It will appear there is not much similarity in our notions of constructing an orchestra.

To ensure the well going of the chorus, the vocal leaders should be placed in the rear of their part, in which place they will be better heard: and as it often happens that the most experienced musicians have the weakest voices, it is best to couple them with the strongest these, correctly led, will contribute much to keep the part firm and steady. It is important that this arrangement be made a condition with the leaders, as they invariably think themselves entitled to a more conspicuous place, and press forward to get into the front; whereas, the place of honor, as in the Legions of Buonaparte, is in the He always placed his rawest troops in front, and his veterans behind. It may also be remarked, that the country performers should be coupled with the London performers, and care should be had, in arranging the violins, that those who have been accustomed to play the second part, should not be placed among the first violins. As the voices form so large a portion of the band, a simultaneous effect from them is of the first importance. For this purpose, a conductor should be placed at the right hand of the organist, so that he can command a complete view of the choir, which will enable him to secure correctness in all the leading parts.

rear.

The concert orchestras are universally defective; the stringed instruments are overpowered by a crowd of flutes, clarionets, bassoons, trumpets,

trombones, drums, and horns. If we except the Philharmonic band, there is not one in London that is properly composed. Singers have an aversion to the full orchestra, and to save the expense of duplicate parts, seldom give out more than one copy to each of the stringed instruments, thinking they shall be better heard by abridging them: they forget that in every case there is seldom or ever a sufficient number of violins, to moderate and keep down the force of the wind instruments. The writer noticed two circumstances in the Abbey band in the year 1791, worthy of remark: first, the great softness with which the songs were executed, although three hundred and seventy-seven stringed instruments accompanied the single voice: such was the lightness of the effect, that they did not overpower or incommode it. Second, from the great extent of the surface from which the sounds emanated, they were diffused through the atmosphere, so as completely to fill it. No single instrument was heard, but all were blended together in the softest showers of harmony.

CHAPTER XXIX.

THE TROMBONE.

THIS ancient instrument, which is frequently mentioned in the sacred writings as the sackbut-might

have been lost to us for ever had it not been preserved, in the ashes of Mount Vesuvius, to give force and energy to the music of modern times. When the cities of Herculaneum and Pompeii were discovered, one of these instruments was dug up, after having been buried nearly two thousand years by that dreadful catastrophe. The lower part of it is made of bronze, and the upper with the mouthpiece of solid gold. The King of Naples made a present of it to George III.; and from this antique the instruments now called by the Italians tromboni have been fashioned. As these instruments can be lengthened or shortened at pleasure, by the tubes sliding one within the other, similarly to the tubes of a telescope, every semitone of the scale can be performed, which imparts a sliding or vocal effect, not to be obtained on any other wind instrument.

Mozart has introduced a choir of them, soprano, alto, tenor, and bass, into the Requiem, and the opera of Don Giovanni. The voices of these, when combined, have an imposing effect. Instruments of such tremendous power should be but sparingly used, and they are misapplied when ordered to play the same part with the voices. They ought to move in a band of themselves, and never enter the composition but upon grand and solemn occasions. In that masterly composition, the opera of Der Freischütz, they are introduced into the overture as well as the incantation scene, with magical effect. At the funeral of Beethoven by torch light, when

composers, musicians, poets, actors, singers, and choristers, assisted in carrying him to the grave, in the presence of twenty thousand spectators, the invocation of these terrific instruments was heard responding to the voices in the following dark train of harmony, from a composition of that sublime genius.

THESE terms are commonly expressed by a simple letter, as ƒ and p; and for an increased loudness, called fortissimo, the letters are doubled, as f, or trebled, fff. The different degrees of softness are denoted in the same way, P, PP, PPP.

Mr. Alison observes, that loud sounds are connected with ideas of power and danger; and that