The perfecting of the violin took place in the first part of the 18th century (see secs. 110-111). Violin composition of importance began earlier, receiving its first strong direction from Corelli (d. 1713); but its wide expansion in the hands of many able composers and players belongs to the 18th century, establishing for the instrument the eminence among all solo types that still obtains. Among the technical advances in playing was that from only the first three positions (Corelli) to the seventh, with gains in finger-dexterity and in bowing.
Of the older forms of viol, the only one to hold its place was the 'viola da gamba,' a large viol with flat back and 6-7 strings (usually tuned D G C e a d'—a'). Its tone was a cross between that of the tenor violin and the violoncello, but weaker and tamer than either. Probably because of its many strings and its relative ease, it continued in use long after it was really superseded by these finer forms. J. S. Bach (d. 1750) was the last of the strong writers for it, and virtuoso playing upon it ceased before 1790. In Italy it became obsolete much earlier than in Germany, France and England. Gambas were often made in several sizes, so as to form a family by themselves.
The 'violoncello' is properly a bass violin, having 4 strings tuned in fifths (C G d a), the lower two covered with wire, the accordatura being an octave lower than that of the tenor violin. It was first made early in the 17th century, but did not become common for nearly a century, since its fingering involved considerable stretches—a difficulty not fully overcome till after 1750. From early in the 18th century, however, scattered virtuosi upon it appeared, and it steadily pushed its way to the front. Both Bach and Handel clearly perceived its value.
Occasionally for solo purposes a form called the 'octave-violin' was made intermediate between the tenor and the 'cello, its tuning being an octave below the violin proper. Bach's 'viola pomposa' was a small type of 'cello with 5 strings and a compass equal to that of the 'cello and the above octave-violin combined.
The flute, though in use everywhere from time immemorial, did not become artistically prominent till the early 18th century. From that time the German or transverse variety steadily superseded the older recorders, galoubets, flageolets and other direct forms having a beak or mouthpiece. Most of the older cross-flutes had a cylindrical bore, but in the 18th century it was usually conical; since about 1840 the modern flute has reverted to the cylindrical type. The number of finger-holes was rarely more than 8, chromatics and upper tones being secured by cross-fingering and increased force. The scale had many inequalities, so that certain keys and successions were difficult. Every variety of flute was made in different sizes or pitches, forming a full family. Modern music retains only the treble, which has always been the chief form for solos, and the still higher 'piccolo.' From 1700 the sweetness and brilliance of the flute tone, with its capacity for rapid execution, were more and more appreciated. Bach was specially successful with the flute, and his younger contemporary Quantz (d. 1773) was indefatigable in developing its music, being unsurpassed in his voluminous writing for it.
