Johnstown High School - Spectator Yearbook (Johnstown, PA)

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18 THE SPECTATOR adapted to solo work. The bass, contra bass, and double bass are so .nearly identical in appearance that it is hardly necessary to distinguish them. As their name implies, they are in the orchestra what the bass singer is in the quartet. Huge, clumsy and heavy, they are very undesirable instru- ments to play, altho they are indispensable to the harmony. Thus, from the highest note of the violin to the lowest note of the double bass, we have a chromatic range of almost seven octaves, which is greater by about an octave than that of the wind instruments, which I will next describe. This branch of orchestral instruments is subdivided into two more divisions, called, respectively, the brass and wood-wind instruments. The trumpet, trombone, and French horn belong to the brass; while the flute, clarinet, oboe, piccolo, and bassoon uphold the wood-wind. The trumpet is an instrument somewhat resembling the modern cornet, and is adapted to bugle calls, fanfares, and hunting songs. The trombone is lower in range, and is known as the majestic instrument from its powerful tone. But what a contrast is found in the soft, mellow tone of the French horn, an instrument almost similar to the two preceding. I am sure that nobody hearing the horn solo in “Der Fries- chutz” played by a good performer, will ever forget it. The piccolo is the smallest instrument in the wood wind family, yet the most clamorous. Its tone is shrill and only adapted to the loudest passages in music. The flute is nothing more than a large piccolo, as it is played in the same manner. Its tone, hewever, is excellent. The oboe is the smallest of reed instruments. Its tone is sweet, yet peculiar. The clarinet, the instrument most closely re- lated to the oboe, has the greatest range of the wood-wind instruments. It is the most commonplace instrument of the wood wind. The last, and the lowest ranged, instrument of the wood-wind is the bassoon, which is about four feet long. I can hardly describe its tone, which, altho deep and well-rounded, is so droll as to remind one of a circus clown. Coleridge, in “The Ancient Mariner” refers to this instru- ment. The main use of the wood-wind is to play rapid and brilliant passages, and to enliven loud passages. As their name implies, all these instruments are hollow tubes of hard wood, played either by a reed or by the lips.

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THE SPECTATOR 17 up till the tonneau was abreast of the seat of the carriage. Grace had already divined his purpose, and now she jumped, collapsing in a heap on the seat of the tonneau. She was none too soon. The chaise struck a tree at the side of the road and was entirely demolished, while the horse galloped feebly down the read, the torn harness dang- ling loosely about him. Robert leaned over to shut off the power, but before he had his hand fairly off the lever Grace was clinging to him with her arms about his neck, sobbing: “Oh Robert! Robert! And to think it was all a joke.” DORE’ W. GRAZIER '09. The Modern Orchestra ♦ITT is a noticeable fact that the American people grow II more musically inclined year by year. Their delight in the Symphony orchestras which every large city pos- sesses especially supports my statement. Of course these orchestras are only able to exist by the generosity of a few wealthy and public-spirited music lovers, yet the people appreciate the music even if they cannot pay for it. The orchestra of to-day affords an interesting topic for discussion. In the orchestra of to-day we find three distinct groups, or divisions, of instruments, the string instruments, wind instruments, and instruments of percussion. The string instruments are the dominant power of the orchestra; under this head come the violins, violas, violoncellos, basses, con- tra basses, and double basses, all of which have four strings, and are played by means of a bow. The violin, called the king of instruments, is certainly the king of the orchestra, and has a greater range of notes than any other instrument. Its tone is powerful and of great carrying power. The viola is almost identical in appearance with the violin. Being somewhat longer, its strings are tuned lower, and the result is a tone almost unrivalled in sweetness. The violoncello is much larger than the viola, and hence cannot be played in the same manner; it is placed upright instead of to the shoulder. Its low range nd fine tone make it especially

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THE SPECTA TOR 19 Last and least important of the three groups above named are the precussion instruments. The most import- ant of these are the timpani, two kettle-drums, tuned in fifths, and played by felt-covered hammers. The snare- drums come under this head, but are not used much in sym- phony orchestras. These instruments are too well known to need an explanation. In the best regulated orchestras the players of string instruments are always seated together, as are also the wood-wind, brass, and tympani players. Thus they can bring out their respective parts better than if each played individually. A symphony orchestra consists of about six- ty-five players, and we may expect to find at least a full half of these playing string instruments; one-third of the remain- der playing brass and percussion instruments, and the other two-thirds playing wood-wind instruments. In concluding, let me advise you when at a concert to study those three groups and see in what passages they are employed, artd also the different qualities of tone they bring out. BERNARD WOLFHOPE ’o8. A Midnight Escapade 7TWO boys sat in a room in the smaller of the two dor- mitories belonging to the Fulton Academy. They were engaged in conversation; one trying to persuade the other of some doubtful point. “You know I’m always in for any reasonable fun, but this means expulsion if we are caught,’’ said one. “Yes, but just think of it! We’ll be the first Freshman class in the history of the school to get a flag up,’’ replied the other. “Well, all right, I’ll go in with you; but we’ll have to be careful,’’ was the reply. Frank Wilson, the first speaker, was, in most respects an ordinary boy of fifteen; but a pleasant face, a peculiar but altogether pleasing charm of manner and a disposition to match, made him one of the most popular boys in the school.