tes a link between the two groups in the upper
range of the orchestra. Moreover, the timbre of the viola may be
vaguely compared to the middle register of the bassoon and the lowest
compass of the clarinet; hence, in the medium orchestral range, a
point of contact is established between the quartet of strings and the
wood-wind.

The bassoon and horn provide the connection between wood-wind and
brass, these two instruments being somewhat analogous in character
when played _piano_ or _mezzo-forte_; the flute also, in its lowest
register, recalls the _pianissimo_ trumpet tone. Stopped and muted
notes in horns and trumpets are similar in quality to the oboe and
Eng. horn, and blend tolerably well with the latter instrument.

Concluding this survey of orchestral groups I add a few remarks which
seem to me of special importance.

The principal part in music is undertaken by three instrumental groups
of sustained resonance, representing the three primary elements,
melody, harmony and rhythm. Instruments of little sustaining power,
though sometimes used independently, are chiefly employed for ornament
and colour; instruments producing indeterminate sounds play no melodic
or harmonic part, their functions being purely rhythmical.

By glancing at the order in which the six orchestral groups are
placed, strings, wood-wind, brass, plucked strings, percussion
producing definite, and those producing indefinite sounds, the reader
will be able to determine the part played by each in the art of
orchestration, from the secondary standpoint of colour and expression.
As regards expression, the strings come first, and the expressive
capacity of the other groups diminishes in the above order, colour
being the only attribute of the last group of percussion instruments.

The same order obtains from the standpoint of general effect in
orchestration. We can listen to strings for an almost indefinite
period of time without getting tired, so varied are their
characteristics (_vide_ the number of string quartets, suites,
serenades etc. written for strings alone). The addition of a single
group of strings will add lustre to a passage for wind instruments. On
the other hand, the quality of wind instruments soon becomes
wearisome; the same may be said of plucked strings, and also
percussion of every kind which should only be employed at reasonable
intervals in orchestral composition.

It cannot be denied that the constant use of compound timbre