This Section
next This difference in the proportions of the pipes is of fundamental importance in the technique of the reed instruments. The matter will be explained more fully in a later portion of the book, but meanwhile it may be briefly stated that in (a), cylindrical pipes, the " fundamental scale" can be reproduced (or " overblown") by the player at the interval of a twelfth higher. In (b), conical pipes, the "fundamental scale" can be reproduced at an interval of an octave higher. This reproduction is effected by means of an increased pressure of the lips and breath, helped in some cases by the opening of certain holes specially bored for that purpose in the pipe itself.
It is important to notice that the Saxophones, though akin to the Clarinets in that they both make use of single-beafcing-reeds, are not cylindrical, but conical instruments. Their technique, therefore, as opposed to their tone-production, is totally distinct from that of the Clarinets. A correct classification, according to mere tone-production, would group the following instruments together;
(1) Single-beating-reeds...The Clarinets. The Saxophones,
(2) Double-reeds............ The Oboes and Bassoons.
A much more scientific classification would, however, be based on the fundamental nature of the instruments; that is to say, on the shapes of their pipes and tubes. We should then group them as follows:
(1) Cylindrical pipes with single-beating-reeds.. .The Clarinet family.
(2) Conical pipes with single-beating-reeds..... The Saxophone family.
(3) Conical pipes with double-reeds................ The Oboe and Bassoon families.
Before passing on to the description of the fifth method by which the air-column can be set in vibration, the student should notice that we have already included all the methods employed by the modern Wood-Wind. Two obsolete instruments, however, the Zinke (or Cornet a bouquin) and the Serpent, must be mentioned. The first of these was used as the ordinary treble of the Trombone family. It was originally made, as its French name suggests, of a ram's horn. Afterwards other materials, such as ivory, bone, and wood, were employed. The Serpent, again, was usually associated with the Brass in performance. It was, however, actually made of wood. Both these instruments had a conical-bore and their scales were produced by means of holes pierced laterally. The method of tone-production was, however, quite distinct from that of any Wood-Wind instrument which we have hitherto described. It was, in fact, the cup-mouthpiece-system familiar to us to-day through its universal use on all the heavy Valved-Brass. The student must, however, remember that this association of the cup-mouthpiece with the heavy Brass is, so to speak, only an accident. As we have already pointed out, the material of which the tube is constructed matters very little. The method of tone-production is of the first importance.
The Saxophones are actually made of brass. The words "tube" and "pipe" are used consistently to distinguish the Brass- from the Wood-Wind. This is, however, merely a mnemonic. It has no importance as a scientific distinction. As we have already said, the material of the tube or pipe is of no consequence.