ence of
_orchestration_. In the third place, he must understand the
complicated subject of _transposing instruments_, and must be able to
detect a player's mistakes by reading the transposed part as readily
as any other. And finally, he must be able to perform that most
difficult task of all, _viz._, to read an orchestral score with at
least a fair degree of ease, knowing at all times what each performer
is supposed to be playing and whether he is doing the right thing or
not. This implies being able to look at the score as a whole and get a
fairly definite impression of the total effect; but it also involves
the ability to take the score to the piano and assemble the various
parts (including the transposed ones) so that all important tones,
harmonic and melodic, are brought out. A glance at even a very simple
orchestral score such as that found in Appendix B will probably at
once convince the reader of the complexity of the task, and will
perhaps make him hesitate to "rush in where angels fear to tread"
until he has spent a number of years in preparation for the work.

[Sidenote: DIRECTING A SMALL ORCHESTRA]

The above description has reference, of course, to conducting an
orchestra of approximately symphonic dimensions, and does not refer to
the comparatively easy task of directing a group consisting of piano,
violins, cornet, trombone, and perhaps one or two other instruments
that happen to be available.[25] In organizing an "orchestra" of this
type, the two most necessary factors are a fairly proficient reader at
the piano (which, of course, not only supplies the complete harmony,
but also covers a multitude of sins both of omission and of
commission), and at least one skilful violinist, who must also be a
good reader. Given these two indispensable elements, other parts may
be added as players become available; and although the larger the
number of wind instruments admitted, the greater the likelihood of
out-of-tune playing, yet so great is the fascination of tonal variety
that our inclination is always to secure as many kinds of instruments
as possible.

[Footnote 25: Let us not be misunderstood at this point. We are not
sneering at the heterogeneous collections of instruments that are
gathered together under the name of _orchestra_ in many of the public
schools throughout the country. On the contrary, we regard this
rapidly increasing interest in ensemble playing as one of the most
significant tendencies that