of valve compensators by wh ch

of i s ee it is sought to improve their intonation , wh ch we

so and hear much in these days , were invented or intro d uced over a half century ago by Sax . In 1 846 b e patented the invention with which hi s name still continues to be connected , viz . , the saxophone .

i of This instrument , with a mouthpiece sim lar to that a clarionet , has a conical brass tube , pierced with holes at acoustical intervals , which for convenience in play ing are

is covered by keys and ﬁnger plates . It an instrument of fﬁ hybrid tonal quality , having in that respect a nity

a s - with the single reed , well as the cupped mouthpiece

f ﬁts groups . The peculiar character o its tone it more as

- a component of the wind band than of the orchestra .

z B of vi . He made a complete quartet saxophones , , b E b B E soprano , alto , b tenor and b bass , and thus gave four new voices to the world of music .

of i Jealous his ach evements , there have not been want

of l l his m ing men ess ca iber to dispute clai s as improver , THE WIND—B AND

m a originator , inventor , notable among whom y be men tioned Wie recht p and Cerveny , but without success , decisions in court being invariably in favor of Sax .

was ﬁnd r as He fortunate to friends at Cou t , and a result secured a practical monopoly for the supply of wind inst ruments of his manufacture to the French army . At the Paris Industrial Exhi bition of 1 894 he

and i was awarded a gold medal , at the g reat Exh bi tion

’ of 1 851 he obtained the Conseil d Expos ition medal for the three families of instrum ents with whi ch his name ﬁ was identi ed .

1 8 2 r In 5 he became bank upt , but by arrangement wi th

i . 1 8 wi his cred tors recommenced business In 59 , o ng to

r of a n the refo mation pitch , every milit ry ba d and orches “ tra in France had to procure new wind instrum ents . An

” ’ “ enormous advantage , remarks a writer in Grove s Dic ” “ tiona r of an y Music and Musicians , by which y one

’ else in Sax s place would have made a fortune ; but with all hi s ability and shrewdness he was not a m an of busi

hi s f s . ness , and af airs became hopele sly involved From

ff and that time his a airs went from bad to worse , though

in 1 862 and o n he exhibited at London , to k the Gra d 6 f n i 1 8 o . Prize at Paris in 7 , his tide fortu e cont nued to ebb

out of his his l i His factory at Paris passed hands , co lect on of and in musical instruments was dispersed , fact nearly all by which he set store was scattered by the inexorable

’ hand of fate and the auctioneer s h ammer . The life of Sax furnishes an illustr ati on of the fact

n u l le un that possession of ge i s does not a ways ad to fort e ,

2 0 2 WIND - B AN D AND ITS INSTRUM ENTS

AC KN OWLE DGMENTS

List of works referred to in the preparation of this book to whi ch the author acknowledges indeb tedn ess :

H or of M . . F . S.A. ist y usic . W A Chappell ,

R' ‘ W111 . F ‘ S M ” The Phil osophy of M usic Oxon.

The Scienti ﬁc Basis of M usic W . Stone H n a db ook of Acoustics . n m n on a nd o I stru e tati Orchestration H . Berli z M n é é M s M i n . n r a uel G ral de u ique ilita re . G Kast e M r M . Ka ilita y usic J A . ppey Pol cord e ir Le y J . F . G aud M a n n usic l I str um e ts C . Engle Various m agazi ne articles on wind ins tru

(Reti red) Chapter IV Dictionary of M usi c a nd M usicians Sir George Grove M on Luss usical Expressi M . y ot n t nt om i e o o ies " If there are hers , i adver e ly tt d ap l g I N D EX

on 1 2 8 . A Barit e , kno m n 202 1 1 1 1 2 8 1 2 Ac wledg e ts , Bass , , 3 , 5, 3 , 3 , 7 ,

o 1 2 6 6 1 1 1 2 8 . Ac ustics , 7 , , , 55 n o 8 1 8 2 a oon 1 8 1 1 1 20 8 Afra i de Ferrara , , B ss , , , , 4 , , 3 , 39 , — n o on or m m b 1 60 8 8 2 1 60 on Africa xyl ph e ari a , 44 45, , 7 4 , 7 , ; c tra , o m n how in b on 88 1 8 n 8 1 Air c lu , set vi rati , I I , , 4 ; qui te , 1 8- 2 6 Beats , 94 20 o n 80 Airy , Beeth ve , 54 , 7 5, b of 2 1 Al ert Brussels , 5 Bell , 3 , b on 1 nh m on re Alci iades , 93 Bells (carill ) 5; i ar ic n n 88 lat ions of 2 1 8 Alexa dria , , 3 , 3 o o n 1 1 1 1 1 2 n 1 6 Alt (saxh r ), , 3 , 5, 7 Be der , 9 6 Berec n hia n 8 m 1 1 0 . t 8 A plitude , 7 , 7 y , A ollo a nd P on 0 o 1 08 1 1 1 1 2 1 2 pp the yth , 5 Berli z , 55, , , 3 , 4 , o m o 1 0 1 1 20 I Appr priate te p , 9 3 7 1 9 7 1 b n 88 8 o b Bla i kle 1 1 6 Ara ia flute , ; pipes , 9 ; d u le y , 53 , 5 B lase r na 1 flute , 94 , 59 o 66 6 80 8 1 2 1 B lum el 1 1 0 1 0 Arpeggi , , 7 , , 3 , 9 4 , . , 9 , 5, 3 , 4 fi 1 o m 1 6 6 8 1 Arti cial scale , 9 B eh , , s . 5 . 7 , 7 . 9 . 9 4 m wa r m 1 om b on 1 1 1 2 Aruwi i dru , 43 B ard , , 7 n m 1 1 B om b a rd t 8 2 Asha tee tru pet , 3 , 74 , . n 1 1 om b o 8 2 Assyria s , 9 . B s , o 86 B os es m en m 1 2 Aul s , j dru , 4 of M o 0 m Bound a w n k t r m Aztecs exic , flutes , 9 ; dru s , , Java ese et le d u , 1 96 1 45 B ow B , 4 1 00 on of 1 1 Bach , 7 5, Brass , classificati , ; why B a erm a nn n m n m f 6 , 54 t d o 1 i stru e s are a e— , , 8 1 n m n 1 8 1 1 Bag pipes , 7 , 55; i stru e ts , , 9 3 . n of Ed 6 d M m Ba d ward III , , 7 5; E ward British useu , 73 , 7 4 , 9 3 . I c f l nr o o m oo 8 . IV , 7 ; y , Earl N rthu Br d , 7 b n ; H n 8 on o N u erla d , 7 e ry VIII , Brussels C servat ire de — n m a 1 0 2 1 1 0 1 6 Ba d ster , , 7 , 3 5, 47 5 sique , 9 n m n 6 o n ori n 1 1 Ba ds , usicia s , ; t w , 7 ; Bucci a , 3 , 4 in oi 8 of fl f - m on 2 g , , ute players , 7 ; Buf et Cra p , 5 m n o m 8 1 ilitary , whe f r ed , , 3 5; Bugle , 5, 7 , 4, o of 1 0 m B ursine 8 2 artistic pr gress , ; A eri , ca n 1 6 om o on of in E n 8 2 , 5, 3 ; c p siti , uzai e , m n n Ger a y , Austria , Fra ce , Rus En la fid n S 2 sia , g , U ited tates , 4 ; C G n n m u 0 6 2 reat Britai Fra ce , Cala s , 5 , s i on for o n n n b 1 86 44 ; sugge t s c cert wi d Ca ta ile ,

b n 6 b 8 . m a d , 4 , 47 ; rass , 4 Capistru , 93 2 04 IN DEX

a n n a be 1 2 1 C ria s , 73 Cyli dric l tu , , 3 , 4 7 , C o n 1 8 1 60 arill , 3 , 39 C a s ta ne ts 1 1 1 0 m b H 1 1 6 x g , , 4 Cy als . 4 . 3 . 3 7 C a va lré re C tele 6 , 93 y rs , Cervelt 4 , 7 D n 200 Cerve y , D 88 m 0 6 2 6 actylic pipes , Chalu eau , 5 , , 4 D n 8 2 1 2 2 88 , 7 Chappell , , , a iel De Ins t rum enti s Ha rm oni cis Cha tzozera H b m , 74 , e rew tru pet , 3 , D nn 0 1 1 , , 5 3 . e er 5 3 D 1 1 2 iaz , 45 Chaucer , 4 D o Ched iwa 1 62 icti na ry of M usic a nd M usicia ns , 6 200 n 1 1 8 , Chi a , 3 D f n n m b 1 m 1 f er concepti ons as to re ndi , i i g Chi ese cy als 3 7 ; dru s , 44 on of com o on 1 80 Chlad ni 1 50 ti p siti s , D 1 8 Chora uloi 88 igital facility , 4 , Chori ki 88 Discrepa ncies In piston ins t ru , n 2 o m , 5 Cit le , 7 e ts D in e of on o o C la n tint 1 8 iversity shad s t e c l r , g , 5 n 1 65 Clari a , 49 D m 8 1 1 1 1 1 n ru , 7 , , , 4 , 45, 33 , 3 5, Clari et , 49 1 6 1 1 1 1 1 6 b 1 n 3 , 4 , 44 , 45, 4 ; , 4 , Clari ette , 49 ass 1 2 l 1 n or on 6 62 6 5, 3 ; cava ry , 3 5; s are Clari , , 7 , 49 , , 4 x 1 2 1 on 1 8 1 1 1 2 1 1 8 side . 4 . 5. 3 . 3 5 Clari et , , 5, , 9 , , , 4 , , D m 2 1 2 2 6 8 on of ulci er , 7 , , 3 , 3 , 39 ; derivati — D m s 6 n m 6 0 1 60 o u a , 5 its a e , 49 9 , 7 , ; alt , D n m on 1 2 1 8 1 6 6 b 1 6 on y a ic expressi , 7 , 9 ; 4 , 3 , 5 ; ass , 4 , 3 ; c tra m ob 1 0 o a b 1 b 1 6 1 y , 9 ; v y , 7 5 ass . 4 . 3 . 39 . 5 ilit c ular D o etr 2 o y nam m e m , 1 6 C cus , 53 usicale o m n of 1 2 1 1 8 2 1 2 6 C lu air , , 7 , , , on on of m on E C fusi rhyth ic divisi s , n m nt on of Ed d , I O3 war III i stru e ati b n of 6 h d , on o - b o n m 1 1 t e a C g side l w tru pet , 3 ; w ba n of m ns tre lls Ed d , d , 7 o b m 1 2 ar IV y d u le dru , 4 0 1 1 E yp . 5 . 88 . 4 on a b 1 2 1 2 6 g t C ic l tu e , , 3 , 3 , 4 , 47 , 1 n 7 . 1 , n . 1 8 1 2 Egyptia s , 3 4 o 3 5 3 . 4 m bo 2 1 1 6 h 1 6 , 1 8 1 8 C ont ra fa ot to 1 E uc ure , , , 7 , g g , 1 88 C or n 1 1 1 8 1 2 2 a glais , , 4 , 7 7 , 7 , n m b 1 0 - 1 C or d o 8 E se le , 9 9 5 chasse , 9 ’ m m n 1 2 1 C or d ha rm onie 8 Equal te pera e t , 9 , , 9 ro a m on E y ph y , 7 5 o n 1 I 1 8 1 06 ic s C r et . 7 . 3 . s. . 39 . . oni m 1 1 1 ; n od 1 20—2 1 2 Euph u , , 3 i tr uced 1 4 , 7 b r P M . ha se 2 y y , 1 7 o n m 1 1 1 1 C r u , curved tru pet , 4, 9 m n in 1 Ex g p h , o n on on 1 0 act a ree e t itc 93 C rrect i t ati , 9 on 1 o 1 6 Expressi , 94 C rtes , 4 o 8 x d , Courta nt E us 5 , 7 4 n o m 1 2 Crusaders i tr duce the dru , 4 6 C h , 4 , F a o tto 8 2 rwt gg , m o c ﬁ on o Cupped uthpie e , classi cati , Fag t , 7 4 l to i n n u n Fa lacies as W d i str m e ts , 1 51 - 1 57

2 06 IN DEX

N e w Ze la n 1 1 a d , 3 n 8 2 o o n 1 La e , Nich ls , 9 L n m 1 o 60 1 apla d dru , 45 N des , , 53 n 1 2 o a on a nd eflects for woo Lavig ac , 3 N t ti d o 66 6 80 8 1 1 8 n n r m n o on Legat , , 7 , , 4, 94 , , wi d i st u e ts , sax ph es 1 1 1 86 a nd r o one 6— 9 , sar us ph s , 9 9 7 1 1 o 0 n 1 8 102 Lituus , 4 N tes , , , o i 8 o s ld n n m for L u s XIV , N i e , E glish a e a 8 1 8 2 ha nd Lully , , , 5 O Lute , 4 L b ia n 88 Ob o 1 8 1 1 1 1 8 y flute , e , , 4, 5, , , 4, , 60 0 - 80 8 2 l 6o Lyre . 4 39 . 4s. . 7 7 5. . . Om nitoni ue 2 q , 5 M a b rers 6 O n oun of b s n r m n , pe s d ras i st u e ts , M n 1 1 2 1 2 nom n 20 aha , 7 , 33 . 3 4, 3 , 7 i al , M a hillon 2 O n b or 1 , Brussels , 5 pe tu e pipe , 7 M a m n 8 O 1 0 6 1 28 , Egyptia pipe , 7 phicleide , , 9 , M o on of m 1 1 O n ; o e of 2 1 a ris , descripti tru pet , 3 rga , 5 st pped pip , , 59 , M o ha 8 as hr g iy t , 7 85 M m 0 8 O i no o 1 1 e phis , 5 , 7 r c , 3 M n o n 80 O 88 e delss h , 7 5, siris , M 88 O i o 1 ercury , v ed , 45 M er us 8 2 se nn , 7 4 , M b 1 P etal ars , 5 ’ M m of 1 P n 8 86 8 etal dru s Java , 44 a s pipes , 5, , 7 M o for o n a nd o P é 1 2 eth d saxh r sax ar s , 44 , 7 t om b 1 6 P s on m r a , 9 as i usic , 7 5 M a n m 1 Pa o S m on 80 exic dru s , 45 st rale y ph y , 7 5, M t m 1 00 Pa tola h B m s o on 1 ili ary usic , , ur e e xyl ph e , 44 M o n n 8 2 P on n m n 1 1 der Egyptia s , ercussi i stru e ts , 4 , ; M on o a n i n 8 on of 1 6 6 1 aul s , Egypt a flute , 9 classificati , 4 , 3 , 4 , 33 M on 1 6 teverde , 93 4 M o 1 1 P ses , 4 eri , 93 M o n m n fi a on P o of b on 1 68 1 uth i stru e ts , classi c ti , eri dicity vi rati s , , 9 3 1 2 6 P n 8 , 4 eruvia flutes , 9 M o 1 1 1 on of P o o ca 1 6 uthpiece , , 3 ; descripti , hil s phi l pitch , 9 1 on 6 0 1 08 1 1 Phce nicia ns 88 4 ; clari et , 7 , 7 , , 7 , , 73 , 1 20 for b s n m n 1 2 Photinx - b o n 8 ; ra s i stru e ts , 7 , , a side l w flute , 9 beion 1 1 1 28 Phor , 93 , 5 M o P ano 1 1 1 6 1 1 6 zart . 54 . 7 5 i , The , 5, 54 . 55, , 9 M m on 1 80 P o o 1 1 6 usical decla ati , icc l , , 3 , 94 M n m a nd n of P o n 1 2 20 6 60 1 20 usical dy a ics sig s , pe , pe , , , 4 , , — i 1 8 P old m o of b o n 6 3 ipes , eth d ri g , M o n fine 1 Pi 6 5t0 ed 1 2 2 1 2 2 6 usical s u ds de d , 7 P 1 PP . . . . 4 . 59 . M 1 2 2 60 1 60 ute , , — M ns t re lls P on 1 o f 2 1 28 y , 7 ist s , ; defects , 5 34 , P 1 ff n o f h m o n itch , 7 ; di ere ce pitc a g s nfl n b m N pipe i ue ced y dia eter , N a ke re rs Old n N a a ra h , E glish , g , b n N a ua r E l n Pla ia ulos L b ia n - b o n Ara ia ; g , ast udia , g , a y side l w 1 2 fl 88 4 ute , INDEX 2 0 7

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o of o n 1 n n of m a d The ry s u d , 59 U writte laws usic l y o 1 6 1 1 6 2 na m ics 1 8 Th rax , , , 7 b ob - b o n 8 Ti ia liqua , a side l w flute , 9 m b 1 8 V Ti re , 5 om om V n n on of 1 1 1 , 4 v , v , 9 , , , 10 T t — al e i e ti 9 5, on b n 1 6 1 2 T e uildi g , 4 7 on o o 1 8 of b on o n na 1 2 1 T e c l r , 5, 3 , 53 ; the Vi rati , l gi tudi l , 5 , 53 ; on 60 6 2 of o n 1 1 68 clari et , , ; the sax tra sverse , 59 , on 0 of ob o 6 of b on oi o m n 1 ph e , 7 ; the e , 7 ; Vi rati , the air c lu , 7 , b oo n 80 of sa rruso 2 2 of 1 the ass , ; the ; the lips , 7 . on 8 of of o 8 ph e , 3 ; the flute , 9 3 ; Vi l , 4 , 7 , n o n 1 0 of o n 8 1 1 6 1 the Fre ch h r , 7 ; the Vi li , 4 , 3 , 54 , m 1 0 of om b on o on o 1 80 tru pet , 9 ; the tr e , Vi l cell , 7 , 1 1 8 of o n 1 2 1 ; the saxh r s , 4 , 54, Virger , 7 1 8 88 5 Virg il , V ox 0 H b m 1 1 . um n T ph , e rew dru , 4 h a a , 7 7 1 1 1 1 0 V n om m m ebo Traps , , 5, 4 ulca ite , s eti es ter ed n 1 1 2 1 0 n 2 Tria gle , , 3 , 4 ite , 5 om b on 8 1 1 20 2 6 , 4, , 4 , 5, 5, 3 , Tr e , W o n 1 00 T rom ette rs 6 Waldh r , p , , 7 Wa htes n n n m of ob o m o n 8 1 1 yg , a cie t a e e , Tru pet , rdi ary , 4 , 5, 7 , , , — 6 I 1 I 1 1 0 1 1 , 7 , 7 s 3 , 4 , S: 9 1 39 : 45, 9 4 ) b We er , 54 n 1 00 m om n n n o Wer er , Tru pet , R a , Chi ese , A gl on 2 1 S on 2 H b k Wheatst e , 5, ax , ; curved , e rew , Tur Wie recht 1 0 2 p , , 00 ish , 3 n - b n 1 1 0 1 1 o m on b 1 2 1 1 8 1 1 Wi d a d . , , ; f r ati Tu a , , 3 , 5, 3 , 4 of 8 1 1 20 b cflect of m 1 1 , 35, 7 7 , , , Tu e , dia eter , 4, 5; n 1 6 2 n of 1 8 2 o o on Wi d pressures , le gth , , 3 ; pr p rti ate “ ” — m n of o n b 2 2 Willia Tell , Opera , 7 5 le gth c r et tu es , 7 9 ; oo n n m n class ifica on to o d d , suggesti s c rrect defects , W wi i stru e ts on of 1 1 30 ti , b 1 Tu ular pipes , 5 X n n o k 2 1 60 u i g f r , 3 , T o on 1 2 1 Xy h , , 3 , 39 k m b 1 l p e 5 Tur ish cy als , 3 7 a n on 88 Tusc l g pipes , Y m n 1 1 1 Ty pa i , 5, 33 , 34 Y a n b n n uc ta , flutes used y a cie t n 2 2 Ty dall , o of 0 pe ple , 9 U Z

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UN IV ERSITY OF TORON TO LIBRARY

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