plied. The position of the wood winds and of the lower strings
as well as of the percussion instruments and harp varies somewhat,
this depending upon the composition being performed, the
idiosyncrasies of the conductor, the size and shape of the platform,
_et cetera_.

[Illustration: SEATING PLAN OF A SYMPHONY ORCHESTRA]

In dealing with a smaller group (not of symphonic dimensions), it will
be well to have the piano in the middle, the lower strings at the
left, the winds at the right, and the violins in their usual position.
The diagram will make this clear. It is to be noted that this seating
plan is only suggestive, and that some other arrangement may
frequently prove more satisfactory.

[Illustration: SEATING PLAN SUGGESTED FOR A SMALL ORCHESTRA]

[Sidenote: PROPORTION OF INSTRUMENTS]

In a symphony orchestra of about one hundred players, the proportion
of instruments is approximately as follows:

1. STRINGS:
18 first violins
16 second violins
14 violas
12 violoncellos
10 double basses

2. WOOD WIND:
3 flutes }
1 piccolo } (Usually only three players)

3 oboes }
1 English horn } (Usually only three players)

3 clarinets }
1 bass clarinet } (Usually only three players)

3 bassoons }
1 double bassoon } (Usually only three players)

3. BRASS WIND:
4 horns (Sometimes 6 or 8)
2 or 3 trumpets (Sometimes 2 cornets also)
3 trombones
1 bass tuba

4. PERCUSSION:
1 bass drum }
1 snare drum } (One player)

3 kettledrums (Of different sizes--one player)

1 triangle }
1 glockenspiel } (One player)
1 pair cymbals }
_et cetera_

1 harp (Sometimes 2)

It will be noted that out of about one hundred players almost
three-quarters are performers upon stringed instruments, and it is
this very large proportion of strings that gives the orchestral tone
its characteristic smoothness, its infinite possibilities of dynamic
shading, its almost unbelievable agility, and, of course, its
inimitable sonority. The wind instruments are useful chiefly in
supplying variety of color, and also in giving the conductor the
possibility of occasionally obtaining enormous power by means of which
to thrill the hearer at climacteric points