The tambourin is a long, narrow drum, which the performer beats with one stick, holding a flageolet with the other hand. It originated in Provence. THE CASTANETS Castanets are generally used to accent the rhythm of Spanish dance-music, or to give color to music of a Spanish character. They consist of two small hollow pieces of hard wood, usually of chestnut, _castaño_ in Spanish, whence their name. They are shaped something like the bowl of a spoon, or a shell, and are held together by a cord, the ends of which pass over the thumb and first finger of the performer. The other three fingers clap the two halves of the castanets together. The sound is a deep, hollow click, which, although not a musical note, is not unpleasing when heard with its appropriate music. The Spanish dancer holds a pair in each hand. The right hand plays the full rhythm of the dance which is known as the _hembra_, or female part, and the left, a simplified rhythm, on a larger pair of castanets, called the _marcho_, or male. Wagner uses both castanets and tambourine in the delirious revels of the _Tannhäuser Baccanale_. Saint-Saëns calls for castanets in his opera of _Samson et Dalila_. [Illustration: PERCUSSION INSTRUMENTS, SYMPHONY SOCIETY OF NEW YORK _Hans Goettich_] THE CARILLON OR GLOCKENSPIEL We sometimes hear what sounds like a chime of bells, or one little silvery bell, pealing forth now and then. We do not hear bells at all. The _glockenspiel_, or _Carillon_, is a series of small bars of steel, or bronze, that are struck by two small hammers. Some orchestras use a mechanical contrivance with a keyboard, which enables the player to produce _arpeggios_, trills and rapid passages that otherwise would be impossible. A toy imitation of a chime of bells was used by Handel in his oratorio of _Saul_ and by Mozart in the _Magic Flute_; but to-day steel bars are preferred. They are called, however, “bells,” or _glockenspiel_. Wagner made an interesting use of them in the Waltz in Act III of _Die Meistersinger_ and also in _Siegfried_ and in the _Walküre_. In the latter work the _glockenspiel_ is magical in helping to produce the impression of fire. When Wotan strikes the ground with his staff and calls Loge, the god of fire, to come and guard Brünnhilde, who is falling into her enchanted sleep under the big pine tree, the red flames flicker and soar into the air. We hear, with the slumber-song and other familiar motives, the dance of the leaping flames. More and more furiously they come, sparkling and gleaming like rubies and fire-opals; and as they rise and crackle and soar heavenward the _glockenspiel_ adds its delicate, silvery notes to the Fire-Music, making brilliant tips of light to the soaring plumes of flame. And here, too, the triangle contributes its white notes like vivid points of heat and light. THE CELESTA