[10] “In bowed instruments the wolf occurs owing to defective vibration of one or more notes of the scale. When it occurs, it is generally found, more or less, in every octave and on every string. Different instruments have it in different places: it is most common at, or near, the fourth above the lowest note on the instrument,—in the violin at C, in the violoncello at F. The more sonorous and brilliant the general tone, the more obtrusive it becomes: if the tone be forced, a disagreeable jar is produced. Hence it is idle to attempt to play the wolf down; the player must humor the troublesome note. It is commonly believed that there is a wolf somewhere in all fiddles; and it is certain that it exists in some of the finest, for example in Stradivaris. Probably, however, it is always due to some defect in the construction, or adjustment. “Violins with a soft, free tone are least liable to it. The cause of the wolf is obscure and probably not uniform: it may result from some excess or defect in the thickness; from unequal elasticity in the wood; from bad proportion or imperfect adjustment of the fittings; or from some defect in the proportions of the air-chamber. In the opinion of violin-makers where it is once established it cannot be radically cured. Some instruments have what may be termed an anti-wolf, _i. e._ an excess of vibrations on the very notes where the wolf ordinarily occurs.” (Parker). [11] Lavignac. [12] Lanzetti appears in the picture facing page 182. [13] See page 25. [14] See pages 43 and 44. [15] See page 61. [16] See page 44. [17] See page 33. [18] See page 22. [19] See page 50. [20] Strauss calls for this in his Domestic Symphony. [21] Lavignac. [22] See pages 83-84. [23] Dr. W. H. Stone. [24] Köchel No. 622. [25] William H. Husk. [26] See page 108. [27] See page 112. [28] Now played on the double-bassoon. [29] See page 55. [30] See illustration facing page 136. [31] See illustration facing page 140. [32] See page 21. [33] See page 25. [34] Cecil Forsyth. [35] See page 24. [36] See page 23. [37] See page 21. [38] See pages 49 and 58. [39] See pages 49 and 58. [40] La Vieuville de Freneuse. [41] See page 154. [42] This is interesting as showing that Lully used a cane to beat time. [43] Romain Rolland. [44] Romain Rolland. [45] Viola da Gamba. [46] _La Parnasse Francoise._ [47] See page 160. [48] See page 167. [49] See page 165. [50] Paul David. [51] Equal tuning. [52] Charles Villiers Stanford. [53] See page 182. [54] Romain Rolland. [55] Volbach. [56] Romain Rolland. [57] Julien Tiersot. [58] Henri Marie Beyle (Stendhal). [59] J. Cuthbert Hadden. [60] Jahn. [61] Romain Rolland. [62] In the Mannheim Orchestra (see page 210.) [63] Rudall. [64] Beethoven’s pupil. [65] Sir George Grove. [66] Romain Rolland. [67] Sir George Grove. [68] Sir George Grove. [69] Edward Carpenter. [70] A. W. Wodehouse. [71] Dr. Philipp Spitta. [72] See page 234. [73] Dr. Philipp Spitta.