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 BY 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 .