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work on the horn written by Heinrich Domnich6 (b. 1760), the son of a celebrated horn-player of Wiirtzburg contemporary with Hampel. Domnich junior settled eventually in See also:

Paris, where he was appointed first See also:

PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of the horn at the See also:

CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire. According to him the See also:

MUTE (Lat. tnutus, dumb)

mute (sourdine) of See also:

metal, See also:

wood or cardboard in the See also:

FORM (Lat. forma)

form of a hollow See also:

CONE (Gr. Kwvos)

cone, having a hole in the See also:

BASE

base, was used to soften the See also:

TONE, THEOBALD WOLFE (1763-1798)

tone of the horn without altering the pitch.

But Hampel, substituting for this the See also:

pad of See also:

cotton See also:

WOOL, WORSTED AND WOOLLEN MANUFACTURES

wool used for a similar purpose with the See also:

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

oboe, found with surprise that its effect in the See also:

bell of the horn was to raise the pitch a semitone (see D. J. Blaikley's explanation above). By this means, says Domnich, a diatonic and See also:

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

chromatic See also:

scale was obtained. Later Hampel substituted the See also:

hand for the pad. Domnich duly ascribes to Hampel the See also:

CREDIT (Lat. credere, to believe)

credit of the Inventionshorn, but erroneously states that it was Haltenhoff of See also:

HANAU

Hanau who made the first See also:

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

instrument. Domnich further explains that Hampel, who had not practised the bouche notes in his youth, only made use of them in slow See also:

MUSIC

music, and that the credit of making See also:

PRACTICAL

practical use of the See also:

DISCOVERY

discovery was due to his See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil Giovanni Punto (Joh. Stich) the celebrated horn virtuoso, who was a friend of Domnich's. It may be well to draw See also:

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

attention to the fact that hand-stopping was not possible so See also:

long as the See also:

TUBE (Lat. tuba)

tube of horn was folded in a circle wide enough to be worn See also:

ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the See also:

BODY

body. The reduction of the See also:

DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter of the orchestral horn in See also:

order to allow the performer to hold the instrument in front of him, thus bringing the bell in front of the right See also:

ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm in a convenient position for hand-stopping, must have preceded the discovery of hand-stopping. In the See also:

ABSENCE (Lat. absentia)

absence of contrary See also:

EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence we may suppose that the 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 was effected for the more convenient arrangement and manipulation of the slides or Inventions. So See also:

RADICAL (Lat. radix, a root)

radical a change in the See also:

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

compass of the horn could not occur and be adopted generally without leaving its See also:

mark on the horn music of the See also:

period; this change does not occur, as far as we know, before the last decades of the 18th century.

The rapid See also:

ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance in other countries of Hampel's discovery of hand-stopping is evidenced by a passage from a little See also:

ENGLISH

English work on music, published in See also:

LONDON

London in 1772 but bearing at the end of the See also:

PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface the date See also:

JUNE

June 1766:6 " Some eminent Proficients have been so dexterous as very nearly to perform all the defective notes ofthe scale on the Horn by management of Breath and by a little stopping the bell with their hands." Hampel's success gave a See also:

general impetus to the inventive See also:

FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of musical instrument makers in See also:

EUROPE

Europe. At first the result was negative. Kolbel's See also:

ATTEMPT (Lat. adtemptare, attentare, to try)

attempt must, however, be mentioned, if only to correct a misconception. Kolbel, a Bohemian horn virtuoso at the imperial See also:

RUSSIAN

Russian See also:

court from 1754, spent many years in vain endeavours to improve his instrument. At last, in 176o, he applied keys to the horn or the See also:

BUGLE

bugle, calling it Klappenhorn (the bugle is known in See also:

Germany as See also:

SIGNAL

Signal or Buglehorn). Kolliel's experiment did not become widely known or adopted during his lifetime, but Anton Weidinger, court See also:

TRUMPETER

trumpeter at See also:

Vienna, made a keyed trumpetl in 18o1, which attracted attention in musical circles and gave a fresh impetus in experimenting with keys upon See also:

brass See also:

INSTRUMENTS

instruments. In 1813 Joseph Weidinger, the twelve-See also:

YEAR

year-old son of the above, gave a See also:

CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert in Vienna on the Klappenwaldhorn 6 (or keyed See also:

French horn), about which little seems to be known. See also:

Victor Mal-Om- 6 describes such an instrument, but ascribes the invention to Kolbel; there was but one See also:

key placed on the bell, which on being opened had the effect of raising the pitch of the instrument a whole tone. By alternately using the See also:

HARMONIC

harmonic open notes on the normal length of the tube, and then by the See also:

ACTION

action of the key shortening the See also:

air See also:

COLUMN (Lat. columna)

column, the following diatonic scale was obtained in the third See also:

OCTAVE (from Lat. octavus, eighth, octo, eight)

octave: I 2 3 4 key s key 6 key .7 key 8 Methode de premier et de second See also:

cor (Paris, c. 1807). The passage in question was discovered and courteously communicated by Hofrat P. E.

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