composition, and through them to
body them forth to the audience.

[Sidenote: _The score._]

[Sidenote: _Its arrangement._]

[Sidenote: _Score reading._]

What it is that the conductor has to guide him while giving his mute
commands to his forces may be seen in the reproduction, in the
Appendix, of a page from an orchestral score (Plate XII). A score, it
will be observed, is a reproduction of all the parts of a composition
as they lie upon the desks of the players. The ordering of these parts
in the score has not always been as now, but the plan which has the
widest and longest approval is that illustrated in our example. The
wood-winds are grouped together on the uppermost six staves, the brass
in the middle with the tympani separating the horns and trumpets from
the trombones, the strings on the lowermost five staves. The example
has been chosen because it shows all the instruments of the band
employed at once (it is the famous opening _tutti_ of the triumphal
march of Beethoven's Fifth Symphony), and is easy of comprehension by
musical amateurs for the reason that none of the parts requires
transposition except it be an octave up in the case of the piccolo,
an instrument of four-foot tone, and an octave down in the case of the
double-basses, which are of sixteen-foot tone. All the other parts are
to be read as printed, proper attention being given to the alto and
tenor clefs used in the parts of the trombones and violas. The ability
to "read score" is one of the most essential attributes of a
conductor, who, if he have the proper training, can bring all the
parts together and reproduce them on the pianoforte, transposing those
which do not sound as written and reading the different clefs at sight
as he goes along.

V

_At an Orchestral Concert_

[Sidenote: _Classical and Popular._]

[Sidenote: _Orchestras and military bands._]

In popular phrase all high-class music is "classical," and all
concerts at which such music is played are "classical concerts." Here
the word is conceived as the antithesis of "popular," which term is
used to designate the ordinary music of the street and music-hall.
Elsewhere I have discussed the true meaning of the word and shown its
relation to "romantic" in the terminology of musical critics and
historians. No harm is done by using both "classical" and "popular" in
their common significations, so far as they convey a difference in
character between concerts. The highes