Page:EB1911 - Volume 20.djvu/153

 the mouthpiece, must be made narrower by greater tension; (2) the breath must be sent through the reduced aperture in a more compressed form and with greater force, so that the exciting current of air becomes more incisive. An exact proportion, not yet scientifically determined, evidently exists between the amount of pressure and the degree of tension, which is unconsciously regulated by the performer, excess of pressure in proportion to the tension of the lips producing a crescendo by causing amplitude of vibration instead of increased speed.

When the fundamental note of a pipe is produced, the tension of the lips and pressure of breath proportionally combined are at their minimum for that instrument. If both be doubled, a node is formed half way up the pipe, and the column of air no longer vibrates as a whole, but as two separate parts, each half the length of the tube, and the frequency of the sound waves is doubled in consequence. The practical result is the production of the second harmonic of the series an octave above the fundamental. The formation of three nodes and therefore of three separate sound waves produces a note a twelfth above the fundamental, known as the third harmonic, and so on in mathematical ratio. This harmonic series forms the natural scale of the instrument, and is for the ophicleide the following: In some cases the fundamental is difficult to obtain, and the harmonics above the eighth are not used.

The ophicleide has in addition to its natural scale eleven or twelve lateral holes covered by keys, each of which, when successively opened, raises the pitch of the harmonic series a semitone, with the exception of the first, an open key, which on being closed lowers the pitch a semitone. There were ophicleides in C and in B♭, the former being the more common; contrabass ophicleides were also occasionally made in F and E♭. The keys of the ophicleide, being placed in the lowest register, were intended to bind together by chromatic degrees the first and second harmonics. The compass is a little over three octaves, from with chromatic semitones throughout.

The unsatisfactory timbre of the ophicleide led to its being superseded by the bass tuba; but it seems a pity that an instrument so powerful, so easy to learn and understand, and capable of such accurate intonation, should have to be discarded. The lower register is rough, but so powerful that it can easily sustain above it masses of brass harmonics; the medium is coarse in tone, and the upper wild and unmusical.

Although a bass keyed-bugle, the ophicleide owes something of its origin to the application of keys to the (q.v.), a wind instrument, the invention of which is generally attributed to Edme Guillaume, canon of Auxerre, about 1590. The serpent remained in its primitive form for nearly two centuries, and then only it was attempted to improve it by adding keys. It was a musician named Régibo, belonging to the orchestra of the church of St Pierre at Lille, who, about 1780, first thought of giving it the shape of a bassoon. The merit of this innovation was rapidly recognized in England and Germany. Still, to follow Gerber, one Frichot, who was established in London, published in 1800 a description of an instrument, entirely of brass, manufactured by J. Astor, which he claimed as his invention, calling it the basshorn, but which was no other in principle than the new serpent of Régibo. It only made its way to France and Belgium after the passage of the allied armies in 1815. The English brass basshorn was designated on the Continent the English or the Russian basshorn, the “serpent anglais” or the “basson russe.” Under this last name all instruments of the form, whether of wood or brass, were later on confounded in France and Belgium. The “basson russe” remained in great vogue until the appearance of the ophicleide, to disappear with it in the complete revolution brought about by the invention of pistons.

The invention of the ophicleide is generally but falsely attributed to Alexandre Frichot, a professor of music at Lisieux, department of Calvados, France. The instrument, which the inventor called “basse-trompette,” was approved of as early as 13th November 1806 by a commission composed of professors of the Paris Conservatoire, but the patent bears the date 31st December 1810. The “basse-trompette,” which Frichot in his specification had at first, in imitation of the English basshorn, called “basse cor,” was, like the English instrument, entirely of brass, and had, like it, six holes; it only differed in a more favourable disposition brought about by the curvings of the tube, and by the application of four crooks which permitted the instrument to be tuned “in C low pitch and C high pitch for military bands, in C# for churches, and in D for concert use.” The close relationship between the two instruments suggests the question whether this was the Frichot who worked with Astor in London in 1800.

The first idea of adding keys to instruments with cupped mouthpieces, unprovided with lateral holes, with the aim of filling up some of the gaps between the notes of the harmonic scale, goes back, according to Gerber (Lexicon of 1790), to Kölbel, a hornplayer in the Russian imperial band, about 1760. Anton Weidinger, trumpeter in the Austrian imperial band, improved upon this first attempt, and applied it in 1800 to the trumpet. But the honour belongs to Joseph Halliday, bandmaster of the Cavan militia, of being the first to conceive, in 1810, the disposition of a certain number of keys along the tube, setting out from its lower extremity, with the idea of producing by their successive or simultaneous opening a chromatic scale throughout the extent of the instrument. The bugle-horn was the object of his reform; the scale of which, he says, in the preamble of his patent, “until my invention contained but five tones, viz. . My improvements on that instrument are five keys, to be used by the performer according to the annexed scale, which, with its five original notes, render it capable of producing twenty-five separate tones in regular progression.” Fig. 1 represents the keyed bugle of Joseph Halliday.

It was not until 1815 that the use of the new instrument spread upon the Continent. We find in the account-books of a Belgian maker, Tuerlinckx of Mechlin, that his first supply of a bugle-horn bears the date of 25th March 1815, and it was made “aen den Heer Muldener, lieutenant in het régiment duc d’York.”

The acoustic principle inaugurated by Halliday consisted in binding together by chromatic degrees the second and third harmonics, to . He attained it, as we have just seen, by the help of five keys. The principle once discovered, it became easy to extend it to instruments of the largest size, of which the compass, as in the “basson russe,” began with the fundamental sound. It was simply necessary to bind this fundamental to the next harmonic sound by a larger number of keys. This was done in 1817 by Jean Hilaire Asté, known as Halary, a professor of music and instrument-maker at Paris. We find the description of the instruments for which he sought a patent in the Rapport de l’Académie Royale des Beaux-Arts de l’Institut de France, meeting of the 19th of July 1817. These instruments were three in number: (1) the clavi-tube, a keyed trumpet; (2) the quinti-tube, or quinti-clave; (3) the ophicleide, a keyed serpent. The clavi-tube was no other than the bugle-horn slightly modified in some details of construction, and reproduced in the different tonalities A♭, F, E♭, D, C, B♭, A and A♭. The quinti-tube had nearly the form of a bassoon, and was, in the first instance, armed with eight keys and constructed in two tonalities, F and E♭. This was the instrument afterwards named “alto ophicleide.” The ophicleide (fig. 2) had the same form as the quinti-tube. It was at first adjusted with nine or ten keys, and the number was carried on. to twelve—each key to give a semitone (additional patent of 16th August 1822). The ophicleide or bass of the harmony was made in C and in B♭, the contra-bass in F and in E♭.