ON THE PHILOSOPHY OF MUSICAL COMPOSITION,
THE EXPRESSIVE POWER OF INSTRUMENTS.
HAVE hitherto, in this series of essays, confined my thoughts very much to vocal music, as being that species which is most easily reducible to definite treatment. Notes to which words are affixed, though men may differ concerning the justness of their expression, are nevertheless submitted to the test of precise interpretation; and it is by this test that we are not only enabled to compare their specific meaning, but to draw conclusions respecting the very nature of musical expression itself. Led by a similar analogy, it is my intention now to consider the power of accompa niment to aid in "casting soft or noble hints into the soul," and this I shall endeavour to exemplify, by illustrations drawn from the past and present practice, by which process I hope to arrive at some distinct principles. As a first step, we must examine the constituent parts of a band, and strive to ascertain what are the properties of the several instruments. By this I mean the natural effects of their several sounds upon the organs of sense, as well as their modifications in expression, or association. I shall begin from the foundation-the double bass; but I must so far trespass on the regularity of my design, as to write a few sentences upon the organ-the nucleus upon which the other parts are formedthe centre of the system-the very voice of harmony, which, in this lower sphere, may be likened (par impari) to that high notion