See also:

• VALVE (Lat. valva, a leaf of a double or folding door, allied to volvere, to roll, as of a door on its hinges)

VALVE (See also:

• LAT

Lat. valva, a See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

leaf of a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double or folding See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door, allied to volvere, to See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll, as of a door on its hinges)  , a See also:

• TERM

term applied to many See also:

• MECHANICAL

mechanical appliances, devices or natural features,which See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control, by opening and shutting, the flow of See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, liquids, vapour, See also:

• GAS

gas, &c., through a passage, See also:

• TUBE (Lat. tuba)

tube, See also:

• PIPE

pipe or other See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel . VALVES, or PISTONS (Fr. pistons, cylindres; Ger . Ventile; Ital. See also:

• PISTON (through Fr. from Ital. pistone or pestone, a great pestle, from Late Lat. pistare, to pound, a frequentative form of classical Lat. pinsere)

piston), in See also:

• MUSIC

music, mechanical contrivances applied to See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENTS

instruments in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to establish a connexion between the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main tubing and certain supplementary lengths required for the purpose of lowering the See also:

• PITCH
• PITCH, MUSICAL

pitch . Various devices have been tried from the days of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• GREECE

Greece and See also:

• ROME
• ROME (Roma)

Rome to produce this effect, the earliest being the additional tubes (rrXaycau Mot) inserted into the lateral holes of the See also:

• AULOS (Gr. abXos; Lat. tibia; Egyptian hieroglyphic, Ma-it ; medieval equivalents, shalm, chalumeau, schalmei, hautbois)

aulos and See also:

• TIBIA

tibia in order to prolong the See also:

• BORE

bore and deepen the pitch of each individual hole; these tubes were stopped by the fingers in the same manner as the holes . This See also:

• DEVICE

device enabled the performer to See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change the mode or See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key in which he was playing, just as did the crooks many centuries later . But the resourcefulness of the ancients did not stop there . The tibiae found at See also:

• POMPEII

Pompeii (see Aunos) had sliding bands of See also:

• SILVER

silver, one covering each lateral hole in the pipe; in the See also:

• BAND

band were holes (sometimes one large and one small, probably for semitone and See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone) corresponding with those on the pipe . By turning the band the holes could be closed, as by keys when not required . By fixing the 6 of in the holes of the bands, the bore was lengthened instantly at will, and just as easily shortened again by withdrawing them; this method was more effective than the use of the crooks, and foreshadowed the valves of eighteen centuries later . The crooks, or coils of tubing inserted between the See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece and the main tube in the See also:

• TRUMPET (Fr. trompette, clairon; Ger. ,Trompete, Klarino, Trummet; Ital. tromba, trombetta, clarino)
• TRUMPET, SPEAKING AND HEARING

trumpet and See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn, and between the slide and the See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint in the See also:

• TROMBONE (Fr. trombone, Ger. Posaune, Ital. trombono)

trombone, formed a step in this direction . Although the same principle underlies all these methods, i.e. the lengthening of the main See also:

• COLUMN (Lat. columna)

column of air by the addition of other lengths of tubing, the See also:

• VALVE (Lat. valva, a leaf of a double or folding door, allied to volvere, to roll, as of a door on its hinges)

valve itself constitutes a See also:

• RADICAL (Lat. radix, a root)

radical difference, for, the See also:

• ADJUSTMENT (from late Lat. ad juxtare, derived from juxta, near, but early confounded with a supposed derivation from justus, right)

adjustment of crooks demanding See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time and the use of both hands, they could only be effective for the purposes of changing the key and of rendering a multiplicity of instruments unnecessary . The See also:

• ACTION

action of the valve being as instantaneous as that of the key, the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument to which it was applied was at once placed on a different basis; it became a See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic instrument capable of the most delicate modulations from key to key .

The slide had already accomplished this desirable result, but as its application was limited to instruments of which the greater See also:

• PART

part of the bore was cylindrical, i.e. the trumpet and trombone, its See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on concerted musical See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition could not be far-reaching . In fact it is doubtful whether the chromatic possibilities of the slide were fully realized until the end of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, when key mechanism having made some advance, it was being applied successfully to the transverse See also:

• FLUTE

flute and to the See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet and See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe families . In 176o Kolbel, a Bohemian horn-player engaged in the St See also:

• PETERSBURG

Petersburg Imperial See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

Orchestra, turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to this method of extending the See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of See also:

• BRASS
• BRASS (O. Eng. braes)

brass instruments . His experiments, followed up by Anton Weidinger of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna at the beginning of the 19th century, produced a trumpet with five keys and a See also:

• COMPLETE

complete chromatic compass . See also:

• HALLIDAY, ANDREW [ANDREW HALLIDAY DUFF] (1830-1877)

Halliday followed with the keyed See also:

• BUGLE

bugle in 181o . Halary applied the principle of the keyed bugle to the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass horn in 1817, and produced the See also:

• OPHICLEIDE (Fr. ophicleide, basse d'harmonie; Ger. Ophikleid; Ital. oficleide)

ophicleide—an ideal chromatic bass as far as technical possibilities were concerned . The horn had become a chromatic instrument through Hampel's See also:

• DISCOVERY

discovery of bouche sounds, but the defects in intonation and timbre still remained . Such were the conditions prevailing among the wind instruments of the orchestra when the successful application of the valve to brass wind instruments by Heinrich Stolzel of See also:

• SILESIA

Silesia caused an instantaneous revolution among makers of wind instruments . Further efforts to perfect the key See also:

• SYSTEM

system as applied to the brass wind were abandoned in favour of valves . The See also:

• SHORT, FRANCIS JOB (1857– )

short space of two decades witnessed the rise of the Fliigelhorns, the tubas, the saxhorns and the See also:

• CORNET,

cornet-a-pistons; the trombone, See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French horn and trumpet having led the See also:

• VAN

van, See also:

• SOUND
• SOUND, THE (Danish Oresund)

Sound is produced on brass wind instruments by overblowing the members of the See also:

• HARMONIC

harmonic See also:

• SERIES (a Latin word from serere, to join)

series (see Hoax) . ' The harmonic series itself is invariable, whether obtained from a See also:

• STRING

string or a column of air; the structural features of the instrument determine which members of the series it is able to produce .