THE
TGCHDJQUe OF THE
MODERN 0PGHESTRfl A
^O-4-JJ
-OF
Practical Instru
TRANSLATED BY
6dward Suddard 'iNET
Copyright 1906
L
JOSEPH
tiy
Jnspph
Vi/illiama.Ltd.
ON DON.
WILLIAMS.I.IMITE.O,
32.GREAT PORTLAND STREET.
HENRY LEMOINE&C'"
ED.
NtW VORK SCHUBERTHiCO
Mr 70
Ill
DEDICATED TO
SIR
ALEXANDER
C.
MACKENZIE,
Principal of the Royal
J.
Mus.
D.,
Academy of
W. Iii>fi7.
LL.
D.,
Music.
D. C. L.
IV
Any
reader coming- across
a.
mistake, either in Hit tfxt or in the musical examples, will
greatly oblige by communicating
tm'ih
the translnin-r:
London H
r .
E. Suddard, 32, Great Portland St.
Preface.
years the mechanism of most instruments has been materially improved, and, concurrently, the orchestral palette has been enriched with a variety of tone -color formerly unknown. Hence the necessi-
Within the
ty for a ments:
last fifty
new manual
their
setting forth the present 1
compass and
state of orchestral
capabilities.
Characteristic features of the present book are the
Shakes and Tremolos Quadruple Stops
for the
works on Instrumentation. manual will fully meet the
Strings.
We
of Double. and Triple, has always seemed to us that
It
somewhat too summary a manner venture to think the
tion
Organ
in most
lists contained in this
requirements of the student, and
casionally be of service to the accomplished the
Complete Lists of
Woodwind, and
for the
these matters are dealt with in
To
instru-
may
even oc-
composer.
a special section has been devoted, in which, not to men-
a few hints that
may prove
useful
to
deavored to give such information as will
organ -builders, we have be of assistance to
en-
musicians
wishing to write for the Organ and Orchestra combined.
CH-M. WIDOR.
J. VT.
14267.
VII
Contents.
PAGES.
CHAPTER i. THE WOODWIND The FLUTE List of Shakes and Tremolos
PAGES.
The The
11
...
Transposing Flutes
NATURAL TRUMPET. ... VALVE -TRUMPET
66 67
15
List of Shakes
71
18
Muted Trumpets
71
The
TRUMPET CORNET A PISTONS .... TROMBONES TENOR TROMBONE BASS TROMBONE CONTRABASS TROMBONE SAXHORNS SOPRANINO SAXHORN ... SOPRANO SAXHORN .... ALTO SAXHORN BARYTONE SAXHORN. ... BASS - TUBA BOMBARDON
The
CONTRABASS -TUBA
The
PICCOLO
19
The BASS
73
The
OBOE
20
The
75
.23
The
26
The
List of Shakes and Tremolos
The OBOE
.
.
D'AMORE
The
COR ANGLAIS
26
The
The
BARYTONE OBOE CLARINET
27
The
29
The
34
The
37
The
The
List of Shakes and Tremolos.
The
The
...
ALTO CLARINET SMALL CLARINET
The
CLARINET BASSOON
The BASS
37
The
39
The 45
List of Shakes
......
The
BASSON-QUINTE
The
DOUBLE -BASSOON. SARRUSOPHONE
The
The
37
n.
49 50
THE BRASS INSTRUMENTS
The Theory of their Tone-Produc -
The
90 91
92 92 93
93
94 96 96
MENTS The
KETTLE-DRUMS SIDE DRUM
98 106
Muffled Drums
108
TENOR DRUM 108 The TAMBOURINE 109 The TABOR 109 The TRIANGLE no CASTANETS The CYMBALS ......... 113 ANCIENT CYMBALS 117 The
-tion The
87
CHAPTER m. THE PERCUSSION INSTRU-
The
CHAPTER
....
78
47
47
Shakes
.
78
51
NATURAL HORN VALVE -HORN. .......
55
57
Muted and Overblown Notes .... 58 Shakes.
61
The Horn in the Orchestra
63
J.
W. 14267.
.
.
m
.
.
vm PAGES.
PAGES.
The BASS
DRUM
117
The VIOLONCELLO.
175
The
GONG
121
Thumb
The
GLOCKENSPIEL
122
Pizzicato
177
The
CELESTA
123
Double Stops
178
The
XYLOPHONE
123
Triple Stops
179
124
Quadruple Stops
180
Bowing's
181
Harmonics
181
BELLS
CHAPTER
iv.
176
Positions
The
SAXOPHONES SOPRANO SAXOPHONE ALTO SAXOPHONE TENOR SAXOPHONE BARYTONE SAXOPHONE
The
HARP
128
Harmonics
188
Glissandos
129
Bowings
189
Harmonics
132
Runs
189
The ORGAN.
139
The The
The The
.
.
CHAPTER
v.
.
The Violoncello
125 .
.126
The
in the Orchestra
.
.
DOUBLE-BASS
184
126
Tremolos
186
.
.
126
Pizzicato
187
.
.
127
Double Stops
187
THE STRINGS
The
MUTE
190
The
BRIDGE BACK OF THE BOW.
190
The
.
.
.
.
VIOLIN
148
Double Stops
150
expressions used in connection with
151
the Strings
The
Triple and Quadruple Stops
...
List of French^ Italian, and
191
158
Compass of
Bowings
161
Shakes possible on Woodwind
Pizzicato
163
-struments.
VIOLA
166
Harmonics possible on Stringed
Double
167
Stops.
Triple and Quadruple Stops.
...
the various instruments. 192 In-
194 In-
195
-struments
168
Use of Double Stops in the Orchestra
Harmonics
174
List of
Bowings
174
CONCLUSION
APPENDIX TO CHAPTER
iv.
Note on the origin of the Swell, Pedal -board, Manuals, and Stops of the
200
Organ J.
w. 14*67.
196
196 .
.
199
Harp
.
Modern Composers
Further remarks concerning the employment of homophonio strings on the
191
German
Harmonics
The
182
197
IX
Order of
Chapters
In the present work, the order in which the instruments are usually ar-
ranged in orchestral scores has been followed, beginning with the
most
acute -toned:
(CHAPTER
Then, after
/)
a-
^
FLUTES,
(Piccolo)
OBOES,
(Cor Anglais)
CLARINETS, (Bass clarinet) (Double -Bassoon) BASSOONS, SARRUSOPHONE,
short Theory of the tone-production of Brass Instruments,
the following are dealt with:
HORNS, \ TRUMPETS, \ /
(CHAPTER
77)
^^^
(
TUBAS,
(Cornets a Pistons)
(Saxhorns)
Next come
(CHAPTER in) Then,
The PERCUSSION
so to speak, in parentheses,
The
The
SAXOPHONES, HARP, ORGAN,
The
STRINGS.
(
(CHAPTER IV)
The j
(
And
INSTRUMENTS,
lastly,
(CHAPTER v)
J.
W. 14267.
X
Memento. The velocity of sound is about 1100 f* per second. The deepest tone we are able to perceive is produced by a 64 ft pipe (Organs of St Louis, U. S. A., and Sydney, Australia, in which the low C=8 vibrations per second).
A
64
_ _
32
fl
pipe corresponds to 8 vibrations per second.
16
An
8
A _
4 2
_
_ _ _ _ _ _
_ _ _ _ _ _
1
_ _ _ _ _ _
16
32 64 129
258 517
The low C which the Double-bass ought to be able obtained on some recently constructed
instruments)
Double C on the Violoncello
C on
Tenor
Viola
the
(Standard French Pitch
\_Diapason
to produce
(and which can be
is
equivalent to a 16 ft pipe.
is
equivalent to an 8
fl
pipe.
is
equivalent to
a 4
ft
pipe.
Normal]
=435
vibrations).
The most acute tones perceptible to the ear are produced by 15,000, vibrations, and even more.
20,000,
30,000
Timbre (Quality or Color of Tone Klangfarbe) depends on the manner in which the column of air is set in motion, rather than on the material of which the instrument is made.
In the case of the
mines the mode the mouthpiece
depth, as
which, the air
of the Trumpet
set
is
mouthpiece, to a great extent, deter-
motion.
in
Compare
with that of the Horn;
these
the little cup which forms
two cups
are, in respect of
Cavalry Trumpet;
the deeper the cup of the
the tone,
as
Horn, the mellower
timbre. It
is
only possible to sound the various harmonics
ments, provided there tube. the
instruments, the
1:2, and the shallower the cup of the Trumpet, the shriller
be seen by the
may its
in
brass
If
is
a suitable
ratio
the diameter is too small
high and low
on brass instru-
between the diameter and the length
the tube too
narrow
it
is
impossibe
to
of
the
obtain
fundamental tone.
The subdivision of the column of fifths,
sixths,
etc...
air contained in a pipe
into halves, thirds, fourths,
(harmonics), corresponds to the subdivision of a string into the same
aliquot parts.
J.
w. 14267.
;
11
I.
Chapter *
The Woodwind.
THE FLUTE* (Ital.,
1.
Flauto.
The three- octave chromatic scale
Some
of the
players are able to sound a few
ceptional,
Ger, Flute.
still
and music should be written not
Fr, Flute)
embracing 37 degrees, extends from
Flute,
higher notes, even reaching
few out
for a
of the
El>; this,
however,
way virtuosi, but
is
quite
ex-
for the ordinary
run of performers.
The scale
of the
Flute
is
the player to take any special care:
at will, without requiring
Piano
the first 35 notes can be attacked and sustained./brfe or
fairly even;
PP
J? The 36th and 37\h degrees can only be produced
8
1st
too
Remark.is
V
l^^l
excellent forte.
36 37
In case of need, the 36tl? degree can be played piano by some performers, but this
As
exceptional.
2nd Remark:
for the
37t2?
degree,
is
it
perfectly impossible to obtain
it
piano.
All intervals can be played leg-ato on the Flute, save two:
Dangerous; piano e legato
impossible.
By saying that
this
scale
is
The E
Jfci "'
*~y *)
2-
A '
*L
Impossible piano
with some difficulty, and are inevitably harsh:
fairly
"-~
even,
I
I
,
mean
harsh.
is
I
that the composer
degrees as being sufficiently in tune with the others, and defects of a few of the notes.
need
not
may consider each
trouble
to
think
of
about
its
the
* L
3.
These defective
The three Cs flat. D!>
notes are eight
(NJ 2,6,8)
tent
4.
in
hardly concern
(fo
sharp,
emission,
L
j
(N?
El>
and
Ns
1),
4,5,7
on the other hand,
rather
are difficult to attack.
anyone but the performer, whose
talent to a
great ex-
corrects them.
Flute
Although the
eorsi.vuently
those
excels
the execution of florid passages,
in
whose signatures contain few sharps or
*The Boehm Flute with
*
number:
are somewhat too
(N9 3) requires special care
However, these defects
in
flats
*
~
descending:
Copyright 19O6
l>y
yet
cylindrical bore, adopted nowadays by most performers,
Avoid, however, the tonics D,E[>,Es aspiyots of ra-pid arpeggios,
especially
*,
and
:
'
'
Joseph Williams, Ltd.
J.
\v.
14267.
its favorite
keys are
when called upon to is
alone referred to here.
the following intervals being difficult,
THE FLUTE.
ern compositions afford sufficient proof.
Dk
Of this several charming modlikewise an excellent key, as may be seen by the
breathe forth a sweet, loving melody, no key suits A!? is
better than
it
for following example, which also illustrates another point calling
Andan-te
We
comment.
C pianissimo, so sweet and pure that it would seem Flute, despite the remark made above (3):
finishing on a
the best notes of the
here
see
an
be
one
of
to
Andante.
-/>/> (Widor, Conte d'Avril)
(By kind permission
The reason
is
C
that this final
not obtained
is
F fingering
case makes use of the
of Heugel et CSS, Editeurs-Proprietaires).
in
the usual manner.
The performer
in
this
(inferior twelfth), the pressure of the lips producing the third
upper partial, like the finger on a violin-string.
The only harmonics
5.
are
employed
the
following:
1
-'
fundamentals
the
being
the
14 degrees
first
of
the
soale:
i
is
It
impossible
to
obtain
higher notes.
any
As Gevaert very judiciously remarks
6:
in
his
Treatise on Instrumentation:"W\\en a Flute
doubles a melody assigned to a Soprano, or to a wind is an octave above the voice."
When an
organist
wishes to brighten the tone of a group of
which merely strengthens the harmonics a transposition in the octave. Likewise, the office of the Flute
monic
of the
instrument of
in
Oboe or the Clarinet.
of the
8ft. stops,
like -pitch,
8ft. stops,
without at
all
the orchestra frequently consists If,
in
a group of wind
in
its
natural position
he adds a 4ft. flute-stop,
creating the impression of
reinforcing the first har-
instruments, the Flutes doubling the up-
be suddenly suppressed, everything will immediately become dull and gloom); and weak; yet on reading the score, the Flutes would seem to be perfectly needless desperately poor
per parts
luxury,
in
mere
the octave
filling-up.
Articulation. Tonguing" is to wind instruments what bowing is to stringed instruments. Flute-players make use of three kinds of tonguing, which they call single, double, znA triple
7.
articulation.
Single -articulation
is
obtained by pronouncing the consonant t (as in "tut!"). It is with maximum strength of tone and greatest intensity of color are ob-
this species of tonguing that the
tained; c
,
.
it
corresponds to detached bowing on the Violin:
,
single -articulation:
f,
Andantino.
.
^*^T^==="
{t
"
t
*
l
^j
i
J
I
= J-W. 145J67.
13
THE FLUTE. However, great speed cannot be attained to
make use
of other, so to speak,
in this manner. In florid passages the performer has mechanical means, allowing of neither the same intensity of
tone, nor liberty of expression. In
such cases
double -tonguing,
he resorts to
alternately articulating the consonants t and
k, or to triple -tonguing, which involves the use of the three letters t(ut),
8.
mer
i.
e.
t
As an instance
Night's
k
t
t,
as
in
t(ut),
c(ut\
and k are pronounced according to the phonetic system.
of
double -tonguing, let
us take the Scherzo of
Mendelssohn's
Midsum-
Dream;
Single -articulation would
not, considering the
rate of movement, allow of producing
the
lower notes; so they are played as follows: Vivace.
Double - tonguing:
"
-gr
*
'
i>~
i?
t
The same remark applies to the
Double - tonguing: "cf
solo
in
Namouna
k
etc.
.
(Lalo):
H
=*
1
'
t
k t k
k
t
t
k etc.
-
.
. (j.
_
Hamelle, Editeur-Hroprie'taire.)
Remark: Flute-players look upon both these examples with great apprehension, staccato passages being difficult to execute in the low register, but as they are possible and their effect delightful, what does it matter?
Double -tonguing
also allows of easy and rapid iteration: Presto.
Andantino
B^^^ (By kind permission of A. Durand 9.
rapid of
et
Fils,
Kditeurs- 1'roprietaires.)
(Saint -Saens, Ascanio)
When ternary groups are in question, triple-tonguing is adopted, being double -tonguing, but with this kind of articulation there is always a
as
inequality
of
tone, on account of the natural
nearly slight
as risk
tendency to accent the last of the three con-
sonants.
Passages such as the following are quite easy, owing to the uniformity of the the absence of any kind of melodic feeling; they are played quite mechanically: Vivo.
etc.
.
J.W. 14267.
figure
and
14
THE FLUTE. But here
is
a much more difficult figure,
the execution of which calls for the utmost care
on the part of the performer:
(Gounod,
Ballet in Faust)
(Choudens, Editeur-Proprletaire).
Speed of Articulation. With single-articulation the maximum speed attainable in the low register be may J = 112, and even then the passage must not be too long, on account of the fatigue experienced by the player, and the consequent heaviness of emission: 10:
M
stated
Allegro. (Jr
Single - articula tion In
the high register, the
A.
:
u
speed of articulation
tissimo can hardly be articulated
in
may, of course, increase; quicker tempo than J = 120:
)=iao)
Single -articulation:
Bl?
in al-
fffffffffffffffM
Double -tonguing of
however,
allows of easily attaining intensity and clearness:
J
=
144, at the expense,
it
must be confessed,
Allegro.
Single- articulation: (Difficult
beyond
.1
=
116)
With double -tonguing J = 160 could easily be reached.
In
11.
with
medium
the
Strings
in
register,
point of speed,
Rimsky- Korsakow's
thanks to double -tonguing, Flutes can manage to compete being able to produce a true tremolo, as may be seen by
Grande Paque Russe:
(J = 138) r.
~ ~
Simile.
Piccolo.
A
violinist's
wrist could
not act
more
swiftly,
J.
or produce a closer tremolo.
W. 14267.
15
THE FLUTE.
Length of Breath. 12.
The
mouthpiece
of
the Flute making
greater demands on the performer's
breath than
that of the Clarinet or the Oboe, the composer must beware of requiring tones to be sustained certain in slow limits, beyond tempo.
Easy breathing has not always been carefully attended brated
works,
where the
e. g.
the
Andante
Trio of the
to
Ishmaelites"
"Young
requires such long wind that
it
by composers, even
Berlioz's
in
in
some
Enfance du
cele-
Christ,
the terror of performers.
is
Shakes. 13.
All
shakes are good from the lowest D to E in alt.
EXCELLENT:
A 11
(the last one possible forte.*)
major and minor very good.
impossible.
G
not easy.
very difficult,
very difficult.
somewhat
heavy
somewhat
flat.
flat.
impossible.
-; N. B.
LBJ
This shake
Ride of the
-
is
Valkyries' (page 284),
a very it
awkward
one;
was because he had
if
Wagner did
it
doubled by the Piccolo.
not scruple to use
it
in the
Complete List of Shakes and Tremolos (
The cross means: bad, the double
not quite in tune, but possible.
possible,
cross:
impossible^)
heavy.
f*-7 not quite in tune.
good.
good.
E
rather
I
very good..
heavy.
heavy,
possible.
good,
ff i
heavy..
.good.
flat.
.
good
.
.
heavy
possible.
J.
W.
14267.
heavy.
possible, very heavy.
16
THE FLUTE.
not in tune.
.good
heavy.
possible.
good..
fcMl good
JJ
J
not in tune.
I
difficult,
possible.
All others difficult.
possible.
Jj>'-^g
fa,J
.
good
formerly almost impossible, can now be performed, thanks to the new key.
.
Others impossible.
Others very heavy.
Others very heavy.
Others very heavy. -good.
''
P
difficult.
f .good..
heavy.
Others difficult.
Others bad. .good.
j
bad tone, possible.
i Others difficult.
Others impossible. .good. J.
W, 14267.
17
THE FLUTE. Others impossible. .good.
j
bad.
possible.
Others impossible.
Others impossible.
.good.
Others impossible. .good..
Others impossible. heavy, difficult, possible.
In the
X. B.
March of the Corporations (Meis-
tersinger, p. 460) Wagner has written this tremolo, not much noticed in the orchestral en-
The 1 s.1 Flute makes use of its upper partials and not of the ordinary fingering; as everything gravitating around E semble.
is
difficult, the 21* Flute does the best
it
can.
Others impossible.
Others impossible.
easy with cross
.goo
fingering.
Others impossible.
good
impossible.
I
Others impossible.
fairly easy, but not in tune (Fjt rather flat).
I)
good.
G
rather 1
lat
|-sp
Others impossible.
E|
possible.
.
Others impossible.
Others impossible.
good Others impossible
good,
If
Others impossible. this section has
been verified by
(*)
impossible.
good. difficult,heavy.
rather flat.
N.B. All
'()
.
very difficult.
very
difficult.
v
Mr J.
This
is
the shake in the
Wagner wrote
f the
Valkyries.
Concerts
Colonne.
Rlde
possible (f).
Barrere, Solo
W. 14267.
flute-player of the
THE FLUTE.
18
AUTHORS AND WORKS TO BE STUDIED: Bach (Sonatas), Handel (Sonatas, Trios), Reinecke's Sonata, Langer's Mozart, Schubert, even Kuhlau, and a whole modern repertory: Peter Benoit's and Concertos Andersen's Fantasias, Symphonic Poem, Concerto, and Widor's Godard's Faure's Saint-Saens's Romance, Suites, Pieces by Fantasia, 15
Pratten,
Clarke, etc.
Briccialdi,
Transposing Flutes. Flutes
16
are
made
in
several
Paris Exhibition (1900) was to be seen a
At the
keys.
below the standard instrument, but, unfortunately, it was almost There are also Flutes tuned in G, A, for the to bring out the lower notes. lips impossible and likely to first the three of and Bt (below the normal pitch); the (in G) is excellent,
Bass Flute, tuned an octave
the orchestras of the future.
in
figure
Among Flutes tuned above the normal in
still
El?,
Flute
F was
in
played
in
use,
it
still
pitch,
the only one
we now have
left is
the Flute
In the time of Mozart hard to see why, in military bands. the the for this instrument he wrote aus used: dem Sera il, Entfiihrung is
nowadays on the Piccolo.
The Flute
Remark:
is
so weak-toned in its
medium
struments, that, when used in combination with them,
Written lower,
upwards.
it
register,
it
as compared with other wind
only begins to
tell
cannot be heard, and what cannot be heard
from is
G
or
A
in-
3fc|:
harmful rather than
otherwise.
The only question we should venture to ask Weber would be about his Second Flutes, often an octave below his First Flutes, and consequently not sonorous, whereas the other instruments are always so admirably treated
in
his
incomparable
orchestra:
Presto con fuoco. Flutes
Strings.
iaCrmS (Oberrni,
Rezia's Air.)
and again: Allegro. Flutes.
Clarinets,
Bassoons, Horns, Strings.
I
could give numberless
ing wonder.
instances;
_ at every step
./.
W. 14267.
(Oberon)
we are
filled
with the
same question-
19
THE PICCOLO. (Ital.,
The Piccolo
1.
that
Flauto piccolo. written
is
has neither the lowest
it
is
Bij
Kleine Flote.
the Flute,
like
;
(fo
Fr.,
of
Bl;
to
the
Note,
however,
Flute.
(Sounding an octave higher.)
'
|
impossible for most performers,
Petite Flute.)
sounds an octave higher.
but
C nor the highest
Compass: from
Remark:
Ger.,
but in case of need the
C above may be
written,
being easier to produce:
(Sounding an octave higher.) possible ff
impossible,
ZT~ The
defect
of
the
Piccolo
is
that
it
is
not
quite
in
tune.
I
remember a short-lived
which the composer had given it an important and ultra-sentimental part to play. with its swooning tones, having a tendency to flatness, evoked the idea of some unfortunate .wretch beginning to feel sea-sick. in
opera
This
3.
is
It
a mistake
to
write a melodic part
or even to use
for the Piccolo,
as a soprano to the other two Flutes, unless
Flute,
as
Piccolo
its
part
is,
it
so to speak,
the example already quoted (V. P. 14) from the Paque Russe. Berlioz always employed the Piccolo most effectively. See the Damnation
as a first
mechanical,
in
where
usually has staccato passages or rapid runs to play:
it
de
Faust,
Valse des Sylphes,
Evo-
cation, Course a lAbime,
4
All the
remarks made
of the Flute, apply All that
in
equally to the
the preceding section, concerning the fingering and articulation
Piccolo.
was said about shakes and tremolos holds good also
with two exceptions, however. other only just possible,
in
the case of the
Piccolo,
The two highest shakes on the Flute, one very difficult,
the
$
^
Flute '
very difficult.
possille ff
are absolutely impracticable on the Piccolo, If the first of these two shakes were written, such is the practice of orchestral performers when it would be played in the lower octave as for the second shake, the Blq not existing, there is a composer has been too daring; less
risk of its being written.
5.
The Piccolo
is
usually
wood; the modern Flute, on the other hand, of metal; the conclusion that metal is more practical, less sensitive to
made
of
most virtuosi having come to for producing contrasts of tone-color, changes of temperature, more sonorous, better adapted besides being truer of intonation. A skilful performer on the metal Flute preserves all the best characteristics of the Flutes of yore, at the
same time imparting
to the instrument
a
Europe wooden Flutes have already been
richness of tone formerly unknown. In some a great rarity. In a few years, suppose, a wooden Flute will be parts of
discarded.
I
Authors scores.
to be consulted: Berlioz, Wagner, Liszt, Meyerbeer, Rimsky-Korsakow, No special works have been written for the Piccolo. J.W. 14267.
etc., in
their
THE OBOE. Oboe.
(Ital.,
the time of
In
1.
Oboe.
Ger.,
Bach the scale
of the
Fr, Hautbois.)
Oboe extended from
The Oboe used by the symphonists of last century, the the man, Russian, Italian, Dutch, and other orchestras mann, and
has the following
Wagner
(Sometimes Bl> was written quires G in altissimo). instrument
This
The compass
2.
comprising tense, their
lone
the
not
is
modern
of
whole
the
of
varying
shades
becoming
thin
still
Oboe
of
be found
to
Beethoven,
in
Oboe, and,
French Oboe
Siegfried, Wagner quite
difficult,
others
to
from joy to sorrow,
and losing something
from
is
attack
exceptionally
their
idyllthe two highest degrees a-
-
J-
as to
Ctf
and
sustain, either
Highest.
r-
f
or
#fi
ft
D in alt} are
piano
inall
timbre:
Medium. m
'
re-
to
w
from tragedy to
of
J
(save two:
degrees
Schu-
homogeneous timbre, the lower ones being admirably medium register capable of expressing the human feelings in
Registers of the Oboe:
as easy
Weber,
impossible:
Upper.
the
most Ger-
tolerably
Low.
All
In
compass:
some shakes are
perfect;
of the
34 notes
for the
f
one
well
,=
r
in
tune,
flexible,
clear,
and
forte.
*.
Remark: point ly
The two notes
of quality,
but
referred to above
they are difficult
(CK and D) attack
to
are not inferior to the
suddenly,
very difficult tremolos:
i (to be avoided)
J.
W. 14267.
as, for
others
in
instance, in these two real-
21
THE OBOE.
Articulation. 3.
Oboe
The
a melodic
is
Flute.
from the
instrument,
the reed
Flute
not being capable of any great execution; it slower of speech than the mouthpiece of the
in
being "Tristesse de Rome'o" the very characteristic, pathetic wail, which, slowreaches its maximum intensity on the vibrating sonorous E in alt:
V.
in
rising,
ly
differs
the
Larg/ietto espressiro.
,
4.
being
The
Oboe exclusively employs single -articulation,
made use
tonguing, and 5. in
It
!s
of.
Double -tonguing
advisable
whichever register
not it
give a
impossible
iteration
rapid
to require the
Oboe
of
the
for the
the
same
to articulate
in
letter
is
(as
in
likewise
Oboe; note
t
beyond
quicker
its
tempo
p.
36)
"tut")
triplepower.
than
J:120,
be playing:
may (J
We now
any
consequently
is
Rome'o et Juliette,
=
120)
few examples from
Professor Georges Gillet for the use
W. Ferling's Etudes, with metronomic rates fixed by of his pupils
at the
Conservatoire:
*
*--
^_^
(By kind permission
And here follow three examples of speeds exceeding to their alternately legato and staccato character, the pensated for by the easy nature of the following bar: J.
W. 14267.
of Costallat ft ClS, Editeurs-Proprietsires.)
120, which are possible, thanks difficulties of one bar being com-
=
THE OBOE.
(J
r
140)
(J
=
156)
-if
~
I_L_J_
P-|
1
W
_J
W
(very difficult.)
The
last
bar, with
its
wide skips,
is
extremely
Slurred 6.
Ascending
ones, All
intervals
are,
difficult
Notes.
speaking,
generally
to play.
more easily slurred
than
descending
more easily contracted than distended. octave skips can thus be slurred, from middle C to E, a tenth above. the
lips
being
Vivo.
The same slurs would be much more awkard descending, as which is dangerous beyond 120:
Or this one,
impossible
in
the following
passage,
beyond 112:
(very difficult.)
On the other hand, here cluding not
very
cadence. great,
Despite
passage, with a very expressive conthe quick rate of movement, the difficulty of execution is here is
a perfectly
because this cadence
practicable
allows the lips time to prepare for the wide skip:
Vivo.
J.
W, 14267.
THE OBOE.
Length of Breath. 7.
timbre
intensity and
in
to all the other
woodwind
instruments, possessed of such carrying -power that it formerly constituted the main element in military bands, while if we once fix our attention on it in a modern orchestra we can finally hear nothing else, unrivalled as regards the ease with which it can swell and diminish its tone, the Oboe moreover
Superior
excels
comsumes
and
oboists
selves
all
far
it
less
defeated,
their
more convincing,
examples
alone,
of
the
the
Prelude
to
length of the
among the woodwind
them-
would soon
be compelled to acknowledge long before that of their rivals.
wind -supply being exhausted
Second Concerto, and
formance, on account
Oboe
these latter players
flautists,
There are few del's
congeners in sustaining-power. Despite the strength of its vibrations, it wind than the Flute, for example. If a competition were started between
in
the
this
of
than
the
Tannhauser,
Largo
of
so difficult of
Hanper-
and the impossibility of taking breath. The
phrase
instruments,
connection,
3C^ act
is
equal
to
the task.
Shakes and Tremolos. 8.
Nowadays
all
major and minor shakes can be executed on the French Oboe, from:
to
Every
modern French Oboe allows
of
finishing
off
a shake
on the lowest
semitone above) with a turn, but this was formerly impossible! ^fc_ 1g
^^
Bt|,
j
J
or on .
nowadays quite easy
Complete List of Shakes and Tremolos. +
+
etc...
All tremolos possible up to the octave.
etc...
etc...
All tremolos possible up to the octave.
All tremolos possible up to the octave.
J.
W. 14267.
C
(a
THE OBOE. All tremolos possible up to the octave, except:
etc...
diffcult.
etc...
etc...
All tremolos possible up to the octave.
All tremolos possible up to the octave.
All tremolos possible up to the octave.
etc...
an excellent shake.
All tremolos possible exce pt:
c fc
up
to the. octave,
possible in moderate
risky.
tempo. All tremolos possible up
etc...
etc...
\a
c-- -
etc...
(Y) Nowadays an excellent shake.
to the octave.
All tremolos possible up to the octave.
All tremolos possible except: up to the octave,
~ difficult.
very
difficult.
All tremolos possible up to the octave.
etc...
This tremolo can etc...
All tremolos possible up
to
be executed by means
the octave,
of cross -fingering.
...
^
Nowadays an excellent shake.
All tremolos possible up to the octave.
(#)
All tremolos possible *
*
it.,,
L
T
^
All tremolos possible except: up to the octave,
excellent on
^-^--(^ Risky
except:
and
rather heavy,
modern French Oboe. jf)
difficult.
(*)
(*) Risky notes. etc...
up
;...
to:
up
to:
up
to:
:
as well as all above.
very
difficult,
very
difficult, as well as all above.
(y) Nowadays excellent shake. very difficulties well as all above.
an
df -
etc...
very difficult^ as well as
J.W. 14267.
all
above
.
note.
THE OBOE.
25
Very
difficult,
very
difficult, as
well as all above.
difficult, as well as all above.
Very difficult beyond, but
is
possible with special fingering.
Very difficult beyond, but shake is executed by (*)This
is
possible with special fingering.
means of
a special key.
Impossible beyond,
~ difficult.
?_ ^
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
9.
Some
working
sixty years
upon the
was ingeniously perfected by Triebert (of Paris \ the Covent Garden a soloist in orchestra; despite Barret,
ago, the Oboe
suggestions
of
these improvements, however, true of intonation. Our modern
all
many shakes were instrument,
still
constructed
impossible, and others in
accordance
with
the
not
quite
views
of
Georges Gillet, is perfect as regards truth of intonation, and allows of executing all shakes, major and minor, throughout its entire compass, up to F, either piano or forte. 10r
AUTHORS AND WORKS TO BE CONSULTED:
Bach (Cantatas)-, Mozart (Quartet); Handel Beethoven (Trio, Quintet); Schumann, Dvorak (Pieces);
(Concertos, Trios, Sonata); Theodore Dubois (Pieces en canon, Hautbois, Violoncelle); Pieces by Paladilhe, Busser, Ferling, Vogt
etc.
Transposing Oboes. 11.
To
the Oboe
Anglais, and
family belong
three transposing
the Barytone Oboe.
J.
W.
14267.
instruments:
the
Oboe d'amore, the Cor
26
THE
OBOE.
The Oboe d'amore. This instrument
12
lower
pitch than the standard instrument,
in
its
from
is
compass
a minor third
is
to
w
sounding:
(The low
Bt> is
wanting).
f
r-
homogeneous quality, why is it not habitually used in our orchestras? To the Oboe d'amore Bach assigns his most pathetic cantilenas; for mezzoforte effects nothing can equal the charm of the upper register: Remarkable as
for its
is
it
(Actual sounds)
i
Each time the the
the
instrument
a
skips by
sixth
to
the accented beat,
in
sedes.Afass in
B
the last three
minor.)
bars
of
See also, in the same example quoted above, the effect is truly exquisite. Mass, Bass air: Et in spirit um sanctum, accompanied by two Oboi d'amore. In this
connection
the Magnificat,
same mechanism
and
etc.
to St.
should
Matthew,
the
Christmas
can
Oratorio,
be studied.
is played in the same manner as the ordinary Oboe; execute the same shakes, save two:
Oboe d'amore
The
13.
Passion according
the
too,
the Cantatas,
it
has
the
'
_(*)
good.
These two ted
+
00 +
impossible,
shakes (x, y)
on to the instrument,
difficult.
be rendered
will
if
very
ever
it
comes
possible
to be
used
All major and minor shakes excellent, up to D in by in
alt.
means of a special key, easily fitthe orchestra.
The Cor Anglais. Mr
The Cor Anglais
the old Oboe da caccia, so much simply the Alto of the Oboe a fifth lower in pitch than the standard instrument, with the same relative compass as the Oboe d'amore (the B!> being wanting as in the case of this latter instru-
used
in
is
former times
_*
ment).
Compass:
Lacking lais
upper
Sounding:
both the strength and the
exhibits register
three
distinct
weak and
homogeneous quality of the Oboe d'amore, the Cor Angvarieties of timbre. The lower register is very powerful, the
sickly.
and
The
best
register lies
sounding:
J.W. 14267.
between
THE COR ANGLAIS. All
the
figures
gravitating
a
to
special
-A-
shake
this
Formerly
thanks
one of the worst
this being
performer,
15:
around the highest C#
all
key,
T
for
notes on the instrument.
was impossible on the Cor Anglais; nowadays,
~j
shakes from
A
are very troublesome
j
low
B^
to
high
Dq can be executed:
(
(All possible, both major and minor)
Remark:
The two shakes x and
y,
mentioned as being impracticable on the Oboe d'atnore (see because this latter instrument actually pos-
paragraph 13), are quite easy on the Cor Anglais, sesses the special key of which I spoke.
Les Huguenots, Guillaume Tell, Lohengrin, TrisTannhauser, Manfred, Le Carnaval Romain, La Prise de Troie, Henry VIII, Samson et Dalila, Sigurd, Salammbo, Le Cid, Beethoven (Trio for two Oboes and Cor Anglais). Thais, etc. WORKS TO BE STUDIED: tan und Isolde, Siegfried, 16.
The Barytone Oboe. An
17.
octave
below the standard
instrument, with the following compass:
-
sounding:
(Bt
is
wanting)
The fingering and mechanism are those of the ordinary Oboe. The Barytone Oboe will form an admirable bass when all the instruments of the same family are concentrated inat the heart of the orchestra, in the imto a focus of intense, almost bellicose quality,
mediate 18
I
need
two varieties mitted with
of
neighborhood
into
hardly of
the
the Small
the
the Horns.
refer
same
either to the
kind
orchestra.
But
Clarinet
El>,
in
of I
in
instrument,
must
at
any time required.
or to the differing
only
men'tion
in
Pastoral Oboe the reed,
Soprano Oboe
the
military bands;
an extremely piercing upper register,
Oboes were
Musette
this
is
in
Et,
(in
for neither
used,
At), is
together
a very sonorous instrument
and would prove very useful compass is from
if
a complete
ad-
family
with of
Its
to
sounding:
The fingering and mechanism are the same as for the other instruments of the Oboe family. So far, the Soprano has only been used once in the orchestra: by Vidal in La Burgonde. J.
W. 14267.
28
THE BARYTONE OBOE.
19.
Remark:
The timbre
of the Oboe
is
so characteristic
or for background effects,
and predominating that, when uscare must be taken to employ the
ing it for holding- notes, for chords, best register only, and to choose the most euphonic intervals, the very aggressive notes of the in a word, the Oboe must never be "lost sight of." lower register being scrupulously avoided
If,
of
for
these
instance,
two
ways
the of
following
scoring
Oboes.
Clarinets.
it
common chord has is
w
preferable:
to
be written
in
four parts,
the first
29
THE CLARINET. (Ital., Clarinetto.
The compass
1.
of the
Clarinet
Ger., Klarinette.
42
is
notes, from
Fr.,
Clarinette.)
=
AT
to
f ' -
and
is
con-
sequently more extensive than that of the Flute or the Oboe.
It
is
reach
always difficult
to
fix
the extreme limit of any
A in altissimo
heights inaccessible to others.
the scale,
because such
it
proves to
be
in .
players.
In
any case, C in altissimo
most performers, and
in
piano passages G
the case
of
instrument,
as some virtuosi can
here given as the upper limit of the great majority of clarinet-
is
*p"j
T
^
is
'
beyond the most persevering efforts of should be considered
the
extreme
limit.
Every degree of the Clarinet's extensive scale is excellent, but the timbre of the instrument varies considerably in the different registers, of which it may be said there are three:
.
<
30
THE CLARINET.
On perusing Die Walkiire, not
ulation
simple,
ly
the
that, in to
part
performer
execute,
again
begins playing
Mozart,
the first
for
(Trio dei Mascheri),
he
the Finale
of
effect
ilar
these
no kind
involving
in
C, or
in
in
F,
assigned
time,
chose the key the
with three
or
four
due to a sudden mod-
solely
precise moment.
Wag-
Besides,
cases, he was giving the player an extreme-
particular
the
resting-place the composer indicates
first
When
knew
slow
is
of
allowing
well
ner very
instances of signatures
then only for a few bars, but this a change of Clarinet just at that
and
sharps or flats,
only two
find
I
or
risk
of
change
or difficulty
6.
in
arpeggios to the Clarinet
Beethoven
C.
of
At
fingering.
necessary, and the
Clarinet
of
of
used
in
lower register
its
the key of F for a
sim-
Eroica.
C Clarinets have disappeared, and nowadays Clarinets in Bl> and A are alone emThe former are more brilliant in tone; virtuosi have adopted them for their ployed. 4:
The
concert- pieces.
latter,
lower by a
timbre, but are also able as the B? Clarinet stops at D. noble
to
not
semitone,
descend as low as
only possess Cjl
an extremely rich and
(an inestimable advantage),where-
Clarinet
sounding:
in B\>
^
Clarinet in
A
sounding:
Clarinet -players
5.
complain
of
accidentals
to
to
replace an
instrument
another
few
bars the
new
composers who prefer involving them
the instrument.
changing
instrument,
of
which
It
is
true
quite
has been gradually
that
warming up
colder, and therefore less accurately instrument will be found doing duty
in
in
it
is
in
a thorny
bush
to
have
annoying
the performer's hands by
tune.
as properly
But and
at
the
end
efficiently
of
a
as the
and the performer is satisfied. It seems to rest his lips and give him new life. Of course, am now speaking of the theatrical orchestra and of long musical performanin ces; symphonies, which are of relatively short duration, such substitutions are very selold
one,
I
dom necessary. It and that Allegro, in
the course of a
6.
with a
Among forte
the
latter:
of
the in
is
of
true that the use of the
the A Clarinet
movement;
the
in
the
B!>
following
same remark applies
is
frequently prescribed
Adagio, but no change bravura pieces.
i.s
in
ever
an
made
to
wood -wind instruments, the Clarinet alone is able to contrast a piano marked manner that the former would really seem to be the echo
such a
Allegro. Clarinet in
Clarinet
Hi.
J.
W
r .
14267
81
THE CLARINET.
The pianissimo of the Clarinets (in the low and medium registers) represents the minFlutes imum of sound obtainable from wind instruments. Compared with Clarinets, would be in mezzoas a as intense and metallic in their lower register seem Trumpets
forte.
a whiff of
but
which
allows
of
mistaken
be
tone
its
blending
other
no
for
a Second
of
place
pianissimo; the instrument has almost
lost
its
timbre:
'tis
air.
Another characteristic
7.
of
hardly even a
is
It
the
of
with
Clarinet
almost
Flute, or
of
every
the
instrument,
a Second
an unrivalled
is
its
neutral in
group
Clarinet
can,
tone-color
the medium register,
While the Oboe can
orchestra.
the
without
Horn, or even of a
in
attracting its
Bassoon,
take
notice,
rich
full,
the
quality
with that of any other
instrument. power blending In his Piano Mozart a wrote Flute two Clarinet and Concertos, single frequently part parts, treating all three instruments in the same manner, as if they were three Flutes. In the Overture to Egmont, Beethoven has ventured to assign the dissonant note of the chord
possessing
a
to
balance
of
and
single in
Clarinet,
treated as
the whole of his
two A\>'s
is
really
very
of
it
if
orchestral
were a second
writing,
for
the
Horn,
this one G\>
only instance of want
against one
E't>,
four
C's
weak:
*
Clarinets.
fe
Bassoons.
Actual sounds.
a@
Horns
^
.
Egmont
?
(Breitkopf
&
Hartel's edition)
must have noticed the "poetic Bassoon" effect produced by the Clarinet in the Ballet des Sylphes. A real Bassoon would have been ridiculously dry, and a Horn All
musicians
The Clarinet thus marking the accented Harp, sounds truly exquisite; it would seem to leave
too
heavy.
beats, beneath in
its
the harmonics
wake, as
it
were, a
the
of little
spray
of sound.
And what Note tremolo
shall
we say
the admirable of
the
of
the
orchestral
effect produced
Violins:
Clarinet
by
peroration to the duet
associating
the tremolo
in
Beatrice et Benedict!
of the
Clarinets with
the
THE CLARINET.
8_ ly
to
All
should
passages
(J
=
Oboe,
exceed
hardly
articulation
the
J
=
maximum speed in
120,
be
of
the
Oboe (3,4, 5) applies equal-
for
:
,
120)
p dfr
the
in
found
in
(Widor, Introduction
of the
case
Etudes and
(J
and
staccato
examples
Concert- pieces,
of
-. frf.fj *'> /f ft '
passages exceeding this
ff
\
speed
e.g.
B!.
in
:
numerous
Oboe,
notes
articulated
one of the registers.
any
,, (J
Clarinet
t
the
120)
But, as
may
the
case of
the
in
been said about
Clarinet.
the
As
that has
132)
Rondo)
(By kind permission of Heugel
Many rapidly
Clarinets
composers treat as
these
latter
instruments
Symphony:
as in
if
they
very quick
All Flutes.
14 8 Clarinets in
A.
Bassoons.
Horns in A.
-g-
'i'"
fl
were
vivace.
* 1
/P &i
Flutes,
obliging
t
C!, Editur-Proprie'tir.)
them
to
tempo, witness the opening
articulate of the
as
Italian
33
THE CLARINET. 9:
the matter of
In
instruments
phrase
be
may
played
the
by
sustaining -power, the
on a par. the Adagio
considered in
Horn,
can
Clarinet
Take, of
for
the
rival
the the
instance,
Oboe;
in
return to
fact the
two
after
the
Ai>,
Septet:
Bk
Clarinet in
dolce.
(Beethoven.)
good clarinet player does not take breath after the crescendo (marked two bars later, after the A. -
a
Here
+),
but
only
another example:
is
Moderate.^
A
Bk
Clarinet in
g
P
|^_
I
dimin.ed agitato poco a poco
cresc.
Professor
could
Turban
(of
Paris
the
be sustained piano,
the
in
Conservatoire)
medium
and
register,
for
myself
40
calculated
or
that a holding- note
45 seconds.
Shakes and Tremolos. 10.
the
Since
Clarinet,
system, perfected by Buffet, has been applied to the mechanism major and minor shakes have become possible, from:
Boehm's all
of
to
A
few
of
these
shakes
are
not
very
brilliant,
others
rather difficult, and
consequently
heavy:
rather harsh. JJ?
* difficult.
The fingering of the Clarinet repeats itself in the twelfth, so that the special key which now allows of executing the shake B Cjt in the low register also renders the shake F| G(t practicable in the upper register. N. B.
possible with a special key.
#(Djt somewhat
flat.)
notvery good. (Gjt somewhat
flat.)
This shake occurs in Meistersinger.
-heavy. J.
W. 14267.
THE CLARINET.
34 As a matter
11
pecially
of
these shakes
fact, all
when other simultaneous
may be
shakes more or
written,
less
even the doubtful
ones
(es-
conceal their defects), up to:
*This
G)t is somewhat flat, but might be used to reinforce the Flutes, say.
-
dangerous.
12r
We
now give a complete
list
of
shakes and tremolos:
Complete List of Shakes and Tremolos. All tremolos become heavy bevond the fifth.
N. B.
difficult.
etc...
All tremolos possible up to the octave.
etc...
etc...
All tremolos possible up to the octave.
All tremolos possible up to the octave.
All tremolos possible up to the octave.
All tremolos possible up to the octave.
rfC
All tremolos possible CXCept: p to the octave,
-
pg^
,
etc...
All tremolos possible except: up to the octave,
All tremolos possible except: up to the octave,
^= y
=
e tc
A11 tremolos possible
up
to the octave, J.
W: 14267.
-" N.B. **> Bt,and A, o^anu B are alwavs &1 Bl?* ?S -"
_M? zL^ Pf~ vv^ ,
I
All tremolos possible up to the octave,
gpi
heavy
1
difficult to attack.
THE CLARINET. All tremolos possible except: up to the octave,
etc...
All tremolos possible
etc...
up
I
M
1
ff^Otr
||
=J |
to the octave,
except:
All tremolos possible except: up to the octave,
etc...
I
35
etc...
All tremolos possible except: up to the octave, heavy.
possible.
All tremolos possible except: up to the octave,
etc...
^ ffg=
B R
etc...
*^Ji?~ possible.
=^<-
,
b;
All tremolos possible except: up to the octave,
N. B.
^^
r-
J
G $
Above
tremolos
-^_^
become
f^l
difficult.
possible.
+ ;...
^ .,
up to the octave,
,
possible.
^---
up
t>
is Ulllll
Difficult beyond,
\
heavy. .heavy..
I
--L
~fa
etc...
p
up
~f
n
pi
II
R
etc...
'
All tremolos possible except:
to the octave,
up
to the octave,
n-w
Difficult beyond.
H
All tremolos possible
II
except:
I
3 M^l ffp J
f
ttrgp :^p
v y-
difficul
good
which ...
All tremolos possible up to
C
in alt.
it
is
difficult to
attack piano.
etc...
...
All tremolos possible up to
C
I'M
W.
All tremolos possible up to C in alt.
J.
W.
14267.
as
well as all above.
' '^fo p L-^d ""^g^
except:
to the octave,
L
==e
except:
All tremolos possible etc...
which
90
All tremolos possible
36
THE CLARINET. All tremolos possible up to
etc...
C
in alt.
etc...
All tremolos possible up to
C
etc...
All tremolos possible up to
C
in alt.
etc...
All tremolos possible up to
C
in alt.
etc...
All tremolos possible up to
etc...
difficult
etc...
difficult
C
in alt.
in alt.
above.
above.
Higher tremolos should be avoided. good, but D\ is a trifle flat.
+,
D> somewhat Higher tremolos should be avoided.
almost impossible,
possible,
difficult.
Higher tremolos should be avoided.
Higher tremolos should be avoided.
heavy
1
difficult.
Higher tremolos should be avoided.
Higher tremolos should be avoided.
It
is
dangerous to rise higher. (See J.
W. 14267.
11,
page 34).
87
THE CLARINET.
Transposing. We
13.
writing
exclusively
for Clarinets
that the
Clarinet
in
A.
and
Bt>
in
C
has been said about either instrument
that
All
(4)
have already seen
no longer
is
in
modern
use,
applies equally to both,
for
composers have
they
the
The only difference same mechanism, the same qualities, and the same little imperfections. lies in the timbre, the richness of tone, the sweetness and fulness of the A Clarinet, not to the B? which Clarinet is unable to sound in the lowest mention the valuable C| register.
The Alto Clarinet. The Alto Clarinet
14.
sidered the normal key).
from
is
compass
tuned
is
in
member
This
a fourth below the standard instrument
F,
of the Clarinet
not
is
family
much
in
be con-
B!>
(if
use nowadays.
Its
__^ sounding:
No higher notes can be obtained. Mendelssohn has written two Duets
for
The Small 15. in
This, also,
Clarinet.
an instrument rarely used, save
has employed
Berlioz in
Wagner
it
the
in
Nuit de Sabbat
the Finale of the Walkiire.
but the performer
transposes
frequently
J.I
In
his
this
part,
The Bass Clarinet
16.
in
is
compass
written
is
of
latter
military
bands, for which
like
his
tuned
is
it
&
and
Symphonic Fantastique, the Small
work,
Clarinet
playing on the ordinary
(By kind permission of Schott
The Bass its
Clarinet.
B.>
sounds a minor third higher than written.
it
E>;
is
and
Alto Clarinet
is
tuned
instrument
in
in
D,
Ek
(WalkUre^
p. 442.)
but sounds an octave
lower;
C9, Publishers-Proprietors.)
Clarinet.
the Bl
or
A
Clarinet,
from
\>
to
*
No higher notes can be obtained. The
lower
register,
which
The mechanism
valuable.
contains the richest the
of
Bass
Clarinet
and is
fullest
identical
notes,
is,
of
course,
most
the
with that of the standard
in-
strument.
The
Bass Clarinet
to bring
it
is
admirable
an
into notice (in the
Bass Clarinet as an almost the
Bassoons,
the 20^ act of
Meyerbeer was the
Huguenots
constant
Liszt's
Lohengrin,
Note the effect
first
composer and the Prophete). Afterwards, Wagner used the bass to the other wind instruments, as. an auxiliary to instrument;
and now and then also for melodic purposes.
son et Dalila, that
melodic
Dante -Symphony
(See the 31^ act
(Purgatory),
the
2!
of
Tannhiiuser,
act of
Sam-
etc.)
produced
by the holding -notes
form the accompaniment
to
Elizabeth's J.
for Clarinets,
prayer.
W. 14267.
Bass Clarinet, and
Bassoons,
38
THE BASS CLARINET.
The Bass Clarinet can pass from a forte to a pianissimo as easily as the standard If it were necessary to have a phrase instrument itself. repeated in slowly-dying echoes, the effect 17.
be obtained required could probably
Bassoon.
(Actual sounds).
*)
(
s
the three following by employing
Horn.
wind instruments in succession: Bass Clarinet.
39
THE BASSOON. Fagotto.
(Ital.,
The
1.
In
Bassoon has a compass
the
for
writing
piece the performer
firstly
with,
and
and
to
37
of
is
may be required
Wagner once even ventured case,
it
orchestra,
Fr.,
Basson)
notes, from
to
dangerous to exceed this upper to play up to D, a third
write
because his theme was
Ger., Fagoit.
of
was justified
he
but
E,
higher
such a nature
bravura
a
limit, but in 4
~|g~~
doing so in that special the high E could not be dispensed
that
in
secondly because the intensity of the Violoncellos and Violas, playing in unison doubling the Bassoon part, was likely to neutralize any mistake made at such a height. Allegro.
(Tannhauser, Overture,
former times, the Bassoon was seldom required to descend lower than Gamut G
In
became possible to obtain Bl>, but neither Bq nor Cs could be produced, so that scale was diatonic for the first few notes, only becoming chromatic from E\> upwards:
Later the
it
0"
TT
.chromatic..
.diatonic..
who wrote so admirably
Mozart,
y
tween
in
stance,
and
2
In
good;
j
;
so
in
register
A?
quality,
the
for
Bassoon,
was only very
Don Giovanni
usually kept
and
(Double D)
wrote
he
that
rarely
in
within
it
in
piano
all
the
37 notes
passages,
the
of
lowest
Bassoon may be looked
the
D
Bq and
being
somewhat sharp, the four following degrees the highest
register
unsatisfactory,
(El],
difficult F,
Fij,
and the highest
paration:
to
somewhat
difficult to
In
.poor and thin..
bad.
sharp,
is
attack,
followed
an exquisite finally, after
by a fairly good
seventh,
a bad
with a
Ai>,a dull
medium
timbre
fourth
register closely
?
;
K in
m exquisite.
bad. J.
thin.
W. 14267.
Wood-
^=
be-
notes,
poor and thin.
requires preparation.
comes
-^"^^^
diameter.
^ fairly satisfactory.
entire
weak
then, after four
resembling that of the Horn
admirable.
pre-
p'vr^'
produced by a tube constantly diminishing
I>TT
thin
some
requires preparation.
i
(n^J-"
equally in the
Ei>
it
Bassoon, although it usually constitutes the sole bass of the an instrument of very uneven quality, its admirable low fifth y i..4
ing
upon as
fact, the
group,
be-
Concerto
the
requiring
attack piano.
wind
of
and G) poor and
D
l,^
i|TF
3,
limits,
lower notes, as, for in-
Andante
the
old
its
(Double C).
forte passages
not
medium
it
Overture to
the
C minor
in
in
p. 25.)
=,
and
THE BASSOON. The
lowest
duction
such
of
could
Trombones.
the
bass of
fifth
intense
that
in
However, sounds would
such a manner as not to
in
Bt might even form the point of tone-power; on the involved in the prothe strain case, lungs
with the Brass
vie
in
need to be taken exhaust
completely
the
account, and
into
the part
written
performer.
it could just often been required to play down to A; Wagner, the Bassoon has of the tube. Doubtless in the length as well be made to descend still lower by increasing a few years all Bassoons will be able to sound this A, but for the present it is well not to write lower than B!>, this being the last note on the great majority of instruments.
4
Since
Articulations. 5
B? to the highest
lowest
the
Oboe and the
the
Like
the Bassoon employs only
Clarinet,
single -articulation. From
can be rethroughout a compass of three octaves, all notes or piano, almost as easily as on the Cello.
B!>,
peated or detached, either forte For instance, in the low register: (J
In
1526)
medium and
the
138)
-
(J
:
Of course,
high registers:
when
effects
soon falters,
avoided, as the tongue into
the
to
quired
abound since
wind If
of
in
lightness
of
articulation
is
play very rapid tempo, the scores of Wagner, Berlioz,
Brahms, Tschaikowsky, Glazounow, Borodine: been a composer who has not thus contrasted the Wood-
Beethoven there has hardly with
the
Strings,
in
the
ing all together
The
Liszt,
tempo.
very quick
each member of the group
course),
tune,
reof wind instruments, even when they are a matter for both surprise and admiration; instances
a mass
of
in
examined separately (with the exception of the Flutes, of some of timidity, heaviness, and even absolute inaccuracy
were
most astonishing
When
them would be discovered.
7.
must be
and the instrument must not be brought too conspicuously
foreground.
The
6.
kind are employed, all prolonging of the difficulties
this
of
^f^JT
f__j
r*^--7rpij-|
isolated
become nervous and frightened, but when
they
they are the very image of assurance and
Bassoon, as we have already
whose defects
all
it
seen (2), has several
the
skill
play-
self-confidence. in notes, not quite but when these notes
doubtful
to
requires conceal, performer's by the Violoncellos they seem excellent. Here are four bars whose bass had been given by an inexperienced composer to a solo soon:
are doubled
Andantino.
K
*- j-1
i
,
P .
f-
Now, this bass, being (3), sounded feeble and the
timbre
of
the
in
the register of
out
instrument
of
tune,
was
in
the
not
J.
J
?=*
m
fairly good
through any
itself
Bas-
fault
unsatisfactory.
W. 14267.
medium of
and of the
^ weak notes
the performer's, but because
41
THE BASSOON. As soon as the composer had concealed these defective notes beneath the pizzicato the
Celli,
the
sounded
passage
quite
mm
Bassoon.
-
^^^w~^m
33 m
Cello.
of
different:
Pizzicato.
The
instruments
all
blended
in
a pleasing
ensemble,
perfectly
as to truth
satisfactory
of
intonation.
7.
In
the matter
more easily than
it
slurred
of
can
notes,
Bassoon
the
like
Oboe and Clarinet,
the
can
rise
descend:
Allegro.
However, descending slurs are practicable the intervals are small:
in
Staccato on the
notes, skips of an octave, a tenth, a Bassoon with incredible ease and rapidity: ft
8.
i
e
Descending slurs
as well as lowest
slow tempo,
all
slurred
twelfth,
and even
a
tempo
quick
*
when
can be played
fifteenth, etc.
* i
fi>
in
a
^
to be avoided:
intervals
starting
downwards from
register: J.
W. 14267.
G'b,
E>,
D,
Cjt,
and
Cq
in
the
THE BAbSOON. Rad:
Bad:
9.
slow
In
tioned
tempo, descending
slurs
can
are
used
in
above),
any
one
chromatically,
but
Taking
10.
Is
able
which It
none
is
of
alike;
can
of
not
is
somewhat
astonishing
its
as a fulcrum,
notes
its
this
notes
deep
available
Strings It
it
sound
to
they
provided
of
neighbors
an
that
such can
reinforce
suspected:
Allegro
of
the
speed
of
is,
the
scale
course, entirely precluded.
descending lower even than the Horn, and should also be capable of acrobatic feats
intensity,
What services
perform?
blends
every combination; may be put to all kinds
accent
Bassoon can thus descend
the
men-
instrument
it
an
(always excepting the intervals ensemble, and not in a solo: played
dangerous, and
for it
be an
with
renders
it
every
in
orchestra!
the
Woodwind, Brass, and
group
work.
of
Strings, without
its
presence
being
even
so
much
as
molto.
Bassoons.
lit Violins.
"d Violins.
Violas.
Celli.
Double-basses. (j. Hamelle,
PP
Editeur-Proprietaire.)
Widor,
(
It
from
may
complete
the
Horn
group,
blending
so
perfectly
the Brass: J.
W.
145J67.
that
it
2 nJi Symphony,
cannot
be
p.
130.;
distinguished
THE BASSOON. Clarinet in
A.
43
tranquillo.
=M
J J Bassoons.
Horns
in E.
HM^-^^&H^ J9___ =3= ^EEiEE 9= A f~ ::
'
-
n~
Basses.
PP Without the
the
least
weakness,
it
can
(Mendelssohn, Sommernachtstraum?)
bear upon
its
Atlas shoulders the
whole weight
of
harmony: Flutes.
Bassoons.
(Wagner,
pp
Meistersinger, p. 354.) Figures played by the Violoncellos and Double-basses, or even by the whole group of Strings, gain verj? much in^ energy and intensity when^ doubled^ by the Bassoon; Flutes.
J.
W. 14267.
(Beethoven, 4th Symph.}
44
THE BASSOON.
The staccato
Bassoon
the
of
Strings:
Flutes and Oboes.
P
(J
=
be as
when necessary,
can,
light
as the pizzicato
of
the
69).
^qJz;
* I
I
_J
???
Bassoons.
feE5 E^
Violins.
*
Pizz Basses. Pizz.
(Meyerbeer, Struensce.) not
Is
staccato
this
the
of
Bassoon,
in
the
Serenade
of
Mephistopheles, fully as
supple
a pizzicato?
as
Oboe.
Bassoon. _.
x'
r
i
T
_.
*
r ^ *
.
Violins.
Pizz.
Violas
.
Mt'phist. Aiii.si
ton ga.lantt'ap
.
pel
lo.
.
Basses. Pixz.
By
(Gounod, Faust.}
combining the Bassoon with the Flute, at a distance of two octaves, the sweetest and richest timbre in the orchestra. Sometimes he Bassoon two octaves below the Violin:
tained the
Mozart even
obwrites
Flute.
Bassoon
.
(//
Flauto Magico, Overture.)
Violins.
Bassoon.
di Figaro.)
Any serve
score, opened all
kinds
of
at
random,
purposes
with
will
afford
unrivalled J.
instances of facility
and
W. 14267.
the
Bassoon's
efficiency.
singular
ability
to
45
THE BASSOON.
Length of Breath. General
11.
required to
The lower the pitch of the instrument,
rule:
play
The sustaining -power to
of
a
-.
80)
^^
2
1
4
2
XTJ X
playing
3
80)
in
the
it
forte,
proportion
higher register, this
still
to
its
is
4
3
p\>*
Even
is
Bassoon, playing in the lower and upper registers,is limited with the assistance of Mf Eugene Bourdeau, Professor at as follows: respectively
(J
:
more breath
experiment made
according the Conservatoire
(J
the
it.
7
6
-*
-v
the
diminished,
considerably
,Tf
5
maximum
is
bars.
9 bars.
seldom exceeded, and, of course, when of the sound in inverse being
duration
intensity.
Shakes and Tremolos. 12.
From
From
Double
Double
B't>
F to B?
to
in
Double
F no shakes are possible, save the two following:
the Treble
staff "
nearly all
are
possible, except:
e
.very bad.
.impossible..
not good..
Complete List of Shakes. .
Possible.
not good, but possible..
Eg
Impossible.
good, but heavy.
somewhat sharp.
Possible.
Impossible,
^p (impossible, as well as in the octave above.)
Good.
Bad. (bad, as well as in the octave above.)
(possible, but not good.)
(impossible, as well as in the octave below.) J.
V. 14267.
46
THE BASSOON. gp
"iar?
P '(
&
Good.
Bad.
Good.
Bad. (possible, but not in tune)
(bad, as well as in
the octave below) &--
Good.
Higher shakes are hardly available
for
orchestral
purposes.
Bad.
The major shake on E (E F)t) was formerly reckoned one of the most awkward, but the modern virtuosi, having carefully " practised it since Bizet's time, caji now execute this
Remark:
***
all
shake
brilliantly.
Moderate.
Bassoon.
.
'
p
J^
Orchestra.
3EE
-
(Choudens, Editeur-Propriftaire.)
(Carmen,
p. 177.)
Tremolos
13.
are hardly practicable on deep -toned instruments like the Bassoon and it be would difficult to an instance of their Horn; quote employment in any of the works of the great masters. Below Tenor C the effect produced would hardly be satisfactory; from this C upwards thirds, or even but the third greater intervals, are sometimes used, itself
is
often
impracticable,
if
not
rising,
at
least
falling.
'
A
ffP
Impossible bt\yor,d.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
# N.B. Impossible beyond.
Beyond this become
point, tremolos
almost impossible. J.
W. 14267.
47
THE BASSOON. Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
No higher tremolos possible.
WORKS AND AUTHORS TO BE STUDIED: Mozart (Concerto, Serenades, Quintet); Weber (Concerto, Andante and Hungarian Rondo); Beethoven (Quintet, Octet, Trio for Flute, Bassoon and
Piano, Septet, etc.); Schubert (Octet); Thuille (Sextet); Raff (Sinfoniette); Suites by Ch.
Gambaro,
Rubinstein (Quintet); Reinecke (Octet); Lefevre,
Pierne, etc.
Etudes
by d'Ozi,
Milde, etc.
Neukirchener,
TRANSPOSING INSTRUMENTS. The Basson - quinte
.
The Basson-quinte has not yet been made, but bassoon-players are calling for it. a fifth below the standand instruform the true bass of the Woodwind group, a semitone lower than the Double-bass: ment, descending consequently to El?, 14:
It
would
loco.
sounding:
The low A which Wagner wrote below Bi> is admirably rich and full; 'then' say professiondescend to El>, with the same fingering and the same capabilities as the ordinals, 'why not Bassoon?' We have already seen (3) that the low fifth, from Double B\> to Double F, is ary sufficiently
robust.
makers tale
a
robust
to
bear any weight
The Basson-quinte to
us with
provide
l' Exposition
said
is
sound; be
easy the near future.
in
it
of
to
the of
"new" low
fifth
construction;
(See C. Pierre,
more
would
be
still
look
to
instrument-
we
La facture
instrumen
-
de 1889).
The Double -Bassoon. 15:
The tha
Double- Bassoon
B
lowest
from
Y-
The Double -Bassoon
is
and Bi. .
:
made
pitched Its
an octave below the standard
instrument,-
is
compass
written:
to
wood
It is the or of brass. decidedly inferior to common to both instruments. Satisthe timbre, especially point register factory in the first seventh, it begins to grow weaker from Double Bk| upwards, diminishes conall higher notes being obtained by siderably in intensity in the neighborhood of F#
Bassoon
overblowing trumpet.
is
of
in
and
either
of
in
comes to a stop about
>'
J
^!
,
with
Satisfactory.
i
a
nasal
twang
,
Actual sounds: ^J
j bassa
loco.
Timbre growing more and J.
ike that of
W. 14267.
like
that
of
Altogether inferior to Ihe Bassoon.
a,
Toy Trumpet
a
toy
48 The
THE DOUBLE -BASSOON. octave
low
first
the
or even
Woodwind, The manner in which the tone
pedal-notes tirely eschewed.
the
but
Bassoon,
staccato passages are very Symphony, it
passages to play, which
rapid
sound
reed, being
ineffective
instrument
treats this
bravura
like
very it
when used
satisfactory,
fairly
the
sustaining
case of
alone
is
the is
larger,
on
is
Horns,
slow
in
produced is slower to vibrate, so that
Double -Bassoon.
the
carelessly,
to
tempo
first
cannot possibly execute in on a bad Harmonium:
a
to be enin
the
and
florid
Beethoven, in the 9tb to A, and then giving
rise
it
making
deep
play
staccato notes are much the same as
but
manner;
satisfactory
they
effects performed
(All? maestoso.)
V'
Contrafagotto.
L \\
(All? energico.) Contrafagotto.
Contrafagotto.
These weak notes
upper register and these florid passages, which would be difficult ordinary Bassoon, are lost in a compact mass of sound, where the most experear can distinguish nothing. Beethoven cared very little about details; besides he the
of
even for an ienced
was deaf when he wrote not
his
immortal
work.
I
mention
this
all
as a caution
to
young
be too
composers venturesome, unless they happen to have Beethoven's genius. into Here, on the other hand, is a fine effect produced by a Double -Bassoon brought prominence; nothing can sound richer and deeper than its Double 6 beneath the low 6 of the Horns: Allegro. to
s
Flutes.
PPP /TV
H
Piccolo.
P
V J
Solo.
Oboe.
PPP /T
Cor Anglais.
m
Bk
Clarinets in
PP Double - Bassoon.
Horns
1
in F.
~V5 (Saint
3rd (By kind permission
Robust a deal
lungs
of
breath.
moderato. write
in
are
needed
The
So, care
to
play
maximum
must be
such a manner as to
the
of Messrs A. Durand et
fils,
.
p. 124)
Editeurs- ProprieUires.)
Double- Bassoon; the low notes, especially, consume of a low holding- note cannot exceed two bars
duration
taken, when this instrument allow it the requisite intervals
J.
W.
14267.
is
of
placed rest.
in
the foreground, to
49
THE SARRUSOPHONE. over which it possesses disSarrusophone is a rival of the Double -Bassoon, tinct advantages as regards both facility of emission and intensity in the low register. The column of air contained in its very wide tube is set in motion by means of a double- reed
The
1.
that
like
the
of
instrument
which
Bassoon,
the
Sarrusophone also closely
resembles
in
its
mechanism. The
Sarrusophone so
tone,
that
say
vibration,
sometimes accused
is
the vibrations
pipe,
when the ear
just
criticism.
a
like
as distinctly as those
be perceived
of
reedy
quality
Each a
of
separate
32 -ft.
organdetractors, This is most unis in the immediate proximity of the striking reed. When the instrument is in the hands of a player accustomed to the bas-
It then a great measure disappear. produces a full rich tone, since it can descend without hesitation of the Wood -wind group, the Bassoon: below octave of the an orchestra, depths
soon-reed, these defects forming an excellent bass extreme
to the
sound can
its
having a rather nasal and succession of little shocks.
of
in
sounding:
Compass:
f
loco
fjta bassa....:
The
2:
Sarrusophone
is
written
When used in conjunction effect of a Gamba-bass or
The Sarrusophone
very sweet
family
Soprano
Bk
Tenor }>,->.
Bass in
to
corresponds
and
Bombarde;
organ-pipe,
just as the
-
Basses, the Sarrusophone produces the gives them a very characteristically pen-
Double it
a 16-ft.
Bk
is
complete:
Compass:
Sounding':
Compass:
in
and
tone.
etrating
in
C,
corresponds to an 8 -ft. pipe. with the Celli
Bassoon
3.
in
w
Contralto in
& p*
Ek
Barytone in
A w
Ek
Double -Bass
w
in
Ek
t>
have yet been used in the orchestra, Saxophones being cannot de-toned instrument of the Saxophone group As, however, the deepest preferred. -Bass the size of the Double scend lower than the ordinary Bassoon Saxophone making it exthe Sarrusophone in C stands without a serious rival in the practically inconvenient treme depth of the orchestra.
None
4.
of
This
these
interesting
instrument
varieties
possesses .
^?=
two really
full
excellent quality.
-toned and remarkably powerful octaves (XY):
50
THE SARKUSOPHONE. ease.
qua)
bottom
are
following,
notes
can
as
the
the
All
scale
the
of
at
produced Even top.
same clearness and precision at like quick tempo, staccato passages, the
with
be
in
practicable: (
A
Double- Bassoon overcomes
phone
the
the
the
would
case
such a
in
almost
difficulty
Sounding an octave
have no tone-power whatever, while the as easily as an ordinary Bassoon.
lower.)
Sarruso-
Articulation. maximum speed
The
5.
attainable
about
is
as
follows:
(Actual sounds.)
(For 2 consecutive bars.) bassa
(J =
^
116)
(Actual sounds.)
(For 3 consecutive bars.)
loco.
(Actual sounds.)
(For 4 consecutive bars.)
The breath can be held about as long for sustained as for detached notes. In moderate the lowest C can be sustained for or for three bars: tempo, forte two, piano, (J =
The C an
88)
octave
"}
above
^
I
<
can
be
held
for
4
or 5
bars.
Shakes. 6.
the
with
the
All
shakes
two instruments speed
of
Bassoon
same.
are reproduced on the Sarrusophone, the fingering of Even in the lowest octave, shakes can be performed
and precision: *)
In
the
being the
short, the
^^^ ^^^L^h J
(Sounding an octave lower.)
Sarrusophone stands in much the same relation to the Bassoon as the DoubleThe two pairs of instruments may be treated in a parallel manner.
bass to the Violoncello.
Bassoon. Sounding: Sarrusophone
What assigned treated
the to like
Bassoon can low
notes,
people
do, the
which
Sarrusophone
is
likewise
are, of course, heavy
in
of
able to perform,
proportion
to
within
the limits
their depth, and
must be
consequence. Saint -Saens and Massenet have employed the Sarrusophone in several important works. It is an instrument which will come more and more into use, especially now that it has been perfected and its low register extended downwards; (a few years ago it could not descend lower than 16-ft. C). In Paris, it has been adopted by the Opera, the Opera-Comique, and the Colonne and Lamoureux Concerts. It is now beginning to appear everywhere. J.W. 14267.
51
Chapter II. *
The Theory of
Let us take a tube; for instance, the long What are the sounds obtainable?
1.
liefs.
a third,
of
the
to
correspond
or of a quarter,
etc.,
vibration
Trumpet that we see
in
whole column
of
according
the
of
to
amount
the
of
bas-re-
ancient
or
air,
of
half,
exercised
pressure
by
1
the
.'
lips
When when
the
of
column
of
air
set
in
air- column
us assume
Let the
whole column the
half
the
of
which
those
"Only or
Tone - production of Brass Instruments.
the
is
series
following
2
4
each
to
5
thirds,
16-32
octave,
still
higher
eighths
32
the
12
It
13
16
15
14
a
by
finally
almost
tone.
Just
attempt
octave,
the
following
each other,
into
merge
64
down
writing of the
next
separated only 16 sounds of
the
octave, the
128
throughout
the
of
by the
the
octave!
The theoretical
2.
the
of
10
in
a
of
9
8
mathematically body falling into water draw proportion as they get farther from the starting-point, octave apart (1-2), then a fifth (2-3), then a fourth (3-4),
thirds
fourths, and
..
..
7
6
produced
other
sound-waves, first an and seconds apart,
so these then
closer
can
L
waves
as the circular
Just
is
,
3
8 -ft. C
the lowest note of the Violoncello; be successively obtained:
tone
harmonics
of
..
closer and
is
fundamental
the
made
is to vibrate, the fundamental tone sounded; a third is when the second obtained; vibrates, upper partial is produced, and so on. the third upper partial motion,
air
of
compass
from
brass
the
all
extends
instruments
much more
whole
of natural harmonics Very 16, but, practice, wide tubes, like those of Tubas and Contrabass - Tubas, can alone sound the fundamental tone; the other brass instruments start from the second upper partial. Very narrow tubes, such as Horns and Trumpets, can alone reach and even go beyond the 12tb, 13*!), and 14
series
upper partials. And yet these for
have,
nor
13 or 14 notes, sufficed
centuries, nor Beethoven,
Mozart,
able
to
chromatic
four
play
to
nor
1
to
in
unequally
scattered
semitones
ever suspected
two
throughout
give power and brilliancy
Weber
is
it
to
that
a
the
half
octaves,
Neither Handel, would one day be
orchestra.
Trumpet
succession, or a Horn
in
a
and
limited.
come down
the scale with-
out jolting.
Trumpet could (up to the 7th partial at least) only sparrow hopping from branch to branch. proceed by skips, like Writing a Horn quartet was like solving a puzzle, each of the parts neglecting all kind of logical progression, in order to give chase to the sonorous note.
Owing
to
the
breaks
in
scale, the
the
a
The invention
3.
giving
him very
monic
series,
tonal It
of
equal
also
valves removed diatonic
bringing
and
exactly
the
difficulty,
chromatic into
tune
scales
the
able
to
with
the
compete Trumpet -Trombone -Tuba group. flung wide the dungeon gates.
others In
in
the
throughout which
degrees
system, e. g. the 7tb and 1ltl? partials. then became possible to constitute, in the heart
sound
setting
of
of
the
W. 14267.
did
not
orchestra, viz.
point flexibility, short, the invention of valves
J.
composer at whole of
the
the
liberty,
the
and
har-
coincide with our
two new groups of Horn group and the
loosened
all
fetters
and
52
the pitch of the instrument by which refers to the 4 -piston Tuba table,
The valve
4.
the
INSTRUMENTS.
BRASS
following
lowers
as may be seen from
lengthening it, in general use:
1
234
5
6
7
8
9
10 11
12 13 14 15 16
1
234
5
6
7
8
9
10
12 13 14
None of the pistons depressed- *p Actual sounds. 11
U -
|L
2"d piston depressed. All notes lowered by
II
1st
piston depressed. All notes lowered by
IV
1
2
1
23
3
4
5
6
7
8
9
5
6
78
9
10 11 12 13 14 15 16
-yp-?^-
a whole tone.
1st
rr~
Jo
a semitone.
III
15 16 t
li^-m.
,,
i
& 2nd
pistons depressed. All notes lowered by a tone and a half.
-_-.
"
/'
4
o
.
~~
1234 3rd piston depressed. All notes lowered by
..
"'
,
i> |
"
lo
t> .
10
11
12 13 14 15 16
*"
a
" H*
10
11
,,
5
7
6
, .
j,,
i
(jK
9
8 ,
I
\m
l>
12 13 14 15 16 * ^*
l"
h.. \J p
"
^"
1"
.
VI
2nd 4 3rd or (
piston depressed. All notes lowered by 2*^ tones.
4 3 rd (or 1st 2 nd 4 3 rd) or 2nd & 4 th pistons depressed. All notes lowered by 3 tones. 1st
VII
1234
5
6
7
8
9
10
1234
5
6
7
8
9
10 11
3
VIII
IX
2
3
45
4l_h
7
6
*
*
16
it" #
:
8
9
10
*
11
12 13 14 15
,
'
\>m
hn
16
-
pistons depressed. All notes lowered by 3^ tones.
15*
2d
23 456
1
& 4th
pistons depressed. All notes lowered by 4 tones.
:
1
pistons depressed. All notes lowered by 4^ tones.
1st
3rd
23
4
5
AU
L
6
10
11
12 13 14 15 16
7
8
9
10 11
12 13 14 15 16
L.
7
8
7
8
9
10
11
^
!>
^"
'"'
12 13 14 15 16
""
1
4 4th
pistons depressed. notes lowered by 5^ tones.
9
,
123456 ~ .
8
~
2nd 3rd 4 4th pistons depressed. All notes lowered by 5 tones.
7
-*
3rd 4 4th
XII
14 15
I?*
rr
XI
12 13
" , jt0 f
a >-fllt
1
4
15 16
~'J'
t>
1st
12 13 14
11
(better) 4th
~
2
3
4
5
L
6
l>o
,
10 11
**^..
ETw
U
12 13 14
15 16
*" ^"
"
12 13 14 15
16
l"
1>*
^ 1st
XIII
2nd 3rd 4 4th
pistons depressed. All notes lowered by an octave.
" ~
1
2 -
3
4
5
,,
.11^:
6^
^
7
* tr~
__
J.
W. 14267.
8
9
10
11
l~-
j?
*>
t~ r-
53
BRASS INSTRUMENTS. Such
the
is
compass of five chromatic octaves, which might even be exceedmust add at once that no single performer is able to travel over
theoretical
ed upwards. But we extensive such ground;
the
most
cannot
skilful
embrace more than three and a
half oc-
taves.
Excepting the Tuba, Contrabass -Tuba, Valve -Trombone, and a few Barytone Saxhorns, all the other instruments have only three valves, so that the number of combinations tabulated above is reduced, in their case, to seven VI. VII.), (I. II. III. IV. V. 5.
possible
only concern mental.
6. into
on the
instruments
at
Looking three
seven positions of the Slide -Trombone. Such are the seven comContrabass -Tubas in E.> and Bi? of military bands. The others
the
to
corresponding binations
the
used, and
little
natural
scale
of
which, besides, cannot
harmonics, we see that
descend
the
brass
11
12
funda-
the
to
instruments
fall
groups:
.
Horns and Trumpets.
'fro
(*)
10
9
or
13
15
14
16
TV
(#)
In the orchestra of
day a small Trumpet is employed, whose har monies sound an octave with higher, in unison those of Cornets and High
to
Cornets and Bugles.
Saxhorns. (See
P.
68,
6)
figures,
taking
as
Trumpet
in Bl basso
an
Tubas and Bombardons. -4^-
If
a
we now compare
standard
Cornet
the
key
the
of
B\>,
Bt
in
length
common
the
of to
all
(in
B!>
C.-B Tuba
of
we get
_ _
basso)
.
the
following
them
length of tube
Trumpet * Horn
tubes,
4
ft.
5
in.
8
ft.
5%
in.
*
octave below the
17
ft.
7
in.
17
ft.
8
in.
modern
Trumpet.
So that Cornets correspond to 4 ft., Trumpets to 8 ft., and Horns and Contrabass -Tubas to 16 ft. Organ stops. However, in practice, things are somewhat different. at pretty play Trumpets, enclosed within the same limits, much the same pitch, and in such a parallel fashion that, in many secondary orchestras, without regard for the composer's intentions or the difference of timbre, the Cornet rethe latter being much more risky and dangerous to play. places the trumpet, In
reality,
Cornets
and
J.
W. 14267.
54
BRASS INSTRUMENTS. The
7.
between
distance
become so minute that
the tube the
lips
may cause
Take
this
theme:
of
The old
Trumpet
The Cornet and
harmonics diminishing as they
the
in
least
the
hesitation,
mistake
least
in
the
of
pressure
accidents.
will
B?
the
the subdivisions
rise,
play
making use
it,
sound the same
will
harmonics 4 to 12:
the
of
notes,
making use
of
the harmonics
between
2
6:
(The notes marked with crosses could not be obtained but for the pistons.) The
theme
produce this to
perior
and
runs
or a
whose best notes
Cornet,
the
a
child's
the
high
We
8.
which
ought
sound tube
its
of
emit
it
about
lips
the
size
and
shape
more or
less
easy emission
acting
efficiently of
when the diameter and law),
and
a
the
in
The
tube
its
of
the of
is
Horn has
the
lowest
mouthpiece, which
length
special
the
Tuba,
length,
low?
quite as
the
Coll's
Horn, whose
the
of
Contra- bass
from
of
timbre,
it
the
same
especially, power, no-
classed Trumpets and Horns in the category of instruments fundamental tone. This is comprehensible in the case of the
descending fundamental tone, because
the
scales, shakes
intensity?
the
what
allow
to
su-
as much execution as a Flute
of
capable
chromatic
altogether
re-
(6)
have just
but
Trumpet,
is
it
compare with the Trumpet in point where it becomes poor and colorless? Has
dramatic
cannot
and
register, "diatonic
Cornet:
rapidity
will
.'
register,
bleness, and
an ease and
harmonics,
1
On the other hand, can in
the
6^
2"d and 5* n or
the
articulation,
medium
this
for
play
of
lightness
In
Trumpet.
are
Clarinet
with
between
lie
is
answer
a slim
not
W. 14267.
the Contrabass -Tuba,
Horn
the
that
cannot
contrast with the bellying
In
figure
Besides, there
is
which
prevents the question of
merely the timbre, but also the
bear a suitable required,
of
and elegant
register.
instruments.
J.
is
too narrow.
affects
also
that
to
The fundamental
notes.
the tube
mouthpiece
equal
tone ratio
varying
can only be sounded each other (Cavaille-
to
according to the family of
55
THE NATURAL HORN. Corno.
(ital.,
1:
is
It
from
only
the
Waldhorn.
Ger.,
historical
adays almost universally discarded. Without artificial aid, the Waldhorn
between
Horn
2 and
16
in Bl> basso.
view
of
point
Fr.,
can
that
Cor simple?)
mention
I
sound
hardly
Natural
the
notes
any
Horn, now-
the harmonics
but
inclusively.
*J
^
:
/?
(*)
^ 2
"
^^
7
8
9
_ Ut
I"
li=
4
3
l>o
5
6
\ (
10
11
o
(-*)
^0-
^
12
13
14
15
16
Sounding:
Remark: to use
two
Horn-players read the F clef an octave lower than they
ought really to be written in the
Thanks the
to
supplementary fundamentals available
Horn
lowest
note
F
(about
in
obtainable
Bt> Si;
C D! Dl|
Et El]
a
"crooks',"
dozen
basso,
in
length
_ _ _ _ _ _
G
_
At
_ _
Bl>
C
is
the
harmonic
number)
not ridiculous
=,
<
being as
which
7
in.
16
ft.
10
in.
16
ft.
1
in.
15
ft.
in.
14
ft.
_
13
ft.
3% 6% 7^
_
12
ft.
9
in.
_ _ _ _
12
ft.
10
ft.
9%
in.
10
ft.
1%
in.
ft.
7%
in.
ft.
2
in.
ft.
4%
in.
alto
_
_
_
8
C
(*)
of
the Horn
ear.
J.
W.
14267.
in
B\>
may
be transposed,
follows:
ft.
tube
9 9
the
series
17
of
_ _ _ _
F
At)
it
clef alone
tubes, called
_ _ _ _ _ _ _ _ _ _ _ _ The
y
these four notes of the harmonic series
clefs to write
is
ou.t^ht;
in.
in.
in.
basso,
i.
e.
Bl
for
the
56
THE NATURAL HORN.
The
G
the
is
highest
Horn
in
Horn
the
of
(*1
in
the
half
off
cutting
bell,
ear.
4
3
6
5
7
8
9
10
^$* horn -player
intervals, the
intermediate
the
get
the
for
(o)
in g=
To
E
e.
=2E
A.
2
2.
i.
A,
and
air,
flattening
the
inserts
notes
open
11
12
n
*E:
his
by a
hand
right
the
in
semitone:
Good stopped notes:
10
Remark: As der
to
The
to
dealing
The
notes
the
the
produced
inequalities
monic plest
to
the
are
be
come across
means the most
resources
of tune
out
14
15
in our
16
the player, in or-
scale,
speak
of
notes
open
valuable, on
very
will
the
of
them
account at
are
greater
Muted
excellent.
the
of
length
in
color
of
variety
the
following
Valve-Horn.
by
met two
of
which at
conjunct
powerful
the
half
column
of
are
air
dull, not quite
/(.._, ~
with
Weber has created
than
production:
3p
for
more
off
cutting
difficult
instrument to
also
we
Very bad
is
each
below
are
stopped notes:
Such
are
13
them by "stopping."
obtained notes
orchestra;
with
intonation, and
of
and 14th partials
)
flatten
to
thus
overblown
impart
section
true
them, has
semitones
and
notes they
the 7th, Ilth,l3th
utilize
12
11
I
,
the
I
classic
every
degrees are
effects
masters
step, and of
it
the
frequently
masterpieces.
Three
/7s
in D:
"
r J.
W.
14267.
is
wrote;
breaks,
impossible
same
timbre.
obtained,
notes
deficiencies,
below
and
suffice for
the
7lb
and
har-
True, with the sim-
with
such
limited
Oberon's magic Horn:
57
THE VALVE -HORN. (ital.,
used:
is
The in
are
Valve -Horns
1.
the
indications
are
G)
in
F,
Horn
made
keys: E, Eb,
several
in
met with
be
to
Ger.,Ventilhorn.
at
every page not so much
convenience
the
prefers (supposing there is a sudden ther than of numerous accidentals.
He writes The
of
change
simply as possible, and chromatic scale of the Valve -Horn
as
the
is
it
extends to
Its
the
es
Cor a pistons)
Fr.,
but
D, etc.,
nowadays
only one kind
F.
in
fop
Corno cromatico.
in
modern compositions (Muta
of
the
key)
to
D, in
in
E,
performer as of the composer, who make use of the natural notes ra-
understand him aright.
to
part
player's
from:
"
-Kir-
(actual sounds)
38 notes are perfectly homogeneous, and its compass, as will be observed, is much same as that of the Bassoon, which, although it can descend a semitone lower, los-
by
with
comparison
Bassoon.
~y
r
TJF^P
^
2r
We may
Horn
the
an
notice
upper register:
~
i"
R.I*
Thin
here
the
in
Horn.
3
notes.
Good
1
between
appreciable difference
the
notes.
capabilities
two
the
of
instruments.
While the
compass
on
pianist
assume
a
instrument, and
his
perform all kinds of acrobatic feats throughout the entire can pass from one register to the other as easily as a horn -player has to choose between the high and the low
the keyboard, cannot play satisfactorily
his
register, as
can
bassoon-player
of
he
according
shape
particular
both
at
the
to
extremities
register what the
The 111 horn-player is to the 2H^ Trombone. The First Horns (of the two or three the Second Horns the low notes. notes, tises.
3.
To meet
the
now construct cation
scend
in
the
two 3!^
of
Horns:
sufficing
piston
both
of
requirements kinds
categories
ascending enable
to
one
of
Horns kind
horn -player chiefly
Trombone
Tenor
our
in
pairs
scale, because the
the
of
which the
is
orchestras)
to
descending
rise
easily
the
and
Bass
play the high
instrument
horn -players,
and
to
lips
prac-
-
makers
Horns, a modifithe other to de-
easily.
N. B. The 3*4 piston raises the whole scale of the ascending- Horns by one tone, and lowers the scale of the descending- Horns to an equal extent.
The compass, Ascending- Horn:
in
actual
sounds, of
our two chromatic
r*^r
.-''
*)'
-r*
/
Vff
v
~fl
Horns
N. B.
The
Gjt
marked with a
..
cross is
as follows:
+'
Concert Solo compass.
'
*)'
is
M
XT
Notes obtainable in case of need.
cending Horn
F
^?r
Usual orchestral compass.
Descending- Horn:
in
>
"
Complete chromatic scale, including Gtt.
the only note wanting- in the chromatic scale of the
.
J.
w. 14^67.
s-
58
THE HORN.
Notation.
4~ .-
Octave that can be
<* o-
-.
S
Valve -Horn.
Sounding: \>*
As we have already observed (P. 55), the notation of the Horn in the F clef is an octave too low. Suppose, for instance, two Horns playing in the octave Y Z; if one be written what is in unison for the ear will be in the in the G clef and the other in the F clef, octave for the eye. Why not make the F clef the natural continuTriumph of absurdity! ation In
G#
of
this
(DJt+)
the
G
clef?
chromatic wanting
scale on
the i
Horn.
Sounding:
-*jr.
of
43
notes
ascending
none Horn,
are
defective,
there
are no
and, with
the
exception
of
the
breaks: Register
of
the
59
THE HORN. Andante.
&
Flutes
Horns
Clar.
in F.
Violins. Sicbuberth
&
the undulating figure gratifying to the ear.
of
(By kind permission
Though barely audible beneath Horns is, in this case, extremely
of
J.
C?, Publishers-Proprietors.)
the
(Liszt, Faust.)
Violins, the velvety tone of
the
are obtained by closing Overblown notes, whose production involves considerable effort, the note required, the lips attack the semitone above half the tube with the right hand: the for instance, and the insertion of the hand lowers the note to an equal extent. If, his hand at the same he attacks as an overblown wishes sound D to Ei>, note, player
time
lowering
The (1)
has
composer
simply
column
the
by
cross
a
Horns
in
air
of
several
a of
ways
semitone. indicating
these
overblown
^
P
>
v-
1
(Wagner, Tristan?)
p (2)
or
the word
by
cuivre
notes:
above the note to be overblown:
placed
P
E
by
German scores gestopft /):
(in
(Gestopft.) /i
..
Horns in E
/ (3) or by a
cross and
the word
(Wagner, Rheingold)
cuivre' (gestopft *
Horns in
f}-.
+(Gestopft.)
1
E
(Me istersinger, p. 225.)
sometimes happens that the word cuivre is accompanied by the indication piano. that case, the note can be overblown at the moment of attack only; immediately after Horn. attack, the tone becomes very subdued, like that of the muted
In
It
Horns in E
the
stopft.)
^=B=
-TT
AGestopft.)
The duced
Horn can with
the
be played aid of the
con sordino throughout hand
can hardly
be
its
obtained
entire
compass.
below the
SfJJ
Stopped notes pro-
upper partial:
TT
*
Gestopft means simply "stopped;' but accompanied by an accent =-,or by the indication understood in the sense of overblown. 1.
W. 14267.
/
or
sf,
it
is
60
THE HORN.
In in
his
Requiem,
unison
)=_ gt^
Berlioz t
the effect
When Valve-Horns were of
an overblown
has written still
beginning to
tolerably
being
come
into
the
(a semitone lower)
Fjf
good,
vogue, they
who
first
the
fop
two
extreme
Horns
but
this
were
assigned to the second pair retained Natural Horns.
still
is
limit.
horn -players, being subordinated to pair, the first pair was assigned a note not belonging to the natural scale, accompanied had no the indication forte or sforzando, as no mistake was possible, the composer
When by
need
to
as, for
give
instance,
directions;
special
any
stopped notes forte
these
were necessarily
overblown,
Faust:
in
a_ in
Ek
!:
Natural Horns
EE
in C.
m
Mcphisto. a
_
les nuits
dii-u
d'amour
Strings.
Sometimes, as fect
in
he desired
in
the
Damnation de Faust,
the composer thought was needless:
this
fit
to specify
the ef-
although (Sons bouchcs)
parentheses, ^_
in C. ~*J
Natural Horns in F.
Mephisto. Rien qu'u
To sum ourselves
in
up, to the
order
to
avoid
two following
all
chance
formulae
Con Sordini
.
ne
si .
gna .
tu _ re
(Berlioz.)
of
misunderstanding, we must
all
pianissimo
in
future
confine
:
for
Cuivre' (with a
+) for
effects.
stopped effects forte.
sometimes necessary, after these special effects, to indicate the precise moment when is to come back to natural sounds. The word "open" (in French "ouvert," in German "offen") is used for this purpose. (See Rheingold, Page 181). It
is
the Horn
Speed of Articulation. 6 sive
Despite the great length of use of single -articulation
its in
tube, the Horn can the lower register,
making exclurapidly, towards the higher part of its triple articulation may be
articulate
but
compass, from the 3C
(J = 104)
J.
W.
14267.
in
point of execution.
be impossible with single-
THE HORN. medium
the
in
I
j = 12 )
(single
register
"
"
^s Lr
i i
i
I
1i
Register of double almost unlimited:
i-r-rrrf IT T "'
1
i
i
i
1
"I"
.
61
articulation):
'
i
I
-
i
L
i
i
I
I
i
[
_L-
I
.J
and triple articulation, where the speed that can be
attained
is
...*
TV
3 on in the production of high notes is hardly the Strain the involved comHowever, lips It is prudent not to go beyond the 9tb or lOti? harmonic, patible with great speed of emission. when making use of double and triple articulation.
Remark:
Length of Breath. The following are the results soloist: Pe'nable, Concert- Colonne 7.
experiments made with the kind
of
2
4
3
5 bars
II
2
1
i
*l : '
T
'-"'
4
3
I
I
F
1
1
I
7
6
5 I
3 J mezzo
7 bars
"H
t
I
mf medium
from the
register,
the
to
411}
8tl?
-A
partial
..'
*
'
=
-.
the
In
Mr
of
5
(J=120)
(J = 120)
assistance
,
8
-*-
forte.
keeping the same
4
i
metronomic rate of movement (J = 120), the human lungs allow of sustaining eleven barsj&rfe, 14 mezzo -forte, and 25 piano. We must add that this can only be accomplished with the utmost effort, and would be a dangerous experiment in the orchestra. The production of the high notes, inasmuch as it involves great air-pressure, severely tasks the lungs, so that such long holding-notes can hardly be expected above the 8t!? and 9t!? harmonics.
Shakes. The pistons
8.
great
length,
are
the air
never used
cannot
for
travel
make use
Consequently, horn -players
enough their
of
tube, so very narrow considering attain the object in view.
this
in
shakes;
fast
to
only.
lips
Major shakes come out well; (they are only possible from the 5th and 15tb harmonics). *% shakes are in which >r .-'"'' practicable: Register
to the
best
part of this register
upper partials for
dangerous Minor shakes and are really
are better the do of
avoided
majority not
very
is:
of
in
orchestral
i
Shakes between the
writing;
they are
suitable
and
12t!l
a "d
15ti!
for virtuosi, but
players.
come out so doubtful
==.
^--^^
13tb, 14ib,
12t!l,
Ii
...;:.';.'.'.'.'.
the
its
they are only
well;
with
possible
the hand
in
the
bell,
quality.
Crooks. The Valve -Horn can change key as Each key has a special crook, a hollow The shorter the tube, body of the Horn. sound seems to come to the lips; in the tween his teeth, so that it cannot escape. 9.
his
pencil,
which
he
holds
near the point 3.
Horn, when, needful. between the mouthpiece and the ring interposed the higher the scale rises and the nearer the easily
as the
end, the
He for
is
very
W. 14267.
Natural
player
minute
as
feels
as sure
of
it
work.
if
he
held
it
tight be-
as the draughtsman
of
O(*
THE HORN. performer has
the
if
So,
crooks:
Horn
to
Presto.
in At>
PP Horn
in
AH
VK
'
<
^
very
play
makes use
he
high,
the
of
^i.
i
Al>,
Al),
and
B\>
fiHi (Berlioz,
difficult.
^,
G,
F#,
La
reine Mab.)
;
ti
i
i
(Beethoven, 7th Symphony)
The
crook
crook
a
of
coil
single
the
to
corresponding
F
of
key
inferior
slightly
has two
8 inches
coils
and the
diameter,
in
crook
At|
the Al> diameter, a coil only Scinches
diameter.
in
How
in
the
for
harmonics,
Horn
Schumann venture
could
F V4^
|
^
j
the
of
first
up to such giddy
write
to
4 Horns
his
in
"~
rehearse too
!y
so much
are in
it
great
the
afraid
orchestra,
of
that
it
Horn
in
because
or fear,
it
gradually nearer to
getting
altho'ugh
to
play
it
they are willing enough to in public: the danger isreal-
16*!)
upper partial, goes
straight
ahead,
without
moves forward by regular degrees, and because the goal, where it expends its full force:
it
any feels
F sempre
Schumann's
But
(69 Finale)
!
hesitation is
never venture
will
they
4 Horns.)
Concerto that,
this
of
Siegfried's horn, which reaches the kind
between the 8lD and 20
Concerto?
interesting
very
(Concerto for
Virtuosi
heights,
accel. e cresc. (By kind permission of Schott
Concerto
far
is
more
&
C9, Publishers
dangerous;
-
there
Proprietors.)
not a page without a stumb-
is
ling-block. 10. D, E,
In F,
paragraph
1
we spoke
G, etc.),
rather
for
the
the indications
of
performer, who usually transposes into Indeed, he plays everything in F, save ticed
to
be
found
in
convenience of the composer than the key of F. the exceptional
in
modern scores (Muta in
the
cases which
interest
of
we have just
in
the
no-
(9).
If
then, voiding too
in
the
many
course flats
piece, the composer thinks it necessary, for the sake of asharps, to change the key of the Horns, he may do so without the means by which the change can be effected. Take, for inof
a
or
troubling himself about stance, this passage beginning
in
F and
finishing
in
E.
F
Here are two modern ways /i
Horns
in
it:
writing i
i
in i
E
*
F
The result the
of
change accustomed
the same; it is only a matter of determining the most favorable place for it is a mere question of neat key; appearance for the eye. Performers are this sort of The composer may and taken are never exercise, by surprise.
is
of
to
implicitly trust
to
them. J.
w. 14267.
68
THE HORN IN THE ORCHESTRA. When
the
make an admirable quartet.
Horns
Four
11.
is
Horn-quartet
added to the Woodwind,
the volume
of
sound
is
more than
doubled.
A
Solo Horn moving softly through the Strings blends with them most harmoniously. It one of Wagner's favorite devices. When blended with the Celli and Double-basses, the Horn acquires a singulary penetrating quality of tone, which one might fancy to be that of a soft Trombone:
is
Moderate. Solo.
Horns.
Violoncellos
Double-bass.
_,
^
,
_ (Liszt.)
The four Horns playing piano or forte can be heard through the whole mass of the orA Adagio. 4 Horns
chestra:
in E.
(Widor, 3Td Symphony.)(J. Hamelle, Editeur- Proprietaire.)
The
Horn and
Clarinet
in
unison
are exquisite:
dim. (
(i.
In
very
the
choral
following
efficiently:
given
to
Hamelle, Editeur-Proprietaire.)
the
Brass, the
Solo
Adagio sostenuto.
15*
Horn
in F.
$---> Trombones.
Tuba.
P^
C. Franck , Symphonie.)
^=*=
Horn
doubles
the
first
Trombone
64
THE HORN.
but
two
following combination so often used since, is very of
The
even
admirably:
and
Clarinets in
quality,
two Horns, little known before Mozart, the two kinds of tone-color blending
Clarinets in
Horns in
.^i
J-
Andaniino. B!>.
El>.
Strings.
(Flauto Magical)
The
next
behind
leave
the Roi de Lahore, that example shows some light, bounding chords from them a vibration as pleasing to the ear as the white mist of a summer's
morn to the
eye:
Allegretto
.
inEl>
Horns
<
in B!
Strings.
(By kind permission
Note notes
also
the
of
this
charming Strings and
of Heu^el ut
effect
the
of
C(, Kditeurs
-
Horns and
the
rhythmically
(Massenet, Le Roi de Lahore)
ProprieUires)
accompanied
Flutes,
recurring
of
figure
by
the
holding-
the Harp:
Flutes.
Horn
in G.
Harp.
Strings.
(By kind permission
In
Horns
a
chord at
the
played
extreme
by
all
end
of
wind
the of
A.Dunnd
a
t
Fils,
Kditeurs-Proprietaires.)
instruments
diminuendo,
J.
W.
together,
to
14267.
give
the
(Saint-SaenS, Dansi- Macabre)
can equal the stopped impression of a dying echo:
nothing
THE HORN.
65
Flutes.
3
Oboes.
3 Clar. in
B\>.
Horns in F.
3
Bassoons.
3 Trumpets in
F.
3 Trombones.
(Wagner, Siegfried.) (By kind permission
of
Schott
&
C9, Publishers -Proprietors.)
Remark: When the Horns are written in four parts, the bass is naturally obliged to expend more wind than the other parts, and to take breath oftener, being at the same time less sonorous. It is better, when sustained notes are needed, to make use of the Bassoon, which is less fatiguing for the player and forms a more solid basis to the harmonic group: 1*1
Tranqvillo.
Horns
in F.
Bassoons.
(By kind permission
of Schott
&
C9, Publishers-Proprietors.)
(Humperdinck, Hansel Und Gretel.)
2nd Remark:
As we have usually four Horns in the orchestra, it must be remembered that Horn of each pair is an ascending Horn, and the second a descending Horn; consequently, the high register must be confined to the !$t and 3J Horns, and the low register to the 2"d an d 4th. the first
12. AUTHORS AND WORKS TO BE STUDIED: Mozart (Quintet); Beethoven (Sonata, Schumann (Concerto); Brahms (Trio); Quintet, Sextet and Septet); Schubert (Octet)} Saint -Saens (Romance); Friedr. Gumbert (Solobuch Dauprat, Gallay, Mohr (Schools);
fiir Horn), etc. Read Handel, Bach, phony),
all
Weber,
all
Mozart,
Beethoven
Wagner, and
all
the J.
(who writes down modern authors. W. 14267.
to
double
B\>
in
the
9th
Sym-
66
THE NATURAL TRUMPET. (Ital.,
We
1.
allow with
the
low
have
seen
already
Trumpet E (actual
to
sound
Tromba.
(P. 51, its
2)
E
has
Manfred, Schumann ually
transfer Flute.
I
a
from
Allegro. |
>
tone,
narrow its
diameter
scale
in
the
of
its
practice
tube would only
not
beginning
j>m
fL.
always been regarded as the inferior limit ventured to write El>, a semitone lower,
note
this
the
Fr, Trompette.}
_^
pitch):
nearly
that
fundamental
Average compass:
This
Ger., Trompete.
intimidated
*Tj r-^-8
Trumpet
the
to
!
i
of
but 1^l
the
instrument.
In
prudent conductors usTrombone:
*LJ" k^
i
:
1
THE NATURAL TRUMPET.
^Tr
*>
TI
TV
3=
^ 4
T &
*
9^
a-"'"*
3 _
rj
in Ak.
8
t>o
f
*
Sounding:
67
68
THE TRUMPET.
4
THE TRUMPET. Remark:
The Trumpet
in
D
(#)
required for Bach's
is
is not used otherwise, for, genof the Trumpet, and produce the
works;
it
erally speaking, notes above Bt (actual pitch) lose the timbre sensation of a large Flute rather than of a brass instrument.
cannot be attacked piano, and still less B and C J^T '*/ high a key? The true compass of the Trumpet is two octaves, from
and within these limits nothing E, according to tonal
in
Compared with sounds
almost
is
l~~
G
so fine and so powerful
to
what need
tf
there
as the
old
in
Trumpet
so
for
(actual sounds.)
G
]*
.
F
(in
F
or
little
modern Trumpet
of
that
and
exceptionally
quite
is
A
necessities).
the Cornet a Pistons. Wagner scrupulously avoids making too free use of the ly, and to produce a special effect, that he writes up to It is likewise ual pitch):
-i
so
manly and imperious instrument, the tone of the
this
like
Besides, Gjt and
in a
ff that
it is quite exceptionalin alt (actual pitch) in Parsifal. he sends the F Trumpet up to BP (act-
high notes;
C
li F
in
Trumpet
J
r
ff* (By kind permission
However, the the
high
basso;
Et>
of
it
when
Manfred,
to
Ei>
play the
2!
C,
in
of
it
but
have
to-day
even
B?, have
D
(actual
the
all
a
all
for
-
adopted the Trumpet in C, easy to play in have Nearly tuning- slide which allows of falling one tone below is to the necessary for the Second Trumpet to descend still lower instance it takes the B\> crook, and its tuning -slide not only allows
performers
register.
Rf
(March for the Centenary of American Independence^} & C9, Publishers Proprii-tors.)
of Schott
so
pitch),
that
enormous
following
Tuning-Slide.
the
2
Trumpets
of
a
pair,
the
^
in
compass: ..--"''Natural
Scale.
in C.
-
TY
Trumpets:
(Actual
-in
Remark:
The tuning- slide
is
not used
-
for
keys lower than Bt.
Articulation 8.
and
Like the
triple
Flute, the Trumpet articulation, so that
Trumpet
in
is
of
capable
.
three of
kinds
great
of
tonguing: single, double, of emission:
rapidity
E.
(By kind permission
(J :
Trumpets
makes use it
Sounds.)
.....--"Natural Scale.
Tuning-Slide. 2
of
HeuKl
et CIS,
Editeurs-PropriMairts.)
(l)elibes, Sylvia?)
88)
in D.
Flutes.
Oboes. Clarinets
.
Bassoons. (Berlioz,
Menuet des p.
J.
W, 14267.
259.
Follets.)
THE TRUMPET.
70 (J
Presto.
Trumpets
=
160)
in E.
f
?
f
f
f
\
\^f
^L^
_^(By kind permission of Heugel
et CIS,
.
.
,1
/
%
^^ f
f
f
^JL^
Editeurs-Proprietaires.) (L/alo,
Le Rot
d'Ys.)
Andantino. Solo
(Meyerbeer,
March e aux Flambeaux.)
Trumpet
in
Trombones.
Violins.
Basses. (By kind permission
The
are
following
(J =
120) ^{k-ft
(J =
144)
about
1~~
of C.F.Peters,
Editeur
maximum speeds
the
:^~~~~
-
(Wanner,
Proprie'tMre.)
attainable
in
the
low and medium registers:
the
fatigue
^_j~~~
3
However, the passage must not be very consequent heaviness of articulation.
long, on
account
of
of emission and
Length of Breath. 9-
bars
Piano, the
in
the
low
Trumpet
can,
with
the
,
,
same rate
It
is
the
needless
holding -note
67
&
of
movement,
can
it
hold
a
note
in
the
of
8
or
9
8
TVTTTrTYTTTTT*
bars:
1
medium
? register for 12
.
(J
then
8_ _*
*
p^f or 14
tempo, sound a
register:
J?
and
moderate
in
to
expenditure
r
120)
observe of
that
breath
o
(
is
numbers
these
doubled.
J.
W. 14267.
are
halved
in
forte passages,
because
THE TRUMPET.
71
Shakes. We
10.
the
have
Trumpet,
The
seen that
the
Horn
does
just the reverse: are those which may
is
it
following
it
be
make use of the pistons only use its pistons.
not
can
used:
(the cross
for shakes.
means bad; the double
With
cross im-
possible).
18
14
15
16
17 possible.
C)|
somewhat sharp. 18
19
20
21 difficult,
OlO
10 difficult
very
difficult.
HltpOf:
and
unsatisfactory. 11
12
24
Impossible
beyond
.
Muted Trumpets. Neither
11.
them they
into
are
Beethoven
nor
Weber made use
of
muted Trumpets.
fashion by employing them in Siegfried and in constantly to be met with in modern scores:
Wagner has brought Since then, Meistersinger.
_... ., Allegro. (mit Dampier.) ^ .
Trumpet in
^
Bk
Violins.
..|WH1
i
I
^ 1
^
y
J
)
Basses.
(And Wagner
]'']' [iV^rM^ll^V^IT^'^'^'vlJVj* blow very (Meistersinger,
directs the performer to
J
W
hard).
14267
iy kind permission of Schott
p.
&
460.)
C9, Publishers- Proprietor*.)
THE TRUMPET. There
is
no modern
Strauss,
Vincent
following
exquisite
composer
who
does not
d' Indy,
use
Bruneau, Debussy. of muted Trumpets:
Richard use the Trumpet con sordino: will abound: only quote the Examples I
Flutes.
Clarinets in A.
Horn
in
Trumpets
F.
in
C
(muted)
Triangle.
Celesta.
Harp.
15*
"
Violins.
Violins.
PPP The an
articulations
of
(By kind permission of Heugtl
the
et Clf,
Editeurs-Proprietaires.)
(Charpentier,
Louise.)
Trumpets loom through the surrounding veil of orchestral haze; detect them under the tremolo of the Violins and the
experienced ear can only just silvery notes of the Harps.
J.
W. t4J267.
73
THE The
12.
tone
of
quality
BASS Bass
the
of
TRUMPET.
Trumpet
is
admirably
and even, from:
rich,
full,
to
tube
Its
7
is
ft.
writes
Wagner
8^
in.
in
it
long.
El>, D,
&
C:
Written:
~S
9
10
7
11
10
9
8
12
14
13"
12
11
15
13
n
ktv **~^
D
--
34567
8
9
a /c
whatever
posing
when
"
4
the
key
necessary),
5
6
indicated
Bass
7
8
by
the
9
in
11
17
18
19
**
fr-
17
18
19
12
13
__i
1 ~ . h* *>" diT^o""!^o H"
t> it" -** it
Trumpets
I
in El-
mp*
f *j
10
12
11
composer, D Et> and
Bass Trumpet
"
16
Im im
15 krrr
14
16
15
it
13
is
not
14
15
always being
16
Avoid
though
'
17
played
18
in
C
20
19
(trans-
made.
Sounding:
'
Ij.
Sounding:
-JF
*
j>
-
Bass Trumpet in
20"
C 3
but,
10 _,
-^ty-vr
in
19
3456
in
Sounding
18
14 -brr
1
1?5~T7
C
Sounding an octave lower.
falling F,
a
as
low
semitone
as the above,
3fj! is
partial,
possible
J.
or
and
rising
higher
tolerably
W. 14267.
than
sonorous.
E,
the
20tt>
partial,
74
THE BASS TRUMPET. AUTHORS AND WORKS TO BE CONSULTED:
13.
as
the
instrument
"Lately, an
a
blem; be
4
to
the
raised
that
assembly octave
an
Where
How
ft.
is
than
this
Bi>,
D.
At
preserved
time
of
little
been
a
meeting the
it
a question
merely
specialists
"The of
radical
Soprano
ployment his
the
been
of
the
of
by
able
was due
to
Trumpet
Soprano
So
one
would
it
think from a pass-
-
can
slide,
before
notes
of
pro-
an
sounding
Trumpets!'
been
have
should of
&
Breitkopf
discovered,
and
Trumpets
employed, as
use?
current
in
formerly
kinds
all
the
it
played
emission
agreeable
solves
a tuning
of
Rosleck
Berlin,
ordinary
mouthpiece
although
Trombones
from
we the
Eichborn supposed by and the majority of Ha'rtel) is
consult?
by
scientific
to
their
mouthpieces, whose
various
in
and
easy
specimen
single
made
mistake
Trumpets
of
lips,
have
I
far
Was
Trumpet.
Heidelberg, which
at
held
(Die Trompete in alter und neuer Zeit, the
C?
in
instrument
the
specimens onwards?
V
and
(as
manner dif-
their
prehistoric
found, which, by means
has
numerous
Charles
Bach
curiosity
them,
imitating
almost
their
made
been
produced Is
this
only
about
Trumpet
has
admired
those
Trumpet?
that
it
it
in
unanimously
have
Was
of
key
of
of
style.
discovery
long,
idea
the
out
musicales:
Curiosites
higher is
our
to
with
more
read
be
since
published
Everything
should
information
little
important
tube
than
modern
our
analogous
Deldevez's
in
age
from
we have
Technically,
masters
illustrious
concerned)
is
Trumpet altogether
fering
an
iwo
These
Handel.
men consists
tube very
obliged
the high tone
exclusively
to
the
to
player
much smaller mouthpiece than
a
having
bore
that
thinking
was due
it
No,
narrow
in
the
the
em-
contract
ordinary
Trumpet'.'
The
truth
is
for
practised
inaccessible. its
own The
Beethoven,
G
to
in
employment a
limited
we must
Besides,
of
part
note
a
very
that
narrow
the
of
scale
Bach's
mouthpiece enables reach
to
Soprano
heights
hardly
ever
lips
generally plays
specially
deemed
outside
of
octave.
Trumpet Weber,
begins
with
Wagner, and
Haydn Berlioz,
and
the
Mozart,
neither
too
high
imperious nor
too
and manly Trumpet of
two octaves
low:
from
G:
This
is
Perfect
ought
the
playing
special real
that
the
ancient
Consonances, to
Trumpet, the
Fifth
the
and
oldest
instrument
the Octave.
It
write.
J.
W
14267.
in is
for
the
world, unchangeable like the
this
kind
of
Trumpet that we
75
THE CORNET A PISTONS. (ital., Cornetto.
Ger., Kornett.
Fr.,
Cornet a pistons)
For nearly half a century, in French, Belgian, and Italian orchestras, the Cornet a This was due to the fact Pistons took the place of the Trumpet, gradually ousting it. that the Cornet was easier to play, requiring less talent and artistic intelligence. Trum1.
pet
became rarer and
virtuosi
were
cornet -players
while
rarer,
be met
to
with
every-
where. Although the timbre of the two instruments could not for one moment be compared, the same the one being thick and vulgar, the other noble and brilliant, as they had of so the worse in tone was much sensithe difference for ignored; compass, quality ears!
tive
However, since the invention of the little modern Trumpet, which can rise as easily as Cornet, makes use of the same harmonic series, and is not much more risky in its
the
2
Cornet
the
emission,
Cornets
are in
little
Trumpets the same C in
has gradually
tuned
B;>
in
B? and
and
A:
and
A,
the
the
before
retreated
their
length of
scale, which
their
reinstated
starts
tube
Trumpet.
same as
the
is
from the same
Fjl,
that
of
rises
to
alt.-
Cornet
in
Bt>
length of tube
A
4
ft.
5
in.
4
ft.
8
in.
Compass:
Need we again highest ful
the
or
the
of
quality
call
lowest
to
notes
brass
first
weakness and
creasing
danger incurred by too frequently using either the instruments? We must ever bear in mind the doubt5 or 6 degrees in the low register, from F# to C, and the inthinness of the timbre from the sixth partial (G) upwards. the
attention of
High register where I
I
6
good register.
the tone gradually
8
becomes thinner.
S:
.
The highest notes can only be produced which is relatively easy. It
and
is
dangerous
surer
cadence
notes the
like
to
attack
precede
these
them
following, for
the
with
extreme danger
some
without
degrees is
except
difficulty,
obviated.
B!>
preparation,
Nothing
A
but
when
easier
is
more
frequent than a
C
(2!
upper
instance:
Cornet in Bt
and the B? thus prepared is excellent. So we see that the best notes of the and G (6ti? upper partial). 3:
Cornets
same possible gle,
and Valve -Trumpets have and impossible shakes.
double, and
mouthpiece,
it
tonguing. Still can perform the wildest triple
instrument
the
same
Like
the
more
lie
between
mechanism, Trumpet,
the the
same Cornet
partial
capabilities,
makes use
)
the of sin-
easily than the Trumpet, thanks to the shape of its acrobatic feats: runs, iterated notes, chromatic scales, etc. J.
W.
14267.
76
THE CORNET.
"But ondary
technical
its
forms
instrument."
art
of
See
military
Alex.
However, we must
and
says
resources,"
Luigini's
not
forget
used
their
and
Gevaert,
Cornets
best
the
where
it
advantage in the sectreated as a bravura
is
Gounod, Meyerbeer, in the orchestra. Trumpets the West of Europe wrote for 2
rendered; instead of
contemporaries Till within the last few years, composers in is only quite recently pets and 2 Cornets, and it into
to
Caprice.
interesting
services
"show
bands
brass
Berlioz,
that
4
Trumpets
have
Bizet,
Trum-
come
again
vogue. Allegro. a 2.
Trumpets
in B'.
Cornets in
E\>.
Trombones.
-
gs
_C_fr!
HE (Kerlio/,
L'Enfance du Christ^}
Andante. Orchestra.
Cornets in At.
Trumpets
fit^
in E\>.
Trombones. Ophicleide.
Hy-
-j>
*'
--
-
(Meyerbeer, Le Propkete.)
Allegretto. Flutes. (Orchestra).
3 Cornets in
B\>.
a J iyi P
J
JJJJ JJJ
l
I
T
I
Bassoons.
Triangle.
(Gounod, Faust)
i.
W.
14267.
77
THE CORNET. Moderate.
Trumpets
A.
in
J? Cornets in A.
"Jl V
*
ff 3E=
Trombones.
Orchestra
.
fl
V
{
I'Arlesienne.) (Chondena, Editeur- Propriotaire.)
Flutes.
(Orchestra)
Trumpets in
^
E.
^
y
t
F
Cornets in A.
/I
Pizz.
Orchestra.
^=!
7
:
3E$
5fe
Violins. I
ff
T^r^r
^
i
,
Trombones. (By kind permission of Heugel
At ing
present, Cornets their
place,
thus
are
gradually
resuming
et Cif, Editeurs- Proprietaires.)
disappearing
their
legitimate
J.
W.
from
the
position.
14267.
(Widor, Ouvertum Espagnole)
orchestra, and
Trumpets are tak-
78
THE TROMBONES. (ital., 1.
Bach,
bones
Mozart, and Tenor, and Bass.
more or less obsolete,
now become most
a duplicate
that
of
his
(in
to that
of
because
its
timbre, akin
admirable
its
Posaunen.
Get.,
Beethoven
Gluck,
Alto,
Despite
Tromboni.
Fr.,
Trombones)
youth)
the
wrote
always
in
Trumpet
the
F,
3
for
Trom-
Trombone
Alto
compass being much the same,
al -
is
it
has
instrument.
magnificent
Alto Trombone:
Trombone
Trumpet and the
section,
in
necessary so
indispensable
2
In
with
last
the
played
a
Its
Trumpet. from taking
it
soprano
kind
conjunct
the
quartet
part in
part
produce
in
any
the
brass
It
but
was
higher
Alto Trombone was
Trumpets,
started
the
not
is
it
the the
but
"//
in
connection
natural harmonics pre-
never
instruments,
unknown.
almost
nowadays
the
were,
two
than
theories
notes
polyphony. of
it
the
If
Trumpets.
mentioned
I
to
inability
high Trombone
of
13)
chapter (P. 74,
Bach's
vented
else
the
four
or
more
had
never
we have three
now that
as
section
of yore, which
orchestras
the
each other, the former being, of a single keyboard.
complete lower
the
latter
was
Trumpet
that
Cornetto, or a characteris-
German custom,
on Sundays and Church holidays, to have the Choral the for day played by a band of Cornet and Trombone players, standing in the tower of the principal church. Bach introduced this effect into his Cantatas, the brass instrument group playing alone or doubling in unison each of the vocal parts" (Cantata N9 25}. tic
So, the
an
indispensable
The
old
minor. on
Cornetto
one
and
voice
formula
the
never
Trombones robust
this
Alto,
were
exceeding
remained the
adopted the
grouped
together,
became
and
the
the
Symphony
Alto
quartet.
Tenor, Bass
Beethoven
Afterwards, staff,
in
limits
of
in
system of Tenor
the
force
till
writing
two
the
Trombones,
and
first
in
C
Trombones
Weber
and
his
successors
followed his example. 4 Trumpets came to be used in the orchestra, the Trombones being ever when Then, more confined to the lower parts of the harmony, the Alto became more and more obsolete.
THE TENOR TROMBONE. ( Ital.,
3.
Its
Compass:
mechanism
displaces
the
Trombone tenore.
35
is
Get.,
notes,
from
y
simple;
the
slide,
harmonic
series
each
Tenorposaune. =
which
time
J.
by
Trombone
tenor.)
to
can a
Fr.,
be
drawn out
semitone.
W: 14267.
to
seven different
lengths,
THE TROMBONES. &*"* ,.
66789
84
=_ 10
79
IS* Position. The instrument is, so to speak, closed, the tubes fitting into each other. The fundamental tone, termed pedal-note, is practicable.
m
ii
a
^
IV
4
ip ro
-n
1
to
56
9
8
7
fundamental tone
10
The "? lengthening of the slide. fundamental is no longer so practicable
10
The lengthening of the slide. fundamental is still less practicable.
10
The lengthening of the slide. fundamental tone cannot be sounded.
three
is
practicable.
.
Position.
4th
4
8
7
I
o
o
9
> :
5
6
7
i
9
o
j|o
^ 56 78
the
complete
scale, with
7M
fr*
Position.
The lengthening of the slide. fundamental tone cannot be sounded. 6ti?
9
10
above each note showing the position which seen, some degrees are common to two or
indications
As
note.
said
10
* Position. The lengthening of the slide. fundamental tone cannot be sounded. sth
will
be
positions:
VII VI
V IV
VII VI V IV III VII VI VII VI
V IV
VII VI VII VI
1
V
oflo
IV
III II
I
VII VI
V IV
This
but good
and
is
above,
possible, avoid
therefore
which
III II
III II
V IV
V IV III
III II
II
II
III II
I
I
I
I
I
I
jt" (*)
When
The
10
3ld
66
allows of sounding the even
9
5 th
^ is
8
7
1
^
Here
Position. of the slide.
?*
lt lengthening
86789
^
VII
I**
-
o
HW3 3
VI
I
56
234
.
,
o
B!>j-
284
^
in
^
L
can
the onl_y
the
most be
7*1]
Bli
is
of indifferent quality in a rapid passage, for some time.
when held
which
position,
difficult
of
all,
produced
in
this
J.
requires the
the
two
notes
position, are
W. 14267.
maximum Double the
worst
extension of the slide,
E + and
B+
a
fifth
on the instrument.
80
THE TROMBONES. The
4.
Trombone: and
the
It
is
in
in
the
P.
both
case of
the
low register,
as
after
will F,
E:
As a matter B!<
on
evident
performer notes: G,
made
remark
G
that, find
.V of
Clef:
it
J
the
57 (2), concerning
lips
to
cannot
sounded descend
play
both
in
the
81I 1
without
,
Horn, applies
have
instruments, performers
having
difficult
the
to
choose
registers
9 til, and
mistake
or
equally
with
10*1?
to
the
between the high equal
ease.
upper partials,
hesitation
to
the
the
low
J
fact, the
really
sonorous
register
is
comprised
between Gamut G and
81
THE TROMBONES.
Length of Breath. The amount
6.
the
is
performer
wind
of
take
to
obliged
to
required
breath
Trombone
the
play
almost
at
every
so great
is
that
a
in
forte
note:
Andante maestoso. a O.
A
i
A
A
A
ir
r
r
i
i
i=i Wagner, in this case, does not take the trouble to mark the breathing-places, for he knows that the performers will take breath everywhere; on the other hand, he carefully marks the legato passages, and, to preclude the shortening of the last note of each
legato
twelve In
pence
indicate
values"
X
and
a
for
of
the
is
curtailed
When
over
the
little
the
composer for the bow per note; the
the
note
,
let
Violin
he
a
the
the
at
wishes
marks
bow slide,
to
each
and
same
time,
that, too,
so
have the
full
but
to
slurs,
means: "let
be uninterrupted!' way; when able
the
note,
to
no
which
sostenuto,
passage:
notes;
shilling,
want
I
legato
bar
in
Y
do
the
ihe
of
length
not
timein
bars the
is
second
as possible.
legato Trombone proceeds in the same passages), it can play legato as well of
play notes marked
t" e
a
sostenuto of the phrase; "don't cut down my have them complete'.' On the other hand, the slurs is to be taken after the second such beat, while
The
gives
give you
I
a quaver."
articulating and taking breath simultaneously corresponds to detached bowing on the Violin.
writes' above
linking
"if
don't
a
me
asks for one
of
note.
of
system
Trombone) he
Chorus!
breath
as
every
used to say,
'Pilgrims'
but
accent
meaning
over
crotchet,
Wagner, "let that
accent
write a
I
punctuation,
says Z show
an
my money" Gounod
the
of
crotchet
This
places
if
back;
theme
the
he
group,
me change
'Give
the
as
any
other
Tenor
Tromb.
of the
tone-power
instrument,
mistake, prevent any there be no intermittence
to
economize
instrument;
trombone- player gives
sostenuto assai.
(a method peculiar to the
an
breath
just
articulation
as to
(in
the
each
he in
the
Piano violinist
motion
THE TROMBONES.
his
of
the
we not always heard
Have
Larghetto, "hermetically"
placed
transition,
following
slurred
the
by
Schumann
by
the
at
end
performers?
Trombones.
Bassoons.
(Symphony in Schumann sometimes uses the Alto Clef
Remark:
two
for his
first
3d
Trombones, as in the following extract from the preceding illustration from the Symphony in Bk writes
Alto
like
(J
^
54)
--
in
l?l>.)
Trombones,
Symphony
J^T^
which he and in the
J
rau
Horns in
PP
Trombones.
H
b
r
T
**
"
M-
r
r
Bassoons.
f Note
extreme
the
lip
-tension
required
to
sound
the
high
El>
+
of the
r
Horn
and Trom-
in
our modern
bone.
This
is
orchestras,
certainly
we have players the
Trombone, ware of the breathe
freely
Let
us be
7.
In
ferent
with
15*
the
not
public
danger,
when careful
feel
the
it
is
the Trombone
example
skilful
even
a
so
thrill
difficulty
not
preceding
positions;
net, etc.,
a striking
to write
paragraph,
of
dangerous to sound this enough
much as suspecting of
has
suspense at the been overcome.
Yet,
composition.
very
Ei>
the
on
harmoniously difficulty,
beginning
of
but the
their
Tenor
professionals, a-
piece,
and
only
so high.
I
referred to
to
only
add
hardly necessary can emit a succession
that, of
slurs
between
like
the Horn,
harmonics
having
one single articulation.
Position:
Oth
J.
W.
14267.
Position:
notes
belonging to difthe Trumpet, the Cora common fundamental
83
THE TROMBONES.
This
8.
breath
at
which
instrument,
every note,
is
is
short-winded
so
in
remarkable,
piano
in
forte
passages,
and obliged to take
passages,
for
its
astonishing
sustaining-
power:
Moderate. Violins.
Violas.
Trombones.
Violoncello
Double-bass.
marcato. (By kind permission
Through eight giving ing
its
long
cf Sehott
&
C9, Puhlishers-Proprietors.)
without respective notes quietly, and then the sound vanishes like mist, without our so much as notic-
Trombones hold
bars, the
any sign of fatigue; slow tip-toe exit.
their
Articulation. 9.
It
becomes.
goes without saying It
is
that of the
like
evidently
lower the Trombone
that the to
difficult
sound
Tenor Trombone (Bb), or 12
descends, the heavier the emission the fundamental tone of a tube 8ft. 10 in. long, ft.
H
in.
long, like
that of the Bass Trombone
Not only did the classic masters dispense with these voided
anything
that
looked
like
a
bravura
effect.
low notes, but they carefully Nowadays, thanks to the skill of
strument-makers, many things formerly forbidden have become possible. Berlioz and Weber always wrote in semibreves, minims, and crotchets, school
are not
afraid
of
much
which come out very
ages,
well,
livelier
on
While
and
(F).
ain-
Beethoven
the
modern
movement, or even of prolonged florid passcondition they are written in the sonorous medium re-
rates of
gister:
Allegro.
Mephistopheles suddenly appearing.
(88
=
J)
(Marche Hongroise.) a 3. J.
W.
14267.
THE TROMBONES. No one would
formerly
ddmmerung:
have
of
thought
using
the
articulations, from Gotter-
following
Allegro.
Tromb.
(By kind permission
Or these, from
of Schott
C?, Publishers -Proprietors.)
Parsifal: y
T*y
I
j
(The low
(By kind permission
(138
&
G+
of Schott
difficult to repeat.)
is
& C9,
Publishers -Proprietors.)
:
a 2.
i (By kind permission
3^
(Saint- Saens. 5E^ Sympk.) Svn (Saint-SaenS,
>ires.v of HeuRtl et C!f, Editeurs-Proprietaires.)
Violins.
Tromb.
^
^^ (By kind permission
of Hen^el et Clf, Kditeurs-Proprietaires.)
>,. *
*
,
'
The performers of to-day look upon these passages as mere child's play. ask them for Mozart's long susBut set them to play the Scene of the Commander collect their to tained tones; you will see them shake their heads and beg for time strength,
and
indeed
they
have
need
of
it
all:
Andante. Violins.
4-
i
f
Trombones.
P Violoncellos.
Double-basses.
it
fp
^
ta:
^ J.
W.
14X67.
THE TROMBONES.
85
(Don Giovanni}
The matic
whole than
or anything
be studied, note by note. Can there be anything more drain octaves under the chromatic harmony of the orchestra, rising than the of crescendo these sounds of brass? impressive
scene the
more
should
Trombones
Allegro. Orchestra.
Trombones.
Remark:
The low Et
(*)
is
possible
on the Bass
Trombone, for which instrument Mozart wrote
the part. J.
W. 14267.
86
THE TROMBONES.
Shakes. impossible with the slide; they can only be produced by the lips: the stand between degrees of the scale which one tone in are ones only practicable apart the harmonic series, i. e. when the 71!), 8*1?, and 9il? partials can be employed.
Shakes are
10.
34587 In
the only
reality,
possible
(l?t Position.) 10
shakes are as follows
(the
positions
being
indicated):
\f^T IV
VI
VII
III
II
I
was passing near a public ball-room, heard such strange bellowings esthat went in and asked the Trombones caping performers, as soon as the dance was over, to show me their music. This was what they had been playing: Lately,
as
I
from
I
the
I
Tempo di marcia. Trombones.
Side Drum. Kettle-drum.
and
to
wind up:
3 Tromb. -^fc-]
One would
thought it was the Beast in Revelations, "Fire!" tail, roaring through a speaking-trumpet. that this effect will ever be used in a symphony, any more
Astounding effect! cracker tied to its not
is
It
and
likely
have
with
than
a the
only mention it here on account of its rarity. fantastic howl is produced by the combined action of the slide and the lips, as a glissando is performed It is by the finger on a stringed instrument. very easy to execute, and suitable for a nigger dance.
shake, This
AUTHORS AND WORKS TO BE CONSULTED:
11
the
I
Trumpet;
read
all
the
scores
I
since
must repeat the advice given in connection with the time of Bach and Handel; the special
published as poor as that of the but all the masters have Trumpet, written for both each one them in his own and it is instruments, treating personal manner, these various manners which must be studied. The brass instruments of Bach and Handel are written very high; those of Mozart, Schumann's sometimes too high, sometimes too Beethoven, Weber, in their true register; literature
of
the
Trombone
is
low;
Wagner's low
usually
in
the
rich
medium
register, but
not
pets,
We
a secret
predilection for the Trombones); those of the
(Bass Trumpets, Tuben, Bass Trombones, Contrabass contemporaneous school with just the contrary tendency, especially as regards Truma tendency to be for it is antiinstrumental. regretted, must read, compare, and take our advantage of the
register
young
without
experience acquired
ors. J.
W. 14267.
by
predecess-
87
THE BASS TROMBONE. Trombone
(ital.,
12.
Tenor
the
is
It
^' Ifcl*
Trombone
4
3
5*
Get., Bassposaune.
8
7
1
22*
^3^
--84578 456
fc>
5**
5E
5
lower.
Position. l$t JTVSlllUn. 6
5
basse.)
Jli."
j|
~J'
Trombone
Fundamental tone theoretically practicable.
bii.
t) :
FT.,
.
1
TT
a fourth
transposed Z^
4^
" EE
basso.
Position.
Fundamental tone theoretically practicable.
78
Fundamental tone impracticable.
(HF) i
TV V A
h--
ii-
7
8
*>:
4
3
TV
5
6
Fundamental tone impracticable.
2
.
C-*) -
i^
1,^
b<1
"""
345678 1>"
5^* Position. Fundamental tone impossible.
*
[
[>TT
2
11
"
4j):
^
Position.
Fundamental tone impossible.
7 *~ Position Fundamental tone impossible. -
VII
1=*7 2
Trombone
The Bass and
special
Its
is
^
with
the
as
admirable
to
but
tone,
to
difficult
requiring robust lungs
play,
lips.
compass
has
that
All
is
as
follows: 3
2
FFy been
restrictions, other referring to
the Tenor
the
first
the
difficulty
concerning
}
J
j
>J
about
said
two
j
Trombone
experienced
in
equally
applies
slowness
the
of
speech
producing
the
to the of
Bass
a tube 12
pedal- notes
Trombone, ft.
long,
(fundamental
tones). If
the Tenor
Double
Trombone
?
A
-
j
\
V of
Bass
the
Not indulge
than
Et
in
too "f
,
barely
the
sound
lower
as
notes
Double
and
pedal -notes anything
but
not
less can the pedal-notes
coming out,
still
B:>
Trombone be obtained:
have
only
can
the
free
great
a
use
masters of
the
but they are very careful not to never employed them, lowest notes of the real scale. They rarely write lower
^^ J.
W.
14X67.
THE TROMBONES. for
Take,
a
in
dulges
Once
only
the
instance,
score of
Tristan-, do you
know how
many times Wagner
Bi? +
(P.
76), and
just
see whether
he
tires the
performer by the length of the
note:
Oboes.
Clarinets in Kb.
W^
ff
dim.
/f
dim.
Cor Anglais.
Jf
Horns in
in-
m
F.
p
^
cresc.
Bassoons. cresc.
Tenor. cresc.
Trombones.
Bass.
e"
I" 9
fe
& cresc.
V
Violins.
cresc.
/
cresc.
f
Violas.
Basses.
J.
W.
14267.
89
THE TKOM HONES. He does not make lowing
exquisite
the
Bass Trombone
holding-note +
descend to
Ei>
250)
is
pianissimo
(P.
more than 8 or 9 times; one
of
the
cases
in
the
fol-
question:
dolce.
-l/yfj|if{L
Flutes.
Harp.
(By kind
permissiaD of Breitkopf
Twice he writes D:
Andante. Tromb.
PP
W (p.
Ten
242)
&
Hrti-l, Editeurs-Proprletalres.)
THE TROMBONES. So than
the
that
whole
And when
EVs.
and
El>,
it
this
of is
a
score
question
contains at of
the most one
holding- notes,
Wagner
Double B\, two Z>&,andafew never
employs
lower
anything
always piano.
examples of a holding -note forte is to be seen at the end of the 20
One
act
of
the
rare
but
of
Orchestra.
Ten.
Trombones. Bass.
Tuba.
(By kind permission
of Scbott
&
CP,
dim.
Publishers-Proprietors.)
THE CONTRABASS TROMBONE. 137
The Contrabass Trombone
compared with the In
its
first
Cello,
position,
*}
or,
its
is
an octave
below
the
Tenor Trombone,
like
the
Double
-
bass
more precisely, like the Sarrusophone compared with the Bassoon. harmonic series is as follows:
91
THE SAXHORNS. separate group of absolutely different timbre from the other brass like that struments, the tube of the Saxhorns being conical, instead of cylindrical and Trombones. Trumpets
This
1.
a
is
we enquire
If
gotten
The
family
the
into
of
Keyed
consists
group
back to the almost
it
for-
Ophicleides. instruments:
Small
Saxhorn, or
Sopranino
we can trace
Saxhorns,
of
and
seven
of
the
of
origin
Horns
in-
in
Bugle
Soprano
_
or
Bugle
Alto
_
or
Alto
Barytone
_
or
Barytone
OP
Tuba
Bt
in
in
Ei>
El?
B!>
in
This is the instrument used iin the orchestra as a bass to the Trom(V. bones. 8, P. 94)
(*)
Bass
(*)
Bl> (or
in
Deep Bass
_
or
Bombardon
Double Bass
_
or
Contrabass -Tuba
the
has
Tuba, which
in
four or even
C)
in
El (or
in
Bl>
in
five
pistons,
analogous to the Cornet, having the same mechanism and of the same fingering.
number
Except are
F)
all
of
the
members
of
this
making use
pistons,
family
of the
same
of the tubes, unnecessary to enlarge upon the differences in the dimensions 1 increaswith the of a Bugle 4 ft. S ^ in. long, compared of emission facility upon which is Tuba in 17 in. long, Contrabassft. 8 of the notes the lowest Bl>, ing heaviness of not effects are and bravura or to repeat that, at such depths, speech becomes slow
2
It
is
the
be
to
expected.
3.
It
would
be
homogeneous mass, mellow background It
would
what
is
spectively
The
serve
Wagner in
total
well
admit
to
a
with
total
for
the
as a
foil
intended
E? and
B\>),
of
compass
Saxhorn
the
of
compass
brilliant
rather
as
an
when he conceived which
are
the group
8.
is
five
flourishes
than
into
group
octaves,
of
our orchestra.
would
the Trumpets
element
of
nothing but as follows:
modified
and and
Alto
This
a
perfectly firm and
Trombones.
and
combination
Tenor -Tuben
his
serve as
with them.
This
Bass-Tuben
(re-
Bass
Saxhorns.
(Little Bugle.)
J
(Contrabass -Tuba.)
The for
Saxhorns
they
are
make use
made of
of
neither
brass;
their
length
tuning -slides
J.
nor
W.
is
invariable,
crooks.
142&7.
i.
e.
their key never changes,
92
THE SAXHORNS.
SOPRANINO SAXHORN. (LITTLE BUGLE IN
.
E!>)
i
4.
^
'
Compass:
Es:
Fliigelhorn piccolo in
German:
In
.
/jC
sounding: !)*
T"
This
a very
is
the
in
ful
where
it
shrill
high,
instrument,
unless
some
for
orchestra, the Sopranino
ters:
Low
'
the
but
are
following
:
;
:
it is not execution; very usesuitable for bands, military the limits of its various regis-
great
effect,
special
part;
plays
of
capable
i
register.
.
Good
.
High register. ?. ?
:
register.
:
;
ly
The notes are
the
of
high
and
dangerous
very
it
paration;
has to be
register,
Even
difficult.
led
to
up
by
=
seme
or
scale
te
semitones
last
T
A
high
a
three
the
especially
cannot
kind
of
attacked without pre-
be
figure:
sounding:
It
is
like
played
a
Cornet a
same mechanism, triple articulation.
has the
it
Pistons;
mission, and the same single, double, and but a Cornet higher by a fourth. Its most characteristic name is the German ly
points
bravura
to
the
fact
that
is
it
the
Piccolo
It
same easy eis
a
Cornet,
Fliigelhorn Piccolo, which clear-
one: the
of
the
family;
is
it
not
a
melodic
but
a
instrument.
SOPRANO SAXHORN. (BUGLE IN
5.
In
German:
Fliigelhorn
Compass: A.
_..
in
fit)
B:
^
-
sounding:
This is an instrument with a soft, mellow, poetic timbre, and is less vulgar than the more than has hardly been employed It Cornet, to which it corresponds in compass. once in the and even Cornet le then its is the {Robert orchestra, usually played by part
Diable, last act);
As
its
compass
nothing special dentical.
to
it
is
and note
true, Meyerbeer,
mechanism about
the
being
exactly
Bugle,
dead,
is
to
correspond the
unable
to
protest.
those
of
the
capabilities
of
both
Cornet, there instruments being
=fe Excellent
(Hardly practicable.)
register. j
J.
W.
14267.
!
;
Hi h register.
is i-
93
THE SAXHORNS. is
F||
not
dangerous,
Remark:
but
the
of
the
that
to
inferior
two
octaves
following
which
Cornet,
are
and
the high register frequently rises to C.
excellent,
instrument
latter
is
Except F|, the low notes are of much better quality and purer of intonation than on
Cornet.
the
Bugles in
Bl>.
sounding:
strument, and
great execution, the Bugle is more especially for melodic purposes. to be used chiefly
of
Although capable ought
an
in-
expressive
ALTO SAXHORN. (ALTO IN 6.
Althorn
German:
In
Es:
in
=
Compass:
This
is
It
^ sounding:
inferior
the
of
part the
considerable
with
articulates
~^^
but instrument, which does not play as a soloist, usually to the instruments. background polyphonic and Barytone Saxhorns. However, it connecting link between the Soprano
a rather
is
forms
E\>)
Low
and
ease
can
note
a
hold
register.
Register of best quality. is
It
or
Alto
It
octave
the
in
are
A
in E\>.
hand
at
C
lower than
make up
to
A for
High
!
==, its
register.
other instruments
unless
defective
in
unison
quality.
=
f
I*
a background
is
descend
to
imprudent
some time.
for
a kind
instrument,
of
orchestral
padding.
BARYTONE SAXHORN. (BARYTONE IN 7.
Tenorhorn in B,
German;
Jn
Compass: =OK^ ~
This
a
is
the great emitting ft.
is
of
being
the
Bugle
written
like
the
Barytone in
Bl>.
A
n-
and
able
some
difficulty
while
Bass -Fliigelhorn: t
sounding:
much more pleasing
without
stop, li
^s^
.,''
advantage
or
st)
attractive
descend
to
with
high notes. to an 8 ft.
pretty
corresponds Cornet, but sounds f
instrument
fr j J.
an
relative In
the
ease,
reality
it
stop.
octave
sounding:
W. 14JJ67.
than
lower.
**
^
tt
t
Alto, and
at
the
a)
possesses time
same
corresponds
to
a
16
THE SAXHORNS. ;--
High
i :
Low
register.
Medium.
register.
Excellent register. All this compass practicable
u^; '*
'"_...-''
of course, gradually become thinner in quality, the Apart from the highest notes, which, whole of its compass, and in particular the medium, has a full, soft, rich tone, reof very satisfactory execution. Like It that of the Horn. is, besides, capable calling better adapted for melodic than the Bugle, the Barytone is an expressive instrument,
for
florid
passages.
most
the
is
It
instrument
perfect
the
of
whole
family.
BASS SAXHORN. (TUBA) 8.
This
is
the
so
far.
Thanks
to
the
trabass-Tuba. to
two
the
instrument
only
orchestra
mon
Basstuba:
German:
In
addition
of
Saxhorn
the
of
However, as instruments
tube
its
are
is
like
nothing
as
and
rich
low
the
narrow,
relatively
been
can descend
it
valves,
supplementary
has
that
family
introduced into the
as low as
which are com-
notes
as on the
full
Con-
the
Contrabass-
***
Tuba. Compass:
Bass -Tubas tones
are
the
in
low
constructed
C and
in
in
this
Bt>,
register:
in
Actual ^ "^Ac
the
low one)
very
................. .
is
the general
used,
is
unfortunately
I
=
I
On rich
the in
most
register
interesting
but
b*
it
is
can, with
the
imprudent, when
,
and
even
this
in
the
third
X
note
#^
Y
\*
performers
other hand, the
in
C.
(the
Ai
:
should
be
z .
5-piston
scoring
TT
comprised
the
the Tuba
for
Ful1 tone-power. I.
I
$
t>3
exceptional ,
that
write
to
is
;
Less sonorous.
II
x
=
find
practice
weakest:
..........................................................
Sonorous. H
Some
the
sounds.)
..................................................... .
; '
instrument
performer transposing when necessary. we consider this extensive scale, we
If
possessing two extra semi-
key
i
Bass-Tuba
But, whichever
latter
High
Bass -Tuba, descend
for the
sparingly
register.
as
orchestra, to write
used,
as well as
all
as
low
D
than
lower
the
;
degrees
Y.
two
octaves
between
Y
quality. J.
W. 14J467.
and
Z
are
remarkably
intense
and
THE SAXHORNS. The Tuba, which has factory a substitute blend well; the soft
with great advantage replaced the Ophicleide, is not so satisfor the Bass Trombone, for the two kinds of tone -color do not thick
tone
of
the
Tuba jars
with
the
bones, and the comparison is altogether to the disadvantage But let us try to be content with what we have got, and
Weber had these deep bass notes the use that can be made of them: showing
hoven
jd
nor
Trombone Tuba.
*p-n
f
1=?
at
their
metallic of
timbre
remember that
disposal.
of the
Trom-
the Tuba.
We
give
neither Beet-
some
examples
THE SAXHORNS.
THE DEEP BASS SAXHORN. (BOMBARDON)
tuned
is
It
Tuba
German:
In
11
either
in F, in Es.
F or
in
in
E!>.
inF. :
Compass;
^
sounding: in
instrument
This
is
between
necting
link
usually
doubles.
not
used
in
the
Tuba
and
orchestra, but only in military bands, as a conthe Double-bass Saxhorn in By, which latter it
the
THE DOUBLE-BASS SAXHORN. (CONTRABASS -TUBA) 12.
In
tuned
is
It
Kontrabass-Tuba.
German: in
Bi>.
Compass:
written
is
It
sounding:
like
a
16
ft.
stop,
*)'
e. g.
Double -bass Saxhorn in Bl>.
be seen, this is, of the whole family, the member that has the most limited All the notes of the compass, but, on the other hand, it is perhaps the most sonorous. scale come out well, down to G, and the execution is satisfactory, despite the great of the notes. depth
As
will
Wagner had to
16
when
ft.
a
Contrabass -Tuba
These
El>.
forte
played
Contrabass -Tuba.
extremely (V. P.
low
186).
in
C
constructed
notes Their
are
not
effect
is
for
Rheingold, which as could
as
satisfactory better mezzo -forte:
could
be
descend wished,
m
"}' " \b,\> 1>
Lento.
Bass -Tubas.
Contrabass -Tuba
J-n-y^J-jn^^f^^ MM- bil!ll> ,,13 |W-
in C.
(Sy kind permission
It
is
mf
also
that
he gives this
F
low J.
to
the
W. 14267.
of Schott
&
Contrabass -Tuba:
W C?, Pnbllsherii-Proprietorij
THE SAXHORNS. Bass Trumpet
98
Chapter III. Instruments.
Percussion
THE KETTLE - DRUMS. Timpani.
(ital.,
"The Kettle-drum
1.
The
made
usually
loosen
or
This
last
some
the
proposition
well
the
to
the
to
are
shell,
over
kind
of
which
is
or
flaw
makers curried,
homogeneous,
means
of
can
be
a
skin.
"head"
the
goat- skin,
employ
by
stretched
dint;
shell
better
of
Fr, Timbales.)
action
dimensions
notes
deep is
be
attached
No precise
-
instrument
must
obedience
in
expanding
Kettle-drums
large
is
It
membrane.
the
hemispherical from any
The skin
thickness.
and
contracting
but
skin,
a
of
brass, free
good
calf- skin.
uniform
of
consists of
ass's
of
sheep-skin, or
and
be
should
shell
Pauken.
Ger.,
dog-skin,
without
cracks, screws; an iron ring,
of
these
screws, serves
given
for
to
tighten
Kettle -drums,
but
on
(Kastner)
quality!'
self-evident.
Nowadays, all Kettle-drum heads are made of well curried calf -skin, usually from the animal's back, that being considered the most serviceable part of
2.
lected
is
sethe
hide.
As the
a
the
skin
rescue,
is
uniform
absolutely
parts, and may sometimes
the
sparing
thin
drummer
conscientious
much
not of
beating be seen
out
drummer's
the
thickness,
the
ones.
thick
out
hammering
experience comes to Before a rehearsal,
parts
the
of
head, very
a
like
gold-beater. It sometimes takes 4 or 5 years to "mellow" a Kettle-drum. The instrument - maker constructs it, but the performer gives it the finishing touches, which take more time, as we have just seen, than the making of the Drum.
A
made
well
accident
Kettle-drum
happen to
performer
on
this
it,
a
lasts
about
as
instrument
in
time.
long
"On the
long as the drummer," the Colonne Orchestra;
average,
says
and
Mr
and
if
Henri
accidents
no
untimely
Vizentini,
the
rare
the
are
in
orchestra.
3.
The ed
in
Kettle-drums are made largest
the
can at
will
three to
sizes.
sound
any
one
of
the
J smallest
size
gives
J the
J
the
degrees compris-
following
|J notes:
v and
chromatic
fifth:
=SJF
The
in
made
be
medium -sized :,
according
ones play to
the
either
custom J.
in
of
the the
W. 14267.
r or
fifth
various
countries.
in
the
fifth
99
THE KETTLE-DRUMS. For the sake
y
compass two
completeness, we will " to be found
of
..
in
weakness
atoned
being
for
the
by
ff |*
J
|
f
J
f
j
Fq
with
it
(8^
I
with
practice, the
in
F an octave low
this
sonorous, and al-
not
is
the the
of
quality
h\
?'
to go
advisable
not
is
f
J
H-;t f- V
it
rich
hardly ever used
*
*/
So,
and
full
Kettle-drum
little
Even
Beethoven
though
a
but
museums,
,
degrees, Ft and 6, being of poor quality. he never fails to contrast uses it
highest
4.
mention
also
its
lower,
F:
Symphony.)
(9tb Symphony.)
either
beyond
F or
high
low
E
F.
==
^
is
required for a special effect, but has no tonal value except in a pianissitone suggests the idea of a cracked Bass Drum. that Berlioz wrote the high FJI, and Wagner the low E, but only fully aware
sometimes
mo; I
its
am
and
exceptionally,
ask
them
if
something another
Besides, there is drum: it consists
5.
In
ened
and
by
means
of
which
he
wise
there
is
is
means
using old
for
borrow
to
from
anything
risk
been
varying in one.
small
familiar,
some
the
roll
to
better
is
it
number
from
Taking
into
head
membrane
the
9 to
to
bear tightening
to
the
a
of
screws
several
but
fifth,
it
tightened and loosKettle - drum, large
inequalities
Besides, quality
cracking.
extent
the
the
of
be
of the composer to require such skips. The performer requires a relatively long time to change the pitch than a major third, and if the great masters' works be examined, it
skin
other-
accordingly;
and correct
Drums depends The head is would
Kettle-
the
of
sticks.
is
a
for
11
account
the
that
Kettle-drum
depend on well-balanced tension. The length of time required to change the tuning of the on the number of turns to be given to the screws. val, strong
them,
than
deeper
with
retained;
drummer adjusts
the of
a
producing
Drum played
has
system
a
of
Bass
a
screws,
9
7 to
with
in
the
France,
from
inclined
feel
you
else.
for
intonation
on the
inter-
sufficiently
very unskilful on the
part
they I
carefully
take
five
avoid
scores
Liszt:
exceeding at
this
random:
Festkldnge... 4 Kettle-drums tuned in: G, A, Bl>, C. Ff A, Bl>, Bl). Changing to: (Maximum skip: a semitone?)
Hungaria
....
3
Kettle-drums tuned
in:
to:
Changing Then to:
B\>,
Ff,
D|. Bb, D|. C, Dl|.
B\>,
Bit,
And finally to: A, (Maximum skip: a major third.)
_
Mazeppa
2 Kettle-drums tuned
Changing
Then
And
to:
finally to:
(Maximum J.
in:
to:
skip:
*. 14267.
a minor
D.
A,
A, D. A, Cf. A, Bl|. A, D. third.)
a
will
limit.
,
_
of
Drum be
by
more
seen
that
100
THE KETTLE-DRUMS. Marche Nocturne
2 Kettle-drums tuned
(L'Enfance du Christ.)
Changing to: (Skip of a second.)
Berlioz:
_
Fantaisie sur la "TempSte". 2 Kettle-drums tuned Changing
(Lelio.)
Then
in:
G, C. G, Bk
in:
At,C. Al, D.
to:
At.E.
to:
And finally to: C, F. (Maximum skip: a fourth, but a gradual one, by seconds.)
About
bar of quadruple time, in moderate tempo, is required to raise or lower the Drum by one tone. Naturally, more time is required for a third, a fourth, a
one
of a
pitch
if
fifth,
When the
ear;
the
screws.
a
small
only
a
such
indeed
when
know
they
In
risked.
are
to is
it
fact,
be
skip
intervals
in
give
only
drummers manage
question,
tune
to
without consulting
or a whole
a quarter, a half, three-quarters, thus that they can tune in & forte, amid
turn
to
the din
of
tutti.
when wide
However, ience;
whether
may
they the
skips are
seen
be
instrument
in
for,
touching
gently
is
called
the
they no longer trust to their manual experskin with a drum -stick, endeavoring to judge
tune.
Germany, Russia, and Italy, this system has tuned Kettle-drums exclusively adopted. Two kinds are made: (1) Drums mounted on pivots, 6.
ened
as
according
levers
acting
latter
kind
is
upon
instrument
the
number
a
more general
in
is
turned to
notches
of
the
the
right
corresponding
All
head
mechanically
being tightened or
or to
the
the
series
to
left:
of
(2)
Drums
semitones.
loos-
with
This
use.
The great
tempo,
discarded, and
been
In
advantage of mechanical tuning lies in its figures such as the following can be executed
instantaneousness. on a
single
In
moderate
Drum.
moderate.
=*"
i
J
J
J
J
(The sudden motion of the lever coincides with the stroke of
the
stick, so as
to avoid
blurring.)
Curious glissando effects can be obtained the violinist's finger on a string:
by
handling
the
lever
slowly,
very
much
like
Andante.
The Paris
had
Kettle-drums, but has just discarded them again, their intonation is inaccurate. The skins contract or distend according to alleging that the temperature and the or dampness dryness of the air, so they say, and they complain
that
Opera
they
have
Sub judice Us
not
adopted
these
sufficiently
direct
control
estl
i.
W. 14267.
over
the
tuning
of
the
Drum.
101
THE KETTLE-DRUMS. As
7.
for
without
fit,
composers,
they
need
other preoccupation
any
take
not
than
sides
that
of
the
in
quarrel,
the
confining
but
write as they think
instrument
to
its
of-
true
fice.
What do we require A vibration, a sound denly damp the Drum's function
With
4
in
successive
without It
is
involving
up and down rapid scales? combinations are possible. As
all
the
all
that,
a
at
first
such
case
a
It
I
sometimes,
happens
unable
the
think
make the necessary
to
course
the
change
of
changes the
of in
can
scale
is
performer
tuned
easily
be
obtained,
embarrassed by the
beforehand; changes for the
it
key
proper somewhat to blame.
is
composer in
the
rehearsal,
composer having neglected to indicate the drummer's business to study and arrange
Drum can be
each
chromatic
degrees of the a minor third.
than
greater
skip
happens
frequently
To abruptly cut short or sudharp -string's. the nature of the instrument. Is it really
to
antagonistic
semitones,
a
a
like
away
run
to
Drums
three
dying
sound
this
Kettle-drum?
the
of
will
be
the
next rehearsal.
In
a piece, that a single performer is absolutely the tuning. Suppose his Drums are tuned as
follows:
,
J
and
then
that
needs to finish
he
on
off
IT
Bi>,
as follows:
Vivo.
t Orchestra.
Kettle -Drum.
he
If
his
is
neighbors
own the
he will
na'fve,
accord, request give two
C, to
one of
on
If,
his
of
his
troubles to the
his
tell
assistance.
for
screws
the
he
contrary, in
companions
half -turn
the
conductor,
the
is
a
who
will
bright
orchestra, while
necessary
to
raise
direct
man, he the
will,
himself
A
ask
him to
he
is
Drum
of
his
playing
by
a
semitone.
Nowadays, anything can be written, technical difficulties constantly diminishing, but nothing ought to be written which is not in keeping with the nature of the instrument.
The 8.
There are
Sticks
with
for
two
skin soft
Sticks.
kinds:
knobs, for
ordinary
use forte
or
piano, and
sticks with sponge knobs,
effects.
particular/ Formerly, wooden- headed
sticks
were sometimes used,
but
the quality of tone produced the Side Drum.
hard and has very little timbre, recalling that of drummer avoids playing on the extreme edge of the head, as this only produces a He also carefully avoids the centre the of nasal, dry tone, without vibrating power. is
very
The
head,
and
prefers playing
mid -way
between
J.
edge
W. 14267.
and
centre.
THE KETTLE-DRUMS.
102
Mode 9.
If
as that
written
the
vibration
overture
the
of
beginning
of
sound
to
remainder
of
the
E
the
of
would
Fidelia,
Kettle-drums.
whereas, for the
required, the
is
Drum
must be as carefully
part
instrument.
any other
of
Beethoven, fearing the
duration
definite
any
of writing.
*}'
E
orchestra, 3-
8 Jit
the
V
J)
E
is
in
the
separates
ty
beyond the attack of the B^, two notes by a rest +:
last
J
^
dotted:
.
Orchestra.
^*pt In
ed beat
just
course
the of
as
a
bar
by
have
well
the
work,
means
of
of
written
it
a
be
will
crotchet, it
minims;
is
Beethoven frequently marks the accent-
observed,
when, not a
having
any
mere question
of
special
intention, he
might
habit:
Allegro.
Kettle-drums.
1
Orchestra.
m
Elffe
t^pEEfp
(Quartet) such
In
Mozart
cases,
usually
writes:
m When a
10.
Some
others
write
like
the
roll
the
is
roll
tremolo
the
required,
like
a
of
the
great
shake
masters
make use
of
two
kinds
of
notation.
*}'
*)'
Strings
o .
and
same
the
Remark: specify
master
frequently
both
X
system
seem
in
systems
It is hardly necessary to add that with the time -values sufficiently rapid to produce a roll.
Vivo.
The
uses
Y
Afoderato.
preferable, precisely
J. \V.
on
succession.
system
it
becomes indispensable
Adagio.
account
14267.
of
its
uniformity.
to
103
THE KETTLE-DRUMS. 11:
When a
performer
may
wr
roll
think
lasts
the
through
two
composer
or more
intends
the
bars,
the
first
beat
notes of
must be
each
bar
tied; otherwise, the
to
be
marked:
104
THE KETTLE-DRUMS.
dramatic
in
its
energy:
Kettle-drums.
Orchestra.
(By kind permission of Rieter-Biedernann, Editeur-Proprletalre.)
We on the
must
also
mention
Double-basses;
the the
possibility
two
qualities
of
continuing of
ring:
Kettle-drums.
Double-bass.
J
T~-C
*
tone
a roll
follow
(Gernsheim, on the
each other
Drums
#*2*
Symphony.)
by a
tremolo
without the least jar-
THE KETTLE-DRUMS. Allegro. Kettle drums
(Ek
Bk)
Orchestra
.
106
THE SIDE DRUM. Tamburo
(ital.,
We
1.
case
The
have
seen
are
sticks
effects
its
depend
The 2
Kemak: not
Drum
Side
the
material,
and
detain us,
or
be
3
suited
being
on
solely
to
all
The
sticks
on
the
one
of
stead, the
its
but, in
two
stroke
single
first
is
also
stick
is
short
in
Side
Bt>,
Drum,
A^, or
in
because
keys,
the
in
it
has
in
no
it
would be more is
F#
quite
key of
im-
own
its
of the
tuning of the
Drum need
Side
is
membrane,
Strokes. used:
rarely
double- stroke,
"coup de
the
the
of
be
could be quoted
produced
the
by
(fla) Soundipg: from
1
differing
charge',
almost
simultaneous attack
of
the
employed:
usually
Written:
as
calf -skin;
of
sufficiently conclusive.
Various 2:
made
is
rhythm.
that
examples
they are not
as
tone
the
to
assigned
Whether the piece
noise.
it
Kettle-drums
of
Fr, Tambour.)
used.
is
sheepskin
can
pitch
call
to
head
Kleine Trommel.
Ger.,
wood.
of
As no definite correct
the
that
Drum
Side
the
of
piccolo.
the
=^= above
by
the
accentuation
of
the
note:
Rolls. 3
Rolls
They
are
consist
ra.
called: of
3,
4,
5,
6,
strokes, and
10
8,
7,
so
on:
etc.
There a
is
shake, or
also
continuous
the
like
the
tremolo
similar
roll,
of
the
to
the
Kettle-drum
roll;
it
is
written
like
Strings:
or:
care values
being
taken, as
sufficiently
in
rapid VtTO.
the to
case
produce
Kettle-drum
the
of
a
true
Moderate.
B
J.
(P.102,
roll:
"
W. 14X67.
Adagio.
10),
to
write
time-
107
THE SIDE DRUM.
Rhythmic Combinations. Some
4.
the
of
summarize
rolls
the
all
Aux
in
of
capabilities
^
(J--80U
=
(J
use
in
French
the
are
army
,
^
i
r_ 3E
,
pretty
well
*
Champs-. L
a-
no)
=
(J
La
they
76)
L_
Pas
below:
given
instrument:
the
accelere: 5K^
7
Retraite:
Notation. The
5.
Drum
Side
is
the
idea
of
high
notes.
line
without
any
clef
of
usually
However,
is
to
given
written
G
the
in
the
in
majority Side Drum,
the
its
clef,
as
Drum
this
6. is
do
I
not
frequently
a
derive
used
for
and
peculiar
Kettle-drums, the
think
the
for
it
has
ever
been
Drum,
in the
employed
in
a
acute
timbre
evoking
published nowadays, a single arrangement economizes space.
scores
of
The same practice prevails as regards Cymbals, Bass them being instruments without definite pitch.
Use of the Side
clear
Triangle,
Castanets,
all
orchestra.
symphony.
On
the
other
hand,
it
"Meyerbeer," says Gevaert, "has known how to the the association of the Side Drum with
dramatic terrible
purposes. effect from
famous
crescendo
roll
Berlioz's
own words,
dehis admiration for Meyerbeer's expressing has been so often used that it seems super-
of
the
Benediction des Poignards
(in
Huguenots)'.'
These vice,
are,
then
fluous
to
quite
quote
At random, account
in
in
I
fact,
Since
novel.
examples. quote
this
his
Everyone
theme
it
time,
of
can
them
call
mind.
"Marche de Turenne"
the
L'Arlesienne: Allegro.
Horns &
Wood-wind. Side -Drum.
Violins.
Basses. ere (Choudens, Editeur-Proprietaire.)
to
J.
_
-
seen
W. 14267.
which
Bizet
has turned to
THE
108 And
other
this
delicate
incisive
yet
SIDE DRUM. from
effect,
Scenes Pittoresques:
the
Solo.
Side
,
Drum.
Orchestra.
(Joseph Williams, Limited. Publishers
-
Proprietors.)
7.
of
heard
a very
cloth,
at
striking
or
parchment being the Drum. Nothing
Sometimes either
by
means
of
the
dismal
tone to
than
met with;
is
as
snares, or by muffling usually
the
to
left
The following passage illustrates the
use
of
is
of
the
obtained,
speak,
a
long
the
described
performer. the muffled
<
Maestoso.
,
and, so
damped more
be
of
quality
sans timbre
indication:
loosening the execution is
less
head
the
If
driven
Drum
be covered
the
vibrations
back
into
the
gradually swelling
roll,
in-
and
Drum:
muffled
a
mournful
can
of
diminishing, on
funerals.
military
and
more
the
terior
be
may
They a
okeme.)
Drums.
Muffled with
(MaSSCnet, Fete
effect
above;
obtained required is the choice of the
Side Drum:
a 2.
Clarinets in B\>. PJ
Horn in
m
E
Bassoons.
im
F.
m
Trombones VP\
Tuba. -
m
4
>:i>,
-J>
Es-4
8 m
i3S
Kettle-
fffF)
Drums.
(muffled
m
i
Side Drum.
PP
Bass Drum (Mackenzie, Solemn (By kind permission
of Novello
&
C9, L4.,
March from
the "Story of Saytd".)
Publishers- Proprietors.)
THE TENOR DRUM. (WIRBELTROMMEL, HOLLTROMMEL, RUHRTROMMEL.) 8.
brass.
in
Tenor
sound
Drum
is
longer
than
the
Side
Drum, and
is
made
of
wood, instead
of
be that of a small -sized Bass Drum. duller, and might same purposes and has the same mechanism as the Side Drum. Gluck, Iphigenie en Tauride (Chorus of the Scythians), and Wagner, in Die Walkiire and Parsifal, have made use of the Tenor Drum.
It
in
The Its
serves
is
the
J.
W. 14267.
109
THE TAMBOURINE. Tamburino.
(ital.,
There
\:
(1)
By
are
three the
striking
ways
Ger., Schellentrommel.
of
parchment
using it: with the back of
Tambour de Basque)
Fr.,
hand:
the
Tambourine.
Carmen.
Orchestra.
(Choudens, Editenr
-
Carmen,
(Bizet,
Proprie'tire.)
182.)
p.
1
(2)
shaking the instrument, in order to call into play the "jingles', i. e. the small metal which are, so to speak, embedded in its hoop; a metallic rustle rather than a roll
By
plates is thus
obtained:
Tambourine.
;
p
Mr
r
r
p
p
Orchestra.
(Choudens, Editeur
As
in
a
like
case
the
shake, or
of
Kettle-drum
the
like
a
tremolo
and the
for
-
(Carmen,
Proprietaire.)
p. 183.)
written
either
writing is employed, time-values be indicated (P. 106, 3).
suffic-
rustle
this
Drum,
Military
is
Strings: or:
Note, iently
before, that rapid to ensure
the
the
104)
of
Military
temporary
This, however,
clef has no more value Drum, the Triangle, etc. A
in
the notation of the
single
line
is
can
roll
)
^
be produced,
some
requires
i^-yJ^-yiJSJSiJS^i
j_J
J
|
predominates.
The
2.
mode
latter
continuity of sound must thumb over the parchment, a
By gliding the sound of the jingles
(3)
(J =
when
as
|J
>J
)
)
-y|J -yJ
Tambourine than
usually
in
which
skill.
employed, as
the
v|J
)
v
of
the
above
ex-
that
in in
)
ample.
THE TABOR. (Fr.,
This
1.
blows his
a very long drum, without timbre, used in three -hole pipe, or Galoubet, which he holds
is
a
into
left
Tambouring
he
beats
_ Allegro
time
with
a
single
Provence. in
his
The
right
tabor -player hand, while with
stick:
.^
Piccolo.
Tabor.
iuj
*m.
\i
i
i
(Choudens, Editeur- Proprie'Uire.)
J.
W. 14267.
(Bizet,
L
1
'
ArleStetttie.)
110
THE TRIANGLE. Triangolo.
(ital.,
The
1.
suitable
written
be
Triangle may all kinds of
for
Ger.,
Triangel.
a
on
either
single
combinations,
rhythmic
Triangle.}
Fr.,
or
line,
G
the
clef.
It
is
group
of
triple strokes, etc.
double,
single,
in
Allegro.
The
tremolo
2.
The
5
notes,
seems
sometimes
stroke
single
2, 3, 4, or
as for the' Drums:
written
is
the
have
alone
last
simple, and
too
appreciable
any
in I.
The
short
note
the
preceding
note
true
group of 3 notes is excellent, to left. direction, from right
II.
This
III. This
4 notes
of
group
is
IV. Groups of 5 notes, as well reason given above (See II).
If
where the
a
pianissimo
the
Remark-.
has
rod
performer I
4r
heard
is
only likely to
is
think
it
a
sprightliness.
third
first
and
groups
(7,
the
natural,
odd -numbered
all
wanted,
an
know
it
or
inch
his
is
so
the of
top
business,
it
the
of
struck
being
last
being
is
as well to call attention be said to be out of tune;
needless to
9, etc.),
Triangle
move
to
space
may be
a double sound; they may produce a single sound.
alone
so
more
and
first
by
value.
in
the
same
in
con-
struck
directions.
trary
3.
not
the
replaced
IV
it
gives
is
time
that
are
very
must
good,
be
touched,
backwards and forwards to
note
this
in
for
the
in.
As
score.
that some Triangles produce stroke of the rod ought always to
the fact
the
Always effective, the Triangle is absolutely indispensable in the orchestra, for to it sometimes entrusted the duty of marking the rhythm of the piece. It can be through the whole of the polyphonic mass, even when struck
is
A
(J
=
88)
rrm
Triangle.
PP Tempo di Minuetto.
Orchestra.
r J.
W. 14267.
(Berlioz,
Damnation de
Eatust.)
in
THE TRIANGLE. /""*
112)
-.
f
Piccolo.
Mj
^
Flutes.
Triangle.
^
I
fff
I
f
^ ^
fefe
p
Violins.
Violas.
i (By kind permission
(J
=
~r A.Durand
of
o et Fils,
""/."
Editeurs-ProprUtaires.)
(.Saint- SaenS,
La
Jeunesse d'Hercule.)
120)
Flutes.
Triangle.
Violins.
m
f
^
r
m f^f
Violas. fizz.
Violoncellos.
^^ Allegretto.
Horns in E.
Triangle.
Violins.
Violas
.
Violoncellos.
Double-basses.
^ife
^
(Schumann,
/? Symphony?)
112
THE TRIANGLE.
Here for
the
is
a
very
delicate
effect
Strings.
Triangle.
of
the
Triangle
tremolo, with
pianissimo
holding-notes
THE CASTANETS. this
Usually, tain
formulae
instrument, so characteristic of current tras los monies, which
113
popular are not
Spanish
music,
varied,
very
is
confined to cer-
as may
be
seen:
Treble.
Castanets.
Bass.
Allegretto Treble.
Castanets.
Bass.
The
2.
beneath
are
Castanets
2nd Scehe
The
the
of
veil
this
Samson
of
rhythm
persisting
Ones)
a et the
for
single
without
line,
Dalila
should
Castanets
any clef. consulted.
be
(both
wooden and
Note, iron
Allegro.
the
then
Act
on
written
usually
3!^
the
of
skilful
drawing
use
of
the
finally
alternating with and replacing each other, produce the maximum outburst of strength.
instruments
percussion
closer, and
to
uniting
THE CYMBALS. (Ital., Piatti. 1.
They
They ly
may
struck
The In
be
with
sound the
may be played violently
a
may
former
drum
either
together
one
clashed
Ger., Beckett.)
or
against
separately. the other,
either
be
case, the
damped, or
Cymbals
are
it
may be allowed
written
6
in
the
latter
or
one
them may be
as
vibrate.
to
follows: .
case, thus:
tp
of
-stick.
-
"
ff J.
W. 14267.
*
r
I
light-
114
THE CYMBALS.
Even
so
the
if
be
2:
bind
an
brass (2)
There
axis
for
discs in
pended
they may the right
to
its
by
the
to
uneven, but
strap, and a from piano
example
of
be
the
of
nevertheless surer, the
retains
two
to
forte, the
specimen
_ Cymbal.
Orchestra.
/5
tL
of
Vivo. i*
the
and
its
value as a bind,
preceding
sonorous
i.e.
examples may
al-
kind
of
sound
the
roll,
swells
tutti
/
(
other
kind:
/ll
/!
metallic jingle;
two
with
great
passage
/>
Cymbals
may
performed on
roll
Overture may be mentioned: eight
ff as a
violent
a
A
Allegro.
very
crescendo, one of the perfectly even and continuous for
first
Tannhauser
*
and
it
make
(1) In a producing a roll, or tremolo, with the Cymbals: clashed against each other, the performer's wrist serving these shocks, as rapid as possible, of the two left motion;
of
passages, or
piano
an
an
produce
drumsticks; vice versa.
As
two ways
are
of
oration
be
written:
forte passage, as
not
a rest, To stopped.
leads
only
must
vibrations
the
sus-
by
means and
regularity
which
bars
it
be
announces the per-
fortissimo
for
the
115
THE CYMBALS. 4.
sponge -tipped angle.
has noticed
one
Every
could
seems
gold-dust
as
drumstick, so
Nothing
to
the
color a rise
to
equal
or
more
rhythm out
up
charming
the
of
effect
even
a
of
Cymbal the
surpass
with
delightfully;
struck
gently
of
pianissimo each
stroke
a
with
the cloud
a
Triof
orchestra:
Andantino.
Cymbal
Poco
2
.
rit.
Flute. (Solo.)
Violins.
Viola.
Violoncello.
Double- bass,
la
Tempo
(J. Hamelle,
The in
Cymbal strokes which are indicated in the above example are not to be found Suite from Namouna (P. 74); it was Vaucorbeil who very ingeniously added
during
characteristic, of
(Lalo.)
two
the
them
Editeur- Proprietaire.)
the
theme,
the
rehearsals
of
so unexpectedly
that
it
still
Lalo's
posthumous
picturesque
rings
in
my
was ear,
this
work at metallic
despite
elapsed.
J.W. 14267.
the
the
Paris
quiver,
many
Opera-house.
So
upon the reappearance
years
which
have
since
116
We midst
THE CYMBALS. now
another
give
the
of
example
of
the
skilful
use
of
a
fymbal
struck
piano
in
the
Strings:
Allegretto. a 2. Clar. in
B\>.
Bassoon.
Horn
in Bt>.
*
Cymbal.
Violins.
I
v
J>
^^T
*/ !/
Violas.
Violoncellos.
v
^^
J * J
J
EE cantando.
Double-basses.
"
(By kind permission
of Heugel
t
Ci?, Editeurn-Proprietaires.)
J.W. 14267.
Arco. __ (Th. Dubois, Suite miniatured)
THE CYMBALS.
ANCIENT CYMBALS. 5.
are
They
Museum
the
of
made
Pandean
Flutes, Organs, They are much smaller and have a more silvery
Since
their
many
The
would
be
the
of
Ancient
held
Cymbals
timbre.
and
the time of the
in
employed
in
etc.
from
varying
Romeo
in
kinds
all
preserved
and
6
8
to
inches
Les Troyens,
in
in
diameter,
Gounod,
St Sae'ns,
as
for
such
and
tremolos,
some
figurantes
small
a
effect
special
rolls
Cymbals, avoiding
ordinary
on
surface.
will
some
step
keep
frequently
However, such
rolls
day
be
produced
with
the
assistance of
by
hand.
the
in
of
Pompeii, and
at
them.
production
perhaps
dancers
stage,
acute
them
for
discovered
Citharae,
Cymbals,
Berlioz
difficult
impossible, and means.
On
Pipes,
our
employed
not
their
and
by
have writes
composer
which are
adoption
others
than
those
of
instruments
with
Naples, along
Caesars:
and
model
the
after
THE BASS DRUM. (ital.,
This angle,
the
another
is
What
obtained
is
required
Bass Drum
The
ment
instrument etc.
Castanets,
result
ought
to
Gran Cassa.
act
without
worth
Bass Drum
the
of
to
ought
the
equally
be
large:
upon
the
or
felt
gle
the
handle, a
wise
We of
the
have
rarely
already
sticks
been
a
is
rods
sometimes
rather
said
for
used.
this
We
(P.
99,
Bass
been
1
large drumstick
with
or
a
Tri-
attempted, but
provided
either with
one
knob,
held
by
on In-
Treatise
(Pares,
double
mailloche
the
Drum,
heavy quality of tone. which stretch the parch-
braces
circumference',
of a
With
or
Military
involves).
and
full
the
has it
the
at
middle
a
sin-
each
end
of
its
Drum can
like-
deeper than
that
might employed, the player making use The roll thus produced is very effective, but
Ket-
resembling distant thunder may be produced. cannon (Berlioz, Marche Hongroise).
Kettle-drums, the
tle-drum
that
(mailloche simple},
(mailloche double).
roll
imitate
knob
cork
stick
Drum
whole
strumention for Military Bands). The Bass Drum is played by means of
Bass trouble
the
like
intonation,
precise
the
(Tuning not
is
Trommel. Fr, Grosse Caisse)
Get., Grosse
4)
that,
Drum
in
order
be
purpose. give one example:
J.
W. 14267.
to
obtain
The
a
Bass
roll
of
has
118
THE BASS -DRUM. Allegro. (J = a 2.
Trumpets
Do able
-
8)
in C.
basses. ,
(By kind permission
Who bals,
has
not
been
accentuating
a
deur? Bassoons.
Horns
in
E
moved
by
the
phrase,
to
which
of
Henry Lemoine
pianissimo it
lends
attack
Hercule au Jardin des Hcsperides.)
et Clf,
of
mysterious
Editeurs- Proprietaires.)
the
united
solemnity
Bass Drum and Cymand impressive gran-
THE BASS -DRUM. I
II
119
~mm THE BASS -DRUM.
120
I i
^^ f' f
f
if
r 7
Ul 1
J
J
il.
J
U itJ Ji
Tf-rgfe
r
r
,
J
r
^s
*jr-
j
,
J
^ y
(Balakirew, Thamar.) .1.
W. 14867.
121
THE GONG. Tam-tam.
(ital.,
The
Gong
The
composer
able
not key,
to
a
give
to
when struck forte, and threatening even when struck pi(tno. beware of its long -sustained vibrations. Although the Gong
must
tone
definite
of
borrow
to of
change
any
continues
Tam-tam.)
Fr.,
terrifying
seems
it
yet
that
is
Tam-tam.
Ger.,
pitch,
the or
harmony
vibrate.
and
is
the
of
tonality
must
modulation
any
consequently adapted chord in which it be
as
avoided
use
for is
in
is
any so
struck,
long as the Gong
Andante. Gong.
Orchestra.
The
seems
Gong
appears to second bar the
of
chord,
otherwise,
bar;
a
like
its
such
In
Pianoforte
it
tune
in
quite
lose
suddenly (Y Z).
first
be
to
it
case,
will
without
first
of intonation
truth a
the
in
is
when to
necessary
seem, during
the
bar
(X)
the above example, but harmony changes in the of
the
damp
second
vibrations
its
to
bar,
hold
the
at
the
end
preceding
dampers.
Different Altitudes of Percussion Instruments of Indeterminate Pitch and Long Vibration. Let
and If
us that
three
cataclysm,
suppose
we need such I
we to
shocks
think
the
are give
at
to
required
the
depict
impression
Titans
violent
sonorous
altitudes
instruments
would
different
percussion
of
the
Cymbals. Gong.
Bass -Drum A
being
shocks might need to
in
hurled down from Heaven,
quick
suffice-
be
succession. to
indicate
disposed
as
the
follows:
122 Percussion
Exceptional
Instruments.
2.
The Glockenspiel. The Celesta.
3.
The Xylophone.
4.
Bells.
1.
THE GLOCKENSPIEL. means
of
for
If,
to
"it
length,
an
extent
the
were would
be
only
their
necessary
are
struck
by
proportion to their thick-
length.
between
difference
direct
in
increase
to
bars, which
steel
is
chromatic
the
obtain
to
the
to
bars
of
square
desired
small
of
these
of
pitch
to
equivalent
number
a
of
the
ratio
it
instance,
equal
bar
inverse
in
consists
hammers;
little
ness, and
of
instrument
This
1.
scale
means
thickness
the
each
by
the
of
of
bars
of
all
each successive
semitones."
(Mahillon).
The compass
the
of
from
is
keyboard
Glockenspiel
to
two
and
octaves
sounding
a
tone
-f
l>TT
(The actual sounds
The
little
instrument
allowed
Wagner,
me,
best
lowest tone, I
the
Massenet,
The
believe
After
him
finale
La
in
notes
notes
which
somewhat
the
in
treated
be
may
for
the
of
keyboard
much
long
instrument to
tendency the lower
Mozart
was
the
first
^***\
i
in
it
employed i
are,
sound the
manner
Meyerbeer,
have
etc.
employed of
as
course,
the
fifth
in
the
the
composer
to
make use
Zauberflote:
*
W
the
the
Piano,
Pianoforte, and the
time
provided
is
-
14267.
in
Lak-
register,
the
Delibes,
Glockenspiel.
above,
in
J.
of
L'Africaine,
those
note
,
that
to
travel,
to
Die Walkure,
above the written notes.)
similar
is
same
the
vibrations
power
Handel
Allegro.
a
octaves
Glockenspiel
in
Vierge, the
of
having loses
of
are two
the
medium
instead
of
of
the
fundamental
scale. of
the
Glockenspiel,
in
Saul.
123
THE CELESTA. 2.
This
placed
by
on
other
the
strument, Its
an
is
instrument
hand,
was
in
justified
much
is
the bars being re-
Glockenspiel,
than
that
the
of
the
Mustel,
poetical.
name
the
it
giving
weaker
and
ethereal
the
like
keyboard,
steel
from
instrument,
delightful
On had
P.
72
of
an
made use
Celesta
will
the
like
over
the
from
come
it,
the
at
ever
tone
more
rather
can
time, the
illustration of
Piano, or
vibrations
Its
same
the
at
mystery
gave
I
already
The
and,
veil
but,
the
in-
;
sounding
may be treated somewhat resembles.
it
wind a
to
Celesta
which
of
Celesta.
of
* .....
The
bars,
inventor
octaves;
four
is
compass
more
infinitely
fully
tone
Their
tuning-forks.
a
with
Louise,
Ope'ra, into
of
percussion
2
and
ft,
the
organ-stops,
those
like
attack
of
a
throws
Celesta.
the
in
ft.
almost
sustained
be
crystalline of
4
like
which
in
the
the
Celesta
is
employed.
I
Korrigane,
vogue.
THE XYLOPHONE. (Ger., 3.
This
is
an
like
disposed
length,
instrument
consisting
organ- pipes,
Holzharmonika) a
of
which
series
are
of
struck
wooden by
bars, or
means
of
two
rollers, of little
varying
wooden mal-
lets.
Compass: three
Saint inent
-
Sae'ns
composer
octaves:
has
used
writes
the
it
in
notes
the
an
Danse Macabre, octave
below
Allegro.
Sounding:
aFjM^jjjjE;
J.
W. 14267.
and
their
Gevaert
true
pitch:
remarks that the em-
124
BELLS.
of
and
tin
To
an
give
suffice
12
to
than
195 tons. bells
So,
When are
metal
which
of
dimensions, their
their
practical
-Dame
with
classed
of
difficulty
a
of
weight
Notre
of
be
may
to
difficult
the
bell
great
for
the
of
that
say
the
The
keys.
are
they
should
height
be
to
an
is
composed
their
alloy
greatest
15.
to
idea
that
all
in
As
copper.
as
diameter
made
are
Bells
4.
bell
church
weighs
in
Organs
the
in
C -2
Tenor
sounding
(Paris)
them
employing
18
tons, and
the
category
Kremlin
the
of
22
over
is
tons,
more
bell
musical
will
it
orchestra,
instruments
manipulate. for
writing
must
care
bells,
be
taken
the
actual
to
whether
indicate
sounds
deep or acute
required.
remarks
Gevaert
that
in
on
to
theatres
is
pitch
lower
rarely
G
than
in
alt
^
EE.
the
for
been
He
tocsin
goes St
of
as
considered
that
say
Bartholomew's
rarities:
Day,
they
yet
two
the
in
only
the
act
4t!)
sound
used
bells
large
the
of
upper
Paris Opera-house,
the
at
Les Huguenots, octave
of
the
have always
notes
written
*#
the
composer
Large
bells
by
hemispherical ing
are
Parsifal:
Bella (on
not
being
the
Stage)
the
bells
cast
with to
practical, "attempts
very
alarum -bells
much deeper notes
These
E.
=y^=*^=^
be
a
in
far
heard,
their
bronze;
smaller
weight
arranged
as
have
been
relatively of
made
to
them
replace
thin
sides
allow
the
end of
the
of
by
attain-
metal."
follows,
at
111
act
of
125
Chapter IV.
THE SAXOPHONES. This
1.
The the
tone
French
in
bands than
military
in
orchestras,
that
to
of
the
the
instruments
can
they
used
produced by means of a reed fitted into a mouthpiece similar air- column is conical, and the tube is made of metal.
is
wind
all
Oboe
more
instruments,
Sax.
by
Clarinet;
Of
of
family
was invented
and
swell
ways remains rich and full Anglais, and the Clarinet).
are
Saxophones
diminish
tone
their
the
perhaps
without
ever
tone
The
the
of
the
timbre, which alCor
the
Cello,
same
much the
are
like
expressive; their
losing
some
analogy to the mechanism and fingering
(bearing
most
as
for
Oboe.
the
The
are
following
the
four
members
which
of
B?
in
E!>
Tenor
in
B!>
Barytone
in
El>
Saxophone
Alto
Soprano
Tenor
can
about
have
all
They
and
rise
same
the
Barytone
to
11
compass as the at
stop
the
in
El>
is
family
in
Soprano
the
the
low
the
Oboe, including
highest
composed:
officially
whereas
register,
however,
B!>;
Alto
and
better to avoid
writ-
the
F.
->L
..''
f.
Compass
of Alto
Compass
The
2:
the
ing
their
in
As is
it
for
lowest the
notes
for
cannot
them;
descend
the
& Tenor.
very
and
Alto
it
Saxophone,
is
used
not
in
replaced by the Sarrusophone, which to the extreme depths of the orchestra.
Proceeding
easily,
Barytone,
so
it
on
the
is
are excellent
contrary,
register.
Bass
usually
ease
ful
low
very
Tenor
and
Soprano
& Barytone.
of Soprano
by
analogy
and
tone -color
of
of
practice, on
can
pitch,
skip
the
account
down
of
with
its
the
great weight;
most
comparison
following
grace-
may
be
established:
Soprano Alto
n
Tenor
n
Barytone
n
The Saxophones are
8
ft.
stop
12
ft.
ii
_ 16
ft.
.1
Saxophone
written
in
* Avoid attacking pianissimo the applies equally to all the members
_
the
_
24
G
clef,
ft.
= = = =
whatever
Oboe, Clarinet.
Cor Anglais. Cello.
Bass Clarinet. their
actual
pitch
notes comprised in the lowest sixth: =# of the Saxophone family. "V** J.
W. 14267.
may
= ~-^
;
be.
*
this restriction
126
THE SAXOPHONES.
SOPRANO SAXOPHONE
Bk
in
3 sounding:
Compass:
office
Its
need.
in
a
is
It
bands
military
rather
shrill
the
reinforce
to
is
instrument, and
-toned
replace them
Clarinets, or to
used
not
is
ALTO SAXOPHONE
in
in
the
in
case
of
orchestra.
Ek
4
the
is
It
best
the
of
tone is
It
even, and
Remark:
rise
easily,
the
at
it
of the
can rise easily,
medium
I
do not
The 5
register.
They naturally become thinner and
virtuosi.
Saxophone
can
it
that
By saying
as the notes
be
to
enough to be a match for 4 or 5
powerful
ticable for
is
instrument
the
family,
heard
Hamlet, L'Arlesienne,
in
etc.
Herodia.de, Werther, Its
^
sounding:
Compass:
same time possessing
good bass notes.
Clarinets.
mean
that the highest notes are as prachighest notes can only be written
or 6
thinner.
E\>:
sounding:
(Choudens, Editeur It
the
to
is
are
peggios
Alto
given
the
Avoid, however,
that
Saxophone in
military
following
florid
bands'.'
figures,
-
scale
quick
It
is
an
below
octave
timbre
Its
the
Soprano,
dapted It
is
as
full,
Like
the
Alto,
for
the
execution
better
nearly
in
sounding:
is
to
the
avoid
as
even,
Tenor of
giving
shakes
and
ar-
'Pares).
Compass:
Alto.
passages,
shakes:
TENOR SAXOPHONE 5.
(G. Bizet, Arlesienne)
Proprietaire.)
and
in
Saxophone
every is
in
unison
Bk with
the
as
satisfactory as that of the
of
capable great execution, chromatic figures, etc.
bravura passages, it
the
4
J.
or
5
highest
W. J4267.
Clarinet.
m
)'
respect
Alto
notes
to
play.
and
well
a-
THE SAXOPHONES.
BARYTONE SAXOPHONE &.
Compass:
instrument
This
Bass
the
7.
is
is
neglected, and
consists
I
to
quite
the
simple as
so
in
for
which, as we
Bi>,
the
Bass
the
it
plays
much
same
the
mention
that
the
of
of
Saxophones
higher
There is another Saxophones. for the sake of completeness. of
family
part
it
pitch.
group,
but
it
varieties:
following
Saxophone
in
F
Soprano
n
in
C
Sopranino
As
bands
military
orchestra.
official
only
in
carry;
)'
sounding:
:
the
in
not
the
of
^-^
heavy
is
Such, then,
It
=
.
Clarinet
mechanism
Its
is
Ek
^
6
as
in
Alto
n
in
F
Tenor
n
in
C
Barytone
u
in
F
in
Saxophone
have just seen
C,
it
is
not
any more than
used
(2), on account
of
its
great
Bass Saxophone
the
weight,
is
replaced by
Sarrusophone.
8.
ophone,
as
for,
I
Bassoon are equally
Oboe, Clarinet, and
on the
possible
figures
Sax-
and tremolos possible on the Oboe can be performed on the have already said, the two instruments have the same mechanism.
shakes
the
All
"All
suitable for the Saxophones,
legato passages suit them best'.' (Gevaert). The quartet of the Saxophones produces the illusion of the Organ. when However, breathing must not be lost sight of, and the composer,
but
long legato passages, must
notes and
A note quadruple
in
the
medium
register
be
not
careful
cannot be held
for
to
exhaust
the
more than 10
writing
holding-
players.
bars,
in
moderate
time.
each instrument comparing the Clarinet with the Saxophones,it will be found that which can only be a maximum is can sustain a note for about 40 seconds. However, this
Upon
expected
in
case
the
What may
9
be
of
the
a
soloist
future
playing
destiny
piano. the
of
whole family be some day admitted, or will Time will show. been done so far? If
me by to it
I
may
rather
venture
loud
and
to
out
an opinion,
express
proportion
which
with
only
I
that
Saxophones
individual
confess of
in
its
is
the orchestra?
members
the tone of the
be
Will
invited, as
instrument
the
has
seems to
the example neighbors, excepting, however, But since the Saxophone here seems
perfectly pleasing. Bizet, quoted above, harmonize so well with the surrounding instruments, if elsewhere it seems out of place, be must be because it is then seen at a disadvantage, and is consequently not to
criticized. All
means are good, provided
they
are
J.
properly
W. 14267.
used,
each
in
its
own time and place.
128
THE HARP. (Ital.,
The
1.
following
figure
Arpa.
Ger., Harfe.
shows the compass
of
Fr.,
the
Harpe.}
Harp, which
comprises 47 diatonic de-
grees:
This
octaves pitch
of
diatonic at
the
scale
once. string
becomes chromatic
According is
raised
as a by
a
by is
means
seven
of
hitched
pedals which act on all the one or other of two notches, the
into
pedal semitone or by two semitones.
Example:
'
1st notch.
One and the same string:
*)'
becomes:
\i The various octaves of one and the same string:
-^
:
Bd notch.
m
or:
:
129
THE HARP.
r: passage, quoted by Berlioz as impossible, on account of the presence of both and Ff (and so it was, formerly, for single-action Harps), is very easy, nowadays, for double-action Harps, Ft) being played as E# on the E string.
This
So and, fold
double -action
this
as
Gevaert
conditions
glissandos, whole
for
remarks,
modern
of
diatonic
is
system a
very
music,
century of
allowing
seem
or otherwise, which
was
It
ingenious.
whole
invented
Sebastien
by
Erard,
been adapting itself to the and executing chromatic passages has
it
throw
to
a kind
of
the
Harp:
poetic
haze
manithose
over
the
orchestra.
The
3;
following
shows the various
figure
Register of
of
registers
full tone-power.
jjJJJ
J
rrff i
Excellent in a
m
Thin.
PP
Catgut strings. Covered strings
!
The tone
first is
rich
three
and
B in altissimo, notes
alone
is
are
low notes full,
less
whether
used forte
sonorous, but
rather poor
From
are rather hollow.
and
thin
or
in
in
quality,
lowest
The next
piano.
excellent
still
the
F
to
Bt;
in alt
octave, from
strings
B in alt The
pianissimo passages.
the
the to
highest
becoming shorter and short-
er.
The
4.
first
eleven
wards the strings are shall
see
5.
low of
notes
catgut.
are produced
(Harmonics
by
are
covered strings; from only
possible
on
Gamut
catgut
G
strings,
*
upas we
later).
As has already been said (2), each string of the Harp can be raised either a or two semitones; twenty -one notes (nearly double the numconsequently,
semitone
chromatic degrees) are available in each octave. How is it that we have not got which us two for would each semitone? is because three notes: D +, It 24, give strings G +, and A +, have no enharmonics, no synonymic or homophonic equivalents, as may be seen from the following diagram: ber of
J.
W.
14267.
130
THE HARP. What
6. ful
we can
combinations
curious
get, by
the strings
tuning
all
in
sorts
fanci-
of
What extraordinary scales we can imagine!
ways!
E. g.
even
nor or
may be transformed
scale
can be found, or the
others
Many
succession
of
mi-
thirds:
major
3 Minor
a
into
thirds:
7|
-1
G(t
Bb
At
Ct
E*
t
Ft|
=0-8-
1 Bf
All Ftt
\
Major and Minor thirds: B Cl|
J
6
V=
fJ
i
J Chords
3
such
as
^^^
Cl
^^PF^ji^sfe J
the
can
following
^N J
S
also
be
J'
^
^^ J
jj
"
;
obtained:
^s^=
$
i
j"u
r 'j
(Gevaert, Traite d'Instrumentation,
combinations
the
All
in
comprised four
notes,
fourth only
three
note
to
prepared
the
is
slide
mentioned
octave. of
the
produced his
fingers
When notes by
a
over
in
these are
paragraph
strings
sounded
single
the
this
the
complete series of strings
grouped so as to produce a chord with by two homophonic strings, whereas the
Once the pedals are
string.
strings,
are
each
employ
gently
p. 86.)
or
violently,
fixed,
order
in
to
the harpist
produce
has the
harmonic effect.
Presto.
(Rimsky-Korsakow, Sheherazade.)
8
(By kind permission
of A. Durand et FiU, Editeurs-Proprietaires.)
J.
W.
14267.
(Saint
:
-
Sae'nS,
Oratorio de Noel.)
131
THE HARP.
(By kind permission
(DcbuSSy, PelleaS et Melisatlde.)
Kditeur- Proprietaire.)
of E. Fromont,
Moderate.
(By
&
kind permission of Schott
C9,
Publishers
-
Proprietors.)
(
Wagner, G otterdtimmerung?)
8
(Liszt,
Dante -Symphonic.)
(Hasselmans.)
Sometimes, of
indicating
needless
to
for
the
a particularly complicated figure, a prudent composer takes the precaution When this has once been done, it becomes tuning of the Harp himself. the
write
before
each
of Heugel et
c!?,
accidentals
note:
Accrochez:
(By kind permission
7.
easily
nately
The play
harpist,
iterated
plucked,
having
two
notes,
without
the
strings
even
ear
in
in
the
at
his
Editeurs
least
1.
for
tempo, detecting
W. 14267.
(MaSSenet, Esclarmonde?)
ProprieUires.)
disposal
quickest
the
-
each
each the
of
degree the
ingenious
of
the
strings
scale,
being
subterfuge.
can
alter-
132
THE HARP.
Vivo.
(Saint-Saens, Ascanio.) (By kind permission
of
A.Dunnd
et
Pils,
Editeurs
-
Proprietaires.)
(J=116)
Vivace.
(Oberthiir.)
be impossible to perform the preceding passages Erard's invention, possess the means of tuning the to our fancy, making all imaginable kinds of harmonic
to
cording
two
have
always
ly
(6
would
It
thanks
our
at
strings
disposal
for
each
and 7)
if
we
did
not,
instantaneously accombinations, as we near-
Harp
note.
Harmonics. 8
never
Harpists
division
damental
We
the
of of
have
metry's
into
other
two
harmonic
equal
than
parts,
second, which
the
and
is
consequently
open string. already seen (4) Verdi
writes
this
it
cannot
be
sake;
that
the
catgut
arpeggio,
descending heard:
alone
strings
the
low
Harmonics
can
be produced
within
the
following
Register in which harmonics can be produced.
It
ity
is
to is
the by above the fun-
produced
octave
produce
satisfactory
added
is
only
harmonfor
sym-
(Falstaff.)
limits:
;
sounding:
>
o
not
is
E +
o 9.
an
the
When
ics.
string
use any
1
to go still In higher, but at the expense of quality. reality, it is better so high, as the tone becomes thinner and the thinner; register of good quallimited to two octaves from Gamut G upwards:
possible
rise
3
o
~nr sounding: ;
Register of best quality.
;
J.
W. 14267.
133
THE HARP.
Double -action Harps allow of sounding 2,3, sometimes even 4 simultaneous harmonwith the left hand, on condition the intervals are small, and require no extension of the
10. ics
The
fingers.
right
never play more
hand can
than one
harmonic
a
at
time.
I
i
=
^ES
(The low C +
(Reinecke.)
(Humperdinck.)
i^f? -QO
pp
^E 8
(Parish Alvars.)
(R.Martenot.) Of poetic
like
dew-drops sounds
recall
They ed
harmonics
course,
and
silence
in
over
by
the
the
time
of
indication:
always
lusion
of
a
the
wish
moonlight.
a
dream;
they
can
heard when
be
only
all
is
hush-
written
an octave
below the
actual
sound, with
a
zero
^ sounding:
note
was sometimes
Hence
frequent
written
mistakes
at
true
its
were possible;
pitch,
two
bars
to
be sounded
as written, or an
So composers have done well to give up this mode
vibrations
accompanied
e. g.
Harmonics....
these
harmonics, the
brief
they are mysterious and
forte passages:
o
"
harmonic.
There remains a doubt.
etouffe sounds: the
in
notes:
Berlioz,
Does the composer
Besides
of
sleep.
/I
11.
the
through
Written:
In
in
glistening
written
the
made use
be
echoing
harmonics are
Nowadays, placed
cannot
is not
played as a harmonic.)
Harp has yet another color of
the
are
string
pizzicato, very analogous
to
of
tone
at
stopped as soon as that
of
the
Violas
its
octave
higher?
of writing.
disposal,
produced,
viz.
giving the il-
or Violins.
Andantino.
Harp.
Violins.
(By kind permission
of Heugel et C^S, Editurs-Proprie'tires.)
J.
W. 14267.
(Widor, Choral ct Variations.}
134
THE HARP.
the
of
whole of
the
In
Harp
resembles
closely
arpeggio which like a violinist
rich If,
extremity,
The
the
of
an
in
than the ail
a
cathedral,
empty
As
to
its
those natural sorts
in
the
between
as
a
it
harpist
plucks the strings at their
may
full
lower
mistaken
be
easily
for
is
fact
further
hands,
but
consonant
it
it
to
travel
not is
is
of
Organ
diatonically.
strings
are
closer to each other
octave that
the the
use
first
the
of
inadvisable
only
the
an
like
harmony
the
prevent
not
dam-
and disappear. Muconfuall kind of
and
than
rather
does
that
as
that,
that
time
without
Pianoforte
magnificent
enough to prevent instrument must be treated
tenth
the
Harp.
slow
in
first
of
allowed
be
the
possible
which
hand,
the
contrast to the
an
produced
kind
tempo
in
observe
observe
intervals;
tone
the
short,
as
far
Pianoforte, of
span
of
distance
intervals
the
of
be
technique,
special
absolute
sound
the
finger,
forming
of writing for the
incoherence;
as
single
Guitar.
must
Harp
harmonic
all
sion,
the
for
the
sound-waves must
say, the
to
is
written
sic
Strings,
a
with
phrase.
corsidered
be
Harp should
that
pers:
the
of
staccato
played
sounding-board,
Mode 12.
is
sul ponticello,
playing
timbre
metallic
the
that
the
concludes
the
to
close
passage, which
this
to
importance
corresponds to octave and of
leave
too
great
balance
to
the
skilfully.
of
Example
sonorous
very
writing
slow
in
tempo.-
Andante.
fy
Note
also
the
bass
that parts,
comes heavy, octaves
the
rate
of
movement
is
accelerated,
it
becomes necessary
giving octaves only to the left hand;
thick, and
the
of
if
incomprehensible,
like
the
buzzing
of
otherwise
chords played
the in
to
simpli-
music the
be-
lowest
Pianoforte:
Quasi Allegretto.
Note
the accented beat, Meyerbeer assigns to the bass nothing but or single Few composers have notes, because he needs clearness and rhythm. the the instrument as well as he. the following are quite Oversights such as
that
octaves treated exception
in
immediately
his
after
works:
J.W. 14267.
135
THE HARP. Here
seems
he
unable
being
other
this
to
to
play
which
figure,
have
I
four,
quite useless to since they never
often
heard
that
forget
more than
is
it
write
of
five
of
the
account
of
its
on
criticized
chords
make use
notes,
little
harpists
finger.
weak and
Take
confused
character:
Harp.
Basses.
'it
not
built
being
low
upon
its
say
down','
true
besides
virtuosi, "and a
bass;
arpeggio
simple
has the
it
would
be
serious
defect
more
infinitely
of
sonorous'.
most
The
why
too
written
is
we
powerful effects are produced by the simplest means. True. But is that a reason should always follow the beaten track, and confine ourselves to one and the same
arpeggio?
Shakes. The
13:
a
shake
performed
violinist
tipsy
With
the to
attempt
might hands, and
two
with
piano,
it
aid
the
on
hand
single
pizzicato
play is,
a
of
the
on
is
nearly
first
as
string
bad of
as the
the
one
Violin,
excellent:
contrary,
accelerando.
It
main
at
14.
to
better
is
the
fingers
all
All
airy
keep to this piano, and and delicate.
all
scales,
it
the of
keyboard is
keys
always of
repetitions
Cl>,
of
keys unless a
the
D!>,
rather
same chord
always
play
great
than in
can
minor,
to
be
great
spaces
between
the
of
of
the
shake
is
to
re-
with equal ease; thanks same, just as if the
double
flats
Bq, F|, C#.
same hand:
Much hands:
(Poor and thin quality.)
J.
if
upon.
Not good. Avoid
executed
remains the
number
those the
a forte,
attempt
fingering
white
better, Gl>,
the
key,
not
or
arpeggios, major
whatever
pedals, had a
However, choose the Avoid
to
W. 14267.
better.
are
involved,
to
1
136
THE HARP.
Let ing
by
the
a
string
other
the
between
distance
has just
which
hands
the
been
hand.
Give
the
be finer
than
the
be neither
plucked
by
sound-waves
one
too
time
to
nor
great
hand
too
immediately let
travel;
small,
set
the
in
and avoid havmotion
again
vibrations die out of
themselves.
What each
can
bar,
and
filling
the
bass- notes
following
orchestra
with
their
of
the
Harp, marking
the beginning of
deep tones?
long
Lento.
m
Flutes. Clarinets.
Harp.
Violas.
Violoncellos.
Double-basses.
(Massenet, (By kind permission
This called
deep register rather
hollow,
of
the
instrument
is
admirable;
when considered by themselves
Za
Navarraise.)
of Heugel et Cl5, Editeurs- Proprictaires
even
the
(3),
are
lowest
notes,
admirable
in
which
we
.)
had
octaves:
=55
Here follow some figures
15.
practised
b^
harpists, sonorous
because they are easy:
Animato.
.
seen
.
(By hind permission
.do of Heugel et
Editcurs-Proprietaires.)
J.
W. 14267.
(Th. Dubois, Fantaisie,
Harpe
et
OrcAestre.)
137
THE HARP.
Rapide.
(By kind permission
of A.Ledur, Editeur-I'mprieUire.)
(HaSSelmanS, Ballade)
Allegro.
(By kind permission
o{
A.Durand
et Fils,
Editcurs-Proprie'uires.)
(HaSSelmanS, Gitatia.) 8'
3 Tres mte
p
J^L^J
(By kind permission
of
J.
Geo. Morley, Publisher- Proprietor.)
.1.
W. 14267.
(HaSSelmanS, Cottte de Noel!)
138
THE HARP. ljl>
Andante.
..
f~f
-
139
THE ORGAN.
Speaking of the Organ used in combination with the Orchestra, Berlioz in his Treatise The Organ and the says: "a secret antipathy seems to exist between these two powers. Orchestra the
are
both
same;
or rather, one
kings,
are
interests
their
too
is
other Pope;
the
Emperor,
and
vast
diverse
too
allow
to
mission
their
of
is
not
amalgamation'.'
I.
Whom have
I
consult
Berlioz
did
been
never
vaille'- Coll,
able
to
On what
subject?
ascertain,
went
sometimes
I
on this
although,
so far as
to
him
charge
the
to jog
with
he
did
organist
order
in
stumble?
unluckily
memory
indifference
Ca-
Aristide
of
to
Master's
the
fame.
And
to
give
and
stops
true
is
it
Although
that
Reed-stops,
Mixture -stops
and
from
ing
suffice
Guido
three
of
an
the
sanctioned
d'Arezzo,
found
qualified
that
fact
the
the
true,
with
one
any
Foundation-stops dat-
Organ,
genuine
whose traditions
Bach, and
by
than
Foundation-stops, Mixture-
the
old,
than Cavaille'-Coll,
better
kinds:
indisputable
constitute
to
been
have
we
should
successors.
failed
understand the
to
function
these
of
Mixture-stops
was
it
the
fault
of
informant.
his
"Organ
-
builders
however
sonance;
would
'it
and organists" he writes, "agree in praising the effect of this manifold reit decidedly causes several different keys to be heard simultaneously.
be insufferable',
are never heard, how a good
When
effect
Berlioz
can
they
be
produced
these
lines,
fundamental
the
cession, or simultaneously,
appreciate beginning
If,
after
another,
the
with
value
the
of
first
acute
upper notes
drowning
them
ear
what
the
on
by
and
the
importance not yet been
This
sounds
most
tone
had
Enregistreur Harmonique.
two
the
'if
say,
fundamental
the
wrote the
of
composition
to
are
have
Berlioz
who would
nevertheless
is
it
could
authority
organ-stops
alone
of
our
to
Berlioz
If
time
the
down
hand
reliable
frequent intercourse, and him correct information?
had
he
else
more
indeed, what
whom
instrument,
32 upper beyond
function
of
consisting
320
of
an
8
they
remains to be explained
of
by
the
tones
partial
Cavaille'-Coll
32
pipes, can
ft.
our
A,
in
with
sound,
in
the his
suc-
ear not being able
harmonic.
pipes of the instrument are increases proportionally, until
notes, the
the volume of this synthetic A
out, but
singled
heard!'
not
is
be
then
It
.
demonstrated
partials
the
could
1
made it
to speak one becomes 32 times
deepest -toned pipe itself. If the 32 pipes are allowed to fundamental tone is heard, of incomparable power and absolute
as powerful as the A sounded by the
speak truth
We
simultaneously, a single of
intonation.
for resonance, no divergency of key, no doubt or uncertainty the ear. On the contrary, we get a sound so crystalline and clear, so full and powerful that of means the great masters of the 18*1? century made it their Organo Pleno, the richest
are
expression
troubled
of
Besides, this
the
no manifold
by
polyphony. is
phenomenon
merely the repetition of what that
we might ask
Voltaire's
takes place
in
nature for any sound
mechanician to explain:
L'Univers m'embarrasse et je ne puis songer Que cette horloge existe et n'att point d'horloger. J.
W. 14267.
whatsoever, of
140
THE ORGAN.
Just
as a in
ceding
separated so a sound
pebble
to
from one
another
pond
ever
by
until
distances,
diminishing
sounds, which
other
produces circular waves, which, while remathematical law from their common centre, are
inevitably
ascertained
a well
obedience
originates
a
into
falling
they
ear does not hear,
the
seem
finally
which
but
to
blend,
nevertheless
produce a good
effect. These secondary tones that are generated by the fundamental tone, these circular waves around the spot where the pebble disappeared, these harmonics which the orchestra has not the Organ either one at a time, or in groups, yet succeeded in reproducing, are employed by at
grading
his
this
most
recent
with
Xylophone
calm
infinite
backbone
becomes more or
other
be
to
made an
has
Saint -Sae'ns
less
completely
ingenious application of
altered,
more
af-
the
or-
having
Erard.
the
Foundation- stops,
corresponding
to the
Strings
in
Organ music; it is these stops that produce the feeling Quick rates of movement and powerful effects are to be ob-
Mixture- stops.
these two groups, without
of
the
or
of
and sweetness.
from the
tained
with
one
the
seems
Pianoforte
than
as
changes.
Concerto,
the
of
according
instrument
Pianoforte
are the
that
chestra, of
the
them;
the
the whole mass of 8 foot
is
It
of
of
The quality
theory.
finity
one
any
timbre
intense, In
will
the
Bach's
Reed-stops
any
as
Organo Plena,
I
manual.
on the
If
have already said, is composed Bach and his contemporaries
movement
and the registering, at the beginning of their compositions, it is because, only making use of two rates of movement always the same, Andante and Allegro (when perchance they want an Adagio they mark it), and nobody, consequently, neglect
rates
the
indicating
of
to mistake the tempo of the piece, nobody should make a mistake as to the orchestration, the Foundation -stops being always reserved for pieces of a serious character, the Mixture -stops for pieces in quick tempo.
being
able
suitable
"a medley and tangle of sounds, of disorder, of hideous pasquinades of is because the wretched an or a dance of demons" it orgy savages depicting who set him on the wrong track must have been in the habit of serving up Bach's
Berlioz
If
fit
of
speaks
for
only
organist
music for
Berlioz's to
comparable
that
with
a
spicy
quartet
with
consumption a
of
String
This anonymous organist seems most profound work of Bach, which
instrument:
books
three
his
to
have
is,
at
totally
same
Bombardes and Trumpets, an ignorant
time, the
his
effect
doubled by Trumpets and Trombones.
parts
He gave
Chorals.
of
all
been
the
of
dressing
illustrious
of
most
one
visitor
the
most
insight
and
intense
characteristic
of
the
mech-
into the
only as a kind of road surveyor, as a manufacturer of velocity exercises at the rate of so notes second. Of per many course, the illustrious visitor could not discover what his guide failed to show him.
anical
of the
side
question
Bach appeared
only:
Berlioz
to
Here a curious
remark may be made. If, in the history of art, there are two techniques opposed to each other, certainly they are those of Bach and Berlioz. two antipodic minds, these two inhabitants of planets far distant from each oare ther, these two travellers setting out in opposite directions, have the same tendencies, attracted towards the same horizon, are the same ideal. are both pursuing landscape They diametrically Yet these
painters;
both
are
is
above
musicians, When there the
text
of
imagination. at a spring
green It
proof.
is
is
by the picturesque; what appeals to them, although a pictorial impression a picture. break in the series of Little Chorals for each Sunday, it
fascinated
a
one of
When
these the
festival,
background, needless to
they
are
all
chorals
did of
composer
point
out
sings
the
to
the
is
because
musician's
suggest anything picturesque celebrated Aria destined to be sung out of doors this air in one of his Church cantatas, as he needs a
the
wishes to insert
as his music
not
of
May,
he
same tendency # * * J.
W. 14267.
instinctively in
Berlioz;
chooses all
his
Whitsuntide.
works
afford
ample
THE ORGAN. II. reed-stops were rare in the Organ. One or two only were to be found on and In they were exclusively destined to play the Solo theme of the Choral. manuals, In the were not introduced into Arnstadt the first to which general they polyphony. Organ, Bach was appointed, out of 24 stops there was only one Trumpet. At Weimar the proportion Bach's time,
In
the
was the same. At the church of Leipzig University there were three manuals, 38 stops, and one poor Chalumeau! At the church of St Thomas in Leipzig there were 31 stops, one Cremona, and one Trumpet. On the other hand, several reed-stops were always grouped on the pedal; usually a 16 ft. Trombone, an 8 ft. Trumpet, and often a 4 ft. Clarion, forming an excellent bass to the mass of the foundation -stops and mixture- stops on the manuals. For
the
France, England, and America have gradually been inthe expense of the mixture -stops, whose number they reed-stops 30 or 40 stops have only one or two mixturereduced. with Many Organs
century, organ -builders
last
number
the
creasing have proportionally
in
at
of
stops, as
quality
no
is
it
heavy;
longer
parts, as the
ious
Hence results a modification in the reed-stops. The tone of the whole mass of stops becomes
compared with seven, eight or ten and character of the instrument.
background. are in the Berlioz
The
possible, as
with
white
lace
of
designs strata of
and
medley
air
set
of
tangle
in
the
old
can
be
seem
motion
the
in
sounds,
Organs, to follow the progression of the vartraced when thrown into relief by a dark be
to
savage
and viscous, and here we fiendish disorder of which
thick
and
speaks.
we must add that this modern Organ meets a new requirement: the necessity adapting the masses of sound to the size of our cathedrals or concert- rooms. Formerly, music was performed in churches of relatively small dimensions; the instruments were not very powerful, and the choir was composed of very few singers. Palestrina's choir consisted of 32 voices, Bach's of 16 only. Even when, by way of exception, an Organ with 100 stops was built, no one ever dreamt of using more than 30 (say) of these stops simfor it was impossible, on account of the material weight of the mechanism,to couultaneously, A hundred stops meant 100 varieties of timple together more than two manuals at once. but nowise the whole mass of such a of stops. number bre, So that our Full Organ has had to submit to playing a more decorative than polyphonic part. Nowadays, some care has to be taken with the enormous volume of sound produced However,
of
and time allowed for the sound to travel to and fro by coupling together all the keyboards, under the roofs of our cathedrals. The composer no longer has the same liberty left him; his style can no longer be so close. Everything has to be punctuated, measured, minutely four
search
masses
These
dosed. in
in
the
parts breathable
of
16
of
ft.,
8
ft.,
medium, where air,
in
order
and 4
ft.
are
they avoid
reed-stops
stifled.
It
suffocation
to
is
and
cannot
be
possibly
indispensable
absorption
by
to
for
written
rise
the
in higher formidable bass-
stops. It
is
needless to try to
ther too
nearly
akin
to
conceal
that
of
the
fact
Brass
that
Bands.
the
ideal
Forgetful
of
of
this
the
modern Full traditions
of
Organ
is
ra-
the past, abandon-
sunny land of Counterpoint, it remains cooped up within the narrow limits of struck and harmonies according to a few set formulae. chords, a reaction has set in: of late, works have been specially written with a view to proLuckily, ing
the
back to decadence, and French organ -builders are now coming which the their native had in with held esmixture-stops Germans, good sense, always teem. unwise Besides, did not the genius of Aristide Cavaille-Coll alway turn a deaf ear to inconsiderate and advice, criticism, momentary impulses? testing
against
this
artistic
those
In
the
Organs
of
St Sulpice,
Notre-Dame (Paris), St Ouen (Rouen), were
not great
masses
reed-stops always balanced by equally large masses of mixture- stops? One of Cavaille-Coll's chief claims to celebrity is based upon his having given us these means of unveiling, of contemin all its and in its true light, the colossal work of the master of Eisenach, of plating brilliancy,
of
hearing Bach as he wished to be heard. Cavaille-Coll's instruments, with their admirable tones and their incomparable mechanism, have attracted and passionately interested a number of composers,
who have found in them a genuine orchestra, ready to welcome a new ideal.
varied, supple,
*** J.
W. 14267.
and powerful, respectful of tradition,
yet
142
THE OKGAN.
III. The
and
tition,
held in
it
surpass
50
last
The
of
all
but
this
has always been religiously respected by the great within application has been greatly improved
principle
that
true
its
years. of
invention
keyboards The sound
Pianoforte.
if
nevertheless
is
it
ingenious
number
own against
principle,
organ -builders, the
its
of the 18*!) century Organs has, so far, defied compemodern systems, whether pneumatic or electric. Nothing can
mechanism
the simple
of
solidity
is
nor surprise; his hand which becomes his
the
affecting
the
instantaneous;
is
direct
in
contact
virtuoso encounters neither resistance
of the
will
material, which he moulds at
sonorous
with the
will,
servant.
obedient
and
English watchmaker, now allows of coupling together any touch, which remains as light as that of an Erard
an
Barker,
without
Certainly not. pneumatic or electric systems? the organist and the sound; he strikes a They are like insulating bodies coming between another of an unconscious wooden mechanism, which seems to transmit to piece keyboard,
much
as
Could
more distant what
at
not
said
be
moment
precise
motions
the
after
with a soul:
communication
in
mechanism
of
piece
the
for
of only
before
circulate
owing to the great the pipes, so much wind
I
lately
is
has tubing through which it consumed that the Full Organ freof
length is
not
following
moderate
in
quavers legato the
virtuoso
seem very full, not to speak of the slowness of speech of the reed-stops. observed an Oboe so slow of speech that it did not admit of playing a scale in
does
quently
reaching
The
depression of a key a pipe will speak. he has to deal with an automaton.
Nor are these the only defects: to
He can never be sure
approximate precision.
consented
key I
idea
of
adapting
nor quick response was a slow and progressive
suppleness to execute
was necessary, before releasing one
It
to
respond
dumbfounded
stood
Recently too, had conceived the
tempo! to
the
before
the to
action
wonderful
the
pneumatic be
from
or
to
this
the
stop
key, to
wait
till
finger.
invention
to the
action
expected
crescendo,
the
of
of
Swiss
a
Swell.
who
Of
course, neither
It
was impossible
contrivance.
sound
inventor,
when
it
had reached
a
The barbarous bit of mechanism could only shut or open with a degree of strength. sudden jerk, like a shutter banging in a thunderstorm, and this was not the worst of it: the said mechanism was never up to time the automaton was lazy. When he was needed, he
certain
put
in
an
two
appearance
Barbarous seems brought
With iterated
before
bars
too mild
assizes, and
the
The wind began to blow when the storm was over. such inventors should be term under the circumstances;
late.
a
finish
their
days
in
prison.
the
pneumatic system just attempt playing rapid notes, and you will soon form an opinion as to
successions of chords, its
shakes,
or
qualities.
Perhaps the electric action is a trifle superior. Perhaps iterated notes and shakes come out better, but would not vouch for it; electricity being impulsive, "uncanny" and changeI
able
by
nature,
we must
However, what cannot treat
I
tice
of
side
the
It
am of
some modern
may
liberty,
I
be
sure
prepared of,
is
that
for
surprises
nothing
equals
special question without builders, who substitute for
this
if
we trust to its tender mercies. well-made mechanical action.
a
the pracenergetically protesting against the combination-pedals stops placed be-
ordinary stops, and consequently requiring to be drawn out by hand. be laid down as a general principle that an organist always has whilst both hands are always occupied.
J.
W. 14267.
one foot at
148
THE ORGAN. When
for the
writing
moment
the
Organ,
composer so contrives
music that the foot may be able
his
depress the combination -pedal which acts upon a whole category of stops prepared beforehand, thus changing the orchestration of the piece without interrupting the train of musical thought. at
the
right
The system and
reason
feeling,
required,
is
one
obliged
to
afterwards
returning
foot quit
saw an organist accompanying
once
his
passages he
meant
ing
out
touched
barely
fingers
smash them.
to
an Open
Diapason,
When,
the
up against
of
vigorous singing mortified, he said: "So
somewhat
must the
stops
of
great
masters.
Organ
as
to
the I
the
against
with
singers
a
support the poor weak choir, he looked at me not
he
abuse
of
which
rollers
them
in
the
I
what
to
had
and is
pianissimo
of
if
bearing
astonishment,
finger
of
and
ends?"
mechanically
performance
keys as
the liberty of draw-
incapable
great
my
In
struck the
took
Flute, in in
strength enough
those
against
Solo
observe
flute -stop.
single
in
have
a
of
all
own playing.
forte passages ivory; towards the end of the piece,
so much
not
also protest
their
the
order
in
to
listen
to
order
in
keyboard, keyboard as if nothing
the
to
while, contrary
idle,
the
a
happening, whereas organists never
We
hands
conductor say if he saw his 1! Horn stop in the middle instrument upside down, in order to drain it out? True, conductors
his
I
keeps
barbarians
of
variety
one of the
combination -stop
happened. What would turn
other
this
artistic
the
seize
of
to
open
all
the
the works of the
Now and
of a futhen, unfortunately, there may be heard, introduced into the development the mechanical without enter to the rules of at all tone-colors which contrivance, according gue, They burst forth one after the other, running the coinciding with the outlines of the piece.
risk
of
where
in
the
composer's idea, a Piccolo suddenly making its appearance in someCornet towards the end of the Answer, a Trumpet
heads with the
bumping
the middle of the Subject,
a
Stretto.
And here we are come back again to the time of the wretched man with the diseased brain who gave Berlioz such unreliable information, and played him Bach's music tricked out with Bombardes and Clarions. In what cracked brain could the idea crop up quartet? and bangles, till in the end little by little bedizening a fugue with instrumental spangles would seem to be masquerading about in the guise of a Symphonic Piece, accompanied by
Is
of it
a
not
a fugue
and
Fife
in
reality
a
simple
Drum Band?
IV. the time of Berlioz, the Swell was known, but was still very imperfect. What is its origin? would be hard to say. England claims the invention of the Swell, attributing it to Jordan (1712), and we know that Handel was able to admire one of the first specimens of the new invention in London; we know also that about 1780 the Abbe Vogler recommended its use In
It
to
German organ-
ification tion. of
of
intensity
but
this
very
ingenious
means
of
creating
the
impression of a mod-
was still a mere curiosity without practical an organ -pipe applicadenies the possibility of changing suddenly from piano to forte, or contrasts, of swelling and diminishing the volume of sound at will, and in
So that Berlioz
creating
sudden
consequently of tones of the
almost
builders,
all
blending
former
occasions"
the being
Organ
and
the
incompatible
he says,"when
this
Orchestra
with
singular J.
into
the nervous
one
combination
W. 14267.
harmonious whole,
sensitiveness
of
the
cold
the latter.
"On
has been attempted, either the
THE ORGAN. the Orchestra, or else the Orchestra, having been raised to unOrgan very much "overcrows" due preeminence, well-nigh drowns its adversary" It is How times have changed! Nowadays, no concert- room is built without its Organ. now possible to graduate the sound mass, to pass suddenly from an imposing fortissimo to an almost imperceptible pianissimo, and, when accompanying a singer, to follow all the of vocal expression. lights and shades that this "expression" of the modern Organ can only be subjective; whereaware am fully the Pianoforte and the human as the Strings and the Wind instruments of the orchestra, the and of their account on are spontaneity, Organ, impulsiveness I
its
in
wrapped can
only it alone among the instruments like a philosopher; primitive majesty, speaks the idea of Religion out of the furnish the same volume of sound, and generate
captivating
voice,
ever
for
the least
cise
expression of the Organ is neither spontaneous nor impulsive; deliberate nature, neuropathic about the Organ. Of a thoughtful and
No, the
conception of Infinity!' there is nothing that
is
Organ rises architecturally from piano inflexion would constitute a defect in as those of an
engineer's
straightest diagonal. The be as straight and pre-
to
forte, following
the
its
outlines, which
should
plan.
The Philistine who "sentimentalizes" on the Organ forthwith turns the instrument of MajesHis outlines are like the wild zigzags of a weatherinto a big accordion. ty and Dignity brush carelessly passed along a dusty wall. a featherchart, or the marks left by enable us, with almost too ready facilitate emis It precisely because our present means we must avoid all disrespect towards the majesty of body any and every musical idea, that the tic
and
Organ, feeling.
convert
that
Otherwise
overtures, marches, suites, Modern builders enclose a whole
challenge
Thanks
by of
with to
their
Swells
opening sound. Then,
arrangements of
symphonic
Swell-boxes, and so obtain, first by adding stop one after the other, the magnificent crescendo
immediately after this exhibition of colossal strength, they Bourdon the pianissimo of any orchestral instrument. we can obtain, at will, sudden contrasts, instantaneous changes, cre-
skill,
ft.
scendos and diminuendosof
in
Organ
the
simple 8
a
heavy, clumsy
etc.
pieces,
upon stop, and then of the whole mass
those
witness
a pseudo- orchestra,
into
it
we must employ this "expression" with conscientious reserve and artiswe shall ignore the essential characteristics of the instrument, and
is
nothing
than
easier
to
compete
with
the orchestra
in
point
suppleness, and to keep the Organ constantly well balanced with regard to the orchestra. So, here we are far from the supposed antipathy between "Emperor and Pope" of which
Berlioz
speaks.
us to doubt this
case
No such thing exists nowadays, and a minute examination
whether
too?
ever
it
existed.
really
Does not the whole
mass
not
Berlioz's
Bach's
vocal
Is
of
ignorant
work point
of the case
guide to the
to
leads
blame
in
con-
opposite not entirely based upon the suitable combination of the Organ with the Orchestra? And was not this combination satisfactory even at a time when the Organ was not expressive? that Listen to the "arrangements" of Bach's Cantatas for concert - rooms have no Organ, and compare the effect produced with Bach's original version. And what a-
clusion?
Is
it
bout
Handel
and
If
Berlioz
were
were so unfairly union of the two manifest furnish
his
Concertos?
still
alive
instilled
former
into
would
he his
rivals,
forswear
his
views
of yore, or
rather the views
that
Admirable new effects may yet be drawn from the Emperor and the Pope," who, converted into fast allies,
mind.
"the
ever growing mutual sympathy. A conclusive evidence on this point.
number
*
J.
W.
14267.
of
recent
compositions
I
could
quote
145
THE ORGAN.
What was the Organ like in former times? When did the manuals become more numerWhen was the pedal invented? No one can say for certain. Two or three broad facts are known: Some 200 years before the Christian era, attempts were being made to improve ous?
the
bellows;
was
to
the
a fair
nish
idea with
artist
ful
The
ody."
with
ing
not
is
of
its
swift
made
which, being
a
us
gives
to
the time of the
in
Romans,
Vitruvius
was then obtained by
pressure
construction.
fingers
vibrate
directs
of
water, and
pretty
the
Hydraulic
much what the Pianoforte clear
instrument, sufficiently Vitruvius, the Emperor
And after
means
by
by
softly
Caesars,
the
of
description
means
the
of
action
his of
touch the
the
keys,
valves
breathe
Organ is
and complete
to us.
to
fur-
Julian says: "a skil-
adapted to the pipes, forth a sweet mel-
mosaics, and terra-cottas of those times show the organist standan attitude which proves that the pedal was projecting above the pipes
bas-reliefs,
head
his
known.
yet
The
Circus
not
very
The
Organ emigrated
instruments
must
have
been pretty
large;
had
they
several
keyboards?
It
likely.
with
the
Byzantium, whence a few centuries later, it The Christians, having had West, in the reign of Pepin or Charlemagne. time to forget the instrument whose tones had accompanied the martyrdom of their ancestors, took it for a new instrument, and forthwith adopted it in their places of worship. Is it not likely that Guido d'Arezzo's early polyphonic attempts, his harmonizations in
came back
and
fourths
to
Emperors
the
fifths, first
suggested
the
idea
choir-parts without making any pretence the harmonics of the fundamental tone?
We case al.
to
of
mixture -stops, which simply reproduced the obeying the laws of sound, or of reinforcing
of
In hardly know anything of the history of the Organ during the Middle Ages. any cannot have been of much use, music being at that time almost exclusively choronly begins to attract attention again with Frescobaldi and Scarlatti, under the fin-
it It
gers of
the great
masters, the fore-runners of the great German organists. sanctioned Organ by Bach, who determined its compass, consisted of two manuals and one pedal -board, the former extending from CC to F in alt Italian
The classical or three
(54
notes),
and
the
latter
likewise
notes).
Manual. *>
Pedal.
beginning
at
CC
and
rising
to
F above middle C (30
146
THE ORGAN.
On the manuals German, English, and American while retaining the pedal -board of 30 notes:
builders
8
4> Manual.
Pedal.
T
now go up
to
C in altissimo,
THE ORGAN.
VI. To form an idea of the amount of music modern Organs have given The mere list of composers inspired by the Organ would
rise to, consult
Paris, the
In
ing
a
Lemmens,
from
collect
to
his plans
the
Organs
in
the
very
been
far
Organ music was
of
formerly nil, when, the stone rolling.
fill
all
set
builder
skilful
Belgian organist, was coming back Hesse the traditions of Bach in
for
one came thus
production
virtuoso and a
of a great
from all
Breslau, where he had gone piously Cavaille-Coll was preparing purity, Notre-Dame, etc.... The advice of the
their
of St^ Clotilde, St Sulpice, nick of time to guide the tottering footsteps of alone in the dark. To these circumstances we
groping
publish-
a large volume. of a sudden, the meet-
ers' catalogues.
the other, who had owe our magnificent
instruments.
Thanks to them, a few years have given birth to more works than all the hoary past. And movement has not been confined to one centre only; it has spread from country to country,
this
influence
its
making
there
Is
well
everywhere. present time one single country that is not justifiably proud of a fine an excellent musician? Is there any fine instrument which has not spurr-
the
at
felt
Organ
pretty
played by the imagination of its organist? When, by the mere depression of a finger, the organist strain on poor ation, and that too without the slightest ed on
obtains
a note
human lungs
dur-
of unlimited
when he
feels that
the
so to speak, master of Time and Power then he appreciates the true character of instrument he plays, comprehends the language it behoves it to speak, and realizes
the
style
]ie
is,
And
that the
if
music
gan
befits
exactly essential
it.
good
them
possesses
certainly
of
qualities
in
are:
style
the highest
purity, clearness and precision, Ornot
degree,
to
mention
minor
other
excellencies.
The great
voice
of
heard
under
stone
strive
after
effects
the
roofs
obtained
maximum
of strength by have neither beginning
to
Organ should reflect the calm of the Absolute; it is made to be and is based on natural harmonies. While orchestral instruments by
means nor
more
or
the
of
This great voice requires to sing in time; Let us remark and admire in Bach's
ever
interrupt the continuo of rate of movement, the great
the
He never loses
and precipitation.
Organ attains virtuosity, the of C, by sustaining tones which
the
seem
end.
plan.
come and
diseased
less
common chord
his
it
needs rhythm, punctuation, and those cadences which here
works
the text,
in
order
to
definite
there
us a minute's repose. Whatimpression of anxious hurry
give
master thus avoids any self-possession,
a
and
never
troubles
the
serenity
of
his
audience.
And
this
fillings- up.
proper place,
When or of It
the
the
organist has before him the 4 or 5 key -boards of St Sulpice, of Sheffield, Moscow, he fully realizes that the Organ is no drawing-room toy or fancy instrument. of is a stupendous mass, a monument of granite, the most powerful means on earth its
what
presence
bow down or
like
Organ does not admit of the use of set formulae, commonEvery note is meant to carry, and should, consequently, be in its Stringed Quartet, which eschews superfluous ornament. of
the
expressing In
voice
great
places, and
in
is
great, unchangeable, eternal. us call to mind the monumental
let
reverence, and
imagine
that we are going
Roman Coliseum.
J.
W. 14267.
constructions to
move
to
of
the past;
song Egyptian
let
us
Pyramid
148
Chapter V. The
Strings,
THE 1.
needless
is
It
has not
minute
a
give
time
the
since
changed
maximum
Its
to
account
Fr.,
mechanism
the
of
Violon.) of
the instrument, which
Beethoven.
of
may be
compass
VIOLIN.
Ger., Violine.
(ital., Violino.
stated
as 3 octaves and a
fifth:
f But,
It
the
in
tained
A
f''
by a fairly
B\>
in altissimo
*, unless
rest
long
(at
if
B!>
Btj,
E
N. B.
ner and
C,
CjJ,
above if
tolerably
notes
con-
impossible to play above.
Bt>
without
to
of
up to by conjunct moderate quadruple time), led
run up to the top of the scale
preparation,
still
more
this
the
160).
Wag-
is
and
in altissimo, however, is excellent others do not hesitate to write
in altissimo
However,
2.
nearly
many
semitones
still
is
it
with
time
is
it
one bar
least
player's finger must be allowed sufficient find its very narrow resting-place.
And case
the
preparation
F
for the
and
without
employ
?
fr
attack
to
impossible
or preceded
degrees,
to
dangerous
third:
highest
almost
is
is
it
orchestra,
the
in
may be said
becoming
a number
sonorous;
of
Violins
hence
Here follows the table
be the
to
and
thinner
as a harmonic (V. List,
the
highest
occasional
seven
J.
P.
sonorous
on
note
the Violin;
the four
thinner.
move upwards by conjunct
their
of
when played it.
use
positions
W. 44267.
degrees,
by the great
of
the
these
classic
Violin:
4
notes
masters.
are
149
THE VIOLIN. 4th String. l?l
position.
2nd
position.
Std position.
4th position.
5th position.
6th position.
7th position.
*
HH
d
String.
2^
15* String.
String.
150
THE VIOLIN.
5.
Is
mirable liant If
the
it
to
necessary
41!)
string,
speak
rather subdued
the
of
qualities of tone on the Violin: of the adtimbre of the 3!^ and 2"d strings, of the bril-
different
of the
15*
string? a theme be given to the fourth string, loudest, the power of the tone being
ever, the limit
quality
and
full
in
proportion
of the
the
to
of
length
up to Treble
homogeneous
lower
C
octave
will
the string.
(7tJ!
position),
be
Howwhich
exceed.
unwise to
is
it
remain
will
sul G, the notes
Moderato.
am aware
I
Moderato.
that
-&,.
in
a
solo
notes can
higher
reached:
be
(^^T-
j>b
(Widor, Concerto?) but
in
for
writing
the orchestra
it
would
be very imprudent
to
go
beyond C.
Double Stops. 6.
It
is,
of
course, easy
to
play
all
double
stops that
include
an open
string.
LIST OF DOUBLE STOPS IN THE ORDER OF INCREASING DIFFICULTY.
EASY:
major and minor
all
sixths.-
from
EASY:
up
and diminished sevenths:,
major, minor,
all
to:
va.
so
'
from
up
to:
major and minor thirds:
EASY:
from
POSSIBLE-,
i
~-jL-
all
perfect and augmented fourths: -6 -6-1
from -Af-
POSSIBLE:
all
up
POSSIBLE.-
"
up
i
to:
octaves.-
-6 from
A
D
*
fez
\>3
this
to:
diminished and augmented fifths: from 3B
From
fa.
upwards they become
to:
\f<
more and more
difficult.
POSSIBLE: JflSKY:
major seconds. minor seconds which }
should
J.
only
be used
W. 14267.
with
great
care.
THE As
8.
in
for
consider
to
the
perfect
a chord, carefully avoid going
may be as
It
stretch It
is
well
the
for
possible
to
hand
in
hardly perfect orchestral work;
F C on the
beyond the
repeat
is
it
fifth,
as very dangerous
it
is
151
VIOLIN.
on stringed instruments. It is better if ever it becomes necessary to use it first
string:
remark already made at the end of
the minor
ninth:
4:
maximum
the
,
'-jE
impossible to reach the
9. We now give a list mon chords on which they MT Sechiari, Solo Violinist
of
major ninth. sevenths
resolve. of
(For
in
all
keys,
much assistance
Lamoureux
the
and
the various positions
of
matter
this
in
I
the com-
of
am
indebted
to
Concerts}.
Chords of the Dominant Seventh. The tions
crosses + that
are
Resolutions
show the
impossible not
specially
difficult in
the
or
minor
marked
are
unsonorous
chords;
the
C. fl
In 3 parts.
a
* show
the resolu-
mode. possible
in
either
mode.
DOMINANT SEVENTH CHORDS. In
asterisks
+
152
THE VIOLIN.
4
'
In 3 parts.
+
.H
Resolutions.
4
:
.1
.'
J
T>
*4
Pjt
f"NP
J,
.
:
possible in the
minor mode
only,
4 lit In
4 parts.
r*p
rra
,,
Resolutions. ""
'Tg-
I :
l
' i
'*
M*
f
possible in the
minor mode only. In
.
Cjj.
^g
In 3 parts,
4^
j^g
H--
+ Resolutions.
^
+
'
ti
^
-au
if 4
H*
^ "^ i
. ,
In 4 parts.
^E*
P
D "^
;j-ii1^
^
.
^
^ 8^" i
o
o^o
possible in the minor
oo mode
^
^
9
a-
n .
1^
a* s ^-^-r^P^
ffft
r
33F
ffTrt p
possible in the 1
minor mode In
only.
a
_,
&-^'fl-P-
Resolutions.
+
,o
1
only.
.
;
Da.
In 3 parts.
*
rtr
I
Off
zr
5 *M
OH
H #
Resolutions.
r :
i
I
Fj(
on the 4th
**f|.i r4
String-.:
J.
W. 14267.
i
THE VIOLIN.
m i=p32 ^
In 4 parts.
Resolutions.
.- 'J
__t**i /JK
<
vr4
,TTK
r
._,477Z;
M
153
ozr
^4
fei ^^^
^^^
t*1o
z
'o~
4t> In
E:..
In 3 parts.
J5 *
4 k>J
Resolutions. Oir
^: i,u
L
^^
T
r
+ H
-r
ifc
4^
154
THE VIOLIN. +
&* r
a
Resolutions.
^
2
*
3
*
*
i?
4
J
-i-
-j
i o
o 4,
j
4-
"YV
1
T-?
* -,
I
mode
possible in the minor
only.
4 In
F.
4
4P.fi
Pa
8 (
to
1
1>
o 4 !>a
8
I
1
In 3 parts.
J*iJb
*
*
+
t-
Resolutions.
+
+
4
4*
9* In
I
*fi
tl iJ I si
*
L+
I
+
I
90. Ipfi 4(>Zll
9
3
S*
+ -r
4-
8
f:
p-
OP
S7
!
.
ra
4 parts.
''
-p-
94
3
2-9-
1
2-
1
1
+++,^
*
Resolutions.
\
f
2
Z-9-
J
4 In
F|.
2
In 3 parts.
J
T J
l
t
3 a.
u
X
4 '
#=7 Resolutions.
ft.
* r
!
I
B ^
4
^f
Jt
i^ii^
4JJ*
J?
ui
p* J*
J: M^*
r
^
.
+
"Hf |f
minor mode
J
B
9-
+ ii
C
jJ
Resolutions
TiS
j
i4
ff
sj?"5 f'j3 .
!
J.
W.
14J467.
.
only.i
4 parts.
In
A
j
"possible in the
possible in the
minor mode only.
155
THE VIOLIN. In
6.
In 3 parts.
Resolutions.
rrzt
SP
n
"-S-~~:
*w
'I
*"
3
In 4 parts.
3
la
*
^
-
+
2
P
f
2
m
1
31 g
OS
T?>
t
:?
+ Resolutions.
FTT p
I
"E r
:r"
r
e v
:E r
F
*
*
156
THE VIOLIN. ,
I
J
i
,
jCTrjji?
Resolutions.
-*
1
*
J
i
.
i
14
;
.
o
_ *f-
.
_
f-
8
^
o
b^^-^rJ^^^Tiglgg^^ ^^ii ''*
i*
fci
_
+
-r
*
*"
s
J
i
..
'
+
o
o
4tts>
*
_.
In 4 parts. !o
'f
jo
+
'
0/
45* *
iJ--
+
ftp ft
*
4
^ + :
ti
p
2
o
tin
|O
+
Resolutions. ,
t
+
$
*
"
J !p
if-li-J-. "
r i
In
In
Bb.
_J
:
i.
I
i
..
I
I
, Resolutions.
*
*
*4 ^
^t b^ :
* +
::-;
J _
_ ~=^4 - fcrgrmrprf..
I
s'
J
b
9;
^
'
.
I
:
.
,1 T^W-.^
2| -ga bp/
_-
|;>jO
&^
te
4't?
i
\--b-u
*
,
*"'-
i
' J
In 4 parts.
* 4*
i
afr
ibi
-i-_i_
i
b.
b.
3
bi 3 bi
i
^
.^*.
* tl
,
"
*
;4i
-'J*.
!
_i_
jie.
4
+stl *fisi2 *a
e c
Resolutions. -
-f
T
-^
1
"
1
+
rt>irbwb'i- i?i
In
P?P5
1
ibr
5
|0
>
TO
|0
To
I
65.
In 3 parts, w
Resolutions.
.
:
J.
W.
14267.
""I*
o
possible in the minor
mode
olily
THE VIOLIN.
157
+ + ,+
,+ o
-
ate
o gg
In 4 parts
Resolutions.
possible in the
minor mode only.
Chords of the Diminished Seventh*
3
In 3 parts.
On the three lower strings.
-&
On
the three ^fc= higher strings.
C
MS
^
.^
N**1^
aU-f-^p^
^--^^^M^-i^f-^^-y^ 4
M
^^_t__^
In 4 parts.
r
ir
=^^P^ *
it
s
i
b-r
?
ir i
Chords of
tlie
Major and Minor Ninth. :
In 3 parts. the three
On
lower strings.
On
^
?
7
*
--JrU^^^=4^=r^ ^ ? ^ i^
if
")*
ff
the three
H^
:
higher strings.:
U In 4 parts.
r P
b^
3a
t?qidai
dij
*
w
*lt
ftt
it
1>>
Chords of the Augmented Fifth are easy
in
lour parts within
the following
limits.
Rising chromatically up
* All
the Chords of the Diminished Seventh
may
;
to:
be written enharmonieally.
i
i
;
:
158
THE VIOLIN.
Harmonics. 10.
3d,
as a fundamental
Taking 4tb,
and
5ti),
6t!)
note
the
tone
can be
upper partials
by each with the
of
the open strings, the 20?,
a
help of
single
finger
the
string. touching we take Fiddle 6 as a fundamental
lightly If
produced obtained
we get the
tone,
following
monics:
series
of
natural
har-
a
Jt
j
-f-r
f
r
r
TT 1
2"d partial
The i.
at
e.
the
point
obtained
is
where
the
the
touching
by
depressed
finger
mid -way
string
would
produce
between
the
the
same
and
nut
bridge,
note.
Written:
The 3 r.d partial either (1) at
i.e.
the
by
can be obtained the
touching
point
where
the
two different ways: distance from the nut
in
a
at
string
depressed
finger would
produce the
"Written:
or (2)
the
at
\
equivalent to
of
its
length,
fifth:
perfect
f \
touching the string at a distance from the nut equivalent to point where the depressed finger would produce the same note:
by
of its
length, i.e.
Sul G. Q Written: -fc
It \
~v~
The
4U!
either (1)
the
at
by touching
point
the
D
of the
can also be obtained
partial
at
string
where the depressed
a
in
two different ways: from the nut equivalent
would
string ,
2"d partial
string.
distance
finger
1
necessary to indicate the
is
for this 30? partial is also the
to
H
of its
length, i.e.
produce the perfect fourth:
A. Written:
f or (2) the
by
point
touching the string at a distance from the nut equivalent to where the depressed finger produce the same note:
%
of
to
%
its
length,
at
wqjild
o
Written:
The
5t!?
either (1)
the point
partial
can be obtained
touching the string where the depressed by
in
at a
^-
f
four different
distance from
finger would produce
ways: the nut
equivalent the major third:
of its
length,
at
Written:
or (2)
the
by touching
point
the
string
where the depressed
at
a distance
finger
would
J.
from
the
nut
equivalent
sound the major sixth:
W. 14267.
to
%
of
its
length, at
THE VIOLIN. Written:
f or (3)
the
the
touching
b_y
where the
point
string
at
depressed
a distance from the
would
finger
nut
the
produce
to
equivalent
%
of
its
length, at
%
of
its
length, at
tenth:
major
J
o
dL
or (4)
the
Written:
'<&.
touching the string at a distance from the nut equivalent to the depressed finger would produce the same note:
by
where
point
Written:
Remark:
The first two ways of obtaining the 5lb partial are the only ones used in the orthe others being rather risky; with the 3I!f way the harmonic is strangled and does not come out immediately; with the 4ti? way the tone is very pure, but it requires considerable chestra,
stretching to reach this larger dimensions.
position,
which would be
more
still
difficult
on the Viola, on account of
its
The
6
partial
can be obtained
either (1)
by
the point
where the depressed
touching
the
string
two
in
at
a
ways:
distance from
the nut
equivalent to \^
finger would produce the minor
length, at
of its
third:
j
XL"
or (2)
the
by
point
Written:
'/
touching the string at a distance from the nut where the depressed finger would produce the
to
equivalent
same
%
of
its
length, at
note:
Written:
this
the
It
indication
fourth
is
on the If
out stain
the
the
is
vague, for of
partial
therefore
D
this
6tb
(open string)
necessary
to
of
upper partial
indicate
jj^ O V
=
the fundamental
G
ft
I
is
also
T* .
whether the harmonic
is
to
be played
on the
6
or
string. first
way
of
or charm;
beauty from using
the
neighboring string,
producing it is employed, the harmonic comes out with difficulty, withthe second way involves a painful stretch, so it is advisable to ab6tb partial, the same note coming out better as the 4-tJ! partial of a
fifth
above.
J.
W. 14267.
160
THE VIOLIN.
List of Natural Harmonics practicable in the Orchestra. j
J
J
J
4th String.
ad
String.
nd
l?t
String.
String.
Harmonics.
Artificial This
11.
an
by
open
gers, the
Of
this
two
ial
artificial
can
nut,
tone
is
not
a
note
means
be
sounded two
finproduced by only the other finger lightly touching the string of
point.
class
harmonics
of
above
octaves
followed;
as an
fundamental
harmonics
artificial
serving
whose
sounds
to
given
These
string.
fore -finger
a given
at
name
the
is
the
i.
only
fundamental; finger touches the
little
fundamental,
the
the
e.
a quarter
of
the
one
the
string
at
the
explained on
system
way
in
employed the
distance
between the
bridge.
orchestra P.
158
of
a
depressed
is
the
4th
partial,
(fourth partial (1)) is fourth from the artific-
fore -finger
and
the
.
m
Written:
>*
These
artificial
harmonics
are
all
possible from
the
lowest
Ai>
up
to:
S""\"\
12 can ger,
Other be
i.
e.
harmonics are made use of by virtuosij e. g. the third partial, which - firby touching with the little finger the fifth above the depressed fore a third of the way between the fore-finger and the bridge.
artificial
obtained a point
Written
-^
!;
It is
possible to rise chromatically up to: J.
W. 14267.
THE VIOLIN. 13.
bove
161
The 5ti? partial can be produced by touching with the ring-finger the major third athe depressed fore-finger, i, e. a point a fifth of the way between the fore-finger and
the bridge:
J ~
Written:
but
this
not
is
A
Remark: may know
done, for the quality
often
tone
of
so
obtained
is
poor.
composer may write any note, putting a zero above it, so that the performer this note is to be produced as a harmonic, leaving him to choose the best means
careless
that
of execution. In this case, the composer must not forget till G in alt:
that the complete
chromatic scale at his
command
does not begin
From:
Below this G; he has at his disposal none but natural harmonies, which are limited to of the perfect major chord on each string (V. List P. 160.)
the
notes
Bowing. When
bow
drawn over the string from the heel to the point, the to be playing a doivn-bow, WTien from the point to the heel an up~bow, when indications are used needful: following 14.
the
is
violinist
said
When
down-bow^
a
varying
but
widely,
beat, and
accented
it
Down -bow u
Fr.
Tire.
Up -bow
Fr.
Pousse.
and when an be stated
may
up -bow for an
an
V
and
is
the
is to be used, it is not easy to decide, cases a general fashion that a down -bow is used for an unaccented beat or an unaccented part of a beat.
up-bow^ in
Varieties of Bowing. The
15:
Grand Detache
length, from
the
no slur being
heel
to
the
of its produced by using the bow throughout the whole and vice the bow never the and r>ersa, point, quitting string, is
over the notes.
written
/ A powerful tone If
the
effect
made use
of,
note
requires
with
the
is
but the
is
to
thus obtained. be
then
not there
repetition
of
only is
powerful,
but
even
violent,
the heel
the
same motion, and
it
becomes
uuu'uuuuuu,, fL
{
J.
W. 14267.
the
bow
alone
is
the bow, for each impossible to play as fast as
Grand Detache. Moderate.
of
some intermittence between each stroke
of
163
THE Detache Moyen
The and a
still
tempo
Detache, which
and for soft
The Martele as
with a
if
is
a third
by using
of
the
bow;
it is
be produced by this means. produced with the point of the bow,
intense tone
sufficiently
The Petit
obtained
is
VIOLIN. used
in
rapid
tempo,
can
is
used
in
rapid
very
effects.
is
extreme
the
with
played
the
of
tip
each note being attacked
bow,
drily,
hammer. Vivace.
r It
may be used piano, as
The Sautille
well
obtained
is
as forte.
suited to passages requiring movement, the better the effect.
great
especially of
notes suit
Iterated
it
but
capitally,
middle of the bow
the
by making
is
it
lightness
of
rebound after each note; it is execution, and the quicker the rate
devoid
absolutely
of
strength.
Presto.
Some composers quite
a
of the
bow, and
detaching
by
This is by the word Staccato. to the middle from the an upbow point
Sautille
the
indicate
Staccato being obtained
the
mistake,
improperly
very
each
by written:
note;
Allegro.
Frequently ficulty
of
ver used
used
in
the
solos, it
with
executing the orchestra.
Staccato
is
As
regularity.
rare
for
the
in
the
orchestra,
on account
of
Staccato with the down-bow,
the it
dif-
is
ne-
in
Slurs and Legates. 16:
Are
bow, the
all
ate quadruple time figure
The longer the stroke of the ppp require more than 4 bars in moderholding notes are to be played, or two bars in like tempo if a
possible, whatever
weaker the tone; if
the
even
number it
of
articulations.
well not to
is
has to be performed:
Allegro moderate.
17.
ber
Notes are said to be played
are played der the slur:
with
the
same bow
Loure This
is
when each one indicated
by
is
little
articulated, although
a
num-
dashes over each note
un-
cantabile passages,
and
Andantino.
This is
is a very good means of expression, very one of the favorite devices of modern art.
J.
W.
much used
U267.
in
163
THE VIOLIN.
The 18
way
will
It
suffice
to quote
which the Pizzicato
in
is
the
Pizzicato.
two following
used
than any
examples, which give a better notion of the
description
could:
Tempo of the Jota Aragonesa. Piccolos
.
Oboes. Clarinets.
ist
Violins.
Violins.
Violas.
Violoncellos.
Double-basses (Gevaert.)
pizz.
animando sino al fine.
Allegro.
arco.
pizz.
Violins.
Violas.
Violoncellos.
Double-basses. (By kind permission
It
than
impossible to change from Pizzicato that of the two preceding examples.
is
Remark.-
Arco
of Heugel et Cl2, Editeurs-Proprie'taires.)
to a
More time
is
required to take the
to
Arco, and
bow again
Pizzicato passage.
J.
W. 14267.
vice
(DelibeS, Sylvia.)
versa,
in
quicker
after a Pizzicato than to
pass
tempo
from
an
THE VIOLIN. The quality
19:
the
of
Pizzicato
is
uniform
fairly
from
Fiddle
G
to
E in alt:
f but
from
this
E upwards,
in
proportion
as the string becomes shorter, so the
becomes
tone
poorer.
However, here ly
forte
good
is
or
a
Pizzicato
rising
up to
C in altissimo^
of
which the effect
is
equal-
pianissimo: poco a poco
rit.
, Violins.
^
yy
m^
Violas.
poco a poco
_ a tempo
I
'^=z
'..^..7
yy
Violoncellos.
J
7_|
^
-7-
1
I I
m
V
Double-basses.
y/ rit.
a tempo
a tempo
^fe
m
rit.
^3:
^
7T
v
f
=*3 ff
* i
vr' (By kind permission
rf*
of Heugei et cis, Editeurs-Froprietaires.)
(Philipp, Serenade,
orchestrated by Malherbe.)
Remark: This final C in altissimo # would be impossible if it were not reinforced by the tone of the chord #iven to the 2"d Violins. Thus placed, it cor.ies out with a tone nearly clear as on the Pianoforte. The last high notes, ased alone, become thinner and thinner, panied by an open string, they are admirable:
Excellent:
' ~j
J.
W. 14267.
but
when doubled
or
full
as
accom-
THE VIOLIN. The maximum speed possible
20.
then the passage must
Pizzicati played
for
in
semiquavers
is
J=104, and even
be long.
not
104)
(J
Remark: The speed of Pizzicati may be considered as unlimited when plucking the notes of a chord which could be played as a struck chord,
merely a question of
is
Excellent:
Struck Chord:
* The
it
e. g.
this effect corresponding to the glissando on the
slur is necessary,
Harp.
Presto.\
Impossible:
This descending arpeggio would be possible
N. B. like
the instrument were held the other end up,
if
a Violoncello.
21:
the
All
we mentioned
chords that
9 can be arpeggioed:
in
Vivo.
thus:
They may also be subdivided
into
two
more groups:
or
Viro.
The
22: crossed
tremolo of our ancestors
old
tremolos of the
1* and 2H^
is
out
passing
fashion
of
and
being
replaced
by
Violas, etc.
Violins,
X Instead of writing:
nowadays
former
However, the
when nothing
A
better
tremolo figure
minating
this is preferred:
tremolo (X)
could
may
be
finish
off
A.
(
(*
more sonorous
is
used
(JL
in
order
fo
than the
reach a
on an unaccented
latter (Y),
cases
of
the
bar, without reaching
a cul-
point:
(Parsifal?) (By kind permission
legno
there are
fortissimo.
part
Allegro.
23:
and
When are
the
written
back of the bow
is
to
of Schott
be
&
employed
above the passage.
J.
C9, Publishers -Proprietors.)
W. 14267.
for
a special
effect,
the
words
col
166
THE VIOLA. Grr., Bratsvhe.
(Ital., Viola.
but
thing Its
a
been
has
that
All
1.
Violin
compass may
be
about
said
said
the
Violin
lower, and
a fifth
tuned
to
Fr, Alto.}
the
to
applies
consequently
rather
of
which
Viola,
larger
is
in
reality
no-
dimensions.
3 octaves:
comprise
TT
By
the
transposing
mechanism and
the
fingering
The only difference
stretching
We
2: fifth,
the
Violin
a
are
the
same
for
in
the
slightly
the
of
fifth
and
octave
the
-4
I
On one and
Here
the same
an
is
;
a
of
are
violinist
the
On two
;
just ers
touching leave
will
In
either
ones,
the
fear of
out
case, they
As on the
3.
will
^?
play
altogether, will
Violin,
think
and
bow not
touching
I
all
to
reach
could
On one and the same string,
the
hand
sounding very
the
little
of
four-stringed
would
with
the
strings.
-&
* as
follows:;
Pianoforte; unscrupulous "play-
only.
said
to
On two
;
ij
an asterisk
composer.
instruments, the
much stress
.;
~&
do on the
higher E
two best strings are the outer
bear on the two middle
Violin.
strings,
Viola.
=f i
diminished
composer:
P
the ninth marked
venturing bring one of the neighboring strings.
Very sonorous
the
limits.
respective
^
4
bass note, as a small
the it
I
strings.
passage written by an unskilful
performers
diminish
Viola.
~&~
Conscientious
obtained;
.
string.
impossible
are
Viola
Viola, which
the
of
Violin.
;
the
fingers.
fifth
perfect
of
instruments.
dimensions
larger
a single string, the hand strings, the minor ninth.
Viola, the
those
lower,
both
that, on
two
and, on
On the
lies
capabilities
noted
of
positions
Less sonorous.
Very sonorous,
strings.
J.
W. 14267.
jj
Less sonorous.
for
167
THE VIOLA.
Double Stops. Are excellent
4.
or possible:
all
minor and major
from:
All
J
|J
jg
minor and major
jJ
perfect
to:
up
to:
up
to:
and augmented fourths. from
All
"P
thirds.
from:
All
to:
diminished; minor; and major sevenths. from:
All
up
sixths.
:
diminished and augmented Jifths. from:
All
octaves.
from:
All
up
minor and major seconds. from:
We
5.
remarked on
approximately
true,
extreme
of
In
er
in
to:
the
limit
case
orchestral
to:
P.
8, that
151,
and we repeat
the
perfect fifth on stringed instruments was but remark in this connection. We observed that the
perfect fifths on the
of
the
Viola,
it
is
B
Fjf
the
Violin
JP
J
was F C
=.
writing.
J.W. 14267.
It
^ would
E.
be very dangerous to go high-
168
THE VIOLA.
Dominant Sevenths and their resolutions. 6.
The
resolutions
crosses
in
impossible
Resolutions
In
+ mark
not
the
specially
marked
C.
unsonorous
or
difficult
the minor
*
The asterisks
chords.
show
the
mode. are possible
mode.
either
in
3-6
In 3 parts.
Resolutions.
in*
:
'
*
ai
IE
o
3
4o
to.
f
3H
In
4 parts.
'-'
*
Resolutions.
r In
D>>
r
(or C||)
-^^zzTzzg
In 3 parts. H
Resolutions.
r
^
f
_ _
r-
4l> .
In
=$
4 parts.
l_k
Resolutions.
In
S
Da
te In 3 parts.
|.r
is
" To
j
Resolutions. 3
*
nj
+
40 .
^
1*0
"2*0
1 1
J.
W. 14267.
THE VIOLA. a In 4 parts.
169
1
dP
-
3
r
to
3
u
aP
r
a
"-
dP
'
a 20
it?
P
Resolutions.
In
J
_ 1^=4-4^= In 3 parts.
*
*
js
A
.
i*
!
>*
-
,
*
.
L* b*
(>
,!>&
|g":Z
.1
.
*
Lt>jt t>
W
JzS
I.
!>
41
14
^
4^ *
i
Xl>^ y,^ jI'.gL-H
4bi
f t
y=if
if
*
3J> i>f-
t
,
"
f
*
\>W
-
o
o!
*'
i
I
In 4 parts. 1
i
Resolutions,
^ >'
jj I
i
In
,_!
Eq. i
In 3 parts,
; j
T r
T T
fl*
Easierlin the
minor mode.
o
o
?
fir
ttp
r=&
^-r
Resolutions. possible in the
minor mode only.
In 4 parts.
:
j[g:
Resolutions.
40 j
'
F
-
In 3 parts
Jfi?
b, n
possible in the minor
20 40 mode only,
j
170
THE VIOLA. * ib
is_
difficult. ,
+ W
\>
(.5
!>
In 4 parts.
+
'-!-'
-2
^.
In
+
o
=*
J
Resolutions. r
r
f
+
r
r
00 r
I-
Gk
In 3 parts.
*. -
.
L
'
vp
Resolutions.
iU* y
i/ p
1>
W ^t r
i.
f
!
i
possible in the
minor mode only.
In 4 parts.
f
Resolutions.
possible in the
!
minor mode only. In
Ft ^-
-^
t
jU .^ l
1
In 3 parts.
"*"
TP ,o
o
o
^^
Resolutions.
possible in the
minor mode only.
In
4 parts. ffi-+fc
00
-JResolutions.
possible in the
minor mode only.
Resolutions.
40 J.
W.
20
14267.
171
THE VIOLA.
40 In 4 parts.
^-
+ Resolutions.
In
Resolutions,
Ak
N4
gfr-^jg
4-
*
178
THE VIOLA. 10
j
4|,
*^
Resolutions.
4|.
r "^
.
In 3 parts.
ant:
4 g
o
s)
1
,
poss: in the
o
-
* o*
i
5 !
B .. i^f
10
4Ja[_
*
Ini
10
.[0
3JO
or
minor mode only.
I
U.
W
Resolutions.
*
U
+ la.
r In
4 parts.
-^p
* Resolutions.
In
B:.
In
3 parts.
;
IP^
Resolutions.
F'F possible in the i
minor mode only.
In 4 parts
te Resolutions.
1^ possible in the
;
minor mode only.
Chords of the Diminished Seventh. In 3 parts. three
On the
lower strings.
fi IH
ti
3 =t
J.
W. 14267.
1
173
THE VIOLA. te
On the three
q
higher strings. J
te
h.
-^
In 4 parts.
tC
^
t_
&*&
Chords of the Major and Minor Ninth. In 3 parts. rts -
IH
On the three ^ree
m_.
I
^
lower strings ings.
J
J
y_
i
J
*
r On the
t-
1
J
'J
three
higher strings.
'"
:
'
&*
If:
!*
In 4 parts. |
r
Chords of the Augmented Fifth. In 3 parts. three
On the
lower strings.
In 3 parts.
On
the three
higher strings.
In 4 parts.
Easy up J.
W. 14267.
to:
THE VIOLA. 7.
As on the
Violin,
these chords can be arpeggioed
all
and subdivided
groups.
List of Natural Harmonics practicable in the Orchestra. 4 i J 5 2 3 o J ,
4tJ}
String.
d
String.
fl
2"d String.
String.
4
into
any
kind
of
175
THE VIOLONCELLO. (ital., Violoncello.
Its
1.
about
is
compass
Ger., Violoncell.
and a
octaves
three
Fr., Violoncelle.)
third,
from
C
Double
E
to
above
Tre-
at
once
C:
ble
E
This the
here
is
sonorous note
last
harmonics by
the
on
'the
depressing
Above
as
given
obtainable
limit
orchestral
in
the
depressing
by
so
instrument,
string, or
E the notes
this
extreme
the
writing,
string,
can
that
because
and also
one
it
is
the
of
best
either as an
it
performers play ordinary note, as a harmonic, according to circumstances. become harsh and painful to the ear. Of course, am now I
and not
speaking of the orchestral instrument only, go an octave, even an eleventh higher:
of
Solo Violoncello, which
the
can
Allegro.
(J.
The
27
fingering
the
essential
the
G
this
A upwards, the
of
execution
and to
clef,
natural avoid
it,
part
each
on
all
in
the
the
of of
its
fingering
the
is
stringed
lower
:
the
e.
the
in
of
that
the
a
by
the
the
we have
Cello,
orchestra.
of
lower
but
the
Violin
and
From
register.
different
same as on
instruments
register for
i.
produced
is
from
differs
compass,
semitone
when writing
>!:
Cello
Viola
throughout
Double
finger
C
,
to
but
A
all
in
from
The chromatic scale, so difficult so far considered, becomes quite easy Violin.
above
A
(in
the
,
HnH-i*-H-iJ-*-'H 1
(Widor, Concerto)
Hamelle, Editeur- Proprietaire.)
G
clef)
it
is
better
THE VIOLONCELLO.
Thumb
Positions. method
The highest note obtainable with the ordinary
3.
Above
this
same as
the
being
fingering
becomes necessary to employ the thumb as a kind
it
note,
fingering is this B:
of
of artificial
the
"nut','
on the Violin.
Some "Thumb-positions" are sometimes used in the medium, or even in the low register. e. g. octaves, which are executed in this manner be can always played with passages only one single
kind
of
*>:
The very
thumb and ring-finger.
fingering, viz.
o
9
j 1
j 1
sag
J
J
J
v
?
i J
|
5
-
v
?
Ji
r
C
f_
b
'
(The
"
dicates the thumb.)
[*
[
are quite as figures to be found in Rheingold (P. 287 to P. 289) the use of the thumb on the G, D, and A strings as they are with
difficult
without
impracticable the employment
truth
Thumb -positions
4:
from
suddenly
thumb
is
very
a
risky,
should,
is
adopted,
it
is
in
case the danger
position
execution
of
intonation.
of
general, only be employed with considerable care. Skipping produced by the usual fingering to a note that involves the use of the unless, indeed, this note happens to be the first harmonic of an open
note
which
string, in en if the
thumb -positions, and whatever means
the
of
secure
to
difficult
the
of
minimized, because this first not mathematically accurate.
harmonic
is
is
finger
come
will
out,
ev-
Quality of the Strings. As
5.
the case
in
of
the
and
Violin
Viola,
the
first
of
string
the
Cello
the most bril-
is
one to which the melody is usually given, and which creates the most intense impresliant, sion. The veiled quality of the second string is also very useful. The third string even, may be used in a solo with very good effect, but it more frequently has the bass of the the
harmony a
to
On each fourth
like
play,
considerable
of
the
whose
fourth,
full
where
Violin,
be reached. even
the
be
The
6.
following
Instrumentation,
If
curious or
in
is
able
to
sustain
the
weight
of
However, the admirable effect obtainable on the may be reached (P. 150, 5), must not It is usually in order to simplify the finger-
eleventh
expected in the case of the Violoncello. ing that whole passages are played on a single sake of preserving a uniform tone- color.
on
tone
quiet
mass.
octave can
string, the
string
the
orchestral
fact
any
the fifth be exceeded
is
not
string;
as
mentioned, School.
Violoncello
3*
sometimes, too, this
far as
I
am
aware,
is
in
done for the
any Treatise
four bad notes make their appeary their tone is rough, harsh, incongruous, and uncertain; tf is equally true of all Violoncellos used whoever for orchestral purposes,
ance:
liiv
on the
string,
fri
|
this
may
be the maker.
What Blj,
C,
can Ctf
on
this
the
be due
to?
Why
second, equally
are
not
Ak>,
A!],
Who can
bad?
B\>,
explain
Bl|
on the fourth string,
this
and
Bt,
mystery?
As in the case of the Violin and 7. Viola, the two outer strings, the 1* and 4th, are the most sonojousj the attack can be more vigorous, because the bow is not hampered as it is when playing on the middle where it runs the risk of grazing the neighstrings, constantly
boring
strings.
J.
W. 14267.
177
THE VIOLONCELLO. We
8.
have noticed
an
string, is
maximum
the
that
stretch
augmented
the case
in
hand cannot stretch
the Viola, the player's
of
the
single
beyond a perfect fourth:
(The Augmented fourth impossible.)
Viola.
but, for
hand, on a
violinist's
(The Perfect fifth impossible.)
Violin.
and,
for a
possible
fourth:
cello -player, the greatest
stretch
a major third:
is
possible
(The Perfect fourth impossible.)
Violoncello.
Pizzicato. The shorter the string
9.
ing on the Cello?
No
somewhat;
however, write pizzicato.
to
the
duller
is
ening
think
G#
effect
of
in
what
the tone;
drier
answer can be given, A, Bb
G|,
is
tone, but when the open string:
distant
used
the upper
is
the
highest behind it a
enough to leave on a
landscape
as follows
it
is
limit
hot still
for
pizzicato
play-
performers and
as both
considered
be
may
sonorous
still
over a
haze hovering
bluish
A
I
the
definite
instruments vary notes which it is safe vibration
that
recalls
summer's day. satisfactory, thanks to the strength-
Allegro.
Fizz.
semitone
a
Bi>
tainly
not
is
higher be exceeded.
somewhat
dry;
in
case of need
it
may
be written, but
cer-
should
wish to call attention to the fact that some conAs we are dealing with pizzicati, do not trouble much about the way in which the players execute pizzicato passages, and hardly seem to suspect of what an amount of variety and manifold shading this style of 10.
I
ductors
playing
question
is
Truth
capable.
to
their pupils,
many
say,
will
teachers
deserve
their attention
tell
equally severe criticism, for not having been directed to
they you that, they have never thought the matter over, and consequently This is a mistake. fashion, without any special intent. point,
11.
We Viola,
a
happy-go-lucky
seen (P. 165, 20) that the maximum speed attainable in a pizzisemi -quavers cannot exceed J - 104. This speed is common to the Violin, the Violoncello. the Likewise, the chords mentioned in the final remark of
and
in
same paragraph,
which
Harp glissandos. We also remarked
can
that
be
this
arpeggioed
in
any
Pizzicato was
Violin.
impossible
falling:
Fizz J.
tempo,
very
(Presto..
but
in
you this
have already
cato passage the
play
if
W. 14267.
in
a
good rising:
fashion
analogous to that
of
178 In
THE VIOLONCELLO.
the
of
case
the
of
Cello, this
the
two following
is
figure
be
arpeggios may
equally
written;
practicable whether rising OP falling. both will sound equally well:
Either
Presto. Violoncello.
===
:=K
)
'
-
excellent:
Struck chord: Pizz.
N. B.
These descending arpeggios * are very
little
Double Seconds and
12. tral
writing,
unless
may be
Stops.
octaves, which involve the use of the thumb, are or other of the notes is an open string:
to be
avoided
in
orches-
one
7
Exc,,lent:
Thirds
sometimes prove very useful. used, but might
classified
^
J,
as follows:
3d
and 4*]? strings (the higher the notes the harsher the tone.)
rjtg
Gd and 3 T strings (possible but not of good quality.)
I
ist
and
(best
The following
thirds
are
difficult
for
orchestral
players, and
could
2d
strings
register.)
only
be used
in
a for-
tissimo:
^zfeEE^ From this point onwards, they become more and more difficult and much harsher in tone:
j
Perfect and
Augmented
Fourths:
harsh
+
(Avoid writing higher for the orchestra) i.
W. 14267.
179
THE VIOLONCELLO. Perfect fifths are more
than on the
satisfactory
may be considered
they
Violin;
practic-
'
able:
From:
"(if
f
*)'
to:
major and minor sixths
All
.
From:
are excellent:
U
;
g=
,
Up
Minor sevenths are
assigned
are more
orchestral
to
and
difficult,
their
#
ii
major and minor chords
ItL.
U
possible up to:
Quite
easy
too
are
their
ytretc.**^
-y-]H
Minor
etc.*r
up
to:
up
to:
d"
_d ,-tt-j
pq
3
their
to:
'
'^
likewise
up
first inversions-.
Major:
And
Chords.
^-,^~
'^
[^
bo
ere.-**'
second inversions:
up
to:
Chords of the augmented fifth: From:
*}'
..-"
to:
Major chords with
diminished fifths: From:
p-p
V= to:
J.
f
intonation
of
are easy, up to Eb:
vv
V (t'pn. f
to:
truth
Common All
^.lEE
players:
3
13.
..f
*=
,
V'
W. 14267.
more doubtful,
when
they
180 First
THE VIOLONCELLO. inversions of chords of the
From-,
y
.K:
,ii :
augmented fifth:
Jg up
I
Chords of the
diminished
to:
fifth:
From Jfi
3-
-*^^
Up
to:
up
to:
inversions:
From
Chords of the
.
*
dominant
seventh: If r
From:
up
to:
Chords of the leading seventh:
From:
1
3 3
up
iff
Chords of the
to:
From:
And
their second inversions:
*>'
4
diminished
up
to:
Quadruple Stops. The following
Common
chords-.
are practicable:
.H
^ -^^ up
From:
14.
fa
m
*
to:
181
THE VIOLONCELLO. Chords of the augmented fifth:
From:
=P ~*?'
Their first inversions:
From:
^
From:
^P
Chords of the
dominant seventh:
....
a "
._ f. i^l r
.
c
\
ri vjq IT
182
THE VIOLONCELLO.
The
within
limits
which
harmonics are practicable are as follows:
artificial
^
I
As
Remark:
in the
placing a zero above
case of the Violin and the Viola, a careless composer (but only from the 4th partial upwards): it,
-~ o
o
From:
,
Il0
note,
____
'
up Below Middle C, he will only have natural harmonics
may write any
to:
at his disposal (See the
List
of
natural
mode
of
writing
harmonics given on P. 181).
Notation. As
17.
the
in
Horn and
case of the
the
too
Cello
often
parts time that musicians
room
leaves
the
Bass
for .doubt
Clarinet,
regarding
the the
traditional
and
composer's intention,
high agree adopt some definite system. to a G clef, whether used from the outset, or -established the custom, long According introduced incidentally later on, is regarded in the same light as a 16 ft. organ -stop, notation being an octave above the actual sounds. When the composer wishes the G to retain its usual altitude in the scale of sounds, he is C compelled to employ the is
the
in
first
should
making use
place,
of
it
to
G
the
clef
the
in
only
the clef
clef
second place only.
I However, of late years, there have been numerous protests against this absurd custom. need only mention Grieg, Reinecke, Hans who Huber, Luzatto, N. von Wilm, Ph. Wolfrum, have always employed the G clef with its true not to of Saint -Saens's
speak
signification,
Second Concerto, one with a G clef), the
which
in
as
if
it
uses
he
two
he were
staves
writing
for
(the the
lower
one
with
Pianoforte.
His
an
F
clef,
system
is,
the
upper
of
course,
safest.
We must nowadays combine signs of musical notation with us always use the F, C, and G
to
root
out
their
true
clefs
at
all
meaning
their
The Violoncello 18.
need
old-fashioned only.
true
methods, and agree to use the Disregarding all devious practices, let
altitude:
Ne
varientur.
in the Orchestra.
this place, enlarge upon the part it is called upon to play the Violoncello polyphony. Formerly, played the thorough- bass, being so inseparably with the Double-bass that one only part was written for the two instruments; served to the first harmonic of the Double-bass. A melodic merely strengthen I
not, in
in
modern
connected the
Cello
part was ne-
ver given
to
the Cello alone.
the Nowadays, things have changed. The two instruments are written on separate staves, has become a Tenor, the most intense means of expression of the String Quintet, not even excepting the fourth string of the Violin, and the Double-bass is usually left to bear unsupported the enormous weight of the harmonic mass. All musicians have noticed the following curious musical phenomenon: the Cello alone constitutes a rather weak bass to the harmony (save in some special cases, when the music is calm and peaceful, as in the 2Qd act of Meistersinger, for example); on the other hand, the Double-bass seems dull and devoid of tonal precision. Yet, when used in combination, the Violoncello and Double-bass constitute the most admirable fundamental tone that be could wished for; it is and flexible. Violoncello
clear,
As an
illustration
of
bright,
full,
the use of
rich,
extremely
Double-basses, we give a few bars taken from the exquisite Hans Sachs it will be the Celli, alobserved scene; that, in this case, though divisi, amply suffice to sustain the harmony of the Violins, Violas, and Horns: Violoncellos without
J.
W.
14267.
THE VIOLONCELLO. Moderato assai. Horns in E.
p^
pp
Violins.
Violas.
Hans
Sachs.
Violoncellos.
$
n
*
183
184
THE DOUBLE-BASS. Its
1
compass
Virtuosi
-
although
ing,
some
can play above
\>-
in
^
to
V
written:
^^
:
'
They are quite accustomed to C and higher notes. these extreme notes in orchestral is better to avoid
still
however
B!>),
Verdi,
Contrebasse)
Fr.,
from:
is
*)'
two notes
Ger., Kontrabass.
Contrabasso.
(ital.,
it
not
did
Falstaff,
I,*
use
to
scrupule
D
(the
writ-
*:
El
- (Actual sounds.)
Ed. Nanny, Double-bass soloist at the Opera- Comique, considers that performers on instrument should practice the high notes up to G, and he tells of the admirable effects which might be obtained by means of the Double-basses doubling the Celli in un-
MT
this
ison
cantabile passages:
in
Violoncellos.
(Actual sounds.)
Double - basses
.
cresc.
The Double-bass, corresponding
2.
The part
notes.
ten
written
is
F
16
a
to
the
in
ft.
Written:
sounds an octave
pipe,
instrument
This
clef.
tuned
is
below the writ-
in
fourths.
Sounding: tr
Formerly, the
Double-bass
present time, smaller number of strings
'Without three
-
or
and
less
which
for
three
strings
This
is
the
the
four -stringed of
depth
sake
increases
of
tone,
the
I
strings
this
only,
classical
the
of
quality
type
of
begin
tone, as
well
instrument
solos, because the
for
and
the
of
discussing the Double-bass,
true
easy
of
disadvantages
"without
Bottesini; of
as
Even
better.
sounding-board.
says
by treating
was perhaps
tone
advantages
respective
Double-basses','
of
its
resonance of the
the
will
and
is
fingering,
their
furnished
kind
with
only."
three -stringed Double-bass was the one used in the time of low E of our modern instruments at his disposal, and still
now obtainable on some
Celli
three
the question
into
entering
stringed
greater
had
had
virtuosi prefer
the
at
Double-basses.
He used
to
and
Double-basses, the latter instruments playing their part whenever they came to a difficult passage. Finale of the 5** Symphony were in his time
played
one and
write
as
best
The low in
Beethoven, who never the 16 ft. C which
less
the
same
could, and
they C's
the
at
octave
the
part
for
simplifying
beginning of the
above, just
as
they
are nowadays.
There capable
has of
been no end
sounding
16
ft.
of discussion
on this
C was supposed J.
to
subject.
have
W. 14267.
For a
existed.
long If
it
time,
this
really ever
fourth string
had existed we
185
THE DOUBLE-BASS. should
find
these
string,
little
in
Trumpet, whereas, but
in
this of
we come
a-
reality,
stead
their
in
with neither
any collection, Were they, to use a chemical expression, Double-basses. Is it one and the same time? credible that, whereas instruments used in
at
XIII
and
dating
from
1815
or
their
manner
of
specimens of Double-basses
thirty
ay,
Bach's
with
be seen
to
Louis
time
bass
ten, twenty,
by side
will-o'-the-wisps numbers of three -stringed
volatilized
the
side
is
cross all
museums
our
in
C
fabulous
XIV are
Louis
1820 can be
seen
be
to
on
all
a
not
hands,
single
Double-
#
discovered
anywhere? composers manifested for the Double-bass players of yore a "Those men',' said a musicographer to me lately, "did contempt and disdain fully justified. not deserve the name of musicians they were no better than drawers of water"
By
of
writing,
Nowadays, we have the E string, which might descend were slightly increased, as has been done in the
3.
to
instrument the
at
Brussels
which
of
all
Conservatory,
with
furnished
are
C,
case five
the size
provided
the
of
Double-basses used
the
of
tuned as follows:
strings,
^ These are other
Double-basses
five- string
used
likewise
the
in
are
into
coming
Monte -Carlo
orchestra
instruments
descending
Germany and
in
vogue
(conducted
by
Jehin),
England; mention
not
to
they
many
places.
Even
the
with
ordinary
low note, without However,
the
complicating note that
we must
diminished, so
the
that
forte passage
would
it
D can
low not
be
to
fingering
the
of
degree be really
very
to
any
is
it
E,
to
one
obtain
extra
extent.
great
tension
possible
the
of
4*!l
satisfactory
string
piano
in
is
proportionally
passages
only;
in
a
good.
Our orchestras
ought really to possess, besides the ordinary Double basses, two or three five- string instruments descending to C, like those of the Brussels Conservatory. Just as we have ascending Horns and descending Horns (P. 57, 3) so we should have Solo
Double-basses
Tutti
and
^
Solo Double-bass:
~
Double-basses. Tutti Double -bass:
--<+-
Fingering;. 4.
In
possible
semitone.
The
the
case
between It
the is
of
only
figure
following
Double-bass, the strings are so long that the maximum stretch and 3 rd and between the 3rJ and 4tb fingers is less than a
the
2DJJ
between
shows
the
the
1* and 20^ fingering
of
fingers
the
that
diatonic
this
interval
can be reached,
scale: 3
,4 V
^
i
4
2
i
(
-*
4
*
0224141
*
(O a
Open P
,0*3: 3+
(+=
H ar
String; g onic j
ffl
Depressed
String, or Harmonic.)
*
Df Riemann calls
N. W. Koch (Musikalisches Lexikon, 1802) not onDouble-bass (E, A, D, G), as being already known at that time, but even mentions the possibility of descending a tone lower, to D.
my
attention to the fact that
ly speaks of the four- stringed
J.
W.
U267.
186
THE DOUBLE -BASS.
5.
is
played
not
to
lose
short;
in
the
well
very
from
change
down -bow
a
forte each
a
in
is
It
attack
The composer should which
the
of
piano
bow
the
that
fact
holding- notes, the
performer
up-bow, or vice-versa, without the bow is distinctly audible.
of
mark
therefore
take
to
is
his
intention
and
clearly,
which
with
an
to
bow
of
change
case
the
of
sight
the Double-bass is
attracting
at
liberty
undue
is
to
notice,
but
determine the exact points at
place.
Quality of the Strings. orchestra leans.
the
brass ter
Double-bass
The
6. of
not
is
so much
a
strings
of
four
Its
may be considered as being
wire)
melodic
instrument
catgut
all
which
(of
good,
equally
a prop on which the
as the
two
although
lowest
the
most
whole
are covered with
sonorous
regis-
between:
lies
and
sounding: *.*
The great virtuosi expressive If
as a
Beethoven
players,
for
of
Cello
were
they
the
present
day
can
succeed
rendering the
in
15* string
as intensely
string. still
are no
alive
longer
he
would
"drawers
write a
certainly of
but
water,"
Concerto
first-rate
to
please
Double
-
bass
musicians.
Shakes and Tremolos. 7.
All
and
major
minor
shakes ikes
are
*
currently
used, and
possible
up
to
(extreme limit.)
The minor
third
practicable from G| upwards on the 4th string, from C# upwards on F# upwards on the 2"^ string, and from Bl) upwards on the 1* string, i. e. only the upper notes can be used, to the exclusion of the two first tones on each string, the reason being that it is only at this distance from the nut that the intervals become small to allow of a minor third "stretch" between the 1t and 4th enough the
3rd string,
is
only
from
fingers.
/
Tremolos practicable on one and the same string and that may be written without danger. On
On
the 4th String.
the 3rd String.
On the 2Qd
On the lt
String.
/
^\ ^ ~^' ^1
(
String.
\
(
^
" (
..:':)
J.
W.
14267.
Jfl
j
187
THE DOUBLE-BASS. Staccato passages
in
octaves are
*
P
.
.
Allegro.
good, whatever the
very
_
f
f
rate jtf
movement:
of
.
f
.
f
,
f
f
,
")'
Legato, these octave
are
skips
impossible
in
quick
tempo.
Pizzicato. The Pizzicato can be used
8.
sonorous
register
lies
in
of
any part
instrument's
the
compass, but
the
most
between: AJL
and
Pizzicati are
frequently
such
the
at
but
heights
written
tone
A and
up to
even
By.
becomes dry and unattractive,
losing
all
charm.
Remark: Pizzicato playing should be avoided in very quick tempo, on account of the fatigue it causes the performer, who is soon exhausted, and therefore plays without vigor. When obliged to employ the Pizzicato in rapid tempo, the composer will do well to write for the Double-basses dirisi, giving a few bars to each group alternately: All? Vivace.
Double -basses. (Divisi)
Double 9.
The following double stops
are
stops.
practicable: 'Xt
All
minor and major
thirds:
from.-
*)'
up
All
perfect fourths:
All
perfect fifths:
.
from
.
.
.
.
from
:
to:
J.
W. 14267.
to:
188 10.
THE DOUBLE-BASS. Sixths
tuosi, but taves
are
(unless
are
impossible, except
in
the
high
the
in
orchestra; impracticable the lower note happens to be an
where they can be played by vir-
register,
the
same remark
open
applies
to
sevenths and oc-
string):
Sixths possible
_ii_
y: Sevenths possible
The following perfectly Moderate. U u ,
I
sonorous passage
illustrates
Octaves possible
use of double
the
I
stops:
U V
V
(E.Nanny.)
Harmonics. 11:
know,
On the Double-bass, artificial
harmonics
harmonics are alone practicable, because, as we already usually obtained by means of a stretch of a fourth, and
natural
are
Double-bass players cannot reach this interval on one and the same string. Even among the natural harmonics some are viz. those of the thick E string, on hardly practicable, very which only the 4tb and 5tb_ upper partials can be produced: *o Q _ *)'
"
ff"
(Actual sounds.)
List of Harmonics. (ACTUAL SOUNDS.) fundamental,
o
o
o
,,
(others
THE DOUBLE-BASS. By writing harmonics
Double-basses
the
for
189 tone - color
chords of an admirable
divisi,
can be obtained: Harmonics:
etc. I
HI "Owing to the great length the production
of
harmonics!
employing
cessfully
of
1
its
ii
says Berlioz, 'the Double-bass
strings','
has proved the correctness
Verdi
harmonics
the
I
ll'Hi
Double-bass
the
of
in
the
of
A
3r
is well
Berlioz's
act
of
adapted for
remark
by
suc-
A'i'da.
Bowing. 12.
All
qually short
bow
We
remarks made case
the
in
passage
be
connection with the bowing of the Viola and Violoncello apply e5 concerning the (save the restriction mentioned in
Double-bass
Double-bass).
strength, accent, and rhythm exclusively depend on the this the case that when a composer neglects to mark the
that
repeat
So much
the
of
in
the
of
is
forte
Double-bass.
the performer
Moderate.
U
V
J
*
:
"
1 T
(j
of
own
his
U
y
J
mII
9
accord
U
makes use
U
of
Moderate. Y
JJ Great
if
M
U
V
the
V
-r
ff
\
use of down-bows.
bowing, down- bows:
Less sonorous.
energy.
Buns. Rapid runs are very and powerful: Andante.
13. fective
frequently
written
u
-
for
the
Double-bass, and are extremely ef-
^^-^^
u
Andante.
u V'*U K
u >
tt-tt
v
9 !f (Berlioz, Invocation
a la Nature.)
Moderate.
(Gluck, Armide.)
(Widor, Les Pecheurs de (By kind permission In
with
By
of
St.
Jean.)
Heugel et C>, Editeurs-Proprlttaires.)
the examples given above, the Cell! the same notes as the Double - basses, play blend as as does a fundamental tone with its first harmonic. they perfectly themselves the Violoncellos seem weak, on the two middle especially when playing
all
which
strings. J.
W. 14267.
THE DOUBLE-BASS. come
On the other hand, passages played by the Double-basses quite alone do not the
clearly,
used
form
instruments
same phenomenon as
the
16
the
most
brightest,
out
are
written. Yet when
supple, and
most powerful bass
lower
the
thicker
observable
that
the 8
any one of
Bourdon
ft.
ft.
and tonally precise quality
robust
ingly
becoming
these two
and
heavier
they
orchestra.
is
It
ing
deep
together,
the
in
notes
on
the
when
Organ:
the weakest
even
stops is obtained.
to a dull, slow-speakis
added, an astonish-
The Mute. (SORDINO)
So
we have
far,
cause
seemed
it
The
Mute
Violas, and (It
the
is
is
suitably
Due
to
use
in
this
not
is
the
all
to
case,
by
assigning
not
is
brations,
that
on
employed
tained
ever
will
seem
would
in
perceive
the
case.
that
Mute
In
all
was
the
of
strings
timbre more
Violins,
penetrating.
on the 4th
be played
manner, the parts Strings are not muted.
in
use the
Double-bass, just the Mute only the quality darker and duller."
rendering
to
their
the
of
this
characteristic;
Tempora mutantur:
vibrations
of
string
too effectually muffles the tone of the instrument.)
as on
still
the
very
be-
are muted, the strength of the bass part may be or two Double-basses only, the indication Solo or
one
to
it
that
Mute,
Double-bass.
instruments
stringed
the
intended
passages
the
to
known accessory.
same time renders
somewhat
the
on
employed
in
it
of
strength
the
at
much
it
other
balanced
the
damp
instruments, referred
stringed
such a well
describe
it
the
of
treating
to
Soli being employed
It
are
employed
because,
no one
that
needless
better not
Violin,
when
Violoncellos, while
The Mute
When
not,
nowadays the
Mute
is
the time
in
of
will
Berlioz,
be so well-balanced
who
says:
"Mutes
bowed instruments, but the effect obsomewhat diminishes the strength of the viother
no
longer employed by
Double-bass players.
The Bridge. (PONTICELLO) The tone of which
bow
the
obtained,
When
bowed is
above the
bow
brought
the is
speak, glittering:
or
becomes
the
to
bear.
Whereas, close
while incomparably
sparkling and ethereal
A similar change close
to
finger-board the quality used near the bridge the
to
ed
instruments varies considerably
the
in
the
timbre
sounding-board:
it
in
of is
is
to
the
weak and
timbre
powerful
in
of
the part of
to
according
bridge
the
maximum
the string brilliancy
on is
dull!'
the
instrument
an impressive
is
metallic
ensemble,
the
and, so tone-col-
pianissimo passages. the
Harp may
be observed
when the strings are pluck-
near the bridge of the bowed instruments and near the strings can bear the greatest degree of tension.
sounding-board of the Harp that Hence this peculiar effect, this characteristic
J.
quality.
W: 14267.
191
The Back
Bow.
of the
(LEGNO)
Some composers,
-
Saint Meyerbeer in L'Africaine, Wagner in Meistersinger, have succeeded in effective use of notes Saens in the Danse Macabre, making produced of the bow. with the back the strings by striking e. g.
The tone thus obtained recalls
the
nough,
this
Here
pattering effect
follows
a
of
is
of
curious,
-stones
hail
should
list
very
be
not
French,
on
used
Italian,
Although
plate-glass.
without
a
and short pizzicato, which strange and characteristic e-
a very dry
resembling
marked
very
intention.
and German expressions used
in
connection
Strings.
French.
Italian.
Pizzicato.
Pizzicato.
Archet.
avec Sourdines.
Pizzicato.
.
Bogen.
con Sordini.
.
sans Sourdines.
.
Arco
.
.
German.
.
mit Dampfer.
fohne Dampfer.
senza Sordini.
.
.
.
.
.
(die
Divise's.
.
Unis.
.
Divisi.
.
.
le
Chevalet.
sur la Touche.
sur la
4e
.
Corde.
Zusammen.
.
.
.
.
sul Ponticello.
.
sul Tasto
.
sul
.
.
.
.
sul Ponticello.
sul Tasto.
G
sul G.
(
Soutenu.
.
Sostenuto.
.
fort.
Geteilt.
.
jTutti .
(insieme. sur
.
Dampfer
.
Ausgehalten.
.
vGetragen. Staccato.
Staccato.
J.
W. 14267.
.
.
Staccato.
with the
192
TABLE showing the compass of the various Instruments. Notation.
Actual Sounds:
Written:
Piccolo.
Some Flutes can descend a semitone lower.
Flute.
All French Oboes
Oboe.
Cor Anglais.
Written:
Clarinet.
Written:
Bass Clarinet.
Bassoon
now descend a semitone
er and rise a tone higher.
=3^
: .
A)
4^
3
Wagner
requires the Bassoons to play
down
to A.
Double -Bassoon. -9^tflfa.ia.ssa
Sarrusophone.
-T^
-^
Written:
'
=
oassa.
Ascending
(Tuneifc
R
J.
Written:
W. 14267.
E2E
^T $
(V.
Page
58,
4.)
193 Written:
Actual Sounds.Descending Horn,
^fe
(V.
Written:
Page
58,
4.)
#
Nowadays tuned
Trumpet.
Cornet a
^-f
-^
pistons.
Tenor Trombone.
I
'
.._. in ;. ll^nnH Ut ._ A
(written as
it
sounds.)
Written:
'I
^
C
in
The Alto Trombone
is
very
little
used at present.
(V. P. 78.)
Bass Trombone.
=^
Wanting
f
Tuned
Tuba.
in
in
many
orchestras.
C and Bk
(V. P.
94.)
Only sections of this scale can be played on one Drum.
Kettle-drums.
To obtain a complete octave several (2 or 3)
Drums
are employed.
8
:
D
Harp.
and C below this
Maximum
Violin.
are possible, but not so
stretch possible.
(Tremolos on one and the same string):
Viola.
Violoncello.
E
rich.
do.
^
do.
Double -bass.
Written:
do. (V.
J.
W. 14267.
Page 185.)
full
and
194
List of
Shakes practicable on Woodwind Instruments.
FLUTE:
All major and minor shakes from:
Excellent:
G
difficult.
very difficult.
Remark:
very difficult.
somewhat
heavy.
On old-fashioned Flutes
the following
lowing
impossible.
On old-fashioned Oboes the shakes are unsatisfactory.
Excellent: to:
from:
CLARINET: All shakes are possible:
However, the following are not very good:
BASSOON: Possible:
N. B. All the shakes of the low register not given above are impracticable.
All good: =| to:
from:
except the following which are bad:
J.
W, 14267.
flat
shakes must be avoided:
Remark:
OBOE:
flat.
somewhat
fol-
195
of Harmonics.
List
More Risky Notation.
Safe Notation. (The manner of production being indicated.)
(The manner of production being
left
to the
player.)
N. B. The actual sound is written, and a zero placed above the note shows that it is to be sounded as a harmonic.
*o"j
VIOLIN.
i
From:
From:
to:
to:
.7 VIOLA. From:
1
From: to:
VIOLONCELLO.J. ....... .-
From:
2=
From: to:
DOUBLE-BASS. As a fourth on players
this
instrument
do not make use
of
constitutes
artificial
too great
a
stretch
for
the
fingers,
Double-bass
harmonics; the only harmonics that may be written for 2"jl and 6tb, 7tb, or 8tb upper partials (See list on
them are the natural ones between the Page 188.)
The only harmonics lower than those given above which the composer has at his disposal are the natural ones, i.e. the 25^ and 3?^ upper partials. for the Dou(V. for the Violin P. 160; for the Viola P. 174; for the Violoncello P. 181; ble-bass
P.
188.)
Remark:
The 2"d upper partials of two neighboring- strings on any one of the instruments of the String Quartet. o -e-
Violin.
Viola.
%!
Double-bass.
O
*
may be
safely used as double-stops
196
Double -Stops in Orchestral writing. as a double-stop on two strings of one and the- same instrument and not so pure and flexible as when played by two different instruments.
An ier,
interval
played
*
heav-
Divisi.
f\
A
Light:
is
J.-J
I
J
f well adapted for modulatpassages, double-stops are not very flexible, not very and their truth of intonation is very doubtful. Double-stops are most frequenting purposes, to the Violas, in the heart of the orchestra, and in the best part of the instrument's ly given
piano
In
Two parts are also
compass.
written
frequently
*
*
for
Violas, each
the
*
playing double-stops.
*
The paramount qualification necessary
to a symphonic composer consists in knowing how to are treated the rest is of secondary importance. To acthey properly this there is one and that is to read and listen, to hear and quire only way, knowledge mark. Supposing the student knows the standard compositions of the classic masters well e-
write for the Strings;
if
nough to be able to write out from memory a given page of Beethoven, then let modern compositions, and consult the works of such musicians as the following:
Germany:
In
In
Austria-.
In
Italy-.
Ferrari,
In
Max Bruch, Richard Strauss, Weingartner,
Humperdinck, Gernsheim, Wolfrum.
Schil-
Hugo Wolff,
Puccini,
Goldmark,
Giordano,
Bruckner,
Mancinelli,
G. Malher,
Martucci,
Bossi,
Dvorak,
Smetana, Fibich.
Leoncavallo,
Mascagni, Wolff-
Cilea.
Russia:
Zolotarew,
Rimsky-Korsakow,
Balakirew,
Glazounow,
Liadow,
Borodine,
Cui,
TaneVew,
Sibelius.
Sweden:
In
Norway
In
Belgium:
In
Holland:
In
Denmark:
Asger-Hamerick.
In
England:
Mackenzie,
In
America:
Mac
<&
Gevaert,
Richard
Grieg,
Tinel,
Sinding,
Radoux,
Svendsen.
Blockx,
composers,
art
Gilson,
Mathieu.
Hoi.
Dowell,
Parry,
Villiers- Stanford,
Chadwick,
Cowen,
Elgar.
Van der Stucken, R. de Koven.
and many others; nothing ious
study
d' Albert,
Hofman,
lings,
him
is more instructive than studying and comparing the methods based being upon observation rather than upon set formulae.
J.
W.
14267.
of var-
197
Conclusion.
The primary object
1$
an
indeed, would
from
it
method
a
a
on
a book,
but
the
of
voice
learned
by
of
the
must
be
orchestra,
know
nothing
do not so much
is
for a
A composer
a
with
deal
the voice.
treatment of such a subject?
the
Clarinet
the
can, at
worst, be
studied
up
more complex instrument.
Many composers for
writing
must
Soprano
on
enunciate
to
of
the
of
experience.
that
suspect
former
the
possible
as
for
to
craft?
his
and
a far
is
art
suffice
able
the technique of the
singers!
Cor Anglais
the human
been
describe
composer consulting a professional on a Cor Anglais more necessary it would be to go to the "shop o-
musical
the
of
and
analyze
have not
I
learns
How much
shake.
Singing
quiring
been to
or description
singer
a
ask advice
The capabilities in
the
without
Clarinet
way" and
the
ver
analysis
that
Never a day passes note, or
work having
this
composing a modern orchestra,
instruments
And
of
G, A, and
the
voice.
be
treated
// in alt,
You
acquainted with the
well
perfectly
meet composers
will
differently
from
a Tenor,
who re-
and the latter to sing as low as
Soprano. unable to sing
if
should
himself,
at
know how others
least
sing.
* *
*
It
was no part
of
my program
for
me
that
contrast,
let
simply a manual
but
within
making
Let us,
(1.)
the
repeat intended
last
however,
to
treat
to
the
of
book
the
present
give
some account
grouping of is
no
of
complete
the
treatise on
progress made
balance and
of
instruments,
orchestration,
in
instrument-
years.
fifty
summarize the
most essential
of
principles
our
art:
Write your orchestral music so that each group can be heard without
the
others. as an army
Just
chestra
the
that last.
of
at
other
two,
so must
the
first
rehearsal
it
viz.
arms,
Woodwind,
Strings,
as each of the three
Just of
consists
three
comprises
and
Infantry,
arms must be capable
of
of
action
be with the three groups of a
the
Woodwind
will
be read of
the total effect.
J.
Artillery, so
the
Or-
Brass.
Each group apart must give the sensation
a fairly precise idea
Cavalry, and
W. 14267.
and self-defence independently
symphonic orchestra.
Imagine
first, the Brass next, and the Strings
complete harmony, with
it
true
bass, and
198 Write plays
who are called upon
The performers judge at
first
ant
in
justice
main
whether you
have
fore-ground,
or to play
work
the
difficult
details
the
of
conductor fall
evident
is
when and how trasted.
When,
made?
that
but
the
in
entirely
and
dawn on them,
do
his
to
out
import-
tolerably
will
they
able
stand
However
background.
concentrate
to
able
nevertheless
be
themselves on
attention
the
themselves, performers, dominated by the spontaneously produce the necessary intensity of sound.
will
it
neither
various
the
the
of
line
into
These enquiries would doubtless
However,
this
answer
a comparison
novel is
it
Now,
like
is
logical
Woodwind
leaving
unanswerable
be
search
to
by
one's
a
same
and shade should
be
technical
a
point
con-
be
the
for
when should
the
to
can be given as to
rules
substituted
from
Strings? modulation of
view.
to
make
said."
any other possible?
Is
we may yet be allowed
rule,
analogy.
home and
setting
under a sky of a different
the
be
order. for
light
other querv:
this
a sentimental
us even
landscapes, that
degrees of
the
should
definite
any
"when nothing remains
of
only
forbids
Painting
different
always
reply:
is
in
same order as
and draw a conclusion
Modulating behold
will
nor
and
colors
be of the
Satirists
common sense
Music
in
be asked,
might
would
This question
to
keep
be
will
your musical ideas should respective instruments to
secondary
to
immediately
will
composer,
a
them
The
their
Change your orchestration when you change key.
It
If
will
it
intended
meant
have
be,
it.
rendering
will
(3.)
be
may
movements,
firm
interpret
the
or whether you
part,
to
sight in
conspicuously
he
the part
orchestra.
the
in
may understand
such a fashion that each musician
in
which
instinct
out
for
China, or Japan, there
India,
hue.
prompts
us
to
modulate
should
likewise
us to change our tone -color. The two things go together; if we take one, we are immediately tempted to accept the other, but, of course, Art admits of no hard-and-fast rules.
tell
(4.)
Keep your instruments
in the register
Avoid
the extremely high notes. do not do so for any length
them,
The
If,
of
for
where
a special
effect,
their tone is of best quality.
you are obliged to make
piece
a is
a piece
while
their
at
The great tical
means
all
to
required
of
beginning after
-pressure
of
Trumpet is so great Brass Band: at the
each performer seems to be blowing harder than his neighbor, enthusiasm abates in proportion to their diminishing strength, and,
long, hardly
any
masters always
volume of
wrote
of
time.
produce the high notes of the Horn and that no Let us take a lesson from a player can bear the strain long. lip
use
sound
logically
and
is
clearly;
execution.
J.
left
W. 14267.
but if
the
towards the end. they never
lost
sight of the prac-
199
Appendix to Chapter
IV.
FURTHER REMARKS CONCERNING THE EMPLOYMENT OF HOMOPHONIC STRINGS ON THE HARP.
homophonic strings are employed, either with a view
Frequently, two tensity
of
the
or
sound,
in
order to obtain the waving
one and the same hand setting is
tuned
B?, and
to
This device
of
to
increasing the in-
Voix celeste
organ-
PP
ff
is
only
the
vibration
in
other to
applicable
the
strings, of which
Ajt.
notes
to
two neighboring
simultaneously
whose time-value
is
example, for instance, homophones could only be employed
ing
of
a
thus we write:
stop;
one
effect
not
in
too short;
in
the follow-
the case of the quavers, not
(++):
semiquavers
This passage the
performer would play as follows: R.H.
R.H.
R.H.
R.H.
R.H.
3>5
i(t
L.H.
It
of
need
those
Here
is
hardly
degrees
be of
added the
L.H.
that
scale
it
which
another instance of two
while the right
^=
is
have
L.H.L.H.
impossible to
U"*1.H.
make use
of this
device
in
the
case
no homophones.
sounds for one note, the
plucks the string that
CO
L.H.
sounds as written:
left
hand producing the harmonic,
200
The Origin
of the Swell, Pedal -board, Manuals,
and Stops of the Organ.
The Swell gan
seded
shades
and
organist at
Organ
at
builder
Church
stops, but
ten
One
first
chromatic
plete
which
Martyr (London). were slid one over at
in
1479
dates
who
by R.
the
taves
(A, B, C, D, E,
tones
were
what
but
with
the
laths
is
is
F,
tenth
attributed
erroneously
said
have first
to
a system soon super-
other,
horizontal, and later with
with
Bernhard the
to
introduced
was already provided
Agricola,
of
pedal -boards
1673
from
the
with a
pedal -board
century, the
G. A, B, C, D, E,
C and possessed
from
starting
of
analogous
pedals It
French
was Bach who extended
manual
consisted
G, A).
About
F,
to
of
the
com-
of a
From that time on-
(Nieuwe-Kerk, Amsterdam).
and the
be traced of
pedal -board
had
only
15 keys
it
to F.
embracing
middle of the
a
with
ones, but
fltl!
two
oc-
Century, semi-
wood (separating the rows
of
had
to
go to one side of
of
each
was the mechanism
in
all
playing,
Sliders,
at
levers,
beginning
of
and
14.
back to the end of the
the end
his
them back:
the
Or-
was
to come into use. In 1361, an Organ was built with three manuals, The keys were nearly three inches broad, and could only be depressed the clenched fist. And while the first and second manuals had 22 keys,
of
can
Stops
such
of
beginning
manual
third
pending
form
manuals!
a blow
merely
the
Swell
Elder, in
arrangement.
specimens
scale
In
the
was furnished
first
wards, German and Dutch Organs have had compass of only 27 notes (from C to D).
Manuals.
the
German, an pedal in 1471. The A pedal was added to the Or(1361) was provided with pedal -keys. St Nicholas at Utrecht not later than 1450. And lastly, the Organ Venice
a peculiar
of
the
of
of
built
Groningen,
Jordan
by
This primitive
the
invention
Its
at
Halberstadt
the
in
gan
Magnus
shutters
1712
in
louvres.
or
Pedal- board.
The
introduced
time
first
Venetian Swell, which
the
by
vertical
St
of
movable
with
provided
for the
Church
the
of
was
lath
its
stop -handles
century;
pipes from the
at
that
each other);
instrument
and
time the
not
organist,
sus-
draw them out or push of
string;
simplicity!
come
into
the 1711? century.
J.
were
they
was a hole through which passed a piece
primitive
did
15t!l
W. 14267.
use
before
the
end
of
the
16th
or
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