ach of the instruments in the band; and after that to the delight
found in what may be called the primary colors he would add that which
comes from analyzing the vast number of tints which are the products
of combination. Noting the capacity of the various instruments and the
manner in which they are employed, he would get glimpses into the
mental workshop of the composer. He would discover that there are
conventional means of expression in his art analogous to those in the
other arts; and collating his methods with the effects produced, he
would learn something of the creative artist's purposes. He would find
that while his merely sensuous enjoyment would be left unimpaired, and
the emotional excitement which is a legitimate fruit of musical
performance unchecked, these pleasures would have others consorted
with them. His intellectual faculties would be agreeably excited, and
he would enjoy the pleasures of memory, which are exemplified in music
more delightfully and more frequently than in any other art, because
of the role which repetition of parts plays in musical composition.

[Sidenote: _Familiar instruments._]

[Sidenote: _The instrumental choirs._]

The argument is as valid in the study of musical forms as in the study
of the orchestra, but it is the latter that is our particular business
in this chapter. Everybody listening to an orchestral concert
recognizes the physical forms of the violins, flutes, cornets, and big
drum; but even of these familiar instruments the voices are not always
recognized. As for the rest of the harmonious fraternity, few give
heed to them, even while enjoying the music which they produce; yet
with a few words of direction anybody can study the instruments of the
band at an orchestral concert. Let him first recognize the fact that
to the mind of a composer an orchestra always presents itself as a
combination of four groups of instruments--choirs, let us call them,
with unwilling apology to the lexicographers. These choirs are: first,
the viols of four sorts--violins, violas, violoncellos, and
double-basses, spoken of collectively as the "string quartet;" second,
the wind instruments of wood (the "wood-winds" in the musician's
jargon)--flutes, oboes, clarinets, and bassoons; third, the wind
instruments of brass (the "brass")--trumpets, horns, trombones, and
bass tuba. In all of these subdivisions there are numerous variations
which need not detain us now. A further subdivision might