has ever appeared in our American musical
life, and as a result of it we expect to see the establishment of many
an additional orchestra of symphonic rank, as well as the filling in
of existing organizations with American-born and American-trained
players. There is no reason why wind players should not be trained in
this country as well as in Europe, if we will only make a consistent
attempt to interest our children in the study of these instruments
while they are young, and provide sufficient opportunity for ensemble
practice in connection with our music departments in the public
schools.]

The chief value to be derived from ensemble practice of this type is
not, of course, in any public performances that may be given, but is
to be found in the effect upon the performers themselves, and the
principal reason for encouraging the organization of all sorts of
instrumental groups is in order to offer an opportunity for ensemble
playing to as many amateur performers as possible. For this reason,
unavoidable false intonation must not be too seriously regarded.

An orchestra such as we have been describing is frequently directed by
one of the performers; but it is our belief that if the group consists
of ten or more players it will be far better to have the conductor
stand before the players and direct them with a baton. The type of
music that is available for amateur ensemble practice is unfortunately
not often accompanied by a full score for the conductor's use, and he
must usually content himself with studying the various parts as well
as he may before the rehearsal, and then direct from a first violin
part (in which the beginnings of all important parts played by other
instruments are "cued in"). Directing from an incomplete score is, of
course, extremely unsatisfactory from the musician's standpoint, but
the necessity of doing it has this advantage, _viz._, that many
persons who have charge of small "orchestras" of this type would be
utterly unable to follow a full score, and might therefore be
discouraged from organizing the group at all.

[Sidenote: SEATING THE ORCHESTRA]

Symphony orchestras are always seated in approximately the same way,
and if our small ensemble group consists of twenty players or more, it
will be well for the conductor to arrange them in somewhat the same
manner as a larger orchestra. In order to make this clear, the
ordinary arrangement of the various parts of a symphony orchestra is
here sup