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Note. It is a difficult matter to define tone quality in words; we must encroach upon the domain of sight, feeling, and even taste. Though borrowed from these senses, I have no doubt as to the appropriateness of my comparisons, but, as a general rule definitions drawn from other sources are too elementary to be applied to music. No condemnatory meaning however should be attached to my descriptions, for in using the terms thick, piercing, shrill, dry, etc. my object is to express artistic fitness in words, rather than material exactitude. Instrumental sounds which have no musical meaning are classed by me in the category of useless sounds, and I refer to them as such, giving my reasons. With the exception of these, the reader is advised to consider all other orchestral timbres beautiful from an artistic point of view, although it is necessary, at times, to put them to other uses.

Further on, a [table of wind instruments] is appended, outlining the approximate limit of range, defining different qualities of tone and indicating the scope of greatest expression (the piccolo and double bassoon excepted).

Flutes and clarinets are the most flexible wood-wind instruments (the flutes in particular), but for expressive power and subtlety in nuances the clarinet supersedes them; this instrument can reduce volume of tone to a mere breath. The nasal instruments, oboe and bassoon, are less mobile and supple; this is accounted for by their double reed, but, having to effect all sorts of scales and rapid passages in common with the flutes and clarinets, oboes and bassoons may be considered melodic instruments in the real sense of the word, only of a more cantabile and peaceful character. In very quick passages they often double the flutes, clarinets or strings.

The four families are equally capable of legato and staccato playing and changing from one to the other in different ways, but distinct and penetrating staccato passages are better suited to the oboes and bassoons, while the flutes and clarinets excel in well-sustained legato phrases. Composite legato passages should be allotted to the first two instruments, composite staccato passages to the latter pair, but these general directions should not deter the orchestrator from adopting the opposite plan.

In comparing the technical individualities of the wood-wind the following fundamental differences should be noted:

a) The rapid repetition of a single note by single tonguing is common to all wind instruments; repetition of a single note by means of double tonguing is only possible on the flute, a reedless instrument.

b) On account of its construction the clarinet is not well adapted to sudden leaps from one octave to another; these skips are easier on flutes, oboes and bassoons.

c) Arpeggios and rapid alternation of two intervals legato sound well on flutes and clarinets, but not on oboes and bassoons.