L26 



Mr. D. J. Blaikley on Brass Wind 



Instrument. 



Note. 



No. of 

 vibrations. 



Partial tones heard. 



/ 



B,b 



GO 



1, 2, 3, 4, 5, 6, &c. to 16. 



V 

 1, 2, 3, 4, 5, 6, &c. to 12. 



P 



Bb Trombone 



Bb 



120 



V 

 / 



Bb Euphonion . . . < 



/ 

 B,b 



Bb 



/ 



180 



60 



120 



180 



1, 2, 3, 4, 5, 6, 7. 



p [than 12 weak. 

 1, 2, 3, 4, 5, 6, &c. to 12 ; higher 



P 

 1, 2, 3, 4, 5, 6, 7. 

 fmfp 

 1, 2, 3, 4, 5. 



( 



i 

 F French horn ...-{ 



c 



135 



1, 2, 3, 4, 5, 6, 7, 8. 



f 



180 



1, 2, 3, 4, 5, 6. 



mfp 



1, 2, 3, 4, 5, 6. 





f 



360 



1 

 Bb Cornet 



Bugle 



bb 



240 

 256 



1, 2, 3, 4, 5, 6, 7, 8. 



/ / P P 

 1, 2, 3, 4, 5, 6, 7. 

 / mfp pp 



While submitting that the different qualities of tone are ac- 

 counted for by the difference in the number and force of the 

 upper partials in any given compound tone, I must at the 

 same time acknowledge that I can do no more than throw out 

 a few suggestions with respect to the causes that influence the 

 production of such upper partials in this remarkable manner. 

 The partials being in the natural harmonic series, it is evident 

 that if the various proper tones of a vibrating column of air 

 such as is enclosed in a wind instrument are not in exact 

 agreement with this series, the resonance to the partials can- 

 not be at its best. Take for illustration two instruments no- 

 minally the same (say two bugles), but with somewhat differ- 

 ent qualities of tone. Suppose that a certain compound tone 

 on both should have its first and second partials of equal in- 

 tensity, but that one instrument has that one of its proper 

 tones that is nearest in pitch to the required second partial a 

 semitone sharper than that partial ; the supposed compound 

 tone sounded on that instrument will be deficient in the quality 

 the second partial should give. 



As regards instruments of different characters, the chief 

 points influencing the tone are the general form of the instru- 

 ment (understanding by this the proportions of the column of 

 air, and not the shape into which the instrument may be bent 

 up for the convenience of the player), the extent of the flan- 

 ging of the bell, and the form of the mouthpiece. As an 



