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94 the various parts (including the transposed ones) so that all important tones, harmonic and melodic, are brought out. A glance at even a very simple orchestral score such as that found in ../Appendix B/ will probably at once convince the reader of the complexity of the task, and will perhaps make him hesitate to "rush in where angels fear to tread" until he has spent a number of years in preparation for the work.

The above description has reference, of course, to conducting an orchestra of approximately symphonic dimensions, and does not refer to the comparatively easy task of directing a group consisting of piano, violins, cornet, trombone, and perhaps one or two other instruments that happen to be available. In organizing an "orchestra" of this type, the two most necessary factors are a fairly proficient reader at the piano (which, of course, not only supplies the complete harmony, but also covers a multitude of sins both of omission and of commission), and at least one skilful violinist, who must also be a good reader. Given these two indispensable elements, other parts may be added as players become available; and although the larger the number of wind instruments admitted, the greater the likelihood of out-of-tune playing, yet so great is the fascination of tonal variety that our inclination is always to secure as many kinds of instruments as possible.

The chief value to be derived from ensemble practice of this type is not, of course, in any public performances that may be given, but is to be found in the effect upon