6
HISTOIRE DU SOLDAT The Soldier's
Tale
Geschichte vom Soldaten IGOR STRAVINSKT
edited bv John Carewe
Percussion part edited by James Blades
Bass
Percussion: (see Editor's Note on page l2)
Drum
Snare Drums
Field Drum
e
Tambourine
Triansle
Cymbal
III
(large) (small)
(edge) (centre)
Part I MARCHtr DU SOLDAT Bass Drum; Field Drum & Snare Drum I (bo th unsnared); Tambouri ne (?) L.H. mallet 1, R.H. mallet 2. (1, rL F.D. & B.D. n ) =tt2 Cornel
poco secco
{
('7\
44'..,
Bassoon
50@
*
The original indicates that the right hand mallet serves to strike the tambourine and the snare drum.
O Copyright for all Countries 1987 J. & W. Chester/Edition Wiihelm Hansen London Ltd. H1
RE MATERiAL
WARNING: The copying of the whole or any part of this publication is iliegal and can lead to prosecution.
All rights teserved Printed in England
NOT FOR SALE
)
Percussion
@
LR
64
p
ì,_,
a,
71
f 78
@
repeat ad lib.*
* Repeats
are made for staged perforrnances.
Musique de la Première Scène
PETITS AIRS AU BORD DU RUISSEAU ru Tacet "Donnez-moi votre violon. . . . . Puis, de nouveau, c'est comme avant." "Give me your víolin . . , . . . . . Then eterything is as it was before." "Gebt mb die Giege!. . Es gibt die Zeit nicht mehr,"
Reprise: MARCHE DU SOLDAT (p.1) Musique de la Deuxième Scène
PASTORALE rv Tacet Reprise: PASTORALE rv Tacet s'était mis à lire. "He took the book. "Er liest im Buch.
"Il
. marchand d'abord, marchand d'objets." . and became a pedlar, a seller ofwares." . . handelt mit buntenwaren."
ROULEMENT DE TAÀ{BOUR / DRUXT ROLL / TRON{MELWTRBEL . . . satin duchesse,
prir d'avantguerre."
.i: .: . . .:: 'Jf,:',3ffí::::, ii'':::"ii:íi:;,:;isen!. . . ,, ROULEMENT DE TAN4BOUR / DRUA,T ROLL / TROI,{À,{ELWTRBEL "N{archand d'abord. "A pedlar first . "Wfud Kaufmann erst. .
.
Reprise: PETITS AIRS .v Tacet Musique de la
Troisième Scène
Reprise: PETITS AIRS ru Tacet
subito
Percussion
Part II MARCHE DU SOLDAT & Snare Drum I (both unsnared);Tambourine L.H. mallet l, R.H. mallet 2. Bass Drum; Field Drum
J
o
=ú2
Cornet
L
poco secco
/ît
yf
LR
L5\U
@,
"Il
ne sait pas liu-mdme. . . , . avec le sac en moins et les choses dedals." "He doesn't know himself. . . . . except of course he has no pack îo bear," "Er weiB es es selber nicht. . . . . und etw'as Krimskrams drin."
+zOr
R
p subito
r a présent. . . . . où je vais? je vais chèz le roi." "Nov, he comes to another land .. . . Wltere am I going? To see the "In einem anderen land. . . . . Zum Kónie und zur Kóniein!"
"Un autre pays
Kíng!"
Percussion
MARCHE ROYALE Bass Drum (mallet le, also struck edge and centre with mallet 2); Field Drum, snared; Snare Drum I, unsnared; Cymbal, mounted upside down on edge of Bass Drum (struck on the edge with shaft of mallet 2.) L.H. mallet la, R.H. mallet. 2.
) =ll2 m1f
cym. B.D.
î
B.D. (edge & centre)
RR
P
())
FR
S.D.I
RRR
R R
sim.
poco
gf
P
@
fr @ >
Percussion
To F.D. (snared): L.H. reverse mallet la to match mallet 2.
F.D. (snared)
Trombone
@' v
To B.D. L.H. reverse
mallet
:>
1a
-
(!@ s. D. I (unsnared)
1
R.-.RR
R
p
*@*
@R nfr @
"f
126@
"On a fait marcher la musique. . . , . Tu reprends ton bien. . . ,Yo\N take bock your ou'n again." "TheJ' gave the word, "N{usik schon unterw'egs. . . . . . Jetzt gehórt sie wieder dir!
* The
fives should be played rapidly before the main beat
-
"
single strokes or a six-stroke roli.
>
Percussion
PETIT CONCERT Bass Drum; Field Drum, unsnared L.H. mallet l. R.H. mallet2.
)
=I2O
/,i tq\t'7\
@
B.D.
@
(eg
& centre)
@R
Viol
@
Cornet
20
8e@
101
5 Y7
q,
B.D.-ff
Í tr
Damp
Prepare
óì \<;/
for
Tango
()a\
6t <:t/
Percussion
TROIS DANSES Bass Drum with Cymbal, attached as before; Snare Drums Tambourine; Triangle.
I & II'
unsnared;
1. TANGO
J=c.80 R R
OR
LR
L.H. mallet I R.H.
ntallet2 p
10
u mosso
)
=92-96
laísseXibrer ToS.Ds. I&II
66@
2. VALSE
o
=JlÒo (8.D.)p
71@
@
@
@
@
q9
@
o)) \<2 Vio
Ragtirne Prepare for Ragtirne; L.H. mallet 2, R.H. triangle beater (see Notes).
Percussion
3. RAGTIME
t_
.--!
h
*
rir- l n 6ì,r À YA -
î\\ f
5Ar \
Yr
To. B.D. and S.Ds I &
II (unsnared);L.H. mallet 4, R.H. mallet
2 (or dou ble e nded 4
@
6lt*
&2)
6) \7
RL
R.H. to mallet 4
rf 70
P
@
Q)
,--r tf
P
e?
@
To mallets 3 (or 6)
" Triangle beater in
R.H. (see notes on mallets etc.).
DANSE DU DIABLE Bass Drum: Field Drum and Snare Drums LR Allesro J =138 F.D. and S.D.l Nfallets 3 (or
*
f
*
6)t
I & II (all three u nsnared).
(t
f
The original instructions were for the two clrums to be placed in a vertical position near to each other, and played ensure a mechanical rhythm'. thus: f} It is norv =E'to customary to retain the instruments in the normal position, a method accepted by the composer. In certain editions: "bag. en baleine, tète en feutre dur." (see Notes).
Percussion
To mallets 2.
ToS.Ds.
I&II L
Retc.(ad líb.)
To B.D. (edge & cent
@--
P
@
@
To B.D. & F.D, unsnared; L.H. to mallet
1.
PETIT CHORAL-'..., COUPLETS DU DIABLE Bass Drum; Field Drum, snared; Snare Drum
)
=120-126
Trombone
úú
To F.D. (snared). mallets 5.
II,
unsnared.
E
F.D. (snared),
L
To B.D.
v"rc L.H. to mallet 1.
nf
(unsnared)
Fi.l). (snared),
29 Cornet R.H. to mallet
To B.D. & S.D. II
2
To mallets
GRAND CHORAL-racet "Si on allait, si on allaitl.. . . . Il l'appelle, il s'est retourné." "Suppose, suppose we went there!. . . , lte tunts back, tlten changes his '1Vennrvir hinreisten?...,. Er ruft. Er xinl:t -ein letzter Blick."
mínd"
5
Percussion
10
MARCHE TRIOMPHALE DU DIABLE Bass Drum; struck edge and centre,x with Cymbal attached as before; Field Drum and Snare Drums I & IL all three unsnared.
L.H. mallet 1b; R.H. mallet 6. )
=tl}
@o L.H.
L.H. reverse
mallet
mallet
^Í
L.H. reverse
o\
45\!./
L.H. reverse mallet to hard felt end.
* In the manuscripts and 1924 score
,--,mallet
tUt-o
"f
:>>
î
>
and part there is confusion as to which bass drum notes should be struck on the edge and which in the centre. The Editor believes that the composer intended the same effect as in trlarche Royale, where the bass drum struck centrally coincides with the cymbal, and the part has been emended accordingly.
l1
Percussion
L@R
@L
LRL
LRL
Isempre Pal
RL
fineJl
*
RRL
* The 'double rights' follow the original 'tails up (R) and tails down (L)'. They should be strictly observed to maintain the bass drum struck rvith left hand. i The concluding bars remain P . The present editor of the percussion part playecl on occasions under tire composer and can confirm that this is what he preferred.
NOTE BY THE EDITOR OF THE PERCUSSION PART Note de L'Editeur Anmerkunp des Redakteurs pour la partie percussion der Partie fìii Schlaginstrumente INSTRUMENTS ORICINAL
SUGGESTED EQUTVALENTS
. Triangle I . fmounted on a stand. . t ambounneJ . Snare Drum II (shallow), with snare release. Snare Drum I (medium depth), wirh snare release.
Un Triangle Un Tambour de Basque Deux Caisses Claires sans timbre, de taille differente
Un Tambour sans timbre Un Tambour à tirnbre
ì J
une Grosse Caisse-une Cymbale
. Field Drum frxée à la
.
Gr. C..
(or deep Snare Drum), with snare release.
Bass Drum with Cymbal attached to hoop (see nore iii below)
MALLETS ORIGINAL
SUGGESTED EQUTVALENTS
. l.
Mailloche
Bass Drumsticks:
(a) one with reverse ends of wound fibre or wool to march mallets 2,
for use in Marche Roltale. (b) one with reverse end of hard felt, for use in Marche Triomphale. 2. Medium-hard vibraphone mallets with stiff cane or ideally wood shafts for striking cymbal ("bois"). 3. Hard felt sticks with cane shafrs. 4. Timpani sticks wirh softish heads, preferably wirh reverse medium-
Baguettes en jonc à tète en capoc. Baguettes en feutre. Baguettes minces à petites tères en éponge
hard heads for Ragtime.
5. Standard snare drum sticks. 6. Hard felt ends on stiff wood shafts. These could be used in
Baguettes en bois Baguettes en baleine tète en feutre dur
Danse du
Diable where "bag. en baleine" were originally specified).
PERFORMANCE NOTES
i.
The percussion pan is set out on a single stave and each instrument is allotted its own line, in ascending order of pitch, which remains constanî throughout the work. Bass
Drum
Field
+ (edge)
(centre)
Drum
Snare
Drums
Tambourine
Triangle
.r}
Cymbal
III
(large) (small)
Unless otherwise indicated the bass drum should be struck near the centre and, in general, should be slightly damped for
v.
clarity. The cymbal attached to -the hoop of the bas.s drum should be mounted upside down and struck on rhe edge with the shaft of the drumstick to produce as near as possible the soun-d__of a p_air-of_c1'mbals played "military band fashion". According to the eminent American composer a-nd percussionist, William Kraft, Stravinsky, on a specific'occasion, approved of the ' use of the modern hi-hat foot cvmbals. The suspension of the tambourine and triangle should present no problem to rhe enthusiasr. If the tambourine is mounted upside down and sîruck on the rim with the shaft of the drumstick as suggested, a narrow srrip of felr glued ro rhe rim will lessen the click from the shaft of the drumstick and at the same time strengthen the sound of the jingles (see Marche du Soldat). ln Ragtime, when the tambourine and triangle are plal'ed together) a triangle beater will serve ro strike both instruments, retaining the correct sound from each. The provision of the various double-ended mallets as suggested u'ill contribute towards rapid and noiseless changes.
SUGGESTED LAYOUT
OF TNSTRUMENTS
Triangle
Tambourine
(mounted upside downl
\-
tnlSl^(::.::\"gupside down)
€-€'
-LJ
Bass Drum
I
987.
