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It is not necessary to enlarge on these topics here. They are all dealt with as they come up in turn for discussion. The main-lines of study concern the original type of instrument, then its modifications and last its use in its present-day perfection—or in some cases, one must say, very partial perfection. A good deal of space has been devoted to explaining the String-technique. This is a subject not often studied from the outsider's point of view. It is, however, well worth undertaking as, apart from its inherent musical and scientific interest, its complex and elaborately expressive methods are apt to baffle the student, especially the student who is a professional pianist. For purposes of reference I have begun with a complete list of orchestral instruments, their compasses, and notations; and ended with an index which is also a digest of the work. Before concluding this preface I wish to acknowledge my obligations to Sir Charles Stanford. To his encouragement this book owes its existence. And, as an old pupil of his, it is with peculiar pleasure that I try to give back a little where I have received much. I hope he will forgive my zoological dissidences on page 461. To Messrs Boosey and Co. I am indebted for the illustrations which are, I think, an interesting feature of the book. Besides lending me a number of blocks, Messrs Boosey and Co. have allowed me to make photographs from their collection of ancient instruments. Without this courtesy I might not have been able to include such specimens as the Fipple-Flute, Serpent, Cornett, Keyed-Bugle, and Bass-Ophicleide. Finally I must offer my warmest thanks to Mr. Frank Bridge for his kindness and long labour in reading my proof-sheets. His wide musical knowledge and invincible accuracy have been invaluable to me.
CECIL FORSYTH.
london,
March 7th,
1914.
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