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.

Wood-wind players cannot manage extremely long sustained passages, as
they are compelled to take breath; care must be taken therefore to
give them a little rest from time to time. This is unnecessary in the
case of string players.

In the endeavour to characterise the timbre of each instrument typical
of the four families, from a psychological point of view, I do not
hesitate to make the following general remarks which apply generally
to the middle and upper registers of each instrument:

a) Flute.--Cold in quality, specially suitable, in the major key, to
melodies of light and graceful character; in the minor key, to slight
touches of transient sorrow.

b) Oboe.--Artless and gay in the major, pathetic and sad in the minor.

c) Clarinet.--Pliable and expressive, suitable, in the major, to
melodies of a joyful or contemplative ch