Playable BooksCecil Forsyth · section 1 of 60
Preface
Read and hear this section in the playable edition →IN this book an attempt is made first, to describe our modern orchestral instruments, where they sprang from, how they developed, and what they are to-day; next, to trace the types of music which have been reflected in these constructional changes and, in especial, the types most familiar since Beethoven's time. Without some knowledge on these points the student is working in the dark. He is like a Lascar turned loose in a dynamo-house. It is true that one may show him the button, and, if he presses it, he will get a terrific blaze of light. But what is behind the button? How were the wires laid? Why is one type of engine better than another for its own purpose? How is the shop to be run in the most economical way?
All these questions call for answers, and, on the musical side of the analogy, the answers are not difficult to find. For the facts that underlie instrumentation are few and simple: a skin or a metal plate to be beaten; a column of air in a brass or wooden tube with some sort of mouthpiece or embouchure; a string or two-four is a good number-to be bowed, plucked, or struck. These are the essentials and, if the student grasps them, he will soon be brought to see that change comes but slowly and rarely, and that, when it comes, it is more apparent than real. Edward I's " Rogero le Troumpour"1 sounds very ancient in 1914, but he made exactly the same music for his sovereign at Carnarvon as the cavalry trumpeters now make for George V. at Aldershot. And, even if we leave the Long Valley for the more rarefied atmosphere of Queen's Hall, W., we can only record an additional tube or two each with a mechanical air-switch. This is the point for the practical musician.. The old persists in the new and, without an understanding of the weapon itself, we cannot wield it.
It is not necessary to enlarge on these topics here. They are all dealt with as they come up in turn for discussion. The main-lines of study concern the original type of instrument, then its modifications,
i See page 41.
and last its use in its present-day perfection—-or in some cases, one • been must say, very partial perfection. A good deal of space has devoted to explaining the String-technique. This is a subject not often studied from the outsider's point of view. It is, however, well worth undertaking as, apart from its inherent musical and scientific interest, its complex and elaborately expressive methods are apt to baffle the student, especially the student who is a professional pianist. For purposes of reference I have begun with a complete list of orchestral instruments, their compasses, and notations; and ended with an index which is also a digest of the work.
Before concluding this preface I wish to acknowledge my obligations to Sir Charles Stanford. To his encouragement this book owes its existence. And, as an old pupil of his, it is with peculiar pleasure that I try to give back a little where I have received much. I hope he will forgive my zoological dissidences on page 461.
To Messrs Boosey and Co. I am indebted for the illustrations which are, I think, an interesting feature of the book. Besides lending me a number of blocks, Messrs Boosey and Co. have allowed me to make photographs from their collection of ancient instruments. Without this courtesy I might not have been able to include such specimens as the Fipple-Flute, Serpent, Cornett, Keyed-Bugle, and Bass-Ophicleide.
Finally I must offer my warmest thanks to Mr. Frank Bridge for his kindness and long labour in reading my proof-sheets. His wide musical knowledge and invincible accuracy have been invaluable to me.
Cecil forsyth
LONDON, March Tth, 1914.
Contents
Pagh
List of instruments
Classification of instruments
PERCUSSION INSTRUMENTs. PRELIMINARY -
No. 3. THE TENOR-DRUM
No. 4. THE TABOR -
No. 5. THE TAMBOURINE -
No. 6. THE TRIANGLE
No. 7. THE CYMBALS
No. 8. THE GoNG
No. 9. THE CASTANETS
No. 10. THE RATTLE, THE WIND-MACHINE, AND THE ANVIL
No. 11. THE KETTLE-DRUMs
No. 12. BELLS
No. 13. THE GLOCKENSPIEL
No. 14. THE CELESTA
No. 15. THE DULCITONE (OR TYPOPHONE)
No. 16. THE XYLOPHONE -
Brass instruments. preliminary
No. 17. THE VALVE-TRUMPET
No. 18. THE BASS-TRUMPET
No. 19. THE CORNET
No. 20. THE VAIVE-HORN IN F -
Pare
THE TROMBONEs. PRELIMINARY
No. 21. THE TENOR (OR Bb) TROMBONE
No. 22. THE ALTO (OR ED) TROMBONE
No. 23. THE BASS (OR G) TROMBONE
No. 24. THE DOUBLE-BAss-TROMBONE
No. 25. "THE TUBAS "
No. 26. THE SAXHORNS AND FLÜGELHORNS
No. 27. THE SAXOPHONES -
No. 28. THE SARRUSOPHONES
No. 29. OBSOLETE BRASS-WIND
WOOD-WIND INSTRUMENTS. PRELIMINARY No. 30. THE FLUTE No. 31. THE BASS-FLUTE No. 32. THE PICCOLO
No. 33. THE OBOE (OF HAUTBOX)
No. 34. THE OBOE D'AMORE
No. 35. THE ENGLISH-HORN
No. 36. RARELY-USED WOOD-WIND No. 37. THE BASSOON
No. 38. THE DOUBLE-BASSOON
No. 39. THE CLARINET
No. 40. THE BASs-CLARINET No. 41. THE ED-CLARINET -
No. 42. THE BASSETT-HORN AND THE ALTO-CLARINET
No. 43. THE PEDAL-CLARINET
No. 14. OBSOLETE WOOD-WIND
No. 45. THE CUCKOO INSTRUMENT
Stringed instruments. preliminary
No. 46. THE VIOLIN (OR FIDDLE) -
No. 47. THE VIOLA (OR TENOR) -
No. 48. THE VIOLA D'AMORE
No. 49. THE CELLO
STRINGED INSTRUMENTs—continued