MUSICAL INSTRUMENTS. 
to wiiicli they respectively are applied; 
iiatnely, tlie double bass, the violincello, 
tlie tenor, the violin, and the kit. 
The form of the Double-Bass is well 
known ; its tones are a whole octave below 
those of the violincello, and its scale is 
equally perfect. It sometimes has a part 
composed expressly for it, under the term 
violono ; in which case it performs only the 
most accented parts of the bass, bordering, 
indeed, on the fundamental progressions : 
in most instances, we see it playing in uni- 
son with the violincello. The double-bass 
certainly is very emphatic, and has a rich 
effect in such passages as require to be 
strongly marked. 
The Violincello is an instrument perfectly 
indispensable in all orchestras, and at regu- 
lar musical meetings ; its scale is extensive, 
being down to double C, and reaching as 
high as A, or B flat, in the middle of the 
treble stave. Its tones are very fine ; and, 
in the hands of a solo performer, the violin- 
cello displays a brilliancy far beyond what 
its appearance would lead us to expect. 
The tenor, Alto, Taille, or Quinte, is a 
large-sized violin, one octave above the vio- 
lincello, and, like it, has two catgut and 
two covered strings : this instrument sus- 
tains the medium parts between the treble 
and the bass, connecting the harmony, and 
filling that great interval which would else 
he inevitably left void on many occasions. 
We tliink the tenor possesses a most mellow 
and expressive tone ; when supporting a 
fidl passage, it proves a fine prop to the tre- 
bles ; and when leading the melody, and 
sustained by the violincello, affords, in ge- 
neral, a rich treat to musical amateurs. Its 
effect is best heard in Pleyel’s Quartets, &c. 
The Violin may be considered as the chief 
of this tribe : it will be unnecessary to de- 
scribe its form, &c. the instrument being so 
universally known ; its scale extends from 
G, above the bass clef, up to double D, in 
alt; beyond which, though notes may be 
made, the tone becomes rather offensively 
shrill ; and, generally speaking, borders on 
a kind of whistling scream. The pre-emi- 
nent expression, and the wonderful execu- 
tion which may be effected witli the violin, 
added to the great compass we have above 
stated, (it being full three octaves and a 
half) justly occasion this incomparable in- 
strument to take the lead in concerts and 
orchestras; and, in general, in all musical 
meetings. It is to be lamented, however, 
that we cannot boast of srf complete an in- 
timacy with the construction of the violin, 
and of all its class, as Italy and some othef 
parts of the Continent. We have some to- 
lerable makers ; but the names of Amati, 
Staduarius, &c. no sooner appear, than 
the names of inferior workmen seem to 
shrink from notice. It really is surprising, 
but strictly true, that immense quantities 
of violins, tenors, &c. &c. are regularly im- 
ported from the Continent, as a wholesale 
trade, and at so low a rate as five, six, or 
seven shillings each ; from these our inferior 
performers are chiefly supplied. Hence it 
must be obvious, tliat our artizans in this line 
suffer under a very injudicious toleration, 
which, in any other branch of business, 
would be speedily complained of, and the im- 
portation be restricted to the raw material. 
Possibly the legislature may, at some leisure 
moment, turn its attention to this subject. 
The Kit, or pocket-violin, is a small in- 
strument intended for the use of dancing- 
masters, &c. ; it differs in no respect from 
the above description, except in the poor- 
ness of its tones, which are by no means 
pleasant: owing to tlie want of space, for 
placing the fingers, it is extremely difficult 
to perform well on the kit. 
We scarcely know with what to class the 
Humstmm, which consists of a large lath 
made into a bow, by means of a very thick 
piece of catgut, such as the string of a dou- 
ble bass: on this string a bladder is affixed. 
The humstrum is played with a bow, rub- 
bed witli resin, the same as for the violin, 
&c. and the notes, which, however, are few 
in number, are made by shifting the fingers, 
or occasionally the bladder : we believe 
this instrument is used only among the vul- 
gar, and that it is very nearly obsolete. 
All the violin class have four strings, fas- 
tened at one end to a small piece of ebony, 
called the tail-piece; and, after passing 
over a raised bridge, made of seasoned 
beech-wood, (particularly the back of old 
instruments) and over a little ridge, called 
the nut, are fastened respectively to four 
pegs, made of very hard tough wood, by 
the turning of which they are put in tune: 
all the strings give fifths to their neighbours 
throughout : thus the first string is E, the 
second is A, the third is D, and the fourth, 
which is a covered one, is G. The tenors 
and basses have no E string; but a C one, 
added below the G. The notes are made 
by compressing, i. e. by what is called 
stopping, the strings on a rounded .slip of 
ebony, called the finger board, which pro- 
ceeds from (he nut, full four-filths of the dis- 
tance between that and the bridge; the lat- 
