I If/.-/ 7" TO BLOW, AND HOW TO BLOW IT. 



and it is as futile to tr\- to blow with a numbed lip as 

 to try to win a race with a tired horse. 



Five good, clear and natural notes can be produced 

 on the Coach-horn, viz., 



i 



?E 



-& 



221 



ZX 



e 



which, for the benefit of my non-musical readers, I 

 have marked C, G*, C, E, and top G. 



Upon the Post-horn four notes are al^out all that 

 can be sounded with ease and comfort ; indeed, it is 

 seldom that more than the first three notes are used. 



Nine persons out of ten will produce the note G* 

 first, then, after a little practice, the upper notes will 

 come by compressing the lips a little more tightly, and 

 blowing, as it were, rather more against the top part 

 of the interior or cup of the mouthpiece. A ver}' 

 little will do this, in fact, the extra pressure is almost 

 imperceptible. On the contrary, to produce the 

 bottom note C, the lowest note of all, it is necessary 

 to relax the lips so as to cause them to slacken a very 

 little, and then blow as straight and direct into the 

 mouthpiece as possible. 



These are about all the instructions it is possible 

 to give, and I really believe that this is the first time 

 the theory of Horn-blowing has been so minutely 

 described. I only hope that I have succeeded in 

 making myself intelligible, and, in. conclusion, I can 



