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In the case of the first group, no further subdivision is scientifically necessary. The only subdivision that could be made would depend on the varying degree of elasticity in the beaten surfaces. An artistic subdivision, however, will be made into
(a.) Those which produce noise but not musical sounds of a definite pitch;
(b) Those which produce sounds of definite musical pitch.
(2) WIND INSTRUMENTS.
The second group includes what are commonly known as the Brass- and Wood-Wind. In the case of all these instruments, the air column is contained either in a conical or a cylindrical tube or pipe. As we have already mentioned, this air-column has to be regularly broken up before it can produce a musical sound. It is not sufficient merely to blow through one end of the tube or pipe and allow the air to run out at the other. The air-column must be forced to vibrate evenly. This can be done in several ways.
First Method.
By simply blowing across the open end of the pipe, so that the breath strikes the rim. Instruments played in this way are known as Pipes with neither embouchure nor mouthpiece. The only representative of this subdivision is the Syrinx. No orchestral instruments are blown in this manner. The method has been found too imperfect to allow of musical development. The ancient "Syrinx" of the early Hellenic civilization is exactly the same instrument as the modern "Pan's Pipes" of the Punch-and-Judy showman.
Second Method.
The second method of setting the air-column in vibration is to direct a stream of wind from the lips across a circular hole bored in the pipe. The wind-stream or "air-reed" strikes the sharp edge of the hole on the side furthest from the player's mouth. Instruments played in this way may be classed as Pipes without mouthpiece, but with embouchure. The whole family of Flutes belongs to this subdivision.
Third Method.
In the third method a beak- or whistle-mouthpiece is used. The air-reed is directed through this mouthpiece against the sharp edge of a " bevel" cut in the side of the pipe. Instruments played in this way are known as Pipes with Whistle-mouthpiece. No orchestral instruments are included in this group. The (orchestrally) obsolete Flageolet is the best-known member of the family. But in ancient days a great many instruments were played in this manner. The most familiar of these were the groups of Recorders and of Beak- or Fipple- Flutes. It must be added that the Flue- Work of the Modern Organ comes strictly into this subdivision.
For further details, see the preliminary matter before the section devoted to Percussion Instruments, page 22. The whole classification in the present chapter is intended merely as an exact groundwork. The names of many instruments, especially obsolete instruments, have been omitted here as only likely to confuse the student. In every case the information should be supplemented by a reference to the more detailed study prefixed to each instrumental section—"Percussion," "Brass," "Wood," and " Strings."
Gevaert classes the Syrinx, the Bagpipes, and the Organ together, on the ground that each consists of a number of pipes of different lengths, emitting notes of different pitch. He calls them "Polyphonic Wind Instruments," and even suggests that the addition of the air-reservoir in the Bagpipes was "the first improvement" on the Syrinx. The method of tone-production in the three instruments is, however, totally distinct.
Sometimes called Cross-Flutes or Flauti Traversi. Tor further details on this subdivision and on the next two subdivisions, see the preliminary matter before the section devoted to Wood-Wind Instruments, page 177.