CHAPTER II. THE DAWN OF INDEPENDENT INSTRUMENTATION. I. A desire for increased vitality and florid figuration led to embellished organ accompaniment. This process devolved to other instruments. Hence instrumentation acquired individuality, contrast, expansibility. II. Search for intensified expression and dramatic effects led to attempts at monody. The principles of monody are to be traced to the Miracle Plays, the Troubadours, the Greek tragedies. A semblance of these tragedies as transfused into Florentine monody led to recitative and lyric solo. These contained the germ of opera and oratorio, for which accompaniment was a requisite. In consequence, selective acumen for species, balance, quality, variety, developed orchestration. CHAPTER III. EVOLUTION OF MUSICAL INSTRUMENTS. From primitive stringed instruments played with a bow, such as the Celtic crwth and the Oriental rebab, devolved the vielle, thence the subsequent varieties of viols proper, finally, at the end of the sixteenth century, the modern string quartet. The pianoforte owes its origin to the monochord and psaltery with keyboard attachment, as developed from the dulcimer of the fourteenth and fifteenth centuries, the clavichord and harpsichord of the sixteenth to the Hammerklavier of the eighteenth century. The clavichord was derived from the monochord, the harpsichord from the psaltery, the pianoforte from the dulcimer. The strings of the dulcimer were played upon by hammers held in the hand; the clavichord strings were mechanically pressed up; those of the harpsichord were plucked by quills; whereas the pianoforte is supplied with hammer-action. The invention of wind instruments probably antedates that of strings. Emanating from the ancient Egyptian vertical flute, the flûte à bec of the Middle Ages matured into the modern horizontal flute. Akin to the single-reed species of the Greek aulos, Latin tibia, were the popularized schalmei, predecessors of the pommer and oboe families. The single-reeded modern clarinet, that came into existence the end of the seventeenth century, was an outgrowth of the chalemiax of mediævalism. From the Roman lituus and buccina devolved side by side the trombe and Zinken of the Middle Ages. Experimental development through the stages of bent tubes, slide mechanism, finger holes, removable crooks, chromatic valves, perfected the valve-trumpet, the bugle-horn, the slide-trombone. Instruments of percussion are the parents of all other instruments. Certain species subsequently became distinctly characteristic of certain distinct races; those most effective are now incorporated in the modern orchestra. Of significant importance are the kettle-drums by reason of their unalloyed artistic value. CHAPTER IV. BEGINNINGS OF ORCHESTRATION.