tented himself with the use of the
chalumeau in _Orfeo_ (1762) and in _Alceste_ (1767).[37] The clarinet
had already been adopted in military bands in France in 1755, where it
very speedily completely replaced the oboe. One of Napoleon Bonaparte's
bands is said to have had no less than twenty clarinets.

For further information on the clarinet at the beginning of the 19th
century, consult the _Methods_ by Ivan Mueller and Xavier Lefebure, and
Joseph Froehlich's admirable work on the instruments of the orchestra;
and Gottfried Weber's articles in Ersch and Gruber's _Encyclopaedia_.
See also BASSET HORN; BASS CLARINET and PEDAL CLARINET. (K. S.)

FOOTNOTES:

[1] See Gottfried Weber's objection to this derivation in "Ueber
Clarinette und Basset-horn," _Caecilia_ (Mainz, 1829), vol. xi. pp.
36 and 37, note.

[2] Nos. 3 and 4 are sometimes made in one, as for instance in Messrs
Rudall, Carte & Company's modification, the Klussmann patent.

[3] Aristotle (_de Audib._ 802 b 18, and 804 a) and Porphyry (ed.
Wallis, pp. 249 and 252) mention that if the performer presses the
_zeuge_ (mouthpiece) or the _glottai_ (reeds) of the pipes, a sharper
tone is produced.

[4] Cf. V.C. Mahillon, _Elements d'acoustique musicale et
instrumentale_ (Brussels, 1874), p. 161; and Fr. Zamminer, _Die Musik
und die musikalischen Instrumente in ihrer Beziehung zu den Gesetzen
der Akustik ..._ (Giessen, 1855), pp. 297 and 298.

[5] "The Aulos or Tibia," _Harvard Studies_, iv. (Boston, 1893).

[6] _De Musica_, 1138.

[7] _Op. cit._ pp. 160 et seq.; and Wilhelm Altenburg, _Die
Klarinette_ (Heilbronn, 1904), p. 9, who refers to Mahillon.

[8] See Macrobius, _Comm. in somnium Scipionis_, ii. 4. 5 "nec secus
probamus in tibiis de quarum foraminibus vicinis inflantis ori sonus
acutus emittitur, de longinquis autem et termino proximis, gravior:
item acutior per patentiora foramina, gravior per angusta."

[9] See Victor Loret, _L'Egypte au temps des Pharaons--la vie, le
science, et l'art_ (Paris, 1889), illustration p. 139 and p. 143. The
author gives no information about this fresco except that it is in
the Musee Guimet. It is probably identical with the second of the
mural paintings described on p. 190 of _Petit guide illustre au Musee
Guimet_, par L. de Milloue.

[10] See Victor Loret, "Les flutes egyptiennes antiques," _Journal
asia