Only the harmonics were played on the marine trumpet.

The principle of procuring the vibrations in stringed
instruments by means of a bow was, of course, applied to the
monochord class of keyed instruments, and was thus the origin
of the hurdy-gurdy, which consisted of a wheel covered with
resined leather and turned by a crank.

The bowed instruments were originally of two types, the first
in the form of the lute or mandolin; the second probably
derived from the Welsh _crwth_, consisting of a flat, long box
strung with strings (called fidel from _fides_, "string"). The
combination of these types, which were subjected to the most
fantastic changes of shape, led eventually to the modern
violin family.

We know that the highest plane of perfection in the violin
was reached in Italy about 1600. The Cremona makers, Amati,
Guarnerius, and Stradivarius, made their most celebrated
instruments between 1600 and 1750.

The violin bow, in its earliest form, was nothing more than an
ordinary bow with a stretched string; Corelli and Tartini used a
bow of the kind. The present shape of the bow is due to Tourte,
a Paris maker, who experimented in conjunction with Viotti,
the celebrated violinist.

By looking at the original lute and the Arabian _rebeck_
or Welsh _crwth_ (originally Latin _chorus_), we can see how
the modern violin received its generally rounded shape from
the lute, its flatness from the _rebeck_, the sides of the
instrument being cut out in order to give the bow free access
to the side strings. The name too, _fidula_ or _vidula_,
from mediaeval Latin _fides_, "string," became fiddle and
viola, the smaller viola being called violino, the larger,
violoncello and viola da gamba.

In the Middle Ages, the different species of bowed instrument
numbered from fifteen to twenty, and it was not until between
1600 and 1700 that the modern forms of these instruments
obtained the ascendancy.

Of the wind instruments it was naturally the flute that
retained its antique form; the only difference between the
modern instrument and the ancient one being that the former
is blown crosswise, instead of perpendicularly. Quantz,
the celebrated court flute player to Frederick the Great
of Prussia, was the first to publish, in 1750, a so-called
"method" of playing the traversal (crosswise) flute.

With the reed instruments the change in modern times is more
striking. The original form of the reed instruments was of the
double-