be made in
each with reference to the harmony voices (showing an analogy with the
four voices of a vocal choir--soprano, contralto, tenor, and bass);
but to go into this might make the exposition confusing. The fourth
"choir" (here the apology to the lexicographers must be repeated with
much humility and earnestness) consists of the instruments of
percussion--the kettle-drums, big drum, cymbals, triangle, bell chime,
etc. (sometimes spoken of collectively in the United States as "the
battery").

[Illustration: SEATING PLAN OF THE NEW YORK PHILHARMONIC SOCIETY.]

[Sidenote: _How orchestras are seated._]

[Sidenote: _Plan of the New York Philharmonic._]

The disposition of these instruments in our orchestras is largely a
matter of individual taste and judgment in the conductor, though the
general rule is exemplified in the plan given herewith, showing how
Mr. Anton Seidl has arranged the desks for the concerts of the
Philharmonic Society of New York. Mr. Theodore Thomas's arrangement
differed very little from that of Mr. Seidl, the most noticeable
difference being that he placed the viola-players beside the second
violinists, where Mr. Seidl has the violoncellists. Mr. Seidl's
purpose in making the change was to gain an increase in sonority for
the viola part, the position to the right of the stage (the left of
the audience) enabling the viola-players to hold their instruments
with the F-holes toward the listeners instead of away from them. The
relative positions of the harmonious battalions, as a rule, are as
shown in the diagram. In the foreground, the violins, violas, and
'cellos; in the middle distance, the wood-winds; in the background,
the brass and the battery; the double-basses flanking the whole body.
This distribution of forces is dictated by considerations of sonority,
the most assertive instruments--the brass and drums--being placed
farthest from the hearers, and the instruments of the viol tribe,
which are the real backbone of the band and make their effect by a
massing of voices in each part, having the place of honor and greatest
advantage. Of course it is understood that I am speaking of a concert
orchestra. In the case of theatrical or operatic bands the arrangement
of the forces is dependent largely upon the exigencies of space.

[Sidenote: _Solo instruments._]

Outside the strings the instruments are treated by composers as solo
instruments, a single flute, oboe, clarinet, or other wind instrumen