THE LIBRARY

OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
UNIVERSITY of CALIFORNIA
AT
LOS ANGELES
GALLO'S BAND BOOK

PART I
 B. M. Co. 6244
Cofjyright, 1921, by The Boston Music Co.
 at mtet

GALLO'S BAND BOOK

A TREATISE ON WIND INSTRUMENTS,
SYMPHONY BAND AND MILITARY BAND
By
STANISLAO GALLO
Conductor of the Gallo Symphony Band
and
Head Instructor of the School for Bandmasters and Players
at the

New England Conservatory of Music, Boston

PART I

WIND INSTRUMENTS
THEIR TECHNIQUE, NOTATION, TONE-COLOR,
AND USE IN BAND AND ORCHESTRA

The ©oiQQ Mu/ic ocflffeflx

fio/loD. Ma/rii^

124775
 In preparation

Part II

BAND IXSTRUMENTATION
Including a practical band reform; the
systematic application of the Standard Score
to Symphony Bands and Military Bands of
all sizes; and a progressive course in sectional
scoring.

Part III

EXAMPLES IN FULL SCORE

With important suggestions regarding the
execution: —conducting; open-air concert plat-
form and seating of performers; marching
formation of the Klilitary Band; etc.

28 9'-^
 \Z0O

PREFACE
There has lieen no stinting in research and experiment, in (irder to make this book as complete and
clear,
brief as possible. What others have written on this subject, has been duly considered and compounded;
the best masters on each instrument ha\e been consulted; makers of new and modernized devices ha\e lent
their counsel; renowned com[)osers and conductors have declared their adherence to whatever no\el prin-
ciples and conceptions are here set forth. The book constitutes the result of years of patient and systematic
application, offered now to students and musicians in practical and concise form.

Only those familiar with the complexity of the subject, will, at a first glance, appreciate the enormous

help and saving of time which may be gained by the study, in Part I, of the tables and expositions which
i
present all the possibilities of all the wind instruments; point to their analogy and differences; and teach
their fittest and surest use. What would ordinarily occupy hundreds of jiages of involved explanations, has
thus been set down into condensed and synoptic charts.
Parts II and III form a comprehensive guide to band instrumentation. The various combinations of
wind instruments, each of which is a homogeneous unit, are therein presented as mere modifications of the
Symphony Band, and are treated with the aid of one and the same score. The Symphony Band score, which
K in the structure, i.e. number and disposition of parts, corres[K)nds to the S\mphony Orchestra score, sim-

^ plifies greatly the work of transcribing any s>mphonic composition from orchestra to band, and, moreover,

affords the composer the possibility of writing for band without the necessity of prior study, as he may
transfer his conception from the plan of the orchestra directly to that of the band.
'*>^'^
What is most \aluable to the instrumentator for daily references, such as information concerning the
compass, notation and transposition of the various instruments used in the band score, or of those found in
works to be arranged for band, is presented in the Introduction to Part I. Additional data, concerning Itand
instruments in sundry, special combinations, like the Fanfare, Bugle Corps, Drum-and-Kife Corps, etc., will
be found in an Appendix following Part III.
i<] E^•erything has been made subservient to the needs of simplifying and condensing the material essential
«A to the bandmaster, the composer or instrumentator. Each part or volume, complete in itself, is a practical
and reliable handbook. Nor is their applicability limited to what concerns only the band, but the whole
work should pVove equally valual>le to any one desirous of studying the wind instruments in connection
with symphonic or operatic orchestras.
It is hoped that thereby the standard band repertoire will be developed and that a greater number of
>4 comjiosers will be drawn to write more serious and artistic music for such combinations, the actual resources
./ of which ha\'e been barely tapped. As the only satisfactory pur\eyor of musical entertainment in the open
air, the Symphony Band is the logical means by which to bring good music to large masses and to further the

musical education of the peojjle.

STANISLAO GALLO.
Boston, Mass.,
January, 1921.

[51
 —

PRELIMINARY REMARKS
In order to simplify the explanations in the text, has been found necessary to adopt some terms for
it

which there are no equivalents in the musical vocabulary. These adopted terms and their respective defini-
tions are as follows:

Conic-wood (page 34): the section of keyed instruments having a conical tube; comprising all the instru-
ments generally known as "wood-wind," with the sole exception of the Clarinets, which have a cylindri-
cal tube. (See explanatory foot-note, regarding the cylindrical Flute, page 38.)

Grand Quintet (page 35): the five principal parts in the band- or orchestral-score, which are performed
in mass (redoubled) —
by Clarinets, in the Symphony Band and, by Strings, in the Symphony
Orchestra.

Instrumentator (page 42); the composer or "arranger" who scores forband or orchestra an original com-
position of his own, or makes a transcription, adaptation or arrangement of an instrumental compo-
sition for a combination of instruments different from the original.
Other adopted terms are duly explained in the text itself or in foot-notes.

The term band (appearing in the text in small letters) applies in a general way to any combination of
wood-wind, brass and percussion instruments. Likewise the term orchestra signifies any combination of
string, wood-wind, brass and percussion instruments.

When a distinct form of band or orchestra is to be defined, a specific compound name is then employed,
viz.: Symphony Band (see page 31), Military Band, Brass Bind, etc.; Symphony Orchestra, Vaudeville
Orchestra, Dance Orchestra, etc. (appearing in the text with capital initials).

The term Symphony Orchestra (page 31) applies to both ths orchestra of the concert-hall and that of
the grand opera — both having the same instrumentation, excepting the association of the Voices with the
latter.

[6]
 —— : :

CONTENTS
pages

Introduction —Souxd-producing Instruments ix Gener.\l 9

The band instruments ..... 31

To the TE.A.CHERS ...... 36

Chapter I —Acousti'c principle of the wind instru-ments 37

Chapter II —The transposing wind instruments 39

Chapter III ^The Clarinets (keyed-cylindrical tube instruments)

(a) Types of instruments and their notation 44

(b) Harmonic series and scales .... 44

(c) Technique ....... 45

(d) ......
Quality of tone 50

(e) Illustrations of the modern Clarinets 51

Chapter IV The Conic-woou (keyed-conical tube instruments)

(a) Types of instruments and notation 52

(b) Harmonic series and scale .... 52

(c) Technique ....... 55

(d) ......
Quality of tone 58

(e) Illustrations of the modern Conic-wood 59

Chapter V ^The Brass (cup mouthpiece instruments):

(a) Types of instruments and notation 61

(b) Harmonic series and scale .... 66

(c) Technique ....... 72

(d) ......
Quality of tone 75

(e) Illustrations of the modern Brass .

76

Index 81

7]
 LIST OF SYNOPTICAL TABLES

PAGES

The human voice .... 1

12-13
Keyed-cylindrical tube instruments

Keyed-conical tube instruments 14-17

Valve instruments 18-22

Slide instruments 22

Polyphonic-wind instruments 23-25

Percussion instruments 26-27

Stringed instruments .
28-30

The band instruments .

34-35

Transposing instruments in unison 41

Harmonic series ant) scale of the Clarinets 44-45

Trills and tremolos for the Clarinets 49

Harmonic series and scales of the Conic-wood 54

Trills and tremolos of the Conic-wood 56-57

Technical and common names of Saxhorns and Tubas 64

Mouthpieces of the br,\ss instruments 65

Slide and valve instruments compared 67

Harmonic series and scales of the Brass .

71

Trills of the valve instruments .

73

Intervals and glissando of the Slide-trombone 74

 — —

INTRODUCTION

Sound-Producing Instruments in General

The synoptical-tables given in this Introduction will furnish a comprehensive idea of the nature and com-
pass of all the sound-producing instruments now used, including some which are no longer in common use.
The various groups of the entire sounding mass are classified in the following order:

I. THE HUMAN VOICE III. POLYPHONIC WIND INSTRUMENTS

(a) Female (a) Without keyboard or stops
(b) Children (b) With keys and without stops
(c) Male (c) With a keyboard and stops
(d) With three or four manuals (keyboards),
II. WIND INSTRUMENTS pedal and stops
(a) Keyed-Cylindrical Tube
ib) Keyed-Conical Tube
ic) 3-\'alve, Long Conical Tube
(d) 3-Valve, Short Conical Tube IV. PERCUSSION INSTRUMENTS
3-Valve, one-third Cylindrical and two- (a) Indeterminate pitch
(e) thirds Conical Tube. (b) Changeable pitch
4-Valve, one-third Cylindrical and two- (c) Fixed pitch
thirds Conical Tube.
3-\'alve, two-thirds Cylindrical and (jne-

third Conical Tube.

4-Valve, two-thirds Cylindrical and one-
STRINGED INSTRUMENTS
(D
third Conical Tube. (<z) Plucked
_
Slide, two-thirds Cylindrical and one-third (b) Percussive
Conical Tube. (c) Bowed

The inclusion, in this Introduction, of instruments The classification, which in itself provides a clear
not cmplf)\ed in the band, is intended to give the idea of the nature, character, compass and notation
student all the information needed in connection of each instrument, and the brief ex[)lanations on
with band scoring: the Organ, Harp, bowed instruments, etc. will enable
To become thoroughly efficient in this branch of the student to understand the constructive parts of
music, one must be familiar not only with the in- the different forms of instrumental music. He will

struments of the band, but also with those employed then learn more easily as regards their employment
in other branches of instrumental music (such as the and execution, by diligent score reading —at first
orchestral instruments, the Piano, the Organ, etc.) simply analyzing and then following the perform-
from which, part of the band repertoire is generally ances of such music in the concert-hall or the
transcribed. opera house.
 —

10 INTRODUCTION

EXPLANATORY NOTE

In the following tables the two whole notes Writing-Transposition: — The square note-head

•** X indicate the limit of the tonal /r—1\ represents the tone of the transposing instru-

(o ° compass.
) ^

The eighth-notes (i^)' ndicate the extreme tones ment corresponding to middle-C 1
" bearing

obtainable only by a few skilled

therefore, are to be avoided in orchestral,
performers, and,
band or
m
the signature of the instrument corresponding to the
vocal parts. actual key of C-major or A-minor.
The stemless note-heads (#) indicate the tones
In several instruments of either extremely high or
which are lacking entirely in some instruments. low register, where the tonal-compass docs not contain
The notation of the transposing instruments is middle-C, the square note is then enclosed within
indicated on the right-hand side of the tables under brackets to indicate that such would be the note that
the heading "Transposition," and denotes as follows: would correspond to middlo-C, were that note in-
cluded in the compass of the instrument.
Reading-Transposition: — The first breve (M)
indicates the wrillen-C, and the second, the actual The instruments which are most in use are desig-
sound of the written-C, bewaring the signature of the nated by capitals; those rarv:-ly used, by italics, and
key which results when the instrument plays without those which are obsolete, by italics within brackets.
accidentals.
 11

(a)FEMALE
J
LYRIC-SOPRANO

SOPRANO
The Human Voice

i ^
.. .
V llf^
1^
written C
Transposition
: sound middle C

or
J
MEZZO-SOPRANO ipb:ui_(£_ »-^
^^^
-"
a.
i hi t>^

.(or
ALTO
Contralto)
%=My
J
...SOPRANOS
[jj .;^J. ,^l ^ ^MMfe
2nd SOPRANOS
'

^
TTTT
P^^
V(!{h-

ALTOS

(b) CHILDREN
1st SOPRANOS
^^
1^^
2nd SOPRANOS iU '
iiJi.." n.
»[! p «p n

ALTOS
#rtf
(c)MALE
TENOR

o
c
o
Co

(or
BARITONE

1st

2nd BASS
BASS
Basso Caataate)
y^J;
.
,
V j J)

m^
^
J^

hi
|
J^ t, .
.--

!?S:
^
^

^^
for Basso Profondo)
ji ji
i ">"
-
'

^^ ^
^
ir ^'
TENORS M=^
1st
#
2nd

1st
TENORS

BASSES
^^
^i
'AJ)
^J)

l>^^
..n
MM:
^15: li
^^ #
HJ)

2nd BASSES -^mm^

^=^^==s=
B.M.Co.6244
12
II
Wind Instruments

^
Transposition

(£^ Keyed-Cylindrical Tubes written Ci sound middle C

Soprauino Clarinet in aI>

^ ^^ ^
\'±^±^^
th-b- zfeb
Soprunino Clarinet in F ^i •A.V

SOPRANINO CLARINET
figure 1, page 51
in Eb
J _^
-^
rrr ^^ At

iyopranitio Clarinet in
figure l,page 51
D
^ /= ^nit^
mm ^^
Soprano Clarinet in C
/=
m^
' ft ll ff i';

CO
SOPRANO CLARINET
figure 2,page 51
in Bb
^ ^ I" W' »

J i.r
SOPRANO CLARINET A TVf
figure 2, page 51
in

J_/
^/<o Clarinet in
(Bassetl-horn)
F
^W ^
r^w^t^^
.-^= ^lt^ff'^

I" if M

ALTO CLARINET in Eb
figure 3, page 51

W |r # *»

B MCo 6244
 Keyed- Cylindrical Tubes (Continued) 13
Transposition

Treble-clef notation

BASS CLARINETinC
figure4,page 51

Bass-clef notation

Treble-clef notation

BASS CLARINETinB!)
figure 4, page 51

Bass-clef notation

Treble-clef notation

Bass Clarinet in A
figare4,page 51

Bass-clef notation

«
a
JO

Treble-clef notation

Contrabass Clarinet in F

Bass-clef notation

Treble-clef notation

Contrabass Clarinet in Ep

Bass-cJef notation

Actual- sound notation

CONTRABASS CLARINETinC
figure 5, page 51

Octave notation

1st Transposing notation

CONTRABASS CLARINET in B|>

figure 6,page 61

2nd Transposing notation

l^^Mf
B.M.Co.6244
 '

i't

Transposition
written C middle C
(b)Keyed-Coiiical Tube

E
(2)0ciirimi

U- .8 :

J
PICCOLO
figure 6, page
in r)\>

59
E
-Tt
,
-
JH
^^# ^^
let

PICCOLO inC
figure 6,page 59
*•»'«

'
\Smiill Flute in Eb] fjh
' ^^^^
L^^-M^ i
*i^

Flutee ini

figure 7, page

FLUTE inC
figure 7,page
D\>
59

59
jt
0T> .
-•
..
'
' p"
P"
' :=
^ pi^

Altu Flute in G
al&o caUtd ''Bass-ftittf^*
figure 8, page 59

~g~
{Z'Bass Flute inC
i " li H-

(4) Piccolo Fife in

also called in"F"
Eb ^
$
^
fih
fl
T'
^ 'fa
T i
p
z;::=
^
!K I'
'"
i^

i^
1^
(4) Fife in A\>
also called in"Bb" ^^%^ iK^^^L^ i:=-j

(4) Fife in eI>

also called in"F"
itKf"^~ ^
T
)
\j-"'
^^^
^rt =W: i:*!=
C^l

(1) The Flageolet is employed id Handel's "Acis and Galatea',' Cluck's "Die Pilgrim von Mekka',' Mozart's "11 berraglio' and
few other works.

(2) The Ocarina may be appropriately employed as a "Cuckoo-instrument'.' Other sizes of Ocarinas are also found,
tuned
higher or lower than the one above.

(3) Anew instrument, recently invented by A. Alhisi (Flutist of "La Scala',' Milan), which has proved very satisfactory.

(4) The FifesCFlutes with six holes and without keys; can produce only the wri^/en diatonic scales in D- major and G -major
These instruments are commonly called by the actual key- note given by their written D; thus the first and thirdFifis in El>are
called "in F.'and the second in A!> is called"in Bk"

B.M.Co.6244
 15
Keyed- Conical Tube (Continued)

Transposition

ISopranino Su.vophone i

\Sopranino Saxophone in EpJ

Soprano Saxophone in C

SOPRANO SAXOPHONE in BI>

figure 9, page 69

Alto Saxophone in F

ALTO SAXOPHONE in Eb
figure 10, page 59

Tenor Saxophone in C

TENOR SAXOPHONE in B\>

figure 11, page 59

Baritone Saxophone in F

BARITONE SAXOPHONE in Eb
figure 12, page 59

Bass Saxophone in C

Bass Saxophone in Bb
br ^
BM Co 62 4 1
16 Keyed- Conical Tube (Continued)
Tranposition

OBOE
fignre 13, page 60

Oboe d'Amore
(Jfez to -Soprano Oboe in A)

ENGLISH HORN
(Alto Oboe in F)
figare 14, page 60

Baritone Oboe
(also called "Heckelphone")

\Pagottinq\
(Small Bassoon in 0)

BASSOON
figure 16ipage 60

CONTRA-BASSOON
figure 16, page 60
£
B
O
a ^opratiino Sarrusopkone in Ew
a

\Sopra7io Sarrusopkone in BIjJ

\Alto Sarrusophone in Ebl

[TVMor Sarrusophone in Bb]

Baritone Sarrusophone in Eb

Bass Sarrusophone in Bb

modern notation
BASS SARRUSOPHONE in C
or sinaply "Sarrusophone"
figure 17,page 60

modern notation
CONTRABASS SARRUSOPHONE in C za
or simply'Cuutra-barrusophone" :^
. figure 18, page 60

(1) Wagner made use of the actual-sound notation in'Tarsifal'.'

B.M.Co.6244
 i

Keyed-Conical Tube {Continued} 17

Transposition

^opranino Bugle in eM

VSoprano Bugle in BbJ

Vsop ratio Bugle i

\Alto Oph icleide in FJ ^

VaUo Ophicleide in E

o
e

^ass Ophicleide in c\ ^£.

^ass Ophicleide in Bb] V' .

^

fCow/rairtss <7;?Ajf/e?rfej>iF] ^V^

[CoTt/raAflss Ophicleide iti eU 2

[S'erpcnF]

Uiussian Bassoon] ^
Abte. The obsolete instruments contained in the above table.are the precursors of the modern valve instruments. Their
parts
stillfonnd In old orchestral and band scores, are now Riven to Saxhorns or Tubas, which, in intonation and
tonal-quality, are'
farsupeiryfj -y-iir archaic relatives.

B.M.Co.6244
IS

Transposition
(c)Three-valve: Long Conical Tube

i^orn in Z-alto\

^orninY^-alt^

^orn in Aj

\Horn in ApJ

c
o
e
1^0 r« in Gj

e
a
(l) (2) (3)
a HORN in F
figure 19,page 16

Horn in E

HORN in Eb
figure 19,page 76

Note. The obsolete instruments — included in f his section to simplify the classification —were inreaIitynatural-horns(without valves).
Dot pocsessiog thechromatic scale.but only the first harmonic series. (See page 37)

(1) Alto called"French Horn'.'

At the present time, an instrument called the "Double-horn" is largely used by Horn- players. It is a Horn in F with an
(2)
extra set of Tubes, controlled by a special valve; when this valve is pressed by the player's thumb, the intonation-key of the In-
fit rnment is changed from F to B-flat Alto.thus enabling the performer to play high passages with greater ease of execution.

(3) In former years, the Bass- clef notes of the Horns were written an octave lower than the above correct modern notation.

fi.M.Co.6244
 !

19
Transposition
(d) Three-valve: Short Conical Tube
"'
Sopravino Suxhorii in £
J So, > £f _ "[) TT
(The cuiiical bore Eb Cornet) /jk i
' ^^^
Iigureao.pagc 76 ''^
^ — .•'

I?-
RANO SAXHORN
SOPRANO Bb ^ —
(The<
e conical bore BbCornet)
ures21and22,page76
figu
in
mi
if -D ,
— ...•

MEZZO-SOPRANO SAXHORN in ^\f

(The Flugelhorn or valve Cugle
figure 23, page 76

yAlto Saxhorn in ¥\

ALTO SAXHORN in Eb
figure 24,page 76

TENOR SAXHORN in Bk
figure 25, page 77

BARITONE SAXHORN
figure 26, page 77
in Ep ^
35

Modern, actual-sound notation

Baas Saxhorn in F

French.transposing notation

Modern, actual-sound notation

BASS SAXHORN in Eb
figures27&29,p.77&78

French.transposing notation

Modern, actual-sound notation

Contrabass Saxhorn in C

French, octave notation

Modern, actual-sound notation

CONTRABASS SAXHfjRN in Bp
figures 28A30,p. 77 i78

French, transposing notation

fi.ll.Co.6244
20
(e)Three-valve: one-third Cylindrical
and two-thirds Conical Tube
CORNET
(The"Cornet-a-pistons"in

CORNET
in

in
(The"Cornet-a-pistons"in A)
Bt

A,
Bl>)
^ m ^
^ ^ ^
»«'
tt

,2
tl

«,

IeI
written

f-
C

if
a^^
Transposition
sound

H
middle C

H^--"

Four- valve:one-third Cylindrical and two-thirds Conical Tube

>l//o T'/'*!? 1)1 e!)

figure, 31 page 79

Tenor Tiiha in Bl>

figure, 32 page 79

BARITONE TUBA in B[.

abbreviate d"B'i-Tuba"tThc Euphonium-
JO figure 38,page 79

C Bnss Tuha in F
a bbreTiated"F-Tub a"
figure 34, page 79

^
:: : o--'

I'/th*!':
BASS TUBA in Eb
abbreviated" Eb-Tiiha"
figure 34, page 79

1,5 ^-

Co7itrabass Tuba in C
abbreviated"C C-Tuha"
figure 35,page 79
m si
-WU
CONTRABASS TUBAinBb
abbreviated "BB'7-Tuba"
figure 35, page 79
^^l^

^
o-'
unison

* a
(1)

Te?ior Tuba in B (b1))

^^ ^
S
(ft
a
•*
—
X
Bass Tuba in F
^^ ^ ztt:

rcwo;- Tuba in E (e1>)

^ ^ I
1^ -g-

^
91 9 HbF=

1-1 ^^

(1)
a

See foot-tu)te
5ass Tuba in B(Bb)

No.4,page 63
^^ P
B.M.Co 6244
 21
(f) Three-valve:'* two-thirds Cylindrical Transposition

and one-third Conical Tube

Modern Trumptt in C

Modern TRUMPET in Bt>

figure 36, page 80

ModernTRjMPET in A
figuri; SB.pagc 80

\Trumpet in GJ

Tr II inpet ill F
figure 37,page 80

\Trumpet in E

TRUMPET in Et>
figure 37, page 80

Bass Trumpet inC

Baas Trumpet in BI»'^^

(saiii(.' tubingasihi- Ti nor Trombone)

(li The obsolete instruments, included in this section to simplify the classification, were in reality Natural-Trompets (without >
valvi-si.
(2)See fuotnote No.l.page 28 B.M.Co.6«4*
2Z

Four-valve: two-thirds Cylindrical

Transposition
and one-third Conical Tube
written C sound middle C
;
Trcble-clef notation

Tenor{valve)TrombonetH Bb
figure 38,page 80
i -*f
"^H ^^ M
m
actual sounds Bass-clef notation m

Bass'valre) Trombone I'ji F m ^iA

ai
u
a Contrabass [value) Trombone in
(2)
fib ^ ^^
a
o
a
0.
a
o
Slide: two-thirds Cylindrical and one-third Conical Tube
o
XI

p/^o Trombone {in E^ \^ / —

TENOR TROMBONE fin

figure 39, page 80
Bb) ^
''^~
BoththeTenor-and Bass-cleff
are alteraatively used

ffpf^
Bass Trombone in G *j: ,-'" f I

BASS TR0MB0NE(in Bband

(Large bore Bb Trombone with F- valve)
figure 40, page 80
F)
^ _13L

i.tifoi']
M
-"
Vq ^f.
^i

Contrabass Trombo^one in fib

impracticable as a slide instroment
Employed by Wag
'agner
J
^

Bt>, the tubing of which corresponds in length and diameter to that of the Bass Trumpet In
(l)The Tenor Valve Trombone in
B!>,is place of this instrument in Wagner's "Ring." Tenor(valve) Trombones in C-onetone high-
now generally employed in
er than the above instrument — are also made.

(2) Known in Italy as 'Trombone Basso-Hrdi" SiUer Giuseppe Verdi, who first introduced it in "Otello"2lnd then in"Fal6taf f"
(3) See explanauory notc.page 70

B.M.Co.a244
 INTRODUCTION 23

III

Polyphonic-Wind Instruments

(a) Without Keyboard or Stops

a Musetta or Melody
Cki

a BAGPIPE

J Drone-pipes
 »

24 INTRODUCTION

(d) With three or four manuals (keyboards), pedal and stops.

pitch, or length
written compass effect
of longest pipe

two 8^^ higher

B^a higher

4, Manuals
a.
8' actual sounds
- ORGAN
IB' 8va lower
..-^u^
Pedal m 32- two 8ve lower
\

Classification of Registers or Stops FOUNDATION STOPS (Flue)

Certain groups of stops, each composed of pipes Large or Medium Scale (a)
similar in quality or construction, or both, are
Manuals- Pedal
common to nearly all Organs in the United States;
although instruments more recently built show Diapason
radical departures in general tonal disposition from
the older ones. The nomenclature of stops in this
country, however, is a matter in which Organs of
different builders often vary materially. A list of
allthe stops found in the instruments of a half-
dozen of the most prominent builders would be
unduly extended and confusing to the layman. The
following table is intended to group only the princi-
pal stops (employing conventional American and
English nomenclature), without regard to the special
designations which may be given to any of them to
indicate some nuance of color or quality.
The figures opposite each stop represent the
"speaking length" in feet of its lowest pipe; or of
the lowest of each series, where more than one series
is indicated. Thus the name of a stop indicates
approximately its quality, and may suggest its in-
tensity; the number designates the pitch.

'From information kindly furnished by Mr. Wallace Goodrich.

'Large Organs have three or four kevl^oards, called manuals, and designated Choir (lowest). Great (middle), and Swell (upper).
If there be a fourth manual it is called Solo, and is placxcl above the Swell. The pipes of the Choir and Swell (and Solo) are usually-
enclosed in separate "swell-boxes," so-called, wliich are actually rooms inside the organ enclosed on all sides but the front; vertical
shutters, operated by a pedal, may be opened or closed to effect corresponding variation in the intensity of the sound.
 INTRODUCTION 25

MUTATION STOPS (Flue) (f)

Simple

Manuals Pedal

Quint
Twelfth 2%'

Compound
Mixture (g)
 . .

26 INTRODUCTIOxN

IV

Percussion Instruments

(a) Indeterminate Pitch

SIDE DRUM
Ridlante or Tenov-drum
BASS DRUM
With membrane. TAMBOURINE
Tabor
Indian-dnim
Chinese-drum Note. — The rhythmical notation of all these
TRIANGLE instruments is written on the ordinary
CYMBALS staff, or (in score) on a single line, with the
Of metal
TAM-TAM or GONG conventional treble- or bass-clef.
.
Sleigh-bells

CASTANETS
Of wood. Rattle

. Whip- or Slap-stick

Special construction Wind-, Water-, and Crash-machine

J

I Other noise-imitations

(b) Changeable Pitch —with membrane

Large Middle Small
TIMPANI ^T*r ^^ xr:
„«>
Si o (ii »
*^

(l)Generally, in band, only two Timpani aro used: the Large and the Small.
 27
Transposition
(c) Fixed Pitch • ttetc

'
C
Aiictetit-cymbals
'maiti' expressly in the required
p\tch)

Chimes
(made expressly in the required
pitch)

TUBULAR BELLS

Japanese bells

Anvils
(made expressly in the re-
quired pitch,orin(fe^er»(«>io<«)

BELLS or CARILLON
(ilallets-Olockeaspiel)

XYLOPHONE

Belts or Carillon
(Keyed- Glockenspiel)

.o.

Typophone or Dulcttone (1)

(Steel- tuning- forks)
^0
a
o
5^
a
CELESTA
i i" IS
(Steel bars with wooden reso-
nators)

Keyed Hurmontca
^^ —
4^ [^
&
m
V^
(Glass-plates)

0) Employed ind'Iody's"Cbaot delaClocbe'.'

^ :t51
J?L
m
B.M.Co.6244
 ,

28 V
Stringed Instruments Transposition
(a) Plucked
MANDOLIN > lilt
and
Mandolin- Banjo

"Transposed"notation
Tenor-Mandola
and
Tenor -Banjo
"Non-transposed"octave-notation

MANDOLA
(also called Octave-Mandola)

"Transposed"notation
Mundo-Cello
and
Cello- Banjo
"Non-transposed"two octave-notation

Bass-clef notation

Mando-Bass

Treble-clef notation

Generally tuned a minorthird above the writ tennotatioi

BANJO, Regular
m
-ttS-
like theEt-Sopraninos.
Also written in actual sounds: minor third higher.

guitar'^'
and
Guitar-Banjo

(2)'
Steel-Guitar'

Occasionally tuned one tone above or below thewTitten

Ukulele notation. liketheD-Sopraninos and Bh- Sopranos, re -
spectively.

Bullalaika
^^ Sia
.a.
This is the usual tuning of the ordinary instrument. Other
types of Ballalaikas are also found ,wnich vary each other
in their Eize.number of strings and notation.

Melody -strings j
The melody strings sound as written
ZITHER
-^
Accompaniment
i" 4 "leT
i
(1) There are "Harp- Guitars" so called,with as mi^ny as ten Ofen Bass-strings,fromthe E-flat downward,chromaticaUy,in additioa
to the regular six strings.
(2) Played with a steel bar and three steel picks.
B.M.Co.624*,
 29
Plucked [Continued)

Transposition

harmonics

Sometimps tuned in A-flat major

Irihh-Harp fe ^
Single action thumh-lever
tuning of
diatonip'C- major or A? major
the strings'!

The Irish-Harp produces the diatonic scale of C- major or A-flal major.accordingto the way it is tuned. With the single

action every string -independently from its octaves -can be raised a half tone

harmonics

HARP
Double action with pedals
tuningof
^ diatonic.C-flat major
the strings'

^K=r
The tuning of the strings of the Harp will produce the diatonic scale of C-f lat major.and by the use of seven pedals at the base
of the instrument, each pedal acting on all the strings(in octaves) uf the same letter-name, all the notes of the compass can
be raised a half-tone or a whole tone, thus enabling the player to tune the instrument in any desired key.
1\\tgltssundo —
which frequently occurs in Harp-music —ispossible in every major, minor or alteredscale,andby the
useof homophones 'enharmonic unisons) ^/zssawrfj are also obtainable on all the chords of the diminished- seventh, and on
some other four-note chords, as follows: —

Diminished-7th,or Dominant-7th,or Supertonic-7th in major, or Supertonic-7th in minor or

rootless-minor 9th augmented (Uh and 5th subdominant Tth in minor rootless-major 9th

'Si

j^.l'"#
Chromatic -Hii rp
This instrument, recently invented by F Lyon,of Paris.is without pedals.having a string for each semi-tone throughout the entire
compass Very few,if any.of the modern harp-players have successfully mastered the new technique required for theplayiiig of thi*
instrument

B M.Co 6244
30 Stringed Instruments {Continued)
(b)Percussive .^

PIANOFORTE

Hiaigarian Cembalo)
(dulcimer or zimbalon))
m
Compass for general orchestral use
(rdinary tones ir harmonics
{non-harmonic)
(c) Bowed .. Q- 8
strings ai :e
.,»<«^"*
VIOLIN actual
^ nil
,--• sounds
Scfl

lo
-zrr- actual
VIOLA :I> a.. sounds
4cr

Viol (I d 'Amove actual

sounds

Viola dii gamba actual

sounds

VIOLONCELLO
^_ •"i%m-r^ g natur" Tor
urtifi':'-''^ D -
actual
sounds

CONTRABASS sounding
(or Double-bass) octave lower

+not satisfactory

iVb?e/Theorrf2««ry#o«es(non-harmonic),the««/'«rff///rt/-wo7nVsfplayedonanopenstring)andtheor/?/2czV//^ffr7«o«zcs(played
on a stopped string) form the Harmonic-seriesfsee paragraph 2, page 37 ) of the bowed instruments,as fol lows:

Partial-tones
1st _The string vibrates throughout its whole length, producing the ordinary tones or fundamentals
2nd vibrates into two equal sections by lightly touching the 8^'^ which produces its unisou.viz.the 8^<-" of the fundamental.
3rd_ " " three " " " " " .. 5th " " > 8'^, " " 12th " '

4th_ " four " " " " " I.

4th " " " 12th, " " 15th " • "
[major
5th_ five LSrd " " " 15th, " " 17th "
[ininor
6th_ six 3rd " " " 17th, >• " 19th' "

The natural harmonics are generally written in actual sounds and indicated by this sign o above the notes.
The art«/»cia/A«r/«07J«csused in orchestraparts.are formed exclusively of 4th partial-tones; —The string is stopped hy
the first finger and lightly touched by the fourth finger a perfect fourth apart,thus producing the 12th of the touched note,
viz^he 15th of the stopped note. These harmonics are usually written in thei r finger-position with or without the resulting
notes above, as follows: • i I . . i

effect #J J
(^ ^ ,^ j(^ ^) jjj ^,
written fis ^ff ..b ^ E. I !<j I n. .fcj »
, ''J- L . u . « l etc.

B.M.Co.6244
 — — —

INTRODUCTION 31

The Band Instruments

In addition to the foregoing brief description of efficiency in the rendering of marching music,
all the instruments in general, a special table of the though it also possesses sufficient tonal-elasticity to
band instruments exclusively, will be given (pages render, to an adequate artiste degree, military
34 and 35). In this table the various groups are program-music.
arranged in score order, and the compass character- Changes or substitutions may be found necessary
istics of each instrument is more fully described by in the Military Band according to circumstances.
means of notational signs, thus providing the stu- For example: when a Military Band of hdy players
dent with a complete and very useful chart to refer is to be employed more for marching purposes than

to when scoring for band. for concerts, its martial character may be increased
The names of instruments are preceded by by substituting the following four brass instru-
special symbols, the use of which serve to simjilifN- ments :

the work on scoring exercises (see Parts 1 1 and III).

one Soprano Saxhorn (B? Cornet)
At the extreme right of the table, six of the best
one Mezzo-soprano Saxhorn
balanced wind-instrument units are given; i. e.
one B-flat Tuba (Euphonium)
the small, medium and large Symphony Band of
and seventy-five players, respec-
twenty-five, fifty
one E-flat Tuba
tively, and the small, medium and large Military
in place of:
Band of twenty-two, thirty-five and fifty players,
respectively.' one Oboe (2nd)
The large SYMPHONY BAND of seventy-five one Sarrusophone (2nd)
players, is modeled after the Symphony Orchestra one Bass Clarinet
with elements which, acoustically, are the most one Contrabass Clarinet
suitable for outdoor performance. With this en-
semble of instruments, and with competent players, If, on the other hand, the Military Band is to be

modern works of the most intricate polyphonic employed mostly for concert work, or as an accom-
structure can be gi^cn (on a properly built platform) [lanimcnt for voices, it will be rendered more flexible
outdoors, with a standard of artistic attainment by the introduction of three or four wood-wind instru-
equal to that of the Symphony Orchestra indoors. ments (including another Bass-Clarinet and the
The large MILITARY BAND of fifty players Contra-Sarrusophone) in place of three or four of
uses the same and practically all the parts of the the brass instruments.
Symphony Band, but with the Grand Quintet con- Whenever any of the given instruments of the
siderably changed in its proportions and instru- MilitaryBand are lacking, substitution will then
ments. This ensemble, designed for infantry bands, be made with other instruments that are the most
or similar organizations, attains the best possible suitable for the purpose.^ For example:

'Other intermediate numerical proportions and larger combinations, up to ninety players, with tlio ncccssar>' information thereto,
will be given in Part 11.

Mn these substitutions the band parts remain the same, excepting the necessary transposition for the instruments tuned
all
differently, asf(ir in:;tance the .?rd and 4ih lMl.it Clarinets from the Alto Clarinets, 5th lower; the B-tJat Cornet or Trumpet,
from the Alto Saxhorn, 5th Iow^t; etc. (see I'art II).
 — ; —;

32 INTRODUCTION

Alto Saxophones, or 3rd and 4th Bb-Clarinets in the Av4 —Eb Clarinet
absence of Alto Clarinets; Ai —Solo B!>-Clarinets
(or 1st)
Tenor or Baritone Saxophones in the absence of Ai' — Repiano) B:j-Clarinets
1st (or
Bass Clarinet; A2— 2nd Bb-Clarinets
Contra-Sarrusophone in the absence of Contrabass A2' — 3rd Bb-CIarinets
Clarinet; As —Alto Sa.xophones or *Alto Clarinets
Soprano Clarinet in the absence of Soprano Saxo- A4— Baritones ^' or *Euphoniums,
})hone; or *Br)-Bass Clarinets (transposed)
3rd and 4th B^-Cornets or B^-trumpets in the ab- As— Basses Tubas)
(or
sence of Mezzo-Soprano and Alto Saxhorn
Valve Trombone in the absence of Tenor Saxhorn; Bi — Flute or Piccolo
1st
E!>-Alto Saxhorns in the absence of E>-Horns; B2—^*2nd Flute or Piccolo
Bass and Contrabass Saxhorns in the absence of Bs— *3rd Flute or Piccolo
E!'- and BB'?-Tubas; etc. Ci— 1st Oboe
When marching, the oboists generally play some C2— *2nd Oboe
wind-instrument other than the Oboe, or else the Di — *Soprano Sa.xophone
Cymbals; and the timpanist plays the RuUante D2 — Alto Saxophone
(Tenor-Drum) or an additional Snare-Drum. Ds —Tenor Saxophone
The Sarrusophones (see page 60) not only ha\-e D4 — *Baritone Saxophone
the advantage of possessing greater sonority than El — Bassoon
1st
the Bassoons when used outdoors, but also they can E2— *2nd Bassoon
be played while the performer is marching. If, how- Es— *Contra-Bassoon Basses) (or
ever, the Bassoons are used, instead of the Sarruso-
phones, another instrument must then be assigned Fi— Eb-Horn or Alto
1st
to each Bassoon player for use when marching. F2— 2nd Eb-Horn or Alto
From the foregoing comment, it will be concluded Fa— 3rd Eb-Horn or Alto
that the main point which distinguishes the Sym- F4—4th Eb-Horn or Alto
phony Band from the Military Band is that the
Gi — 2nd 3rd) Bb-Cornet or Trumpet
(or
first, though apt to be reduced in its size, the char-
G2
acter of its instrumentation remains unaltered p —3rd 4th) Bb-Cornet or Trumpet
/
\ (or
while, the second, is variable both in its number
and kind of instruments. Hi — Trombone or Bb-Tenor
1st

Music scored especially for the Symphony Band H2 — 2nd Trombone or Bb-Tenor
(see Parts II and III) will undoubtedly give the Hs — 3rd Trombone or Bb-Bass
best possible results under any circumstances, such H4 — *4th Bass) Trombone
(or

as the reduction or substitution of instruments in Ii—Solo Bb-Cornet

the Military Band. The current band-publications, I2—Solo Bb-Cornet
(or 1st)
however, with little or no change in the parts, are Is— 2nd) Bb-Cornet or *lst Flugelhorn
1st (or
also suitable for the Symphon>' Band itself: I4
— *Solo Eb-Alto or *2nd Flugelhorn
suitable in a degree, at least, not inferior as the>'
may be to any other form of band. u\ Baritone » (one or 1st and 2nd)

The distribution of the parts of other publications

Symphony Band,
h
to the instruments of the is sim- -Basses (or Tubas)
plifiedby stamping the symbols of the respecti\e
h
instruments (pages 34 and 35) on every band part.
Ji — *Timpani
The following shows the correct distribution of
the band parts which are generally issued by Ameri- -Drums
JJ{
—
can and English publishers each part being pre-
ceded by its proper symbol. The parts marked by * Ki -*Special instruments
are not usually found in every publication: Li- -*Harp
 INTRODUCTION 33

EXPLANATORY NOTE

In the following table, the compass given for the and Contrabass Clarinets and, in the Military Band,
two lowest parts, A4 and A5. are playable by both by B!>-Tubas and Eb- and BB^-Tubas respectively.
the instruments of the Symphony Band and those
The low notes, within parenthesis, of the Alto
of the Military Band, excepting the high notes of the
Clarinets are to be avoided for the time being, as that
Bass Clarinets, within parenthesis, which are to be
part may be taken by Alto Saxophones or 3rd and
used only when the work is intended to be performed
4th B-flat Clarinets, until the Alto Clarinets are
exclusively by the Symphony Band. The abbrevia- "*"
more generally used.
tions: Sy. B. and My. B., preceding the names of
those instruments, signify that the two parts A4 and For the explanation of the transposition columns,
As are to be played, in the Symi)hony Band, by Bass see Explanatory Note on page 10.
St
o
uo
C
o

?
o
Q.
"C
o
c
CQ

re
X
 35

N «• C« U

N to K«

V* N
tJtzl- uuu
 : : —

36 INTRODUCTION

TO THE TEACHERS
The method of using: this treatise — the order in which the various subjects should follow each
i.e.

other, the kind and number of illustrative examples to be given and the practising e.xercises to be assigned
—should vary according to the musical ability (natural or acquired, or both) of the pupils.
Together with three auxiliary subjects should be associated — the necessary accomplishment
this,

for a musician in any branch of the Art — namely:

First: —Solfeggio, ear training and transposition, i.e., time beating and singing of the notes in
actual sounds, in the treble- and bass-clef, at first, and then in the other five clefs (page 42), using the
sj'Ilable-system : Do, Re, Mi, Fa, Sol, La, Si.

— —
N.B. Not the "movable-Do-system" taught in some public schools which system, in the practice (playing or writing)
is of —
no use whatsoever but the French-Italian system in which C, D, E are always Do, Re, Mi, in whatever major or minor key
those notes occur.

—
Second: Elementary Piano playing for pupils who play other instruments; or, vice versa,
elementary playing of a wind instrument if the pupil is a pianist.
Third: — Harmony and elementary counterpoint.
The pupils, thus, may be divided into two classes:

Class —Those who have already learned the above auxiliary subjects, and
A
Class B: —Those who merely play an instrument.

The courses for the pupils of Class A should be so divided

First course: — Parts I and II combined (wind instruments and instrumentation).

Second course: — Part III and band conducting.

The courses for the pupils of Class B should proceed as follows:

First course: — Part I and primary study of the auxiliary subjects.

Second course: — Part II and advanced study of the auxiliary subjects.

Third course:- — Part III and band conducting.

Each lesson on Wind Instruments and Instrumentation should consist of the study of a number of
paragraphs covering one of the different points in the chapter, which point should be commented upon by
the iKipil orally, or with written examples, or exercises, similarly to those appearing throughout the
text. —
For instance in studying the first paragraphs in chapter I (see opposite page):

(/)
— "Write the harmonic-series of an open-pipo 4 ft. 9 in. in length, which gives, as fundamental,
first-space A, bass-clef."

(2)
— "State the length of a stopped-pipe required for producing the same fundamental (first-space A,
liass-clef)."

(J)— "Play on the Piano the harmonic-series, up to the 10th partial tone, produced by a conical tube
instrument which gives as fundamental, the second-line Bb, bass-clef" etc. —
 CHAPTER I

ACOUSTICAL PRINCIPLES OF THE WIND INSTRUMENTS

I. All the wind instruments are subject to the \ibrating sections, producing, respectively, the har-
natural laws of the sound-producing pipes. B>- monics (or partial tones) Nos. 2, 3, 4, etc., thus
varying with the lip-pressure, the intensity of the forming the harmonic-series of the instrument.
blowing, the column of air in the tube, which in its 2. The harmonic-series of an 8ft. -C open-pipe
entire length gives the fundamental, or first partial results as follows:
tone, may be divided into two, three, four, etc.,

#i ^ 10
:i|i

11
Liliie-^
12 13
fei
14 15 1<>

3. The harmonics Xos. 7, 11, 13 and 14, marked the 2nd and 3rd harmonics, thus the formation of
with +, according to our equal-temperainent-scalc, their scale is based upon an entirely different
are not in tune, and therefore not used; exception — principle.
is made for the Horn and slide Trombone (see ex- 5. The Clarinet, being cylindrically bored in its
planatory note, page 70). fulllength, from the joint of the mouth-piece to
4. The longer and narrower the tubing of the in- that of the bell, possesses the two characteristic
strument, the larger is the resulting harmonic series. properties of stopped-pipes. First, it produces the
The cup-mouthpiece instruments, having, more or fundamental tone an octave lower than that pro-
less,a very long and relatively narrow tube, can duced by a conical instrument (or by an open-pipe)
produce an extended harmonic series the Horn — of the same length, and, second, it gives only the
reaching the 16th harmonic; whereas the keyefl harmonics Nos. 1, 3, 5, etc.— skipping the harmon-
—
wind instruments the tubes of which are com- ics of even numbers.' For example: the Soprano
—
paratively short and large rarely extend beyond Clarinet in Bb (see page 51) the length of which is

'An open-pipe 4 ft. 4 in. (1.314 inotrcs) in length gives a fundamental of 128 vibrations and all the harmonics in their successive
order:

etc.

-'''
"
^f-^-^
^J23 456 789 10

A stop(«tl-pipc (or a Soprano Clarinet in A\>) 2 ft. 2 in. (0.657 metres) in length gives the same fundamental of 128 vibrations '
and only the harmonics of uneven number.

^ "

Note:— For the explanation of this phenomenon

13 «^«
5
see V. C. Mahillon's Treatise
7 9

on the Hiement d'Acouslique.

I 37 J

12477;)
 — -

38 WIND INSTRUMENTS
equal to that of the Oboe (see page 60), gives the and, especially, in the formation of the scale (see
scale of the 1st partial tones an octave lower than chapters IV and \'). Thus the entire mass of
the latter instrument and it produces only the har- wind instruments may be classified in three distinct
monics of uneven number; note the first over-blout groups, which are as follows:
of the Clarinet to the 3rd harmonic —
skipping the Group I :
—
Keyed-Cylindrical Tube Instru-
2nd, viz.: the over-blow to the 12th (see paragraph ments; working according to the acoustical princi-
21, page 44). ples of the Stopped -pipes: single-reed mouthpiece:
6. With the exception of the Clarinet, all the —Clarinets.
other wind instruments are more or less conical, Group — Keyed Conical Tube Instruments;
II :

either throughout their entire length of the tube, or working according to the acoustical principles of the
in part of it, and for this reason they are subject to Open-pipes; lateral-hole mouthpiece: Flutes'; single
the same acoustical laws as the open-pipes, i. e., reed mouthpiece: Saxophones; double-reed mouth-
they give the same fundamental tone as an open-pipe piece: Oboes, Bassoons and Sarrusophones. This
of the same length, and produce all the partial-tones group will be designated by the term Conic- wood.
of the harmonic-series. —
Group III: Valve- and Slide-Conical Tube
7. The conical wind instruments are divided into Instruments; working according to the acoustical
—
two dififerent groups viz.: keyed-conical instru- principles of the open-pipes; cup-mouthpiece:
ments and cup-mouthpiece instruments differing — Horns, Saxhorns, Tubas, Trumpets and Trombones,
entirely from each other in the production of tone generally designated by the term Brass.'

'The Flute, by its lateral hoie embouchure is in reality a pipe open on both ends. This explains why the instrument retains the
—
properties of the open-pipe even when it is built with a cylindrical "body," as are most of the modern Flutes with only the "head"
slightly conical. However, to render the classification simpler, no distinction has been made between the Flutes and the reed-
conical-tube instruments. The fact that all these keyed instruments overblow to the octave and give the same fundamental tone,
with the same length of tube, will justify their being classed in the same group and treated together.

^The designations "wood" and "brass" must be considered only as conventional terms, for the material of which the wind in-
struments are made has iio effect whatever on the quality of their tone. Many experiments, in this connection, have been made by
various instrument makers, all resulting in the conclusion that it is only the column of air in the tube which produces the sound,
—
and not the tube itself. We have, in fact, the pure flute-tone from whatever the instrument is made either wood, silver or gold;
and the same may be said of the brass, nickel, or copper cup-mouthpiece instruments, and also the brass or wood Contra-Bassoon,
Contrabass Clarinet, etc.
 —

CHAPTER II

THE TR.VNSPOSING WIND INSTRUMENTS

Each family of wind instruments contains a 10. The higher the instrument is tuned above the
certain number of instruments of the same nature, t>-pical Soprano in C of the family, the lower will its

but of different intonation. part be written below the actual sounds ^and vice- —
8. In order that the player may pass from one versa. Examples: an E'7-Sopranino is tuned a
instrument to another of the same family, without minor-third higher than the Soprano in C, therefore,
changing the fingering, a uniform notation, called its part will be written a minor-third lower; a B?-

"transposing-notation" or "uniform fingering sys- Tenor is tuned a major-ninth below the Soprano in
tem," has been adopted, based on the notation for C, therefore, its part will be written a major-ninth

—
a "Soprano in C" the typical instrument of the higher.
family —the
reading and fingering of which is the U. The parts for the low- voiced brass instru-
same for the other instruments of different sizes. ments —Saxhorns' and Tubas—are written in actual

For example: the C in the third space, treble-clef sounds, as the players cannot keep changing to in-
struments of higher intonation, due to the consider-

i
and
311 jf the Soprano in C is also, in the reading

same note for the other instruments

fingering, the
able difference in the embouchure, thus the uniform
fingering system
12.
becomes absolutely unnecessary.
The Contra-Bassoon and Contra-Sarruso-
of the family, but it sounds either higher or lower, I)hone are written an octave above the actual sounds,
according to whether the mstrument which plays it like the string Double-Bass.
is smaller or larger then the Soprano in C. 13. In all, there are four different notations used
9. The exact tuning of the transposing instru- at the present time, as follows:
ments is generally indicatedby the name of the Actual-sound Treble-clef: for the typical
—
instrument itself employing a designation borrowed
I.

instrument of each family (Sopranos in C).

from one of the divisions of the human voice which
II. Transposing Treble-clef: for the instru-
approximates the range of the instrument, viz.:
Soprano, Alto, etc., together with the tonic-note in ments tuned higher or lower than the Soprano
which the instrument is tuned ("in B't," "in E'?," in C, except the non-transposing instruments,
indicated Ijclovv (notation III). Occasionally
etc.). For example: the Soprano Saxophone in B>
the transposing treble-clef changed to trans-
is
is approximately within the range of the Soprano

voice, tind is tuned in B-flat, one tone below the posing bass-clef, as in the case of the Horns
Soprano Saxophone in C and Bass-Clarinets in Bb and A and Contrabas
—
There are instances, however, e. g., Bass Flute, Clarinets in F and E'?. (See Introduction.)

—
Bass Trumi)et, etc. in which the term bass is not III.Actual-sound Bass-clef: for the mid-
emplo\ fd after the manner of its application to the dle- and low-\oiced non-transposing instru-
Bass voice, but derives its significance from the ments: —
Bassoon, Sarrusophone, Tenor and
Italian word basso, meaning "low." Bass Trombone, Bass and Contrabass Sax-
In the Horns, Oboes and a few other instruments horns, B>-, E>- and BB;>-Tubas and Contra-
the voice-term is not employed at all. bass Clarinet in C.

'In France and Belgium, however, the transposing bass-clef notation is still used for the low-voiced Sa.xhorns (see Introduction,
page 19).

*The middle-voiced instruments — Bassoon, Sarrusophone, Tenor Trombon; and B>-Tubi — jccasionally change to actual-sound
tenor-clef.

[39 1
40 WIND INSTRUiVIENTS

IV. Octave Bass-clef: for the Contra-Bas- are the transposing instruments which are mostly
soon,Contra-Sarrusophone and occasionally in use at the present time. The unison passages,
the Contrabass Clarinet in C transcribed for these instruments from the piano
14. Included in the following illustration (page 41) score, will show their respective notation.

EXPLANATORY NOTE

The Trumpets (in El? and F) and the Horns (inEl> placed an octave lower than the regular transposing
and F) correspond in their tuning to the Altos and notation used by all the other valve instruments;
Baritones respectively; but, owing to their com- their transposition, therefore, corresponds to that of
pass extending to the highest harmonics (see table, the instruments vcficed an octave higher, viz.: the
page 71), and to avoid many added-line notes above Sopraninos and Altos.
the staff, the notation for these instruments has been

'The actual-sound bass-clef notation is much preferred by the players of the Contrabass-Clarinet (rather than the octave nota-
tion), as it obviates the difficult reading of the many added leger-lines in the high rogister or the necessity of changing to the
auxiliary tenor-clef.
 41

The Treble- Clef Transposing Instruments (mostly in use)

Playing in the Key of F-major in Unison with the Piano

Db Piccolo miuor 9th

C Piccolo octav.'

.ifSOPRANINOS miuor 6th

'^\Small Flute

P fSOPRANINOS
L Trumpet
$ JPJJg^ perfect 4th

SOPRANINOS
Eb Small Flute minor 3rd
Trumpet

nl> Flute minor Zad

( rf ! i h.}fll
PIANO
 - — — —

42 WIND INSTRUMENTS
15. It is most necessary that the instrumentator parts for the transposing instruments. This note
know how to writeand read fluently the notes of (C)' will be read in the soprano-clef as A when
the transposing instruments in their actual sound. the transposing instrument is in A or A-flat; it will
For this indispensable acquirement the following be read in the tenor-clef as B when the instrument
method is the most correct and practical one: is in B or B-flat; it will be read in the bass-clef as

E when the instrument is in E or E-Hat, etc.

The 3rd space-C on the treble-clef 16. The seven clefs which are used in reading
or writing, in actual sounds, the parts of any trans-
establishes a point-of-departure note for the seven posing or non-transposing instrument, are as
guide-clefs, to be used in reading and writing the follows:

G-clef C -clefs F- clefs

Treblt Soprano Mezzo-Soprano Alto Tenor Baritone Bass
Clefs and point
of departure note
W 1 m
Intonation in C in A in F in D in <y mEoiElf
of Instruments OT AI>
also the non-trans- also the non-trans-
posing middle voicec posing low- voiced
instrumeats instruments

Observe the order of the notes in descending equivalent to the key of A-flat major. The instru-
thirds: When the transposing treble-clef changes ments in B? (two flats less or two sharps more) in
to the transposing bass-clef —as
Bass Clar-
in the the key of F, one flat less plus one sharp equiva- —
inets in Bb or A; or the Horns, etc.
to read in — lent to the key of G-major. The Df? Piccolo (five
actual sound, one should use as guide the preceding flats less or fi\e sharps more) in the key of F, one

clef (in the above table); e. g., for the lowest notes flat less plus four sharps —
equivalent to the key of
of the Horn in F, written in bass-clef, use, as guide, E-major, etc.

the soprano-clef (which precedes the mezzo-soprano). 18. Now it remains to consider the changes in
17. The key-signatures of the transposing instru- the accidentals throughout the piece, which appear
ments are readily determined in the following when, by the use of the guide-clef, the notes are
peculiar manner: — called in actual-sound; and this, also, is very simple:
The number of accidentals contained in the key — Those notes which in the natural scale of a trans-
of the instrument's intonation is deducted from posing instrument result fiat or sharp, when in a
the key-signature of the piece. For example, re- modulation bear accidentals, are sharped by ^ or
ferring to the preceding table, page 41: —The in- flatted by b? when that scale is in sharps; they are
struments in A (which bear three sharps less or three sharped by •>!• or flatted by ^ when that scale is in

flats more) in the key of F have three flats more flats.

'Tlic practice ol Solfeggio, in this connection, is of great advantage, i.e. to sing the notes in their actual sound by using the
syllable system: Do, Re, Mi, Fa, Sol, La. Si (see page 36): thus ths pDint-of-departuro note. Do, will be La (soprano-clef) for the
instruments in A
or A?; Si (tenor-clef) for instrum ents in B or Bl>, etc.
 — — —

THE TRANSPOSING WIND INSTRUMENTS 43

Examples

For an instrument in A which contains in its intonation-key F-sharp, C-sharp and G-sharp, these three
notes (if altered throughout the piece) on the guide-clef will result as follows:

Point of -pi

J gepanure Dote
A departure
^, note ^~
-^ G-
Instrument in A \>]nt l>n »i ^It
t
]
l>i?o t> o \\f> j|o
Soprano Guide-clef

Actual Soprano-clef
Ml.
W^ Hrii l^t> j{ti
—xt l>»i t]ii |ii itti
po bo io wo

For an instrument in B? which contains in its intonation-key B-fiat and E-fiat. these two notes will result
as follows:

Point of B ,E
Instrument in B-flat
Tenor Guide -clef
|5^
jj

[<T»-
/, departure note
Wt l] ti fti gn- 90 \{o
|«

pyo po Ijo
Actual Tenor-clef & t^
^ (ii) Mmi Imi l^tl ~^ ^
<

For an instrument in Eb, w-hich contains, in its intonation-key B-flat, E-flat, and A-flat, these three notes
will result as follows-

Point of
J >departare note
'
B E-
Instrument in E-flat «n
Bass Guide-clef
il
/f (riy
PO ho to KO
t»«l t|tl j^t»
l>" tl" h
Actual Bass-clef ^P^ t>l>o t>o [)o ^«^
)i[ni \n% t)ti j|»»
Mill bti l ^ti :^

It follows, of course, that the alterations of the (page 41) the student will observe that the alto
accidental-notes occur throughout all the octaves. guide-clef of the D-flat Piccolo sounds two octaves
The other notes — those which are natural the in abm>e the actual alto-clef; the mezzo-soprano
intonation-key of the instrument — whenever they are guide-clef of the Truinpet in F sounds an octave
chromatically altered in the piece, would l)e similarly above the actual mezzo-soprano-clef; the tenor
affected on the guide-clef lay the same accidental. guide-clef of the Bl>-Sopranos also sounds an octave
It must be understood, however, that this is above the actual tenor-clef, etc.
simply a guide by which to read and write (in actual Among
all the transposing instruments referred

sounds) the parts of the transposing instruments, to,only the guide-clefs of the Sopranos in A, Altos
as the se\'en guide-clefs used are by no means all in F, Tenors in B'7 and Baritone in Eb, correspond,
correct in their octaves. By applying these clefs in the correct octave, to the respective actual clefs
to the illustration on the transposing instruments of soprano, mezzo-soprano, tenor and bass.
 — —

CHAPTER III

THE CLARINETS

(Keyed Cylindrical Tube Instruments)

(a) Types of Instruments and Notation 20. The Soprano in C, the typical instrument of
the family, is written in the treble-clef, actual
19. There are five distinct groups of Clarinets
sound.
made today' — all being cylindrical-tube and single-
For the Sopraninos, Sopranos in Bb and A and
reed instruments:
Altos, the transposing treble-clef notation is used
exclusively.
For the Basses, both the treble- and bass-clef
(1) Sopranino Clarinets
transposing notations are used, with the exception of
the bass-clef for the Bass-Clarinet in C, which cor-
responds to the actual sounds.
For the Contrabass Clarinet in C the notation in

Soprano Clarinets actual sound Bass-clef is preferable (see foot-note,

(2)
page 40) the octave notation
; the same as for —
—
String Double-bass is also frequently used.
Various notations are employed for the Contra-
(3) Alto Clarinets bass Clarinets in F,Eb and Bb these are given in—
the Introduction (page 13).

(b) Harmonic Series and Scale

(4) Bass Clarinets 21.The first part of the scale on the Clarinets
is produced by opening successively, from the bell-
joint upward, a number of holes, some of which are
covered by the fingers of the player and others by
Contrabass Clarinets keys. This first part comprises nineteen semi-
(5)
tones, which are all fundamentals (1st partial-tones)
of the harmonic series as follows:

Fundamentals

Commencing from for which note mentals, but with more air-pressure on the reed;
thus giving, instead of the 2nd harmonics, the next
allthe holes are again covered, a second, ascending nearest partial tones of unequal number, viz., 3rd
succession of nineteen semitones is produced with harmonics, which are a 12th above the funda-
the same fingering^ of all the corresponding funda- mentals:

'See figures on page 51.

'The typical instrument.
'.Mso called Bassett-Horn (see page 12).
Onthe Clarinets, and some others reed-instruments also, the emission of harmonics is facilitated by the opening of a small hole
near the reed-joint, with the so-called "speaker-key" or "vent-key". Some instruments, as the Oboe, the Saxophones, etc., have a
second speaker-key for the highest harmonics.

[44]
 — — —

THE CLARINETS 45

3rd harmonics
j j J J U hi J ti i ri J ^
1= ^^ ^ ^ ^ f*

Fundamentals

With further augmentation of the air-pressure the next harmonics of uneven number are obtained, viz.,
the 5th and the 9th (the 7th harmonics, being impracticable in the equal-temperament scale, -see page 37 —
are not used) :

~5th harmonics .
9th harmonics

d i 4 i 4 i i

Fuiidaoientals .

Fundamentals

22. From upward, however, this "natural" fingering is not observed in most of the

notes; instead, "a.iiticial" fingering is used to facilitate the emission of the sound, or tJ impx-uve the tone-
quality and intonation (see foot-note No. 3, page 52).

(c) Technique
23. The scale of the Clarinets is divided into five registers:

low register
'CAalumeau"
 — —-

46 WIND INSTRUMENTS
27. The high register is distinctly more reedy' Soprano Clarinets, together with the Sopranino excel
than the middle-register — the clarinello — but it is in the principal part, as do the Violins in the or-
very good and effective in its character, and it is chestra.
possible on all the Clarinets except the Contrabass, 30.The other Clarinets—Alto, Bass and Contra-
which can only reach the first four semitones: bass —although the fingering the same, the greater
is

their size, the less adaptable are they to agile

* J'
"O- 1^ — " actual sounds for the Con-
C.
articulation, as the low tones are produced with a
tral)ass Clarinet in
lesser number of vibrations to a second than the
IS. The extreme register possible only on the high tones; that is to say, the tones of the low-voiced
Soprano and partly on the Sopranino Clarinets is instruments vibrate slower, and, therefore, are
more or less shrieking, according to the proficiency heavier and thicker than the more rapidly vibrating
of the performer. This register is only employed tones of the higher-voiced instruments, thereby
in Clarinet Concertos, or other Clarinet Solos, but losing in tonal-flexibility. —This also applies to
not in orchestra or band parts, save the occasional every family of musical instruments.
use of the first two or three semitones a tiilti-
in There are limitations and difficulties in the rapid
fortissimo of the band, when it occurs, to avoid the execution of some intervals of the Clarinets.
breaking of a high melody, or passage, in the first 31. In general, it is to be remembered that
Soprano Clarinets. passages formed of octave-skips are difficult on the
The entire compass and notation of the different cylindrical instruments —the Clarinets —as their
Clarinets is given in the Introduction, pages 12 fingering changes each octave; whereas such
in

and 13, and further, 34 and 35. passages become easier on all the conical instruments
29. The Sopranino and Soprano Clarinets are —Conic-wood and Brass, for they naturally over-
as agile in execution as the Flute, almost approaching blow to the octave, retaining the same fingering
the Violin in velocity, both in legato and staccato throughout. For instance: the following passage,
passages, and in scales, arpeggi, fingered-tremolo, which is easy in execution for a Flute, a Saxophone
trills, etc. and even for a Saxhorn, is quite difficult for the
These technique of the Clarinet
possibilities in the —
Clarinets almost impossible in an allegro move-
are especially displayed in band music where the ment:

# J JJ-VJ''^ J^'^
^ ^ ^A -^^
^ i^

This difference in the matter of easy and difficult especially where the Clarinets are given (in fingered-
execution between cylindrical and conical instru- tremolo) both the fingered and bowed tremolo of
ments appears in the octave skips only; throughout tiie strings, instances frequently appear, which,
the other intervals all the keyed instruments (cylin- by the bad effect they produce, give evidence of the
drical or conical) are subject to about the same instrumentator's lack of technical knowledge in
degree of difficulties according to the width of the this particular.
interval, its fingering and rapidity of execution. One has no plausible reason to give in excuse of
32. It is of prime importance in scoring to make such errors when, as in the case of band-scoring,
sure that the trills and tremolos used are all prac- he has at his disposal entire families of instruments
ticable. In transcriptions from orchestra to band, to which he can distribute in many ways the tremolo-

'Generally speaking this reedy quality of the high register occurs with the average Clarinet players, but today there are many
who can play quite evenly both the middle and high registers with a beautiful Clarinello quality.
skilled clarinettisls
-"The B? Clarinets are to the I\Iilitary-Band what the Violins are to the Orchestra. Indeed they are a good deal more, for where-
as in the upper register of the orchestra the wood-wind instruments can take their proper share of extended figures and melodic
passages, in the Military Band" (here meaning a band without Oboes and Saxophones), "the Clarinets alone can be used to give
adequate emphasis to the transliterations of these parts." ("Orchestration" by Cecil Forsyth. Mac.Millan & Co., London.)
 ^ —

THE CLARINETS 47

div.
^^1 ^'^- *
chord. For instance, an A-major chord of the first V'iohns divisi: ly^L-jlfj — f^-r^i °^ ^ ^ (> may

be given to the Clarinet family in four ditiferent ways, with the following results:

very difficult pood

Bt>Sopranos I
EbSopraninos

bad
veri/ bad
out of tune

BbSopranos I

M Bb Sopranos II

difficult g-ood

B1) Sopranos I B[) Sopranos

(I or II)

fairly good good vtrygoud

B? Sopranos II e!) Altos

In the tables on page 49 can l)e found at a glance 3>c>. These tables, and also those given in the
the various trills or tremolos possible for tiic Clar- following chapter on the trills and tremolos of
inets — the Sopranino, Soprano, Alto and I5ass the Conic-wood (pages 56 and 57) are the result
(Boehm-system), and the Contrabass (thirteen key, f)f careful experiments made, with the co-operation

Biiffel-syslem) —with special indications as to the of competent performers on instruments of the

degree of their difificuiiy. most modern systems.
 —

48 WIND INSTRUMENTS

EXPLANATORY NOTE
In the following tables, the possible trills and tremolos are placed vertically, in squares, over each note of the entire chromatic
scale of the instrument, beginning with the minor second and ascending— the intervals indicated in parallel position at the left of
the tables.
Thcemptysquaresrepresent the easy trills and tremolos; the numbered squares represent the difficult or defective, and the
crossed squares represent the impracticable ones—according to the annotations accompanying the tables; for example: the' trills and

tremolos on
'"$ of a Boehm-System Clarinet, result as follows:

very not .

W^^A
difficult difficult impossible in tune ' impossible

gv-gi
As a general rule, the smalLr intervals are always the best.
Certain intervals, like the minor and major seventh and the octave, though of possible execution,
are excluded from the
tables because in any case of tremolo-effects it will be found unnecessary to make use of
larger intervals than the 4th or 5th.
Remark:— Whi:n the Bass-clef notation is used for the Bass-Clarinet, the instrumentator will allow for the difference of an

octave between this clef and the written treble-clef in the table, thus, e.g., the first note of the seal . i
will correspond to a# (See Introduction, page 13.)

The actual sound bass-clef notation is uscd-for the Contrabass Clarinet in C.

 THE CLARINETS 49

Tables of Trills and Tremolos for the Clarinets

Explanatory.n 5-oorf. [T] difficult; [2] very difficult-^\to be avoided inpp; [4j defective intonation;^^ impracticable.

Clarinets: Sopranino, Soprano, Alto and Bass (Boehm System)

maj. 6th
min.6th(augm.5th)
perf. 5th
dim5th(augm.4th)
perf. 4th
maj. 3rd
min. 3rd
50 WIND INSTRUMENTS
(d) Quality of Tone of the hurricane. "No other instrument has so
complete a command of -==: ^=-
as the Clari-
34. The tone of the Clarinets is the most beautiful
net. This applies to the whole of its compass, and
of all the wind-instruments; rich, expressive and
to all the instruments of the Clarinet family. In
penetrating; suited to portray great diversity of
especial, the Clarinet ppp is the nearest attainable
emotional moods; — joy, love, tenderness, plaintive-
wind depart-
ness, grief, despair, dismay, etc. —according to the
approach to 'nothing at
ment."^
all' in the

different registers of each of the five instruments of

36. Such qualities in the tone of the Clarinets
the family, used in all the various dynamic degrees
from pianissimo to fortissimo. have placed these instruments in the most prominent
part of the band ensemble, viz.: the section which
35. Another quality in which the Clarinets excel
corresponds to that represented by the strings in
over all the other instruments is their great tonal
the orchestra.
flexibility. Thus the Clarinets can be adapted to
any desired effect, expressing with the same facility This important role of the Clarinet family is

the whispering of the lightest breeze and the fury more e.xtensively dealt with in Parts II and III.

•"Orchestration" by Cecil Forsyth.

 THE CONIC-WOOD 53

EXPLANATORY NOTE
The fundamentals are written in whole notes and The middle register between the brackets, thus: ][
the harmonics in half-notes, under which the proper forms the most sonorous part of the scale, respond-
generator (or fundamental) is indicated. ing easily to every dynamic degree from pianissimo
The low quarter-notes are obtained with the length- to fortissimo.
ening of the tube by closing, with special keys, certain The high register, separated by a bracket, thus: [

large holes near the bell, and the high quarter-notes is generally thin in tonal quality.
in the Saxophones and Bassoons are produced by open- Several of the extreme low and high notes in these
ing small holes near the mouthpiece-joint. scales are possible, but very difficult in some instru-
The scale may be divided simply into low, middle, ments of the family and impossible in others. For
and high register. the sake of clearness, indications of such notes are
The low register separated by bracket, thus: 1 omitted in this table, referring the student to the
«s sonorous, but of little carrying power. table of "The Band Instruments," on pages 34 and 35.
64
 THE CONIC-WOOD 55

(c) Technique 42. In the score examples of Part II and III, the
student will find practical illustrations of these hints
41. The keyed-conical tute instruments vary in
regarding the "Conic-wood." But the diligent study
agility of tone-production according to tiieir moutii-
of classical orchestral works is also indispensable for
piece.
acquiring sufficient knowledge of the possibilities of
The lateral-hole instruments (Flutes and Piccolos),
these instruments.
being the quickest and easiest for attacking and
producing the sounds, are the most agile in this It is essential, that the student always bear in
section. They are unsurpassed in trills, rapid mind certain limitations, beyond which the tech-
passages formed on scales or skips slurred or — nique of each instrument fails to function; these
staccato, in single- double- or triple-tonguing. are especially the emission of high and extreme
The single-reed instruments (Saxophones) come notes —^already indicated in the Introduction (pages

ne.xt in facility of technique, and last, the double- 34 and 35) —and the execution of certain fingered
reed instruments (Oboes, Bassoons and Sarruso- tremolos and trills.

phones) which, although they allow of great possi- 43. In the following tables (pages 56 and 57) the
bilities in the hands of some virtuosi, are, neverthe- student will find a complete account, easy to refer
less, the most difficult among the keyed instruments, to,whenever he employs the conic-wood instruments
and the prudent instrumentator will never risk em- These tables are compiled in
in trills or tremolos.'
plo\'ing them be\'ond the limit of medium velocity. the same manner as those given for the trills and
Generally speaking, with regard to each group of tremolos of the Clarinets; the student, therefore, is

different mouthpieces—as already said of the Clari- referred to page 46, paragraphs 32 and 33,and sub-
net family (paragraph — the smaller instruments
30), secjuent explanatory note (page 48), where the
are, by nature, the most agile in tone-production correct use of the tables is duly explained.

'The following tremolos, which are difficult or impracticable on the ordinary Boehm-FIute (as given in the Flute table) can how-
ever, be easily playedon the Boehm-FIute with the special C-sharp trill-key, made by Wm. S. Hayncs Co., Boston, Mass.

4=^=^ 'V' i'

'

y i'
B« WIND INSTRUiMENTS

Tables of Trills and Tremolos

for the most used Keyed Conical Tube Instruments

ixpUDitOTy:\\g-ood;\l\dif/icult; Z oery difficult ;\3\ to be avoided inpp; [4~| defective intonation; [)() impracUeablt.
Flutes and Piccolos (Boehm System)

maj. 6th
 THE CONIC-WOOD 67

Tables of Trills and Tremolos

for the most used Keyed Conical Tube Instruments (Continued)

Explanatory: M ^oorf,-rij difficult; Vz\ very difficult A^ to be avoided inpp; [4] defective ititonation; ^Q impracticable.
SaXOphoneSC'New improved System"- sixteen keys)

perf. 6th
58 WIND INSTRUMENTS

(d) Quality of Tone scenes, it is unsurpassed by any other instru-

ment.
44. It is difficult to give an adequate description
of the timbre of the various instruments. There is — BASSOON: —Versatile in tonal-quality according
only one practical way of teaching a child to dis- to the requirements of the mood for depiction.
and yellow, and that is
tinguish the colors red, blue Sustained legato passages in the low register are
by a demonstration and identification for him of either dignified, mysterious, solemn or pontif-
these particular hues. And so it is with the tonal ical in character; in the medium register, sweet,
quality of each of the various instruments. A gentle and persuasive, somewhat resembling a
knowledge of them cannot be obtained by verbal distant Baritone- voice; in the high register, thin
description. One must actually hear the sound and plaintive. Staccato passages, when piano
produced by the Oboe, Clarinet or Trumpet to and mezzo-forte are droll and sportive in their
become familiar with the individual tonal-character- and grotesque when forte. The Bassoons
effects,
istics of these instruments.^ have less carrying power than any other wind
The following points on the conic-wood instru- instrument.
ments, however, will help to impress upon the
student's mind the quality of tone that he hears Contra- BASSOON: —The lowest octave has a
whenever the occasion is offered to him.- tonal character peculiarlyits own: it continues

homogeneously the downward compass of the

PlCCOLO: — Brilliant and hard in tonal-qualit>-,
Bassoon, but the vibrations of its large double-
suited for the depiction of joyous, festival
reed become slower and increasingly more
scenes; storm-effects; embellishments in march-
noticeable when descending the scale towards
ing music and in octave-melodies in tiitti-
fortissimo.
the lowest fifth —the tones partaking of a
"drummy" and the intonation-pitch be-
effect
Flute : —The sweetest-toned of all the instru- coming very indistinct. The middle and high
ments: appropriate for the expression of happy registers resemble, more or less, the respective
moods; soft whisperings of Nature sounds; low and medium registers of the Bassoon, but
plaintive loneliness and sadness. lacking in delicacy. Very weak in carrying

SAXOPHONES: — Mellow
and penetrating tone of power, like the Bassoon.

veiled quality, partaking somewhat of the

but much more
SarruSOPHONE: —Same tone-color as that of
Clarinet and English-horn, the Bassoons, though a little thicker in quality,
sonorous. but much more sonorous and of splendid

ObOE: —
Thin and somewhat nasal tone; lyrical carrying power, thus rendering these instru-
and charming when piano, piercing when/or/e; ments excellent substitutes for the Bassoons
especially suited for portraying pensive, pas- in outdoor music.
melancholy moods.
toral scenes, or lonely,
Contra-S.\RRUSOPHONE: —Same timbre as that
English-Horn —Smooth : and rich quality of of the Contra-Bassoon, but much richer and of
tone, reminding one a little of the Alto voice. great carrying power even when used out-of-
For reminiscent moods, tragic or pathetic doors.

'See pasie 9, last paragraph.

'In addition, the student is recommended to read standard works upon instrumentation or orchestration, as Berlioz, Gevaert,
Forsyth, Widor, liofmann, Prout, etc.
 — —

CHAPTER V
THE BIL\SS

(Cup Mouthpiece Instruments)

(a) Types of Instruments and Notation that of the Sopranino but of the length of the
original Soprano (b).
45. At the present time, the brass instruments are
3. The Mezzo-Soprano Saxhorns in B? or its
found in a great variety of models and shapes and
fac-simile, the Flugelhorn or Bugle; tubing of
(excepting those which have a permanent place in
the same length as that of the original Soprano
the orchestra, viz.: the Horns, Trumpets and Trom-
(b), but slightly larger.
bones) the>' are known by the most diversified
4. The Alto Saxhorn in E? practically the
nomenclature, and treated in infinitely varied com-
same as the original (c).
binations in the band scores of today. In order that
5. The Tenor Saxhorn in Bb practically the
we may co-ordinate our ideas, and comprehend more
same as the original (d).
clearly the situation, it is necessary that we first
6. The Baritone Saxhorn in Bb practically
and evolution of certain
briefly consider the origin
the same as the original (e).
instruments which are more affected by the present-
7. The Bass Saxhorn in E? practically the
day chaotic condition in terminology and usage.
same as the original (/).
These particular instruments are the SAXHORNS
8. The Contrabass Saxhorn in Bb practically
and TUBAS.
the same as the original (g).
46. The original family of the Saxhorns, invented
by Adolph Sax, in 1842, contained the following The foregoing nomenclature is the most appro-

seven different t\pes: priate to the modern instruments, and will greatly
aid in the correct employment of this family of brass
(a) Sopranino in E? instruments.
(b) Soprano in Bt> 48. The Saxhorns are, or are supposed to be, in-
(c) Alto in E':> struments with a bell-cup mouthpiece (figure B,
(d) Tenor or Baritone in B> page 65) and short conical-tube, all ha\ing three
(e) Bass in Bb valves — the additional fourth vaKe being quite im-
(/) Low-Bass in E'?
practicable on instruments of marked conical-tube.
(g) Contrabass in B> 49. The first four Saxhorns —Sopranino, Soprano,
47. At the present time, instruments of tlie nature
Mezzo-Soprano and Alto- — -are of horizontal or
Bugle shape, and the last four —Tenor, Baritone,
of the Saxhorns are found in eight different types,'
namely :
Bass and Contrabass —of vertical or Ophicleide
shape, preferably with the bell bent towards the
1. The Sopranino Saxhorn in Eb or its fac- front (see page 77). This feature (the front bell)
simile, the E>-("ornet, or Piston iir Ei?; same in the vertical Saxhorns has proved to be very

as the original Sopranino (a). efficient in preventing the retardation or the dragging
2. The Soprano Saxhorn in B> or its fac- response so accentuated in the mellow-tone of these
simile, the B>-('ornet with conical-tube and large instruments.
Saxhorn-moutii|)iece; tut)ing comparatively The last two Saxhorns are also made in circular
small —of practically the same diameter as form, thus to render them more portable for

'See figures on pages 76 and 77.

'.Alto Saxhorns of vertical shape, known as "Kl>-Altos," are also used in some bands; often they take the parts of the
El>-Horns, in absence of these instruments (.see page 32).

(61]
 •

62 WIND INSTRUMENTS
marching; in this model, also, the bell is bent definite designation for that section of the Brass
toward the front (see page 78). which may or may not be employed by composers
50. The Sopranino Saxhorn is not generally used, and bandmasters, according to the requirements of
except in Fanfare' (Brass Band) because of the — the organization.
difficulty of its intonation, very few cornetists are 53. The family of Tubas used today contain the
willing to play this instrument. The modern So- following five instruments: —
prano Saxhorn (the Bb-Cornet), however, the high — Alto Tuba in Eb derived from the modern Sax-
notes of which being much easier to obtain than the horn, No. 4 (i^age 61).
—
Sopranino's reaches with almost the same facility Tenor Tuba in B'> derived from the modern Sax-
the compass of the latter instrument, thus bringing horn, No. 5 (page 61).
to nought the only raison d'etre of the Sopranino. Baritone Tuba in Bb' (generally known as
Apart from the high notes in its compass, the So- Euphonium) derived from the modern Saxhorn,
pranino possesses no superiority over the Soprano, No. 6 (page 61).
wither in its tonal quality or possibilities of tech- Bass Tuba in F or Eb derived from the modern
nique. Moreover, the low register of the Soprano Saxhorn, No. 7 (page 61).
(five additional semitones) is lacking entirely in the Contrabass Tuba in C or Bb derived from the
compass of the Sopranino. The gradual
disuse of modern Saxhorn, No. 8 (page 61).
the little Saxhorn is therefore not surprising. 54. The difference between the Saxhorns and the
51. Aside from the Sopranino, all the other Sax- Tubas consists in the latter having a deep bowl-cup
horns, from the Soprano downward either as — mouthpiece'' (see figure C, page 65); a tube which is
complete or incomplete family —are used in ev'ery about one-third its length cylindrical and two-thirds
civilian or military band in all countries. conical; four valves and bell straight upright.
52. There are other instruments in use today In consequence of these differences, the Tubas
which are simply modifications of the Saxhorns, and produce a tone of a lighter shade, —something
for this reason they are considered, and described between the Horn and the Trombone,—whereas the
in most works upon instrumentation, as such. It mellow-tone of the Saxhorns pertains to the darker
is better, however, to distinguish these modified in- shades of all the brass instruments.
struments from the real Saxhorns by designating It is therefore necessary to make a distinction
—
them with the name which they have acquired in- between the Saxhorns and Tubas when employing
—
ternationally of TUBAS,- thereby obtaining a these instruments in the modern band score.

'In Italy, the Sopranino Saxhorn has been introduced of lite in the Infantry Ban J in place of the Cornel Soloist. In France and
Belgium some large Military Bands and Fanfares also use the Sopranino Saxhorn, but not as a solo instrument.
=The Saxtrombas, instrument invented by Adolph Sax towards the middle of the nineteenth century— which never reached inter-
national popularity and soon became obsolete^are described as possessing approximately the characteristics of the modern Tubas.
The intonation, harmonic-series and scale of the Saxtrombas are the same as on the original Saxhorns (Paragraph 46). In addition,
however, a little Sopranino (Super-acute Saxtromba in B?), tuned a perfect fifth above the Eb Sopranino Saxhorn, completes the
family of the Saxtrombas. The compass of this instrument is given by Gevaert ( Nouveau traite d' Instrumentation) as follows:

written sound

Super-acute Saxtromba in Bb
« i<
-I

i -&-
Q.

'Alberto Franchetti emplovcd in his opera Germn«ia four B^-Tubas (Euphonium^)— mdicated as Tubas i» C—
and on3 Bass Tuba.
'The Tuben that Wagner introrl.irod in the orchestration of the Rinz von Mhclun^cn were supposed to be pl.iycd with a Horn
with the Horns,
mouthpiece; this the Master wanud, resumablv, with the thought that these in^-trum.nts would bk-ml
i
b.tter
Trumpets and Trombones, and also for nachint; the hii;h harmonics obtainable on the Horn, of which harmonics h- took a.ly.intagc
in the first combination of Tubas— two Ten ,r-Tuhcn inB (15-) and Wxo Bass-Tuhen in F. In fact, in this first combinatmn, W agntr
used the same notation of the resoective Horn in BS-Alto and Horn in F;— whereas f..r the second combination—
two Tcnor-1 uhen
inE (Eb)and tno Bass-Tuben B (Bb)— he used the same notations as for th.- Alto and Tenor-Saxhorns, to which they correspond
in
(see Introduction, page 20). . .
u- u u i- »
.i •

Wagner's idea of the Horn mouthpiece, however (as well as in the instance of his chanjiinj o, notation, which he indicates in the
score of W'alkiire as 'ease of score-reading!") has not b:cn followed, for the simple rjason that it was impracticable, and now the
parts of these Tuben are played either with real Tubas or with Saxhorns.
 THE BRASS 63

In order to aid the student in identif\ing the B> or A), generally used in small orchestra in place of
Saxhorns and Tubas as they are indicated in Amer- the Trumpets, are built on the principle of the Tubas
ican and foreign orchestra- or band-scores (or parts) —with their tubing one-third of the length c>liiuln-
the following list of these instruments (page 64) in- cal, and two-thirds conical,' and are played with a
cludes not only their proper technical names, but deep bowl-cup mouthpiece (figure C, page 65);
also the various common designations by which but in the band the real Soprano Saxhorns (conical
they are known at the present time. bore) are to be preferred to attain the necessary
55. It will be noticed in this list that the Soprano contrast of tone-color between these instruments
Saxhorn and the modern conical-bore B^-Cornet arc and the Trumpets; whereas, with the partly-cylin-
same instrument.
considered as identically the It drical-bore Cornets, such a contrast is lost.
must be observed, however, that the Cornets (in

'See Introduction, page 20.

 .

64 WIND INSTRUMENTS

TECHNICAL AND COMMON NAMES OF THE SAXHORNS AND TUBAS

Technical Names Common Names

English English Italian French German
SOPRANINO SAXHORN Eb-Cornet Pistonino
Bugle
Petit
in E!> r,- c ^ Buele Soprano Piccolo Cornel in Es
Eb-Bugle Fluorno Sopranmo •

hgure 20, page 76 Bugle So pranino

u a
u SOPRANO SAXHORN Bb-Cornet
in Bb bma ore
Cornetta a Piston i Cornel-d-Pistons Piston in B
B Cornetta Francese Saxlromba Soprano Soprano Cornel
o figures 21 and 22, page 76
u
a 's
o MEZZO-SOPRANO Bugle
„,
fluorno
Bugle
e SAXHORN, in Bl»
Flugelhorn Flicorno Soprano
(j^ j^ ^ J Flugelhorn
figure 23, page 76 ^^^,^ Contralto
o ic
3
•O
C ALTO SAXHORN in El. Alto-Cornet
Flicorno Contralto Bugle Alto
Althorn
« figure 24, page 76 Bass 1 rumpet in fc,b Alto Cornet in Es

a
JS TENOR SAXHORN in Bb Bb-Tenor Bassoflicorno Tenor en 5(b
Tenorhorn
3 figure 25, pago 77 Tenur-horn Flicorno Tenore Bugle Bar y ton
Xi O

c a BARITONE SAXHORN
o
u 3 Baritone Bombardino
Barvton Bar\ton
U in Bb '
Bb-Bass Flicorno Barilono
figure 26, page 77

SI

>
BASS SAXHORN In Eb Eb-Bass Bombardone in Mib Bombardon en Mib o n-

figure 27, page 77 Eb-Bombardon FlicornoBasso-Crave Contrabass en Mi]f

>

u CONTRABASS Pellittone
Helicon
SAXHORN in Bb BBb-Bass Flicorno Contra-
Contrabasse en Si?
Kontrabass in B
> figure 28, page 77 basso
 —

THE BRASS 65

56. The first six Saxhorns —Sopranino to Bari- trol of competent musicians — composers and con-
tone —are written for in the transposing Treble-clef; ductors —and, therefore, are found only in standard
the last two, Bass and Contrabass, in actual-sounds, models, and are known internationally under their
Bass-clef. proper names. For the Horns' and Trumpets' nota-
The Alto and Tenor Tubas are written for in the tions (see explanatory note, page 40). The actual
transposing Treble-clef, and the Baritone, Bass and —
sound tenor or bass-clef —notation is used for the
Contrabass Tubas in actual-sounds, bass-clef. Trombones.
The other brass instiuments, viz.: Horns, Trum- 57. The modern brass instruments will thus be
pets and Trombones, having a distinct part in
all the shape of their respective mouth-
classified, after
the Symphony Orchestra, are more under the con- pieces and their tubing, as follows:

HORN SAXHORNS

Conic-cup Bell-cup
mouthpiece. mouthpiece.

Tubing: — long, narrow and Tubing: —short and conical

in all its length.
conical.

Front bell.
Side bell.

TUBAS TRUMPETS and TROMBONES

Deep l)owl-cup Shallow bowl-cup

mouthpiece. mouthpiece.
Tubing: —one-third of the Tubing: — tvvo-thirds of the
length cylindrical and length cylindrical and
two- thirds conical. one-third conical.

Upright bell. Front bell.

 : — -

66 WIND INSTRUMENTS

Note. — Figure A, in the preceding page, shows lengthened so as to tune the instrument from one
the correct size of the only conic-cup (Horn) mouth- to six semitones lower; thus producing, with the
piece. principal tube, seven different harmonic-series.
Figures B, C and D show the correct size of For instantaneous changes, from one to another,
mouthpieces for the Sopranos' of each group of two different devices
of these seven different pitches,
instruments. The mouthpieces of the other instru- are employed, viz.: (1) the slide on the Slide-
ments in the group retain the same shape of the Trombones, and (2) the valves on all the other
Soprano mouthpiece, but increase in size as the brass instruments.
instruments are voiced lower. The slide, which is controlled by the player's
The Slide-Trombone mouthpiece —though having, hand, varies the length of the tube from the 1st to
in its proportion, the same shallow cup as figure the 7th position, so-called, approximately as follows:
D — is constructed differently in the lower part, i. e. —^For the from the
1st position the slide is closed;
the shank is made either almost cylindrical in its 1st to the 2nd position the slide is extended 3^
exterior (in order to set in the tube in place of the inches; from the 2nd to the 3rd position the slide
so-called "leader") or, if a "leader" is built into the is extended 3}^ inches; from the 3rd to the 4th

instrument, the shank is then made shorter, like position the slide is extended 3% inches; from the
that of the Tuba mouthpiece (Fig. C). — 4th to the 5th position the slide is extended A}/^
inches; from the 5th to the 6th position the slide is
(b) Harmonic Series and Scale
extended 4J^ inches; from the 6th to the 7th position
58. The cup-mouthpiece instruments, owing to the slide is extended A^i inches.
their tube (conical in its whole length or in part) 60. The valves open communication from the
work al.so on the principle of the open-pipes, gi\ing principal tube to three additional tubes, so dis-
the same fundamental toneas an open-pipe of the same posed :

length, and the harmonic-series in natural order,

with the partial-tones of even and uneven numbers. 1 2 3
The narrower and longer the tubing of these in- 1 tone Y2 tone 1J4 tone
struments, the greater is the number of the har-
monics produced (paragraph 4). Using a Tenor Slide-Trombone, which is tuned in
59. Every brass instrument, without the use of Bb, and a valve instrument of the same pitch, e. g.,
valve or slide, produces with its principal tube the a Bb-Tenor Saxhorn (written for in actual sound)
harmonic-series of the fundamental tone in which the result will be that the two instruments will
it is tuned, i. e. the Horn in F gives the harmonic-
: perform the same seven harmonic-series, as shown
series of F. The principal tube, however, can be on the following page.

'The Soprano of the Tuba family is in reality the Cornet-a-pistons (see paragraph 55).
'The above numbers in inches are doubled when referring to the total length of tub2, as the slids is formed oi two parallel tubes,
connected at the bottom, forming a U shapj (see page 80j: thus to tun^ the Trombone from one to six s-'mitones lower, the tube
measurement of each chan,;e is increased \ in. for every semitone.
 THE BR.^SS 67

Slide and Valve Instruments Compared

10
Po sitions
ISlidel l3-valvesl 1

1st

2nd 2

3rd 10

00 3
4th
or 1 2

5th 02 3 ^
6th 103

•7th 123

(OO
 — — —

68 WIND INSTRUMENTS

62. The three-valve system, tliat won preference The player, with his lips, can easily correct the
over the six independent-valve system because of 5th but not so the 6th and 7th, for which a
series,

its practicability and lightness, has, however, the very unnatural lip-pressure is required in order to
following defects, which are worth the consideration approach the right intonation. In consequence of
of the conscientious instrumentator. this lip effort the tone becomes deadened, unsteady,
The harmonic series (O, F and E)
last three weak and very difficult of attack.
for performing which more than a single valve is 63. Fortunately, however, only the harmonics 2
required — lack in their intonation, because the two and 3 of the 6th and 7th series are found to be used
or three additional tubes, used simultaneously, do on valve instruments, for the tones of the higher
not measure the exact and necessary length to lower harmonics are also found in the upper series, where
the instrument to that pitch'. This is easily ex- they are preferred for their intonation and quality
plained : of tone. These false tones of the 6th and 7 th
The Tenor (slide) Trombone (in B'?), from the series, however, if overlooked, are enough to spoil a

G to the G\? series, lengthens its tube 81/^ inches; passage of otherwise good scoring, especially so if
from the Gb to the F series lengthens its tube Sjg they are in a prominent solo part or in sustained
inches; from the F to the E series lengthens its tube chords. The instrumentator must av^oid them by
93^ inches (see foot-note No. 2, page 66). interchanging the notes with other instruments of
On the contrary, the Tenor Saxhorn in Bb for — different pitch. The four defective tones are easy
—
each of the above three changes always lengthens to remember; they are the first and second semitones
its tube about 6/^ inches, thus: —
the Gb-series above the tonic-note of the instrument, w-ith their
results about 3^ of a tone sharp the F-series
; results respective descending perfect fifths, e. g., on the
about 3^^ of a tone sharp; the E-series results about Tenor Saxhorn in B? the four defective tones are
H of a tone sharp. these:

defect ivp
tonic r
written
T»r

defective
tonic I 1

actual d^
sound ^= ^E zsn
-cr

64. Amongthe valve instruments the Horns and 65. The fourth-valve (which adds — to the length
Tubas are exempt from these defects the Horn- — of instrument — the respective fourth additional
players being able to correct them by changing the tube) generally lowers the instrument a perfect
position of the hand within the bell, and the Tuba- fourth,* i. e., it takes the place of the first-valve
playsrs by using the fourth additional valve. (one whole tone) and third -valve (one and a half-

'Some instrument makers have, of late, invented a new device called "compensating valves" or "enharmonic valves," intended
to correct the discrepancy of the three-valve system. It consists of extra pipe-loops, which enter into communication with the
regular additional tutes when these are used in combination, viz.: 2-3, 1-3 and 1-2-3. A
device of this nature, if it could be per-
fected, wouUl mean an immense improvement in the construction ot valve instruments.
HDthcr intonations are occasionally given to the fourth-valve, viz.: a minor-third lower, a diminished-fifth lower, etc. from
the tonic-note of the instrument; but the perfect-fourth lower is the universally accepted intonation.
For the sake of completeness we may mention here a new Trumpet in C (yet unknown to us) invented by M. Franquin, of the
Paris Conservatory'. It is described as having "the three origin;il valves unaltered and the addition of twinew valves: the fourth —
valve raises the instrument by a tone and, the fifth lowers it by a tone and a half or two, as one chooses" (?).
 —

THE BRASS 69

tone) together, and it serves, to obtain the 6th played either an octave higher, or, with the use of
position in perfect tune; the 7th position with the the fourth valve, out of tune, producing in both
combination of the second and fourtii valves, is also —
cases especially the last —
undesirable effects.
much better in tune than willi the first, second and One example will suffice to show plainly the
third valves. illogicalness of this principle: —
66. It is a mistake, however, to believe that the Take, for instance, the Bb-Tuba (Euphonium)
fourth valve can also be used to extend the down- and tic down permanently its fourth viilve, thus
ward compass of the instrument. This wrong bringing into function the fourth additional tube,
—
principle advocated in some text books in con- you then have the instrument tuned down a perfect
sequence of insufficient knowledge of the v^ahe fourth, which, together with an F-Tuba pla\ing in
system — has lead composers and instrumentators to the 1st position, will produce in unison the follow-
write occasional passages beyond the lowest limit ing harmonic series:
of the Tubas —-passages, therefore, which must be

m— 5
1

J,

Let us consider the two instruments both F-Tubas, would be objectionable to the players of this in-
and let them play the other six positions with the strument.
same fingering From what follows you will On the Saxhorns, owing to their tubing being
soon be convinced that a Euphonium changed to conical throughout their length, the fourth valve is

F-Tuba only in the main tubing, retaining its three not wholly practicable: the long additional tube in-
small additional tubes, is not very agreeable to the terrui)ting the taper of the instrument, would surely
ear —even the profafie ear! impair its scale.

67. The not employed on the

fourth valve is 68. The
harmonic-scries and scales of the most
Trumpet'^possibly because the additiomil weight used cup-mouthpiece instruments are given in the
table on page 71.

'See foot-note page 68.

 ——

70 WIND INSTRUMENTS

EXPLANATORY NOTE
In the following table, the fundamental tones. No. 1 ment can correct them by shifting his hand in the
(when contained in the instrument), are indicated in bell, as he corrects the discrepancies of the three- valve
whole notes; the harmonics, Nos. 2, 3, 4, etc. of the mechanism (paragraph 62).
first series are indicated in half-notes, and the tones With the exception of the Horns and Tubas
produced with the use of the slide or valves (not num- the latter having the fourth additional tube (para-
bered), in quarter-notes. graph 65) —
the defective notes of the 6th and 7th
The extreme low notes, which are divided off by be avoided in the other instruments, are all
series to
brackets, thus: ], are dull in their timbre, somewhat marked with a cross, thus: -\-
heavy, though not powerful, and difficult to attack. The Bass-Trombone indicated in this table is now
The extreme high notes, divided by brackets, thus: used in many bands and orchestras in the third or
[, are more or less forced, thin, and very difficult to
fourth Trombone part. It is a large bore, B? slide Trom-
attack, especially in pianissimo (see also table on bone, with an additional tube and relative valve
The Band Instruments, pages 3-1 and 35).
The dotted line indicates the "middle register,"
similar to the fourth valve of the Tubas —
which lowers
the instrument a perfect fourth: to F. Note that
the easiest and most effective part of the instrument.
In this table,
of longer
it will be observed that the instruments
and narrower tubing reach the higher har- the low B-natural indicated m
monics, but do not produce the fundamentals.
The partial tones, 7, 11, 13 and 14, which do not
correspond to the equal temperament scale, are not is
between two brackets:

lacking in the compass — the

m
7th position required
used on valve instruments, with the exception of the to produce this tone, extending beyond the reach of
Horn, for the reason that the player of this instru- the player's arm.
 lis

(f)
 —

72 WIND INSTRUMENTS

(c) Technique covering more and more the player's mouth, the
vibrating control becomes weaker, rendering it im-
69. The brass instruments in general can display
even for the most highly skilled performers,
more agility in their middle register —that is (re-
possible,
to obtain as high a degree of technique as that
ferring to the preceding table) the notes comprised
attained to for some of the keyed instruments of
within the dotted line. In this part of the compass
the corresponding pitch.
any dynamic degree
the instrumentator can rely for
This, we hope, will suffice to place the student on
from the extreme pianissimo to the most powerful
the lookout so that he may never attempt to exceed
forlissimo in either sustained notes, legato or stac-
the moderate difficulties in tke parts for the large
cato passages, etc.
brass instruments. This rule is strictly observed
Only in the middle register can the Horns,
70.
in the score examples, in Parts II and III. When
Trumpets and Trombones and the high Saxhorns be
—
muted with good results -it is practically impossible
confined within that limit the Brass will then pro-
duce the best possible results.
to use the low Saxhorns and Tubas with mute, on
72. Rapid tremolos on vaK'e instruments are im-
account of the large bell of these instruments.
practicable and, even in a moderate movement,
71. The technique for the cup-mouthpiece instru-
repetition of somewhat large intervals should be
—
ments more than the other wind instruments is — avoided as much as possible. It may be accepted
afTected by a natural law, whereby the difficulty in
as a rule that, regardless of the fingering being —
execution increases in proportion to the increasing
size of the instrument (see paragraph 30, page 46).
simple or awkward —the slurred repeated intervals
are quite easy up to the major-thirds, but from the
The lips, functioning as a reed, in a small cup-
perfect-fourth upward they become more and more
mouthpiece can vibrate with great ease, attaining
a degree of technique almost equal to that of the
difficult —owing to the necessary quick changes in
the lip-pressure. For example:
small keyed instruments; but as the cup grows larger,

rather
easy difficult d'fficult vcrv difficult

Horn, Trumpet etc.'

or Saxhorn

73. Major and minor trills for valve instruments 74. The aid of valves is out of the question for
are also to be used with much caution, as on some major trills in the high register; these trills —as on
notes of the scale they are very difficult or impos- the slide Trombone —are executed, without valves,
sible. It must also be noticed that the effect of by rapid changes in lip-pressure (see foot-note,

on valve instruments
trills is rather harsh, especially page 74).

in the Horns and low-voiced Saxhorns. Yet there 75. All the trills possible on valve instruments
are special instrumental effects in which even the are to be found in the next table.
harshest trills in the Brass become very appropriate.

EXPLANATORY NOTE

In the following table the trills indicated by whole notes arc the best', resulting clear and in tune; and those indicated by
quarter-notes are inferior in tune and clearness. The lip-trills, separated by brackets ([) are indicated only for the sake of com-
pleteness, they should never be used in orchestra or band parts as very few performers are found who have specialized in these and
other tricky executions.
 73

Possible Trills for the most used Valve Instruments

Horns(m Fand Eb)

tr~

Whole Tone

Half-tone
t-with lips...

Transposing Saxhoms; CornetS and(Modern)Tri!impetS

Whole Tone

Half-tone

Whole Tone

Half-tone
|„ o j{J«it'" \° ^ff"
With valves..

Eb Bass Saxhorn and Eb Tuba

\,

Whole Tone ^E
J '"' '1*^ ^^ ^^
j bi lli I" °
with valvKb..

Half-tone

J^l^^ll

Whole Tone

Half-tone
 • . — — —

74 WIND INSTRUMENTS
76. Repeated intervals on the slide Trombone are possible only in a very moderate movement. Inte.
vals combined with distant positions (1st to 5th, 6th or 7ih; 2nd to 6th or 7th, etc.) are very difficult and they
can be used only in very slow passages, e.g.:

Moderate
from Bk..

^ i
from A.

2--: m

77. Trills are impracticable on the slide Trombone, with the exception of the following major (whole
tone) lip-trills: —
(r^
»
ki
i" '° ^ ^f t t f
very difficult _l extremely difficult

but their use not advisable as they can be performed only by very few players.*
in scoring is
78. The Trombone's glissaiido, occasionally used in burlesque- or in dance-music, can be produced
only on certain groups of notes which pertain to the partial tones of the same number in the seven harmonic
series of the instrument, i. e., the longest gUssando can be played on each group of .seven notes that run
straight from position 1 to 7 or vice-versa (see page 67), thus using the entire length of the slide:

^^ Partial tone 2 P. Tone 3

52S a
P.
l^
Tone
^-
4
etc.

The may be curtailed to six, five, four, three, or two notes as required, by using only a portion
glissandi
of the slide.While glissandi are easy to execute on partial tones of the same number, they are impossible
on groups of notes pertaining to different partial tones, for example:

P. Tone 3 P. Tone 4 P. Tone 3 PTone 5

-1 r
all frlissando 234.
0.432 1 ^^^ fi
L 3 4

easy

nioneS P. Tone 3 PTone 3 PTone 3 PTone 2

impossible

'These lip-trills are formed with two [larti-il tones of the same harmonic series (see page 67), and in order to execute them, the
player must submit his lips to a special training, which, in most cases, is injurious to the quality and steadiness of the tone.
 THE BRASS /o

(d) Quality of Tone Trumpets and Trombones:— Brilliant; pene-

tratingand of great carrying power; noble in
79. The quality of tone of the cup-mouthpiocc
instruments may be briefly described as follows: — piano; pompous in forle and strident in fortis-
simo. The mute can be employed effectively
HORN'S: — Mellow; rich, highly penetrating and on both the Trumpet and Trombone.
expressive when played naturally, and blast- 80. The foregoing descriptions of the quality of
ing, aggressive, when forced. Excellent, when tone of the Brass refer toe:ich of the various families
muted, for distant or echo effects. taken in its entirety. The single instruments em-

SAXHORNS: —Very mellow; sweet, mysterious,

ployed separately, or associated with other groups,
according to the situation (harmonic, rhythmical or
gloomy in piano; human-\'oice-like in mezzo-
dynamical), with their timbre will produce new tonal
forte and forle, powerful in fortissimo. The high
tints, express new feelings or impart more vitality
voiced Saxhorns (Bugle-shape) can also be
to the ensemble.
employed with mute; the low-voiced Saxhorns
This and other knowledge in the possibilities of
are impracticable with mute (see paragraph 70).
wind instruments, the student will acquire through
TUBAS: —Somewhat brilliant; very sonorous, that greatest of all teachers, viz.: "EXPERIENCE"
richand of good blending quality with the other —practical experience in score-reading, instrumenta-
wind instruments. Impracticable with mute, ting and conducting.
(see paragraph 70).
76 WIND INSTRUMENTS

Illustrations of the Modern Brass Instruments

Fig. 20—SOPRANINO
SAXHORN in Eb
2/—SOPRANO
Fig.

S.AXHORN in Bb or A
(Cornet Model)

Fip. i9— HORN in F or Eb

Fig. 22—SOPRANO Fig. 2J— MEZZO-SOPRANO Fig. 24—ALTO

SAXHORN in Bb SAXHORN in Bb SAXHORN in Eb
(Bugle Model)
 THE BRASS 77

Illustrations of the Modern Brass {cor.tinucd)

Fig. 26
Fig. 25

TENOR BARITONE
S.\XHORN SAXHORN
in B>
in Bb

Fig. 28
Fig. 27
CONTRABASS
BASS
SAXHORN SAXHORN
in B>
in El»
(Upright Model)
(Upright Model)
78 WIND INSTRUMENTS

Illustrations of the Modern Brass (continued)

Fig. 29— BASS SAXHORN in Et> Fig. JO— CONTR.\BASS SAXHORN in Bb

(Circular Model) (Circular Model)
 THE BRASS

Illustrations of the Modern Brass {continued)

Fig. 31 Fig. 32 Fig. JJ— BARITONE TUBA in Bb

ALTO TUBA in E? TENOR TUBA in Bb abbreviated "B>-Tuba," also
known as "Euphonium"

Fig. 54— BASS TUBA' in F or E!. Fig. J5— CONTRABASS TUBA' in C or Bb

abbreviated "I"- or 1".'>-Tulia" abbreviated "CC- or BB':>-Tuba"

'Bass and Contrabass Tubas are also made in circular model, but the upright ones arc m\i-\\ more preferable and are in
general use.
80 WIND INSTRUMENTS
Illustrations of the Modern Brass {continued)

Fig. J(5—TRUMPET in B^or A

Bg. J7—TRUMPET in Eb

Fig. J.?—VALVE TROMBONE

(Tenor)

.J

Fig. JP—TROMBONE Fig. 40— BASS-TROMBONE

(Tenor in Bb) (in Bb with F- valve)
 — —— — —— —

INDEX

PAGES PAGES
Accidentals in transposition 42-43 Baritone Oboe (see Heckelphone)
Accordion (or Concertina) — Compass and Baritone Saxhorn (see also Saxhorns)
notation 23 Description 61
Acis and Galatea: use of Flageolet 14 Technical and common names 64
Acoustical principles of tlie wind instruments 37 Baritone Saxophone (see Saxophones)
Actual-sound bass-clef 39 Baritone Tuba (see also Tubas)
Actual-sound, treble-clef 39 Description 62
Alto Clarinet (see Clarinets) Technical and common names 64
Alto-clef 42 Baritone Voice — Compass and notation 11

Alto Cornet in Es 64 Bass Clarinet (see Clarinets)

Alto Flute (sec I'lutes) Bass-clef (actual sound and transposing) 42
Alto instruments in F and E!> —Transposition 41 Bass Drum 26
Alto Saxhorn (see also Saxhorns) Bass Flute in C (invented by Albisi) Compass —
Descrii)tion 61 and nf)tation 14
Technical antl cominoti names 64 Bass Flute in G (see Flutes)
Alto Saxophone (see Saxophones) Bass in Es 64
—
Alto Trombone in Ei' Compass and notation 22 —
Bass instruments in B':> Transposition 41
Alto Tuba (see also Tubas) Bass Sarrusophone (see Sarrusophones)
Description 62 Bass Saxhorn (see also Saxhorns)
Technical and common names 64 Description 61
Alto (or Contralto) Voice — Compass and notation 11 Technical and common names 64
Althorn 64 Bass Saxophone (see Saxophones)
American band publications 32 Bass Trombone in Bb and F (see also Trom-
Ancient-cymbals — Compass and notation 27 bones)— Compass and notation 22, 34-35
Anvils 27 Low B-natural lacking in the compass 70
Artificial harmonics on bowed instruments 30 Bass Tuba —Technical and common names 64
Bass Trumpet (see Trumpets)
Band- Bass Tuba (see Tubas)
Definition 6 —
Bass Voice Compass and notation 11
See Sym|)I)()ny and Military Band 31 Basse en Si> 64
Band instruments 31 "Basses" 32
Score order, compass, notation ancl trans- Bassoon
position 34-35 Compass and notation 16, 34-35
Band-parts of other publications distributed to French system 57
the Symphony Band 32 Harmonic series, scale and registers 54
Bagpipe — Compass and notation 23 Illustration 60
Ballalaica — Compass and notation 28 Quality of tone 58
Banjo (regular) — Compass and notation 28 Bassetto in Sib 64
"Baritone" 64 Bassi in Fa e Mib 64
Baritone-clef 42 Basso Cantante (voice) — Compass and notation 11
Baritone instruments in B> and Eb Basso Profondo (voice) — Compass and notation 11
Transposition 41 Bassoflicorno 64

81
 — — 7
1 — — — ——

82 WIND INSTRUMENTS
PAGES PAGES
"Bb-Bass" 32, 64 Clarinets Continued
"BBb-Bass" 64 Harmonic series and scale 44
"Bb-Tenor" 32-64 Illustrations 51
Bells (see also Tubular Bells) —Compass Quality of tone 50
and notation 27, 34-35 Registers 45-46
Berlioz 58 String-tremolos 47
Bombardino 64 Techniciue 45
Bonibardone in Mib 64 Trills and tremolos 49
Bourdon Organ)
(see 24 Types of instruments and notation 44
Bowed stringed instruments —-Compass Clarion (see Organ) 25
and notation 30 Cla\icorno 64
—
"Brass" Definition 38 and guide,
Clefs, actual 42-43
—
Brass Band Definition 6 "Compensating valves" 68
Brass instruments Compass of band instruments 34-35
Classified after their tubing and mouthpiece 65 Conical bored instruments — Characteristics 38
Harmonic-series, scale and registers 71 Conic-wood instruments
Major and minor trills for valve instruments 72 Definition 6
Muted 72 Fingered tremolos 55
Quality of tone 75 Harmonic series, scale and registers 52-54
Section III (see band instruments) 34-35 Illustrations 59
Technique 72 Quality of tone 58
Tremolos impracticable 72 Section 1 1 (see band instruments) 34-35
T>pcs of instruments and notation 61 Technique 55
—
Bugles Compass and notation 1 Trills and tremolos 56-57
Bugle Bariton 64 T>-pcs of instruments and notation 52
Bugle Corps 5 Conducting 36
Bugle Sopranino 64 Contents 7

Bugle Soprano 64 Contrabass or Double-Bass (stringed) Com- —

pass and notation 30
C-clef 42 Contrabass Clarinet (see also Clarinets)
Carillon (see Bells) —Compass and notation 27, 34-35 Actual-sound bass-clef notation preferred 40
Castanets 26 Thirteen keys: Buffet-system 49
Celesta — Compass and notation 27, 34-35 "Contrabasse en Si>"
—
64
'Cello (see Violoncello) 30 Contra-Bassoon
Cello-Banjo— Comi)ass and notation 28 Compass and notation 16, 34-35

Cembalo, Hungarian, — Compass and notation 30 IVench System 57

Chaiumeau (see Clarinets) 45 Harmonic series and scale 54
Changeable pitch (see Percussion instruments) 26 Illustration 60
Chant de la Cloche: use of Ty|)oplione 28 Quality of tone 58
Children's Voices — Compass and notation 1 Contra-Sarrusophone —
Chimes (see also Tubular Bells) — Compass Compass and notation 16, 34-35

and notation 27 French System 57

Chinese-Drum 26 Harmonic series and scale 54
Chromatic-Harp 29 . Illustration 60
Circular model Saxhorns — Illustrations 18 Quality of tone 58
Clarinets Contrabass Saxhorn (see also Saxhorns)
61
Boehm System 49 Descrii)tion
Compa s and notation 12-13, 34-35 Technical and conunon names 64
Dynamics 50 Contrabass Tuba (see also Tubas)
Efficiency in band music 46 Description 62
Fingered-tremolos 46-49 Technical and common names 64
 INDEX 83

PA
84 WIND INSTRUMENTS
 —— • — 7 — — —— —

INDEX 85

PAGES PAGES
Piccolos Saxtromba Soprano 64
Compass and notation 14, 34-35 Saxtrf)mba, Super-acute, in B';> —Compass
Harmonic-scries and scale 54 and notation 62
Quality of tone 58 Score-order of hand instruments 34-35
Transposition 41 Serpent —Compass and notation 17
Piccolo Fife— Compass and notation 14 Side Drum 26, 34-35
Piccolo Cornet in Es 64 Single-reed mouthpiece 52
Piston in B 64 Sleigh-Bells 26
Piston! no 64 Slide (see also Trombones)
Plucked stringed instruments —Compass Mechanism 66
and notation 28-29 Positions 67
Point of departure note (see guide-clefs) 42 Slide TromI)f)ne (see Trombones)
Polyphonic Wind Instruments Slide and vahe instruments compared 67
Classification 9 Solfeggio 36
Compass and notation 23-25 Sopranino Clarinets (see Clarinets)
Preface 5 Sopranino instruments in A>, F and Eb
Preliminary remarks 6 Transposition 41
Prout 58 Sopranino Saxhorn (see also Saxhorns)
Description 61
Quint (see Organ) 25 Brass Band
More appropriate in 62
Quintet (see Grand-Quintet) 6, 34-35
Technical and common names 64

26
Sopranino Saxophone (see Saxophones)
Rattle
24-25 Soprano in C (l\-pical instrument) 39
Registers or Stops (see Organ)
Soprano Clarinets (sec Clarinets)
Rin^ des Xiheliingen: use of Tuben 62
Soprano-clef 42
Rullante 26, il
Russian Bassoon —Compass and notation 1
Soprano Cornet
Soprano instruments in B[> and A —Trans-
64

Salicional (see Organ) 24 position 41

Sarrusophones — Soprano Saxhorn (see also Saxhorns)
Compass and notation 16, 34-35 Description 61
Complete family 16 Technical and common names 64
French System 57 Soprano Saxophone (see Saxophones)
Harmonic-series, scale and registers 54 —
Soprano Voice Compass and notation 11
Illustrations 60 Sound-producing instruments Classification— 9
Quality of tone 58 Speaker-key 44
Sax, Adoljih, 61-62 Steel-Ciuitar —-Compass and notation 28
Saxophones —
Stopped-pipes Characteristics 37
Compass and notation 15, 34-35 Stringed instruments
Harmon ic-series, scale and registers 54 Classification 9
Illustrations 5") Compass and notation 28-30
"ImproN-ed S\stem" (Sixteen keys) 57 S\-ml)()Is for names of instruments 32, 34-35
Quality of tone 58 Symphony Hand —
Saxhorns Definition 31
Compass and notation 19, 34-35 Score order and proportion of instruments 34-35
Harrnoiiic-series, scale and registers 71 —
Sym[)hony Orchestra Definition 6
Illustrations 76-78 Synoptical Tables, List of, 8
Origin 61
QualitN- of tone 75 Tabor 26
Technical and cominon names 64 Tam-Tam (Gong) 26
Trills 73 Tambourine 26
Saxtrombas 62, 64 Teachers, To the, 36
 — — —— — — ——— - —

86 WIND INSTRUMENTS
PAGES PAGES
Tenor-Ranjo — Compass and notation 28 Tubas Conlintced
Tenor-clef 42 Origin 61
Tenor-Drum (see RuUanle) 26, 32 Qualil\- of tone 75
T^nor en Sib 64 Technical and common names 64
Tenor-horn 64 Trills 73
—
Tenor instrimients in C and Bb Transposition 41 Used by I'Vanchetti 62
—
Tenor-Mandola Compass and notation 28 Tuba en Sib 64
Tenor Saxliorn (see also Saxhorns) Tuben, Wagner's 20, 62
Description 61 —
Tubular Bells Compass and notation 27, 34-35
Technical and common names 64 Twelfth (see Organ) 25
Tenor Saxophone (see Saxophones) Typical instruments 39
Tenor Trombone (see Trombones) —
Typophone Comjiass and notation 27
Tenor Tuba (see also Tubas)
Description 62
Ukulele —
Compass and notation 28

Technical and common names 64 Uniform fingering system 39

Tenor Voice—^Compass and notation Uniform notation 39
11
Three-valve system, defects of, 68
Unison passages for transposing instruments 41

Timpani — Compass and notation 26, 34-35

Unda Maris (see Organ) 24

Transposing bass-clef 42
Valves
Transi)osing instruments
Mechanism 66
In unison with the Piano 41
67
Positions
Method for reading and writing their parts 42
Valves, compensating, 68
Transposing-notation 39 68
enharmonic.
Valv'es,
Transposing treble-clef 39
Valve instruments
Transposition Compass and notation 18-21, 34-35
In the liand score 34-35
Defective tones 68
Reading and writing 10
Trills 73
Triangle
Trombones (see also slide)
26 Vah'e-Trombones — Compass and nota*:ion 22
Vent-key 44
Compass and notation 22, 34-35
Verdi's Otello and Fahtaff: use of Trombone-
Glissando 74 22
Basso-Verdi
Harmonic-series, scale and registers 71 37
Vibrating sections
Illustrations 80 Viola —Compass and notation 30
Lip-trills 74 —
Viola d'Amore Compass and notation 30
Muted 72 —
Viola da Gamba Compass and notation 30
Quality of tone 7,'5
—
Violin ^Compass and notation 30
Repeated intervals
Troml)one-Basso- Verdi
74
22
—
Violoncello Compass and notation 30
Violone (see Organ) 24
Trumpets Voices —
Compass and notation 21, 34-35
Classification 9
Harmonic-series, scale and registers 71
Compass and notation 11
Illustrations 80 Voice-terms designating wind instruments 39
Muted 72
Voix Celeste (see Organ) 24
Notation octave lower 40 Vox Humana (see Organ) 25
Quality of tone 75
Transposition 41 Wagner
Trills 73 Bass Trumpet, l^se of, 22
Tubas^ Contrabass Trombone, Use of, 22
Compass and notation 20, 34-35 Contra-Bassoon written for in actual-sound 16
Harmonic-series, scale and registers 71 Tuben — Compass and notation 20
Illustrations 79 Tuben, Use of, 62
 —

INDEX 87

PAGES
PAGES
"Wood"— Definition 38
26
Water-machine 6
26 Wood-wind
Whip or Slap-stick
58
Widor
Wind instruments
Xylophone —Compass and notation 27, 34-35

9, 38
Classification 30
12-22, 34-35 Zimbalon (see Hungarian Cembalo)
Compass and notation
Wind-machine
26 Zither —Compass and notation 28
 ^.l

ERRATA
Pages

14 — Foot-note No. Read Die Pilgrimnie for Die Pilgrim.

1:

26— Timpani: Read Medium for Middle.

29 — Put 8^^ .... over the high limit of the Harp compass.

34-35— Under G2, add G3^ After Trumpets I. II. add III. Put bass-clef to

the compass of the Tenor Trombones. Put 8^^ . . . . over the high limit

of the Harp compass. For the Symphony Band of 75, change to 3

Trumpets and 1 Harp.

62 — Foot-note No. 4: Read Ring des Nibelungen.

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