A Manual of Practical Instrumentation (1906)

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BOUGHT WITH THE INCOME OF THE

SAGE ENDOWMENT FUND THE GIFT OF

HENRY W. SAGE 1891

Library Cornell University

MT 70.W64

1906

3 1924 022 381

556

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

http://www.archive.org/details/cu31924022381556

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V-^::-"'

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THE

.,

ri=J

TGCHmQUe OF THE

MODERN ©PGHBSTRfl O F

Practical Instrumentation

TRANSLATED BY

Edward Suddard. Price

10/-

NET

Capyri^ht 1906 by jD5eph Williams.Ltd.

Joseph

L CN DON. WiLLiAMS.L.M.Teo,

32,Great Portland Street

PA R S HENRr LEMOINE&C'p I

ED.

NEW VORK SCHUBERTHiC" CJF.H.Meyeb)

/>

^ l.E.1

PZ

BREITKOPF &

1

c-

hA

RTEL. ^7"-^

Ill

Dedicated to

Sir

ALEXANDER

C. MACKENZIE, Mus.

D.,

LL.

D., D. C. L.

Principal of the Royal Academy of Music.

J.W. 14267.

IT

Any

reader coming- across a mistake, either in the text or in the musical examples, will

greatly oblige by communicating with the translator: E. Suddard, 32, Great Portland St.

London W.

Preface.

Within the last fifty 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

ty for a ments:

new manual

their

unknown. Hence

compass and

capabilities.

Characteristic features of the present book are the

Shakes and Tremolos

Q uadruple Stops

the necessi-

setting forth the present state of orchestral instru-

for the

for the

Woodwind and ,

String s.

It

has always seemed

these matters are dealt with in somewhat too

works on Instrumentation.

We

Complete Lists of

of Double^ Triple^

us

to

summary a manner

and that

in most

venture to think the lists contained in this

manual will fully meet the requirements of the student, and may even occasionally be of service to the accomplished composer.

To

the

tion a

Organ a

few hints

special section has been devoted, in which, not to men-

that

may

prove useful to

organ -builders, we have

deavored to give such information as will be of assistance to

en-

musicians

wishing to write for the Organ and Orchestra combined.

CH-M. WIDOR.

J.

W.

14267.

VII

Contents.

PAGES.

PAGES.

Chapter i. the woodwind The FLUTE List of Shakes and Tremolos

.11

...

Transposing Flutes

The

NATURAL TRUMPET. ...

66

The

VALVE- TRUMPET

67

15

List of Shakes

71

18

Muted Trumpets

71

TRUMPET 73 CORNET A PISTONS .... 75 TROMBONES 78 78 TENOR TROMBONE 87 BASS TROMBONE CONTRABASS TROMBONE 90 SAXHORNS 91 SOPRANINO SAXHORN ... 92 .92 SOPRANO SAXHORN 93 ALTO SAXHORN BARYTONE SAXHORN. ... 93

The PICCOLO

19

The BASS

OBOE

20

The

.23

The

The

List of Shakes and Tremolos

.

.

The

OBOE d'AMORE

26

The

The

COR ANGLAIS

26

The

The

BARYTONE OBOE CLARINET

27

The

29

The

34

The

37

The

The

List of Shakes and Tremolos.

...

The

ALTO CLARINET SMALL CLARINET BASS CLARINET

37

The

BASSOON

39

List of Shakes

45

The

The

The

BASSON-QUINTE

47

The

DOUBLE -BASSOON. SARRUSOPHONE

47 49

the brass instruments

The

BOMBARDON

The

CONTRABASS -TUBA

NATURAL HORN VALVE-HORN

96

The

KETTLE-DRUMS SIDE DRUM

9S i06

61

63

ANCIENT CYMBALS

117

Muted and Overblown Notes .... 58

J.

....

108

57

in the Orchestra

96

TENOR DRUM The TAMBOURINE The TABOR The TRIANGLE CASTANETS The CYMBALS

55

Shakes

94

108

51

The Horn

-TUBA

The

-Hon

.

Muffled Drums

The Theory of their Tone-produc -.

The

.

The

The il

.

Chapter m. the percussion instru-ments

50

Shakes.

Chapter

'.

The BASS

The

The

The

37

.

W. 14267.

i09 io9

no 112 113

vm PAGES.

PAOGS.

DRUM

The BASS

117

The

VIOLONCELLO

175

The

GONG

121

Thumb

The

GLOCKENSPIEL

122

Pizzicato

177

123

Double Stops

178

123

Triple Stops

179

124

Quadruple Stops

180

Bowing's

181

Harmonics.

181

The CELESTA.

The

XYLOPHONE

BELLS

Chapter ir. The SAXOPHONE&

The Violoncello in

125

176

Positions

the Orchestra

.

.

182

The

SOPRANO SAXOPHONE ALTO SAXOPHONE TENOR SAXOPHONE BARYTONE SAXOPHONE

The

HARP

128

Harmonics.

188

Glissandos

129

Bowings

189

Harmonics

132

Runs

189

ORGAN

139

The The The

The

.

.

Chapter

v.

.

.

.

i26

186

.

.

126

Pizzicato

187

.

.

i27

Double Stops

187

148

Double Stofs

150 .

184

Tremolos

the strings

Triple and Quadruple Stops

DOUBLE-BASS

i26

VIOLIN

The

The

.

.

The

MUTE

190

The

BRIDGE

190

The

BACK OF THE BOW.

List of French^ Italian, and

.

.

.151

the Strings

i9i

Compass of

Bowings

161

Shakes possible on

Pizzicato

163

-striunenta

VIOLA

166

Harmonics possible on Stringed

...

the various instruments. 192

Woodwind

In-

194 In-

-struments

167

Stops.

195

168

Use of Double Stops in the Orchestra

Harmonics

174

List of

Botving-s

174

CONCLUSION

Triple and Quadruple Stops.

APPENDIX TO Chapter

Modern Composers

Harp

iv.

199

Note on the origin of the Swell, Pedal -board. Manuals, and Stops of the

Organ

200

J.

w. 14267.

.

196 196 197

Further remarks concerning the employment of homophonic strings on the

i9i

expressions used in connection with

158

Double

-

G«rman

Harmonics

The

.

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 I)

{

FLUTES,

(Piccolo)

OBOES,

(Cor Anglais)

clarinets, (Bass clarinet) BASSOONS, (Double -Bassoon) SARRUSOPHONE,

Then, after a short Theory of the tone-production of Brass Instruments, the following are dealt with:

(Chapter

,

it)

HORNS, .TRUMPETS, (Cornets { ^ ^ trombones, TUBAS, (Saxhorns)

a Pistons)

^

Next come

(Chapter hi) Then,

instruments.

so to speak, in parentheses,

(Chapter iv)

And

The percussion

(

The

)

The

(

The

SAXOPHONES, HARP, ORGAN,

The

Strings.

lastly,

(.Chapter v)

.;.

W. 14267.

Memento. The

velocity of sound is about

The deepest tone we are S* Louis, U. S. A.,

iiOO f* per second.

and Sydney, Australia,

A _

64

ft

16

An

8

A _ _

4

in

which the low

_ _ _ _ — _

_ _ _ _ _ _

2 1

32 64 129

258 517

able to produce

obtained on some recently constructed instruments)

Double C on the Violoncello

C on

the Viola

vibrations,

Organs

of

(and which can be

is

equivalent to a 16 f* pipe.

is

equivalent to an 8

f*

pipe.

is

equivalent to a

4

ft

pipe.

= 435

[Diapason Normal]

(Standard French Pitch

perceptible to the ear are produced

The most acute tones

(

_ _ _ _ _ _

16

The low C which the Double-bass ought to be

Tenor

C=8

f* pipe

vibrations per second).

pipe corresponds to 8 vibrations per second.

32

_

by a 64

able to perceive is produced

vibrations).

by 15,000,

20,000,

30,000

and even more.

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

instruments, the mouthpiece, to a great extent, deter-

brass

mines the mode in which the air

is

set in

motion

Compare

.

the mouthpiece of the Trumpet with that of the Horn;

depth, as 1:2, and the shallower the cup of the

may be its

seen by the Cavalry Trumpet;

these

the little cup which forms

two cups

Trumpet, the shriller

are, in respect of

the tone,

as

the deeper the cup of the Horn, the mellower

timbre. It

only possible to sound the various harmonics

is

ments, provided there tube.

If

is

—high

— on brass

and low

a suitable ratio between the diameter and the length

— the

the diameter is too small

tube too



narrow

it

is

impossibe

to

instru-

of

the

obtain

the fundamental tone.

The subdivision of the column of fifths,

sixths,

aliijuot

parts.

etc...

air contained in a pipe into halves, thirds, fourths,

(harmonics), corresponds to the subdivision of a string into the same

.1.

w.

wn\T.

11

Chapter

I.

The Woodwind.

THE FLUTE t (Ital.,

1— The Some

Flauto.

three-octave chromatic scale

players are able to sound a few

Ger., Flote.

of the Flute,

still

Fr.,

Flute)

embracing 37 degrees, extends from^

higher notes, even reaching

ceptional, and music should be written not for a few out of the

El>; this,

however,

wa^ virtuosi, but

is

Fto:

quite

ex-

for the ordinary

run of performers.

The scale

piano

of the Flute is fairly even;

the first

35 notes can be attacked and sustained^rfe

or

at will, without requiring the player to take any special care:

^ ^^ ^ s

36tl!

and 37tS degrees can only be produced

*

Remark: is

As

37th degree,

for the

perfectly impossible to obtain

is

it

it

piano.

All intervals can be played legato on the Flute, save two:

Dangerous; piano e legato

2:— By

excellent forte.

In case of need, the 36tl? degree can be played piano by some performers, but this

exceptional.

2nd Remark:

V-

36 37

•J

too

with some difficulty, and are inevitably harsh:



Impossible piano

1st

k

PP

ff

The

k

impossible.

saying that this scale

degrees as being sufficiently

in

is

%

fairly

UM

even,

I

mean

The E

is

harsh.

that the composer

tune with the others, and

may consider each

need not trouble to think

about

defects of a few of the notes.

— These

3.

defective

1

notes are eight

in

Dt (N? 3) requires special care

in

its

the

ff

number:

The three Cs (N°5 2,6,8) are somewhat too sharp, flat.

of

emission,

El»

and

(N9

1),

Nos4j5j7

on the other hand,

rather

are difficult to attack.

However, these defects hardly concern anyone but the performer, whose talent to a

great ex-

corrects them.

tent

— Although

4.

the

Flute

excels

in

the execution of florid passages,

consequently those whose signatures contain

few sharps or flats *,

and yet

""The Boehm Flute with cylindrical bore, adopted nowadays by most performers, * Avoid, however, the tonics I>,Et,Si| aspivots of rapid arpeggios, the following

especially

descending:

Copyright 1906 by Joseph Williams, Ltd.

J

\V.

14JJ67.

its favorite

when is

called

keys are

upon to

alone referred to here.

intervals being' difficult,

12

THE FLUTE.

breathe forth a sweet, loving melody, no ke^ suits ern compositions afford sufficient proof.

Al> is

it

better than

Dk

following example, which also illustrates another point calling for

Andante

finishing

on a

C pianissimo,

the best notes of the Flute,

Andante,

l.^

Of this several charming mod-

likewise an excellent key, as

comment.

so sweet and pure that

despite the remark

made above (§3):

it

may be seen

We

by

the

here

see

an

would seem to be

one

of

13

THE FLUTE. However, great speed cannot be attained to

make use

manner.

this

in

so to speak, mechanical

of other,

passages the performer has

florid

In

means, allowing

of neither the

same

intensity

of

tone, nor liberty of expression.

such cases

In

he resorts to

double -tonguing,

alternately articulating the consonants < and

k, or to triple -tonguing, which involves the use of the three letters t(uf),

i,

e.

— As

8:

/

and k are pronounced according

k

t

t,

as

in

t(ut), c(ut),

the phonetic system.

to

an Insiance oi datible-tonguingjlei us taVe the Scherzo of Mendelssohn's

Midsum-

mer Nights Dream; Single-articulation would

not, considering the

rate of movement, allow of producing

the

lower notes; so they are played as follows: Vivace.

Do u ble - tonguing: t

The same remark applies to the

solo

k in

k

t

k

t

t

Namouna

k

etc.

.

(Lalo):

Double - tonguing: k

t k t

k

t

t

k etc. (j.

Remark:

. Hamelle, Editeur-Proprietaire.)

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

what does

it

effect

delightful,

matter?

Double -tonguing

also allows of easy and rapid iteration;

Andantino.

T

. . r. (By kind permission of A. Durand I

9.

— When

rapid of

ternary

groups are

as double -tonguing,

inequality

of

tone,

in

,

question,

but with this

..

.

et

, '. o.. o..,. n Fils, Edlteurs-Proprietaires.)

triple -tonguing kind of articulation

on account of the natural



is

(Saint -Saens,' Ascanio)'

adopted,

there

is

being

always a

tendency to accent the last

of the

nearly slight

as risk

three con-

sonants.

Passages such as the following are quite easy, owing to the uniformity the absence of any kind of melodic feeling;

of

the

they are played quite mechanically:

Vivo.

fkftkttkttkt J.

etc.

W. 14267.

figure

and

14

THE FLUTE. But here

a much more difficult figure,

is

the execution of which calls for the utmost care

on the part of the performer:

^

Moderate.

'

k'

^-

'

a.

\.-

k

f

\-i.

(Gounod, Ballet in Faust) (Choudens, Editeur-Proprietaire).

Speed of Articulation. 10.

— With single-articulation J

stated as

experienced

=

the

maximum speed

112, and even then the passage

must

attainable

in

may

the low register

not be too long,

be

on account of the fatigue

the player, and the consequent heaviness of emission:

bjf

Allegro. (J = 112)

Single - articulation:

In

the high register, the

speed of articulation

tissimo can hardly be articulated

in

(J = 120)

Single - articulation

Double -tonguing of

intensity

may, of course, increase;

tempo

quicker

however,

Bt in al-

than J=120:

I*

.-

allows of easily attaining

J

=

144, at the expense,

it

must be confessed,

and clearness: Allegro.

Single- articulation: (Difficult

f

beyond J = 116)

»*

t;

^'f f f I

^fe

f f f .ik .

With double -tonguing J = 160 could easily be reached.

11.

with



In

medium

the

Strings

in

register,

point of speed,

Rimsky- Korsakow's

Vna^nV^ io dottJ)le -tonguing, Flutes can

being able to produce a true tremolo,

manage to as

compete

may be seen

by

Grande Paque Russe:

(J = 138) /111

Piccolo.

T:

v:

mf

Simile Jimtie.

c C:

yPri

figure

(below the normal pitch);

the first of the three (in 6)

still

El?,

Flute

in

F was

in

played

was almost

it

is

and

excellent,

G, A,

in

likely

to

the orchestras of the future.

in

Among Flutes tuned above the normal in

but, unfortunately,

There are also Flutes tuned

use,

is

it

used:

still

pitch,

hard to see why, for this

the onl^ one we now have

military bands.

in

In

left is

the time of

the Flute

Mozart

the

Entjiihrung aus dem Serail,

instrument he wrote ihe

nowadays on the Piccolo.

Remark:

The Flute

is

so

weak-toned in

its

medium

struments, that, when used in combination with them,

upwards.

Written lower,

it

register,

it

compared with other wind

as

only begins to

tell

from

G

or

A

£^

\

in-

T

'

cannot be heard, and what cannot be heard is harmful rather than

otherwise.

The only question we should venture to ask Weber would be about his often an

octave below

his

First

Flutes,

and consequently not sonorous,

instruments are always so admirably treated

in

his

Second

Flutes,

whereas the other

incomparable orchestra:

Presto confuqco. Flutes.

^^ 7p T^.-^fJl,L-,rn

'r Strings.

j

J

(Oberon, Rezia's Air.)

and again: Alleg-ro.

Flutes.

Clarinets,

Bassoons,

Horns, Strings.

(Oberon) 1

ing

could

wonder.

give numberless

instances;

at every step

we are

________^__ .r.

vv.

14267.

filled

with the

same

question-

19

THE PICCOLO. (Ital.,



1.

that

it

The Piccolo

Flauto piccolo. written

is

the Flute,

like

has neither the lowest

is

Ti\

of the

B!]

Petite Flute)

Note,

however,

Flute.

(Sounding an octave higher.)

to

r

"TT

Fr.,

sounds an octave higher.

but

C nor the highest

Compass: from

Remark:

Kleine Flote.

Ger.,

impossible for most performers,

but in case of need the

C above may be

written,

being easier to produce:

t 2:— The opera

Piccolo

that

is

Piccolo

with

its



it

usually has staccato

cation, Course



4.

tV.

All the

remarks made

sea-sick.

its

part

or even to use is,

it

so to speak,

as a first

mechanical,

Pdque Russe. effectively. See the Damnation de

R14) from

the

passages or rapid runs

to play:

Faust,

Valse des Sylphes,

Evo.

the preceding section, concerning the fingering and articulation

in

was said about shakes and tremolos

holds good

are absolutely impracticable on the Piccolo.

would be played

in

the case of the

Piccolo, the

s

possible ff

very difficult.

in

also

The two highest shakes on the Flute, one very difficult,

other only just possible,

the lower

If

octave— such

the first of these two shakes were written, is

the practice of orchestral performers

as for the second shake, the

a composer has been too daring; less

remember a short-lived

equally to the Piccolo.

with two exceptions, however.

it

I

ultra-sentimental part to pla^.

a lAbime.

of the Flute, apply All that

tune.

having a tendency to flatness, evoked the idea of

feel

Berlioz always employed the Piccolo most

where

in

a mistake to write a melodic part for the Piccolo,

the example already quoted

in

not quite

an important and

as a soprano to the other two Flutes, unless

Flute,

as

is

It

to

possible jf

is

it

it

swooning tones,

some unfortunate wretch beginning 3:

impossible,

which the composer had given

in

This

defect of the

(Sounding an octave higher.)

Bi|

when

not existing, there

is

risk of its being written.



5. The Piccolo is usually made of wood; the modern Flute, on the other hand,of metalj most virtuosi having come to the conclusion that metal is more practical, less sensitive to changes of temperature, more sonorous, better adapted for producing contrasts of tone-color,

besides being truer of intonation.

A

skilful

performer on the metal Flute preserves

best characteristics of the Flutes of yore, at the

richness of tone formerly unknown. discarded.

Authors scores.

In

a few years,

I

In

some parts

same time imparting of

the

all

to the instrument

a

Europe wooden Flutes have already been

suppose, a wooden Flute will be a great rarity.

to be consulted: Berlioz, Wagner, Liszt, Meyerbeer, Rimsky-Korsakow,

No special works have been written

for the

Piccolo.

etc., in

their

20

THE OBOE. Oboe.

(Ital.,

1.—

In

The

Oboe used by the s^mphonists

man,

Russian,

mann, and

This

Dutch, and

Italian,

— has

Wagner

(Sometimes quires

Bach the scale

the time of

Bl»

the

was written

Oboe.

Get.,

of the

last

of

Fr.,

century, the



the

one

still

Oboe

of

to

.«^

f

be found

Beethoven,

in

most Ger-

Weber, Schu-

compass:

Oboe, and,

for the

^=^

Oboe extended from

other orchestras

following

Hautbois.)

S/e^gyrterf,

in

Wagner

quite

exceptionally

re-

G in altissimo). instrument

Very

some shakes are

not perfect;

is

difficult,

impossible:

others

difficult:

Impossible:

2.

— The

compass

of the

modern

comprising

34 notes

of

tense,

whole

the medium

the

of

tolerably

shades— from

their

varying

lone

becoming

thin

Oboe

French

is

from

to

Tf

homogeneous timbre, the lower ones being admirably inregister capable

expressing

the

of

their

the

as easy

Remark: point ly

to

degrees

as to

The two notes

of quality,

all

Highest.

w (save two:

attack

in

Medium.

Low.

All

feelings

timbre:

upper.

Registers of the Oboe:

human

from tragedy to idyll_the two highest degrees a-

joy to sorrow,

and losing something

of

but

C||

and

sustain, either

D in alt) are

piano

referred to above

they are difficult

(Ctt

and D)

attack

to

J.

in

are not

suddenly,

Very difficult tremolos:

(to

well

tune,

flexible,

clear,

and

or forte.

be avoided)

W. 14267.

inferior

as, for

to

the

others

instance, in these two

in real-

21

THE OBOE.

Articulation.



3. is

a

The

from the

differs

melodic instrument,

Flute. V.

in

the

in

being

de Romeo"

maximum

its

Flufe

the reed

'Tristesse

reaches

rising,

ly

Oboe

not

being

capable

of

any great execution;

slower of speech than the mouthpiece the

very

characteristic,

on the vibrating

intensity

it

the

of

pathetic wail, which, slow-

E in alt:

sonorous

Larghetto esfresstro.

4^

r

I

I'lr

fjrr

i

I>

J

K'

i

n

r

ip-y

r

Berlioz,



4.

The

Oboe exclusively employs single -articulation,

made use

being

of.

Double -tongving

tonguing, and consequently any 5. in



It

is

advisable

whichever register

not it

to

We now

give a

(J

.2)

108)

iteration

of

the

the

for the

same in

Romeo

letter

note is beyond

quicker

(as

likewise its

tempo

in

p.

36)

"tut")

triple power.

than J =120,

120)

for the

W. Ferling's Etudes, with metronomic rates fixed by

use of his p upils a t the Conservatoire:

^^^^^^^^^^^^^=^-

Jl\>'4 f iTm

et Juliette,

/

Oboe;

g^

playing:

few examples from

Professor Georges Gillet (J. =

:

impossible

require the Oboe to articulate

may be rJ

rapid

is

ir"^

-"t^T

22

(J

132)

=

(J

140)

(J

156)

=

eaaaa—f- f

sr

r F

'



*

^

'.

(very difficult.)

The

last

bar, with

its

wide skips,

extremely

is

Slurred 6.



ones,

Ascending the

lips

intervals

being

are,

more easily slurred

middle

C

to

Vivo

E,

a tenth above.

^± /i±rf^/^t:r^

The same slurs would be much more awkard descending, as which

dangerous beyond

is

Or this one,

112)

impossible

4"

^

^'

in

the following

passage,

120:

(J = 120)

(J

than descending

more easily contracted than distended.

octave skips can thus be slurred, from

All

Notes.

speaking,

generally

to plaj.

difficult

i,

f\

i*.

beyond 112:

'y

M

"

^i

K

(very difficult.)

On the other hand, here cluding not

very

cadence, great,

Despite

is

a perfectly

the quick

because this cadence

practicable

rate

of

passage, with a very expressive con-

movement,

the difficulty of execution

is

here

allows the lips time to prepare for the wide skip:

/ J.

W. 14267.

«<

23

THE OBOE.

Length of Breath. 7.

— Superior

intensity

in

such carrying -power that

we once rivalled

over

fix

excels

comsumes oboists

all

far

and

del's

ease with which in

their

sustaining -power.

of

the

to

length of the

Oboe alone, among the woodwind

If

in

the

the

tone,

its

the strength

of

if

un-

Oboe more-

vibrations,

its

of

it

competition were started between

a

them-

acknowledge

before that of their rivals.

connection,

this

than

Largo

the

3C^ act of Tannhduser,

phrase

instruments,

long

while

hear nothing else,

would soon be compelled to

more convincing,

Second Concerto, and the Prelude

formance, on account

Despite

for example.

bands,

military

in

finally

can swell and diminish

it

possessed

instruments,

the main element

wind- supply being exhausted

examples

woodwind

a modern orchestra we can

these latter players

flautists,

There are few

in

wind than the Flute,

less

selves defeated,

it

congeners

it

to all the other

formerly constituted

it

our attention on

as regards the

timbre

and

of

Han-

so difficult of per-

and the impossibility of taking breath. The 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!

a

^

,

i_

J

^nowadays H-

11

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.

.

-

quite easy

Complete List of Shakes and Tremolos.

^^

or on

Bl^,

C

(a

«4 i>

THE OBOE. I*

Inj"~"

J^^



*i*^—

-A-ll

up

tremolos possible

to the octave, except:

f

r

!,

~

diffcult.

All tremolos possible up to the octave.

etc..

OB

«J

gj^.

»J

t|l>

=

J

"

,

(J) Nowadays an excellent shake.

All tremolos possible up to the octave.

AH

^^^rfe... J

'''T'/j

m—moderate

'

All tremolos possible up to the octave.

etc...

e is

4

wanting).

homogeneous quality, why

for its

| is

effects nothing

Its

^i

(£)

^ not

it

habitually

To the Oboe d'amore Bach assigns his most pathetic

chestras?

forte

pitch than the standard instrument.

in

sounding:

(The low is

it

a minor third lower

is

used

cantilenas}

our or-

in

mezzo-

for

can equal the charm of the upper register:

Lento.

(Actual sounds)

PP

(Qui sedes.

Each time the instrument skips by a sixth the

example quoted above,

the

Bass

Et

air:

connection too,

— The

effect

to the accented beat, in the last

See

truly exquisite.

is

in spiritum sanctum,

Passion according to St. Matthew, the Magnificat, etc. should be studied.

Oboe d'amore

played

is

in

the

in

B

same

of

Mass, In

Christmas

the

minor.)

three bars

also, in the

accompanied by two Oboi d'amore.

the

the Cantatas, 13.

the

Mass

this

Oratorio,

same manner as the ordinary Oboe;

has the

it

same mechanism and can execute the same shakes, save two: (x)

+

(y)

+

I All major and minor shakes excellent, up to D in

impossible, very difficult

good.

alt.

These two shakes {x, y) will be rendered possible by means of a special key, easily ted on to the instrument, if ever it comes to be used in the orchestra.

fit-

The Cor Anglais. 14.— The Cor Anglais used

in

former times

is

—a

simply the Alto of the Oboe

fifth

lower

compass as the Oboe d'amore (the

lative



Compass:

Lacking

i 1p

the old

pitch than the standard Bl>

being

wanting as

^g

ment),

lais

in

i

Sounding:

in

Oboe da caccia,

instrument, with the

so much

same

re-

the case of this latter instru-

^

I

both the strength and the homogeneous quality of the Oboe d'amore, the Cor Ang-

exhibits

three distinct

varieties

upper register weak and sickly.

^^ and

of

timbre.

The lower register

The best register lies between

-

ii

i

sounding:

i

V

J.W. 14867.

is

very powerful, the

27

THE COR ANGLAIS. figures

All

the performer,

15:



thanks

a

special

key,

for

was impossible on the Cor Anglais; nowadays,

shake

this

are very troublesome

C|i

notes on the instrument.

one of the worst

this being

Formerly to

around the highest

gravitating

shakes from

all

low

to high

Bi|

can be executed:

Dt|

(All possible, both major and minor)

Remark:

The two shakes x and

paragraph

13),

special key of which

sesses the

y,

mentioned as being impracticable on the Oboe d'amore (see because this latter instrument actually posspoke.

are quite easy on the Cor Anglais,

— Works

I

Les Huguenots, Guillaume Tell, Lohengrin, Tristan und Isolde, Siegfried, Tannhauser, Manfred, Le Carnaval Romain, La Prise de Troie, Henry VIII, Samson ei Dalila, Sigurd, Salammbo, Le Ctd, Beethoven {Trio for two Oboes and Cor Anglais). Thais, etc. 16.

to be studied:



The Barytone Oboe.

— An

octave

17.

below the standard instrument, with the following compass:

is

(Bl>

mechanism are those

The fingering and form an admirable to a

18r-

neighborhood

1

need

two varieties mitted with

almost

focus of intense,

mediate

of

hardly of

into the

the Small

the

when

bass

all

the

wanting)

of

the

heart of the

at

refer

same

kind

of

But

I

Clarinet

El>,

in

in

Musette

either to the

orchestra.

any time required.

#W

instrument,

far,

in

differing

must mention the military

bands;

Pastoral Oboe

or to the

only

Its

compass

in

the reed,

Soprano Oboe

this

the im-

is

a very

sounding inS=

to

the Soprano has only been used

J.

once

in

in

El>,

(in

for neither

used,

At), is

together

sonorous instrument if

a complete

ad-

family

with of

from

is

The fingering and mechanism are the same as So

orchestra,

in-

the Horns.

an extremely piercing upper register, and would prove very useful

Oboes were

will

same family are concentrated

of the

at

quality,

The Barytone Oboe

Oboe.

ordinary

the

instruments

bellicose

i

-4^

sounding:

^

=S

for the other

instruments

the orchestra: by Vidal

W. 14267.

in

of the

Oboe family.

La Burgonde.

28

THE BARYTONE OBOE.

— Remark:

The timbre

19.

ing

for holding- notes,

it

and

best register only,

of the Oboe

to

If,

for

instance,

these two



of

scoring

in a word,

common chord has

the following

wa^s

and predominating that, -when uscare must be taken to employ the

choose the most euphonic intervals, the very aggressive notes of the

lower register being scrupulously avoided

of

so characteristic

is

or for background effects,

for chords,

is

it

the Oboe must never be

be written

to

lost sight of.

four parts,

in

the first

preferable:

TV Oboes.

§

©

® 3E

Clarinets

In

nets,

and

conclusion of the

Allegro

of

Horns, Trumpets, and

Bassoons

in

the

Oboes, on

which he

alone

the

8th Symphony, Beethoven

the background,

bringing

leaves the

the front

to

the

Clari-

Flutes

relies:

"•"

*

"•" -I-

Flutes.

Oboes.

Clarinets. •^

Trumpets

Horns

pp

t

pp-

^ ^EE^^ pp

Bassoons.

'H

f

t

^

^

t

PP

Strings.

^

PP

If

the

elegance weight,

parts

Clarinet

were given

would forthwith vanish, like

a

bird

with

to

the

Oboes and the Oboe parts

and the harmonic

shattered

mass appear

wings.

J.

W.

14267.

to

to

sink

the

Clarinets,

beneath

its

all

own

29

THE CLARINET. (ital., Clarinetto.

— The

compass

1.

the Clarinet

of

Ger., Klarinette.

42

is

Fr, Clarinette)

notes, from

alwajfs

is

It

difficult

heights

the scale,

the extreme limit of an^

to fix

because such

proves to

it

be

the case

in

as some virtuosi can

here given as the upper limit of

is

clarinet-

of

great majority

the

of

con-

is

f

instrument,

A in altissimo

inaccessible to others.

and

:,

to

sequentl^ more extensive than that of the Flute or the Oboe.

reach

^

s-

players.

In

case,

anj^

most performers, and

C in altissimo

^

beyond the most persevering efforts

is

1

piano passages 6

in

should be considered

of

extreme

the

limit.

Every

degree of the Clarinet's extensive scale

strument

considerably

varies

the

in

different

is

excellent,

registers,

but

which

of

three:

timbre

the

it

may

the

in-

there

are

of

be said

"•

.-•

m

i 1=*=

high.

medium.

Chalumeau The dramatic intensity

was

had no suspicion,

The medium

schiitz. ister

2.

case

of

fects

of

say

that

all

Flute

and

the

I

the

some few notes,

these

They are should

not

inferior

degrees

the

Oboe,

A

from

3r- Next

to

shows

peggios of seventh.

be taken

to

in

point

great

to

Overture

have

to

Frei-

to

timbre, and the high reg-

excellent,

mean,

I

as

the

in

composer need not stop to consider the de-

the

may,

he

in

upon the talent of the performer

number:

intensity

of

to

to

con-

* the

to

figures

e

;

Flute,

same remark

The

is

scale,

and

apart from this,

they

degrees

any description,

of

when a shake on A

Clarinet

the

advantage

in

or

the

but

applies

written,

the

of

it

the

to

difficult

has to be performed

instrument

capable

of

most execution.

passages (especially chromatic ones), and

the chords of

difficulty

excellent,

wind

the

is

scale of

when the Clarinet

are

neighboring

kind of fingering.

increase

keys

J

J

common chord,

However,

their relative

J

Bl|

special

the

the

not

the scale are

composer no further concern.

of a

ficulties

characteristic

less

of

that

as

relying,

be used as pivots for

means

It

predecessors seem

notice by the

into

imperfections.

little

give the

passage by

much

register has a

These defective notes are three

need

which Weber's

of

time brought

the first

very piercing.

is

— When

ceal

chalumeau,

of the

for

is

the

required by

writing

dominant

to play in

seventh

bravura

extreme keys

and

passages, care



C,

F,

because they are easy; with D major and

begin.

'

J. y/.

'

14267.

ar-

in

diminished

must

G, Bt El>

major

and dif-

30

THE CLARINET.

On perusing Die Walkiire, sharps or flats, ulation

ner

not

simple,

ly

the

change

a

of

knew

slow

performer

When

part

execute,

to

begins playing

Mozart,

again

the first

for

{Trio del Mascheri),

he

the Finale

of

effect

—C

in

concert- pieces.

timbre,

as the

B't>

The

are also

able to

stops at

D.

i ^

Clarinet in



A

accidentals

to

to

replace an

instrument

one,

old

ces;

in

and

the

I

performer

am now

Allegro, and that

is

of

6.— Among forte

with a of

the

the in

wood -wind

of

the

Bl>

lower register

sim-

and A

em-

only possess C|t

are

alone

them

for

an extremely

their

and

rich

(an inestimable advantage),where-

m

sounding:

i

be

the

gradually less

found It

relatively

duty

seems

to

^z

^

the

in

But

as properly rest

his

bush

a thorny

have

to

the performer's hands by

tune.

in

in

annoying

is

lips

at

end of

the

a

and efficiently as the and

give him

new

life.

and

duration,

such substitutions are very sel-

Bl>

Clarinet

following

Clarinet

is

of

Alleg-ro B\>

W. 11^67.

long

musical

performan-

frequently prescribed

Adagio, but no change bravura pieces.

is

in

ever

an

made

to

alone

is

able to contrast

marked manner that the former would

latter:

.1.

it

orchestra

same remark applies

instruments,

that

warming up

accurately

short

the

true

doing

theatrical

in

quite

is

It

satisfied.

of

in

sounding:

Clarinet in

its

the key of F for a

composers who prefer involving them

the A Clarinet

such a

not

descend as low as

true that the use of the

the course of a movement;

used

in

virtuosi have adopted

tone;

semitone,

has been

speaking

symphonies, which are It

in

therefore will

is

At

fingering.

^'

of

and

new instrument

dom necessary.

in

nowadays Clarinets

instrument.

which

the

Of course,

Beethoven

V^

the

colder,

of

G.

in

C.

of

Wag-

necessar^j and the

Clarinet

of

arpeggios to the Clarinet

^

changing

instrument,

bars

=

complain

Clarinet -players

of

another

brilliant

but

in Bl>

or

or difficulty

risk

of

Besides,

player an extreme-

giving the

Eroica.

lower by a

latter,

F,

assigned

Clarinet Clarinet

5.

C, or in

chose the key the

The former are more

ployed.

few

in

precise moment.

change

the

four

or

with three

due to a sudden mod-

solely

is

was

he

no kind

involving

time,

but this

cases,

particular

Clarinets have disappeared, and

A:

noble

these

that, in

of signatures

Clarinet just at that

of

resting-place the composer indicates

first

ilar

instances

then onl^ for a few bars,

allowing

well

verjf

and

onl^ two

find

I

really

seem

a

piano

to be the echo

31

THE CLARINET. The pianissimo

imum

sound

of

forte. a

but

hardly

is

It

whiff of

— Another

which

allows

parts,

chord

treating

a

to

all

the

AV%

and two

and

Trumpets

as

metallic

would

pianissimo; the instrument has almost

is

the

of

Clarinet

almost

with

of

Egmont,

Clarinet,

lost

very

group

tone- color

Clarinets,

Flutes

a

mezzo-

be

in

its

timbre:

'tis

treated as

wrote

a

Bassoon,

Flute

single

has ventured

if

4

for

this

^

\H

i

a2>

>

m

Actual sounds.

a 2.

Horns

i i

a 2.

i i

Ballet des Sylphes. heavy.

A

real

Bassoon would

The Clarinet thus marking the accented

Harp, sounds truly

exquisite;

quality

part

two

were three dissonant

the

Horn,

and

Clarinet Flutes.

note of the

only instance of want

the

Ci

m

it

would seem to leave

m

^ ^^ ^

^

U)

must have noticed the "poetic Bassoon"

the

rich

full,

the

one G\f against one EV, four

Egmont

too

take

notice,

weak:

Bassoons.

musicians

its

they

if

assign

to

were a second

it

writing,

While the Oboe can

attracting

without

same manner, as

the

in

Beethoven

the medium register,

with that of any other instrument.

blending

of

in

orchestra.

the

in

can,

Horn, or even of a

whole of his orchestral really

neutral

its

Clarinet

Mozart frequently

instruments

three

the

power

is

every

a Second

Clarinets.

All

with

min-

the

represents

registers)

Compared

instruments.

intense

an unrivalled

single in

as

medium

the low and

(in

wind

instrument,

Flute, or

Overture to

balance

of

other

Concertos,

Piano

the

In

no

possessing

his

In

blending

its

for

a Second

of

tone

of

even a

characteristic of

mistaken

place

from

air.

7.

be

Clarinets

the

lower register seem

their

in

of

obtainable

effect

have been

(Breitkopf

its

Hartel's edition)

produced by the Clarinet ridiculously dry,

beats, beneath in

&

wake,

and

the harmonics

as

it

were, a

Horn

a

the

of little

in

spray

of sound.

And what Note

tremolo

shall

we say

the admirable of

of

the

orchestral

effect produced

peroration to the duet

associating

by

the tremolo

in

the Violins: Clarinet (actual sounds).

I

4 Violins (divisi).

^^ /'i'l

Violas.

3E 3SE

Pizz.

TT

ae 3SE

Celli.

^^

~PP Double-bass.

m PV J.

Fizz.

W. 14267.

Beatrice et Benedict}

of the

aE

Clarinets with

the

32

THE CLARINET.

8. ly



to

All

the

As

case of

the

in

been said about

that has

passages

should

But, as

be

//

(Widor, Introduction

(J

Bk

in

=

120,

of

Oboe (§§3,

the

4,

5) applies equal-

I

in

notes

articulated

for

and

staccato

one of the registers.

any

MM

I

numerous

Oboe,

the

of

=

^

//

Etudes and

in

Clarinet



^

''^ p

^

G

become difficult.

tremolos

..1*^. difficult.

etc...

which

All tremolos possible

is difficult

well as

except

all

as

above.

up to the octave,

possible

u

i Q

up

'^Tq ^r

^ L' "

All tremolos possible

•g-^^

'"^^n

L^F^^ r^

f^

Li»itfj

H

J

All tremolos possible

etc...

up

Difficult beyond.

except:

to the octave,

,,

*^,

.

Difficult beyond.

except:

to the octave.

rf £eavy-

difficult.

etc...

t

Iy-Tpp

m ti

fO

t'"'^

i i

fdf

af

etc...

etc...

All tremolos possible up to C in alt.

All tremolos possible up

to

C

in alt.

All tremolos possible up to C in

J.

W.

14267.

alt.

.,,

rf

I

m

^

rf

'Hf

.g-ood.

which

it

is

difficult to

attack piano.

36

THE CLARINET.

^

p'gn

^

All tremolos possible up to C tn

etc...

zi^SSn^

All tremolos possible up to C tn alt.

etc...

C

etc...

All tremolos possible up to

etc...

All tremolos possible up to C in

tn alt.

etc...

All tremolos possible up to C in

etc...

difficult

above.

difficult

above.

etc...

r%

alt.

alt.

alt.

^a Higher tremolos should be avoided. ffood,

but

Dli

IS

r^ ri\ a J trifle flat.

+^

^

^

('Z-t

^ ll

^D|t

^p

,.„„.

somewhat fla t; ""^'

Of

II

^L^'

almost impossible,

a^n^r;

,.

difficult.

I

possible,

/^

* II

*fiJj'^ Higher

tremolos should be avoided.

difficult.

Higher tremolos should be avoided. difficult.

O

——

-

J

^

Xag I

l^asT

\^aP

II

heavy

Higher tremolos should be avoided.

difficult.

i

8

IkJ (I

^J =

II

ier tremolos should be avoided. Hir.

difficult.

^^p

^"Sji^

Higher tremolos should be avoided.

8 It

is

dangerous to rise higher. (See §11, page 34). J.

W. 14267.

87

THE CLARINET.

Transposing. 13.

— We

writing

that

All

have already seen (§4) that the C Clarinet

exclusively

same

the

timbre,

the

in

and

Bl>

in

qualities,

and the same

Clarinet

Bl>

from

tuned

is

in

in

not

to

the lowest register.

Clarinet.

a fourth below the standard instrument

F,

member

This

unable to sound

is

the

The only difference

imperfections.

little

they have

which the

Alto Clarinet

is

for

applies equally to both,

C)t

sidered the normal key).

compass

composers

modern

use,

richness of tone, the sweetness and fulness of the A Clarinet,

The Alto

— The

in

the

mention the valuable

14.

no longer

is

A.

in

has been said about either instrument

same mechanism, lies

Clarinets

for

of the Clarinet

family

not

is

much

(if

be con-

Bl»

use nowadays,

in

its

:g

_^j

t

^^^

sounding:

to

No higher notes can be obtained. Mendelssohn has written two Duets

The Small 15.



This, also,

El>;

in

Clarinet.

an instrument rarely used, save

has employed

it

bands, for which

military

in

the Nuit de Sabbat of Walkure. In this latter

in

the Finale of the

in

the performer frequently

but

Clarinet.

Bl>

tuned

is

it

sounds a minor third higher than written.

it

Berlioz

Wagner

is

and

Alto Clarinet

for

Symphonie Fantastique,

his

the Small

work,

transposes his part,

playing

(By kind permission

&

Clarinet

on the ordinary

is

and

tuned

instrument

in

D,

in

Ei».

Clarinet in O.

.,

.//

of Schott

The Bass

— The

Bass Clarinet

16.

compass

its

is

written

is

the

like

Bl»

or

register,

Bl>

sounding:

to

li.A

No higher notes can be obtained.

but

Clarinet,

sounds an octave

lower;

Bass

the

of

^ 1^

^

^w v*

contains the

which

The mechanism

valuable.

A

from

4 ^ lower

p. 442.)

Clarinet.

/in

The

{WalkUre,

C?, Publishers-Proprietors.)

richest

Clarinet

and fullest is

identical

notes,

is,

of

most

the

course,

with that of the standard

in-

strument.

The

Bass Clarinet

bring

to

Bass the

it

Clarinet

Bassoons,

the 20^ act of

Note

the

Liszt's

instrument;

Meyerbeer was the

and the Prophete).

bass to the other wind

constant

Lohengrin,

melodic

Huguenots

and now and then also

the effect

form

admirable

an

as an almost

son et Dalila, that

is

into notice (in the

for

melodic purposes.

Dante- Symphony

first

composer

Afterwards, Wagner used the

instruments,

(See the

(Purgatory),

3™

as an auxiliary to act

of

Tannhduser,

the 2!!^ act of

Sam-

etc.)

produced

by

accompaniment

the to

holding-notes

Elizabeth's J.

for

prayer,

W. 14267.

Clarinets,

Bass Clarinet,

and

Bassoons,

38

THE BASS CLARINET.

— The

Bass Clarinet can pass from & forte

17.

instrument

itself.

If

pianissimo as

to a

were necessary to have a phrase repeated

it

easily

as

the standard

slowly-dying echoes, the effect

in

required could probably be obtained by employing the three following wind instruments

Bassoon.

(Actual sounds).

Here

is

V*

^

(*

^

i ^^5

:^

^

PP Legend of

from the

an example,

succession:

in

Bass Clarinet.

Horn.

the Loreley.

P ^

Moderato

Bk

Bass Clarinet in

Horn in

competition

this

In

ssimo

F.

prize,

— Meyerbeer

18:

(A. Bertelin.)

comparative tone-qualities, the Clarinet would

of

unanimous

by

the standard

instrument

But from

Lohengrin

(treating

as a 16

it

onwards,

same

the ft.

for

Violoncellos

call

for

an urgent

ious systems, they are never sure

not

for

such too

the

is

Bass

the

the Bass

Clarinet

as

Clarinet

for

French practice. in

the F Clef:

reform

this

in

it

would

be well

to clear up.

The Horns

bewildered as they are by the var-

respect;

which octave the composer means them to play.

in

Would

it

worth while holding a congress to decide the matter?

be

my

To

piani-

the

sounding:

A

This gives rise to a serious misunderstanding, which

and

notation

stop);

Wagner writes

Bass Clarinet in

certainly take

consent.

Wagner have employed

and

*

PP

mind, notation playing

Clarifiet

nunciation

of the

— Authors

in

in

the F clef

is

nearer the truth.

unison with a Bassoon

words 'honorary and

in

the F clef

'honorarium.

To write

seems

to

in

me

the

G

Let us vote for the

F

Bass-

a

clef for

as illogical as

pro-

the

clef.

studied: Mozart (Concerto); Weber (2 Concertos, 1 Sonata); Spohr {Concerto); Schumann (Pieces); Brahms Concertino, Variations, Quintet, {2 Sonatas, Trio, Quintet); Etudes for the Clarinet by Kaliiwoda, Frederic Beer, Klose, etc; 19.

Pieces

and works to be

hauser

in

dromache

Clarinet, see,

in

Tannhduser,

the

the first act, the entrance of Tannhauser and Wolfram

prayer

beth's

Bl>

Messager,

competitions by

written for the Conservatoire

For instances of use of

at

in

the third;

Hector's tomb,

— Remark:

20.

One

for instance in

the

of

Marty,

Rabaud,

etc.

scene between Venus and Tannin

the second act, and

Eliza-

use of A Clarinet, the whole beautiful scene of An-

Prise de Troie.

of the most frequent mistakes

made by students who

are beginning

to

or-

chestrate consists in taking the Flutes, Clarinets, or Bassoons as a groundwork on which they attempt to embroider the polyphony of the salient instruments, without duly considering the pitch at which

What is wanted is a neutral background, i. e. an unostentatious, they are writing the Woodwind. a kind of far-off organ -music. If holding-notes for the Clariveiled tone -color a mere foil nets are written in the chalumeau, the dramatic effect of Freischiitz is immediately produced, and the background becomes dark and threatening. If, on the other hand, holding-notes are written in the upper is suddenly register, in spite of all efforts made to subdue their squeaking quality, the background brought into undue prominence, completely eclipsing the instruments it had been intended to throw into relief. The true neutral register of the Clarinet, which seems to continue the Flute, bridging oyer the distance between the latter instrument and the Bassoon, lies in the medium, between E and B!> is much more sonorous. Even C =^=iti





When Robert Franz undertook to arrange the Organ part of Bach's Cantatas for concert-rooms not possessing an Organ, he was obliged to make use of Bassoons and Clarinets. The latter he wrote in the medium register, so as to imitate as closely as possible the almost anonymous sound of a Bourdon or a than Fliite-stop playing in the medium. He could not do otherwise; nothing can be more dreary holding- note for the Clarinet written too low down. J.

W.

1'4;J67.

39

THE BASSOON. Fagotto.

(Ital.,

— The

Get., Fagott.

Bassoon has a compass of 37

1.

notes, from

U

Basson.)

Ft.,

==

V-

to

t>TT

writing

In

for the

orchestra,

dangerous to exceed this upper

is

it

may be required

piece the performer

to play up to D, a third higher

~

g

braimra

but in a

limit,

:

||

Wagner once even ventured case,

firstly

with,

and

and

write

to

because his theme was

was

Bassoon part,

doubling the

doing

in

the

of

special

that

in

playing

Violas,

unison

in

mistake made at such a height.

any

neutralize

to

likely

and

Violoncellos

so

could not be dispensed

E

such a nature that the high

of

because the intensity

secondly

was Justified

he

but

E,

Allegro.

^""^

ff

(TawwAaus*"/; Overture, p. 25.)

former times, the Bassoon was seldom required

In

Later the

it

scale

Mozart, who wrote

y

and



2:

good;

medium

in

register

quality,

in

paration:

Bassoon,

for

^

was only very

^

it

]

the

Dan Giovanni

kept

usually

rarely

that

and

(Double D)

in

within

it

wrote

he

the

old

its

be-

limits,

lower notes, as, for in-

Andante

of

Concerto

the

(Double C).

so

not

.chromatic.

so admirably

forte passages

In

7^

-etc^

'^^==^

I"

»

diatonic.

Overture to

the

in

C minor

in

1^

-^< I

stance,

descend lower than Gamut G

became possible to obtain Bl>, but neither B^ nor C^f could be produced, so that was diatonic for the first few notes, only becoming chromatic from El> upwards:

S tween

to

Al>

In

piano

all

37 notes

the

passages,

the

of

lowest

Bassoon may be looked

the Blj

and

D

being difficult

somewhat sharp, the four following degrees

^

unsatisfactory,

register

the highest

^

S somewhat difficult to

'

L

(El^,

F,

upon

as

attack,

equally El>

in

and G) poor and

F|i,

D

and the highest

to

some

requiring

^

the thin

pre-

l>ii.

^ -poor and thin.

bad.

requires preparation.

sharp.

attack piano. 3:



wind

In

fact, the

group,

is

Bassoon, although

an instrument

of

usually constitutes

it

very uneven quality,

its

the sole

bass of the

admirable low

fifth

entire

Wood-

=^

y

be-

\>-r

ing

followed

an exquisite finally, after

by a fairly good

seventh,

a bad

with a

Al),a dull

medium register

timbre

fourth

closely

:,•

then, after

resembling that of the Horn

produced by a tube constantly diminishing

3

four

weak ijfi

in

fairly satisfactory.

poor and thin.

admirable.

^ exquisite.

n

bud. J.

til ill.

w

preparation. i'i'o

notes, conf»es ,

and

40

THE BASSOON.

The bass

lowest

duction

such

of

could

fifth

However,

sounds

intense

such a manner as not

in



4:

Since

as well

be

few years

a

write

to

Bassoons

all

than

lower

of

the

need to be taken

exhaust

tone-power;

on the

strain

Bl>

involved

and

account,

into

be

will

this

Bl>,

lower

still

the

sound

able to

being

the

length

but

A,

this

note

last

in

part

the

the pro-

written

performer.

the

increasing the

by

form

might even

lungs

Bassoon has often been required to play down to A;

descend

to

would

point

in

case,

that

in

completely

to

Wagner, the

made

with the Brass

vie

Trombones.

the

of

majority

could just

it

Doubtless

tube.

the

the present

for

the great

on

of

well

is

it

in

not

instruments.

of

Articulations.



5:

the Oboe and the Clarinet, the Bassoon employs only

Like

the lowest

highest

to the

Bl>

peated or detached, either forte For

instance, (J

low

the

piano, almost as

or

high registers:

i>-

when

effects

lightness

quired to play in

Wagner,

of

the

Strings,

the

— The

7.

they

of

wind

instruments, even when they

surprise and admiration;

a matter for both Liszt,

When

are doubled

by

the

it

requires

examined separately

(with the

Violoncellos

exception of

image

of

assurance and

the

they

performer's

seem

skill

doubtful

conceal,

to

notes,

not

when

but

quite

these

in

notes

excellent.

.

^^

Flutes,

some of when play-

of

self-confidence.

Here are four bars whose bass had been given by an inexperienced composer soon;

the

become nervous and frightened, but

they

isolated

all

Wood-

tempo.

timidity, heaviness, and even absolute inaccuraoy

are the very

re-

Brahms, Tschaikowsky, Glazounow, Borodine:

Bassoon, as we have already seen (§2), has several

whose defects

are

instances

been a composer who has not thus contrasted the

were

most astonishing

them would be discovered. ing all together

is

Berlioz,

very quick

in

each member of the group

course),

tune,

be

instrument must not be brought too conspicuously

a mass

of

tempo,

very rapid

the scores

with

If

of

in

articulation

of

Beethoven there has hardly

since

wind



foreground.

6.— The abound

-• -•

kind are employed, all prolonging of the difficulties must

this

of

avoided, as the tongue soon falters, and the

the

as on the Cello.

138)

Of course,

into

Vnm

notes can be re-

register:

.

(J

easily

all

126)

.

medium and

the

In

in

single -articulation.

throughout a compass of three octaves,

Bl?,

to

a solo

Bas-

of the

weak

notes

.

Andantino.

Flutes.

this

bass, being

(§3), sounded

the

t

^M

Bassoon.

Now,

^

timbre

feeble of

the

and

^ in

the register of the

out

instrument

of

tune,

was

in

^ ^j

::^,J

n

^"^r ^ ^^^

fairly good

medium

through any fault

not itself

J.

^ J

unsatisfactory.

W. 14267.

of

and

the performer's, but because

41

THE BASSOON. As soon as the composer had concealed these defective notes beneath the pizzicato the

passage

the

Celli,

sounded

quite

of

different:

Bassoon.

Cello.

Pizzicato.

The instruments

blended

all

in

a pleasing ensemble, perfectly

as to truth

satisfactory

of

intonation.



7.

In

matter

the

more easily than

it

intervals

are

notes,

Bassoon

the

like

the

Oboe and

can

Clarinet,

rise

can descend:

However, descending the

slurred

of

slurs

are practicable

in

slow tempo,

and even

in

quick

tempo

when

smalt: Vivo.

Staccato notes, on the

Bassoon

Allegro. I

skips

with

^

.

L

Vivo.

8.

— Descending

as well as lowest

all

of an

incredible

octave,

a tenth,

ease and

i

^-^

^



a twelfth,

can be played

a fifteenth, etc.

rapidity:

^

h

^

^

tJk

I

',

^

.1

k

^i

*'

tk

slurs to be avoided:

slurred

intervals

starting

downwards from

register:

J

w

14267.

Gl>,

El>,

D,

Cjt,

and

Ct|

in

the

42

THE BASSOON. Bad:

9.



In

slow tempo, descending

slurs

can

are

used

in

above),

tioned

provided

Lento.

i~\

Ltr

'

k;

L^r k/'

an^

one

of

chromatically,

but

this

Taking



able

Is

which

it

none

of

deep its

is

available

Strings

alike;'—

It

It

can

somewhat

astonishing

not

sound

to

is

notes

ever^

it

reinforce

suspected: ^

may be an .,,

such

put

accent

Alleg-ro

^'^ instrument

of

to

all

the

solo:

£'7\

L^^

kinds

f^'

;'

kf L^ L^ IJ L^

Bassoon can thus descend speed

of

is,

descending also

with

lower

even

capable

it

renders

ever^

the

scale

course, entirely precluded.

be

What services

blends

it

f

should

intensity,

combination;

a

in

£~>

^'T^^

men-

excepting the intervals

f^ ^ f) u ^ ^ L^ n kj-^

perform?

can

(always

e;Lj; f;-

dangerous, and

an

that

of

neighbors

for

L4r'

*~^,

as a fulcrum, the

notes

its

placed

ensemble, and not

^~^ £~^ £~\

f^M.

n

m

be

an

f) f^ f] f^ ^sT ^:r LJ

«

10.

the^

group



than -the Horn, and of in

acrobatic the

feats

orchestra!

Woodwind, Brass, and

work.

of

Strings, without

its

presence

being

even

so

much

as

,,

molto.

Double-basses (j. Hamelle,

Editeur-Proprietalre.)

(Widor, It

may

complete

the

Horn group,

so

blending

perfectly

from the Brass: J. VN

.

14AJ67.

that

It

2^ Symphony,

cannot

be

PP p.

130.)

distinguished

^ ^ ^ ^

43

THE BASSOON,

^And^^ tranquillo.

Clarinet in

A.

Horns in

a

n*in

Bassoons.

E.

d^

r^

i.

p

^^

f ^

Basses.

PP Without the

the

weakness,

least

it

i

^

^

(Mendelssohn, Sommernachtstraum.)

can heap upon

its

Atlas shoulders the whole weight

^ it

harmony: d

^

of

--^

s

AX

i. |

Flutes.

Oboes.

Bk

Clarinets in

Horns in

F.

Bassoons ("Wagner, Meistersinger, p. 354.)

Figures played by the Violoncellos

much

gain very

in

energy and

and Double-basses, or even by the whole group whe n doubled by th e Bassoon

intens ity

of Strings,

;

Flutes.

Oboes.

Horns

Trump,

in

Bk

in Bl>.

Bassoons.

Drums.

f^.mi Violins.

^!ism

Violas.

Basses.

(Beethoven, J.

W. 14X67.

4thi

Symph.)

44

THE BASSOON.

The staccato

of

the

Bassoon

Strings

when necessary,

can,

be as

as the pizzicato of the

light

(J = 69).

Flutes and Oboes.

Bassoons.

Violins.

Basses. Fizz

(Meyerbeer, Struensee.) not

Is

this

staccato

the

of

Bassoon,

in

the

Serenade

of

Mephistophetes, fully as

supple

as a pizzicato? Oboe.

ji

Bassoon.

V-

^''

^|'

a

V

4

^''

hi;

\

it

Violas.

V

r

't

»

1

i

>

! (

J

U

J ij Pizz.

Mephist.

i

'

3

S

U

^^^

J

J

J

fi't

p Ain . si

ser!.

^^^^^^

Basses.

f

^MF

p

2 ^

Violins.

^

g

>

f

J

J

n

^

*

J

*

^

J

J

J

J

U

pel

J'

By

combining

the

the

Bassoon

the

and

two

richest

octaves

timbre

^

F

V

j

j)

V

(Gounod, Faust.)

Bassoon with the Flute,

sweetest

J

le.

Pizz.

tained

Cj-

f tf rr

ton ga . last t'ap

»=T=?=

--^

F

in

at

the

a distance orchestra.

of

two

Mozart

octaves,

Sometimes

he

even

obwrites

below the Violin:

Flute.

Bassoon (//

Flauto Mag'icOj Overture.)

Violins.

Bassoon.

{Nozze di Figaro)

Any serve

score, opened all

at

random,

kinds of 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. 11.



General

The lower the pitch of the instrument,

rule:

required to play

The sustaining -power according the



Conservatoire

(J

.

Bassoon, playing

a

of

made with

experiment

to

respectively

80)

^^ Z

(J

Even playing

r

in

the

still

forte,

proportion

to

it

is

is

lower and upper

the

registers,is limited

Mf Eugene Bourdeau,

of

Professor

at

as follows:

2

1

4

3

I

3

5 -o-

maximum

higher register, this

considerably

in

assistance

the

S

80)

more breath

the

it.

diminished,

bars.

7

6

9 bars.

is

the

4

seldom exceeded,

duration

of

the

and, of

sound

being

course, when inverse

in

intensity.

its

Shakes and Tremolos.

— From

12:

From

Double

B!>

to

F

Bt

in

Double

I

to

Double F no shakes

the Treble

staff

possible,

nearly all

are

save the two following:

oossible, except:

not good.

.very bad.

impossible.

are

Complete List of Shakes. .not good, but possible.

Possible.

Impossible.

^ good, but heavy.

somewhat sharp

Possible.

Impossible. (impossible, as well as in the octave above.)

Good.

Bad. (bad, as well as in the octave above.)

Good.

^^'

^'^Q-

i

I'iE

/iJryr

piJ'^Q'll

±

^^

I

Bad. (possible, but not good.)

(impossible, as well as in the octave below.) J.

W. 14267.

46

THE BASSOON.

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.

^Remark: all the

shake

The major shake on E (E Ftt) was formerly reckoned one of the most awkward, but m.odern virtuosi, having carefully practised it since Bizet's time, can now execute this

brilliantly.

Bassoon

Orchestra.

*.|~:-~:~~

^m m^ Moderato.

,

.^

i^

s

^ ^

Jjy Jut

^

'/^"^u

m

fefe (Carmen,

(Choudens, Editenr-Proprlet»ire.)

— Tremolos

13.

Horn;

would

It

the great

of

from

V-

*-^'

often

is

f^J f

\ f'

O' f^

II

Tenor

if

on deep -toned

an instance

quote

thirds, or

impracticable,

ff

practicable to

Below

masters.

C upwards

this

itself

are hardly be difficult

C the

even greater not

rising,

f^= Impossible beyond.

\\

tJ'



Impossible beyond.

%^^

produced

would

least

in

an^

hardly

be

'J-

{jQ^ /j|^

V-

\'lQ

|

||

^rjj^

but

the

third

Ij^^jp ^ Impossible beyond.

\'^'

Impossible beyond.

/JP ^[

r^f

Impossible beyond.

Impossible beyond.

'>

g |£j||g/ |

a

works

satisfactory;

II

Impossible beyond.

Il

of the

and

falling.

Impossible beyond.

ttpjf

Bassoon

the

sometimes used,

intervals, are

^

Impossible beyond.

V-

at

like

employment

their

of

effect

instruments

p. 177.)

* N.B.

I

^fj^

Impossible beyond.

Beyond this become

point, tremolos

I

almost impossible. J.

w. 14267.

|

Impossible beyond.

m

i^^-p'

Impossible beyond.

^

'P,riTl

1^

47

THE BASSOON.

+

ossible beyond.

Impossible beyond.

Impossible bej'ond.

Impossible beyond.

Impossible beyond

^^

Impossible beyond.

No higher tremolos possible.

Impossible beyond.

Works and authors to be studied: Mozart (Concerto, Serenades, Quintet)^ Weber {Concerto, Andante and Hungarian Rondo); Beethoven {Quintet, Octet, Trio for Flute, Bassoon

and

Gambaro,

Septet, eic);

Piano,

Thuille {Sextet);

Schubert

Suites

Raff {Sinfoniette);

Neukirchener,

Ch.

b^

^ehecVe

Buh\n%it\n {Quintet);

{Octet);

Lefevre,

Etudes

Pierne, etc.

{Octet);

by d'Ozi,

Milde, etc.

TRANSPOSING INSTRUMENTS. The Basson-quinte. 14. It

— The

Basson-quinte has not ^et been made,

would

form

bass

true

the

ment, descending

Woodwind

the

of

consequently to

group,

semitone

a

£'>>,

bassoon-players are calling

but

w

'why not

ary

Bassoon?'

makers tale

a

We

fi/va'baasa..

admirably rich and

is

seen (§3i that

have already

bear any weight

to

The Basson-quinte

robust.

W^

soundinjf:

full;

'then',

say profession-

descend to E?, with the same fingering and the same capabilities as the ordin-

robust

sufficiently

Double-bass:

lono.

V* A which Wagner wrote below B?

The low

it.

below the standand instru-

a fifth

lower than the

\>±

als,

for

to provide

with

us

said

is

easy of

be

to

fifth,

from

"new" low

the

the near future.

in

it

sound;

of

low

the

Double fifth

is

F,

more

be

still

look

to

instrument-

we

construction;

(See C. Pierre,

Bl to Double

would

La Jacture instrumen

-

de 1889).

l'Exposition

The Double -Bassoon. Double- Bassoon

15;— The

possess the lowest

Bl>

The Double- Bassoon factory

point

in

in

siderably

overblowing

seventh,

intensity



and

made

compass

either

in

it

of

wood

to a

stop

trumpet. .

V'

r

or of

of

^

,^^

.

brass.

the register

in

begins to grow

the neighborhood

comes

is

written

l/p

timbre, especially

of

the first in

to

is

below the standard

pitched an octave Its

Bl|.

^

from

Bassoon

and

is

It

is

common

to

l

\

decidedly both

the

Satis-

dll higher notes being obtained by ,

with

a nasal

twang

like

that

of

Altoerether inferior 0^, to the Bassoon.

Satisfactory.-

'

Sva'bassa

loco. 'oce

.•

-Timbre growing more and more

hat 01 of a^ a l^ike thfit

* J.

to

weaker from Double Bq upwards, diminishes conF|t

about

^

inferior

instruments.

Actual sounds: -y-

=ff5

but does not

instrument,

W.

14267.

.

Toy Trum^^et

a

toy

48

THE DOUBLE - BASSOON.

The

octave

low

first

alone fairly

is

Woodwind,

pedal- notes sustaining the tirely

The manner

eschewed.

case of

the

Bassoon,

but

Symphony, it

Instrument

treats this

bravura

like

first

making

Beethoven, rise

to

and

the

in

A, and

a satisfactory

in

the

in

florid

9ti!

then

giving

manner;

they

Harmonium:

on a bad

effects performed

it

to be en-

as

slower to vibrate, so that

cannot possibly execute

it

much the same

is

deep

play

to

staccato notes are

but

Double -Bassoon.

the

carelessly,

very

tempo

slow

in

produced

is

larger, is

on

ineffective

passages to play, which

rapid

sound

reed, being

the

staccato passages are very

the Horns,

or even

which the tone

in

when used

satisfactory,

{All? maestoso.) Contrafagotto.

(All? enerz ico.) Contrafagotto.

{Prestissimo.)

Contrafagotto.

These weak notes

y-j^

ienced

Bassoon,

ear can distinguish



^

are

j^

lost

|

J

in

immortal

his

]lj^

JTj J JTJ J jJJ] |

work.

cared I

prominence; of

other

the

hand,

can

nothing

a

is

fine

produced

effect

sound richer and deeper than

the Horns:

^ ^^ ^

young

to

Beethoven's genius.

have

Double

-

Double

its

he

besides

as a caution

this

to

a

by

about details;

little

all

difficult

sound, where the most exper-

of

very

mention

composers not to be too venturesome, unless they happen Here, on

j 'JjT^

|

these florid passages, which would be

a compact mass

Beethoven

nothing.

was deaf when he wrote

[

upper register and

the

of

even for an ordinary

l!

E -: (Saint

* (By kind permission

Robust

a deal

lungs

breath.

of

moderato. write

in

are

1

^ 1 i

ppp"

•J

needed

The

So, care

to

the

play

maximum

such a manner

Double- Bassoon;

duration

must be taken, as to

of Messrs A. Dnrand et

allow

of

when it

the

J.

a

this

low

14267.

low

holding-note

intervals

p.

124)

Editeurs - Prapriet«ires.)

the

instrument

requisite

W.

fils,

Saens,

313 Symfh.

is

of

notes, especially, consume

cannot

placed rest.

in

exceed two bars the foreground, to

49

THE SARRUSOPHONE. 1.



The

Sarrusophone

a

is

advantages as regards

tinct

column

of

that

like

contained

air

both

which

Double -Bassoon,

the

of

facility

very

its

in

Bassoon,

the

of

rival

emission

of

wide

tube

instrument

and intensity

set

is

over which

low register. The

the

in

dis-

motion by means of a double- reed

in

Sarrusophone

the

possesses

It

also

resembles

closely

its

in

mechanism. The

Sarrusophone

sometimes accused

is

sound

so

that

the

vibrations

vibration,

say

its

detractors,

tone,

pipe,

when the ear

just

criticism.

soon-reed,

When

extreme

to the

— The

Bassoon

Sarrusophone

is

the hands

in

Wood -wind

depths of the orchestra,

an

group,

written

in

corresponds to

I.

— The

3.

and corresponds to a 16-ft.

with

the

Bombarde;

organ -pipe,

them a very

gives

it

Sarrusophone Compass:

family

just as the

characteristically pen-

complete:

is

Compass:

Sounding:-

in Et.

Tenor

Barytone

Bk

in

Bass

Ek

Dottble-Bass

in Bt.

None

Sounaing:

Contralto

B\>.

in

of

these

interesting

As,

however, the

preferred.

varieties

Bassoon—

inconvenient

practically

depth

— This

4.



instrument the size

of

the

in

orchestra,

Saxophones

Saxophone group

the

of

being

cannot

de-

Double -Bass Saxophone making

the

it

in

C stands

full

-toned and remarkably powerful octaves (XY):

Sarrusophone

the

Ek

been used

have yet

deepest -toned

lower than the ordinary

treme

loco .'

Double- Basses, the Sarrusophone produces the

and

Celli

very sweet

Soprano

scend

Iv*^

8va bassa

tone.

etrating

in

rich tone,

full

can descend without hesitation

it

^4^

sounding:

C,

un-

an 8 -ft. pipe.

When used in conjunction effect of a Gamba-bass or

in

then produces a

It

since

is

accustomed to the bas-

a player

of

This

organ-

most

below the Bassoon:

octave

^

Compass: ^9^

2:

is

separate

32 -ft.

a

of

of the striking reed.

of

quality

Each

shocks.

little

measure disappear.

a great

in

of

as distinctly as those

be perceived

instrument

the

bass of the

excellent

succession

immediate proximity

the

in

these defects

an

forming

is

can

and reedy

having a rather nasal

of

a

like

without

a serious rival

the

in

ex-

orchestra.

of the

two really

possesses

instrument

.excellent quality.

t

f

not so good.

I

bi From the

of

All

the

Y upwards the tone Bassoon;

the

Cor

notes

but of

Anglais;

this

of

the

matters

the

Sarrusophone

they

can

be

Sarrusophone the

little,

as

are

attacked

flexible

forte J.

becomes

lower octaves

or

and

piano

W. 14267.

dry,

resembling the

alone

supple



being

really

as those

of

high

register

important. the

swelled or diminished



Oboe with

or

e-

50

THE ease.

qual

bottom

the

All

the

of

are

following,

scale

notes

can

be

as

the

top.

at

SARRUSOPHONE.

produced

Even

with

same clearness and precision at the tempo, staccato passages, like the

the

quick

in

practicable:

(

A Double- Bassoon phone

overcomes the difficulty

almost

as easily as an

ordinary

lower.)

Sarruso-

have no tone-power whatever, while the

would

case

such a

in

Sounding an octave

Bassoon.

Articulation. 5.

— The

maximum speed

attainable

about

is

as

follows:

(Actaal sounds.) (For 2 consecutive bars.) STia bassa.

(Actual sounds.) (J =

(For 3 consecutive bars.)

116)

loco.

(Actual sounds.)

(For 4 consecutive bars.)

The breath can be held about as long for sustained as for detached notes.

tempo, the lowest C can be sustained forte 88)

(J =

^

^^

^ two,

for

or

piano,

for

three

moderate

In

bars:

f

The C an octave above can be held for 4 or 5 bars.

Shakes.



6.

the

All

two

the

short,

In

being

Bassoon

same.

the

are reproduced

Even

in

the

Sarrusophone, the fingering of

on the

lowest

can be performed

octave, shakes

and precision:

speed

with

shakes of the

instruments

the

^

(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

Bassoon can

the

assigned treated

low notes,

to

people

like

Saint -Saens is

an

instrument

perfected

and

lower than the

and

Colonne

its

16-ft.

and

of

do, the

which

Sarrusophone

are, of course,

is

likewise

heavy

in

able to perform,

proportion

to

their

within

consequence.

Massenet have

employed the Sarrusophone

in

several

Important works,

come more and more into use, especially now that (a few years ago it could low register extended downwards;

which C).

the limits

depth, and must be

will

In

Paris,

it

has been adopted

Lamoureux Concerts.

It

is

by

the

now beginning

J.W. 14267.

it

has been

not descend Opera-Comique, and appear everywhere.

Opera, to

it

the

51

— —

Chapter

II,

-{.

The Theory of



Let

1.

those

Onlj^

instance, the

for

correspond

which

a third,

or of

we see

in

ancient

whole column

of

air,

Trumpet

long

that

bas-re-

the

to

or of a quarter,

vibration

according

etc,

the

of

amount

the

to

pressure

of

or

half,

of

exercised

bj^

lips'.'

When when

the

of

column

of

air

set

in

air-column us assume

Let the

whole' column

the

half

the

of

take a tube;

What are the sounds obtainable?

liefs.

the

us

Tone -production of Brass Instruments.

the

following

is

as the

and

thirds

16-32

octave,

higher

— The

2.

series

theoretical

the

by

9

note



the Violoncello;

of

obtained: r»-i

"

(^^

11

la

13

a body



"^ ^^

(1-2\

finally

almost

a tone.

Just

attempt

following

octave,

the

of

the

of

apart

a

then

merge

down

fourth (3-4\

separated

by

only

sounds

16

the

next

the

of

mathematically the starting-point,

(2-3;, then a

fifth

writing

16

draw

each other,

into

64

15

from

farther

get

they

14

water

into

falling

as

proportion

in

10

octave

compass

16,

instruments

extends

practice,

but, in

from

start

is

it

can

second

the

reach and

can alone

Trumpets,

and

to

1

brass

the

all

instruments

brass

other

of

from

Tubas and Contrabass -Tubas,

like those of

as Horns

such

produced

8

an

harmonics

natural

of

and so on.

produced,

is

sounded;

is

the

of

octave, the

128

throughout

the

the

of

octave!

wide tubes, tone;

32

7

apart,

eighths

the

tone

obtained; when a third

is

the lowest

be successively

6

5

other

first

seconds

fourths, and

still

each

to

thirds,

4

waves

circular

closer

C—

8-ft.

,

3

sound-waves,

so these then

can

upper partial

third

is

upper partial

^

12

Just

the

tone

fundamental

the

vibrate,

to

the second

._



closer and

motion,

harmonics

of

_,

made

is

vibrates,

fundamental

the

series

air

much

more

sound

alone

the

Very

fundamental

the

Very narrow tubes,

upper partial.

even go beyond

whole

limited.

12t!!, 13t!),

and

14t]}

upper partials.

And yet these 13 or 14 notes, unequally have,

centuries,

for

Mozart, nor

nor able

play

to

sufficed

to

Beethoven,

Weber

nor

ever

semitones

chromatic

four

scattered

power

give

two and

throughout

suspected

a

that

half

octaves,

Neither Handel,

would

Trumpet

succession, or a Horn

in

a

and brilliancy to the orchestra.

come down

one

day

be

the scale with-

out jolting.

Owing proceed

by

Writing

3.

skips,

invention

giving

him

monic

series,

also

system,

e.

tonal It

sound

able

flung

-

of

equal

very

g.

to

compete

removed

valves

and

7tl]

with

the

dungeon

Htll

the

the

into

the

to

difficulty,

chromatic tune

scales the

branch.

to

each of the parts

neglecting

all

kind

sonorous note. the

setting

throughout

degrees

which

composer

did

at

whole

the

not

liberty,

of

the

and

har-

coincide with our

partials.

others In

a puzzle,

chase

constitute, in

to

Trombone -Tuba group.

wide

and

exactly

bringing

the

solving

(up to the 7th partial at least) only

could

branch

from

hopping

like

diatonic

became possible

then

Trumpet

was

order to give

in

Trumpet

scale, the

sparrow

a

like

progression,

— The

the

in

Horn quartet

a

logical

of

breaks

the

to

in

the

heart

point

short, the

of

invention

gates.

J.

of

W. 14267.

the

orchestra,

flexibility,

of

viz.

valves

the

two

new groups

Horn

loosened

all

of

group and the fetters

and

52 4.

the

BRASS

— The

lowers

valve

the pitch of

table, which

following

refers

to

INSTRUMENTS. instrument

the the

4-piston

«

1

3

lengthening

b^

Tuba

in

5

6

7

-

!»*

6

7

8

-

»l|..tl^

4

as may be seen from

it,

general use:

8

10 11

9

12 13 14 15 16

^

^

_

None of the pistons depressed. ^^ Actual sounds.

2

1

2S^ piston depressed. All notes lowered by

II

J

-^

a semitone.

2

1 1st

piston depressed. All notes lowered by a whole tone.

III

3

4

."5

^

'

3

4

5

6

7

Ao-.

y-u" i^j" b

2

1 1st

IV

4 2nd

pistons depressed. All notes lowered by a tone and a half.

3

^.^

>

"

..

4

»

5

6

" " " 9

10

^ 8

9

7

8

,

.>

10 n

^

11

I., =bi

9

- o " »" "

tt

15 16

.ht'^

10

.

^

^

12 13 14

11

12

13 14

o

«

15

16

k ^ ^^

12 13 14 15 16 n J * * it^t

11

"

.

*

P

12

3

4

5

6

7

8

9

10 11

12 13 14 15 16

3

4

5

6

7

8

9

10 11

12 13 14

3t* piston depressed. All notes lowered by

two whole tones. b5

2

1

VI

2nd &

piston depressed. All notes lowered by 2*.^ tones.

1st St

VII

3rd^ or ^better) 4th

-^

» o



^, d 3rd (or 1st, and^ & 3rd), _^^ 4th & {K

7

8

9

"E

All notes lowered by 4 tones.

3rd 4

8

^

oi l"

^^

7

-^^i"

'tf"

g^

9

10 11

12 13 14 15 16

9

10 11

12 13 14 15 16

4tji

pistons depressed.

All notes lowered by



4^ tones.

5iFfe

!>«>

b

2nd 3rd

XI

,6

4t_h

pistons depressed. All notes lowered by 5 tones.

3rd & 4t_h pistons depressed. All notes lowered by 5^^ tones.

m

12

4

5

6

7

8

» ^^

^

1

2

isj

XII

3

^~f

3

4

5

^

^^6

7

U

9

8

I/

O

!>

*

10 11

12 13 14 15 16

10

12 13 14 15

'

t^

1st

XIII

2ad 3rd & 4th

pistons depressed. All notes lowered by an octave.

m 12

3

4

5

7

\v

;:;

J.

W. 14267.

8 -**•

9

11

^^

16

53

BRASS INSTRUMENTS. Such

compass of five chromatic octaves, which might even be exceedwe must add at once that no single performer is able to travel over such extensive ground; the most skilful cannot embrace more than three and a half octhe

is

theoretical

upwards.

ed

But

taves.

5.

— Excepting all

ations

tabulated

the

corresponding binations

instruments

above

possible

Contrabass -Tuba,

Tuba,

have

reduced,

is

only their

in

Valve -Trombone, and

three

valves,

case,

seven

to

(I.

Contrabass

on the

instruments

Tubas

used, and

little

in

and

El>

II.

VI.

VII.),

com-

Such are the

The others

bands.

military

of

Bl>

descend

which, besides, cannot

combin-

seven

V.

IV.

III.

Sax-

Barytone

a few

the number of

that

,so

seven positions of the Slide -Trombone.

the

to

concern

only

the

other

horns,

funda-

the

to

mental.

6.

into



Looking

at

the

natural

scale

harmonics, we

of

see that

(*)

9

10

11

S:

\>ix

to is

=:

•r

we now compare

a standard

the

Cornet

Bi>

in

key

the

of

length

Bl>,

the

of

common

to

all

16 In

basso)

Cornets

without

regard the

pitch, for

Trumpet,

and

the

4

However,

and

Cornets

much the same places

correspond to

Organ stops.

ft.

reality.

tubes, of

we get



them

length of tube

C.-B Tuba

So that

\nx

13

14

tji

15

16

In the orchestra of

day a small Trumpet employed, whose har

4

Trumpet * (in Bl»

(^•)

-^ 3

to

fall

monies sound an octave higher, in unison with those of Cornets and High Saxhorns. (See R 68, §6)

(*)

Tubas and Bombardons.

12

(»)

M— —

Cornets and Bugles.

Horn

instruments

ii«t

i

Horns and Trumpets.

If

brass

the

groups:

three

in

such

latter

4

ft.

5

in.

8

ft.

5%

in.

17

ft.

7

in.

_

17

ft.

8

in.

Trumpets

8

to

within

fashion

intentions

or the

much more

J.

taking

as

Trumpet

in Bl> basso

an

ft.,

and

the

Horns and

difference

risky

W. 14267.

same

that, in

and

modern

Trumpet.

things are somewhat

parallel

being

*

figures,

octave below the

enclosed

a

following

_ _

practice,

in

Trumpets,

composer's

the

ft..

the

Contrabass -Tubas

different.

limits,

play

many secondary of

timbre, the

dangerous to play.

at

pretty

orchestras, Cornet

re-

54

BRASS INSTRUMENTS.

7.

— The

between

distance

become so minute that

the tube the

lips

ma^ cause accidents.

Take

this

theme:

of

harmonics diminishing as the^

the

Trumpet

The old

play

will

the

least

making use

it,

pressure

the

in

of

harmonics 4 to 12:

the

of

mistake

least

the

hesitation,

subdivisions

the

rise,

i 4

H

9

12

10 11

_J

l_

The Cornet and

in

B?

sound the same

will

making use

notes,

the harmonics

of

between

2

6: f>

+

5

(The notes marked with crosses could not be obtained but for the pistons.) The

theme

produce this perior

and

are

lightness

a

and

an

harmonics,

ease and rapidity

and

will

altogether

chromatic

re-

su-

scales, shakes

capable of as much execution

is

it

or 6th

5^1^

register, "diatonic

Cornet:

the

for

2"

basso.

Sounding:

the

historical

point

Waldhorn.

of

view

Fr.,

that

Cor simple.)

I

mention

the

Natural

Horn, now-

discarded. the

inclusively.

^2

Get.,

Waldhorn

can

hardly

sound

any

notes

but

the harmonics

56

THE NATURAL HORN.

The

highest

G

the

is

Horn

the

of

(4)

A,

in

i.

E

e.

ear.

the

for

•I*

Horn

in

A. -9^

-2

Sounding:

5o

-«-

4

3



J'

(o)

"

10

11

12

«»

7

6

5

11

8

9

~n-o- ttE -O-

"

o ^» 1^

2.—

To get

the

cutting

bell,

intermediate the

half

off

Good stopped

^ The

they

true

to

dealing

The

thus

overblown

impart

notes

the

the

with

produced

inequalities

monic plest

to

the

are

be

come across

means the most

resources

semitone:

+

+

»M=F«^ M.

12

13

14

of tune in our Scale,

out

16

15

the player, in

or-

we

Weber has

each

will

open notes are

the

of

account

valuable, on

ver^

speak

of

them

greater

at

Muted

excellent.

the

of

variety

length

in

color

of

the

following

Valve -Horn.

by

cutting

met two

_[

which

with

at

conjunct

powerful

created

than

i>«

l

'

J.

tj

the

classic

every

step,

degrees

effects

are

masterpieces.

in D:

the

half

column

are

air

of

dull, not quite

production:

i^

for

more

off

of

difficult

instrument to

also

are

Very bad

is

below

obtained notes

stopped notes:

Such

the

in

*

11

are

a

bjf

hand

right

'

^

and 14th partials

orchestra;

intonation, and

of

notes

his

them, has to flatten them by ''stopping."

semitones

and

section

7th, nth,13U},

inserts

^

i-

'

10

to utilize

notes

i :JS

open

the

flattening

y^^

Remark: As the der

and

air,

notes:

horn -placer

intervals, the

masters

and

of

is

it

Three

14267.

breaks,

notes

timbre.

the

Tib

and

har-

True, with the sim-

and

suffice

deficiencies,

below

impossible

obtained,

frequently

^ W.

wrote;

the same

rs

^ J.

J

for

with

such

limited

Oberon's magic Horn:

57

THE VALVE -HORN. (ital.,

1.



Valve -Horns

used:

is

The in

indications

G)

in

F,

than

He

are

Get., Venttlhorn.

made

ke^s: E, Eb,

nowadays

but

D, etc.,

only one kind

F.

be met

to

several

in

Cor a pistons^

Fr.,

with

there

so

not

sudden

a

is

page

every

at

convenience

the

modern compositions (Muta

in

much

of

the

of

key)

to

change

D,

in

in

E,

performer as

of

the composer, who

make use

the

natural notes ra-

of

numerous accidentals.

of

as

writes

The

in

for

(supposing

prefers

ther

are

Horn

the

Corno cromatico.

as possible, and

simply

the

is

it

chromatic scale of the Valve -Horn

part

player's

understand him aright.

to

extends from: to

V--

^

(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-

Its

the

es

comparison with

by

Bassoon. */

— We

upper register:

the

in

H""- V'

"'

1^

r"'""j^f

'^ 2:

Horn

the

may

Thin

j

Good

between

appreciable difference

V

^f

'l^

notes.

an

notice

here

"

j"

"f^

the

"

f

notes.

capabilities

of

two

the

instruments.

While the compass of on

pianist register,

can

bassoon-player

instrument, and

his

keyboard,

his

cannot

as he

assume a particular

the

play

shape

perform can

kinds

all

from

pass

has

horn -player

both

satisfactorily

at

according

the

to

to

throughout

acrobatic feats

of

one register choose

between

extremities

register

other

the

to

entire

and

as

a

the

low

scale, because the

lips

high

the

the

of

which the

the

as easily

horn -player chiefly

prac-

Bass The 1§^ horn -player is to the 2!!^ what the Tenor Trombone is to the Trombone. The First Horns (of the two or three pairs in our orchestras) play the high notes, the Second Horns the low notes. tises.



3. instrument - makers To meet the requirements of both categories of horn -players, now construct two kinds of Horns: ascending Horns and descending Horns, a modifi-

cation

scend

in

the

3^

sufficing

piston

enable

to

one

kind

to rise

easily

and the other to de-

easily.

N. B.

The

3?!^

piston raises the whole scale of the ascending- Horns by one tone,and lowers the

scale of the descending

The

compass,

Ascending Horn:

in

Horns

actual

to

sounds, of

.y

")'

an equal extent. our two chromatic

/

,

•"

Horns

in

as follows:

^

,

Usual orchestral- compass.

-'

+

'

Concert Solo compass.

^^9^

1^

"^-^^

Notes obtainable in case of need. N. B.

is

..•'

*/• fl

vf

Descending Horn:

F

The Gf marked with

a cross

is

XT ^

Complete chromatic scale, including GK.

the only note wanting in the chromatic scale of the as-

cending Horn. J.

W. 14267.

58

THE HORN.

Notation.

4.

•Octave that can

be--.

Valve -Horn.

Sounding:

As we have already observed in

Suppose,

low.

too

6

the

octave ation

wanting

make

5

are

of

the

the

F

clef

and, with

defective,

j{

ti

It"-

^

F

|S

"



^

"* **^

"

*^''

'^

*^

5

|S

the

-

Ht.

in

the

continu-

exception

of

Register

i^ "

..

»*

of

the

o Ho

..

o

"

jto

'>

ff"

tie

1^

f

Second

the

" #»

of

^

^

^

BTI^

)|..

Horn.

(descending)

an octave be

will

Register

^

o " o tt"

1^ ti

is

one be written

the natural

First (ascending") Horn.

kj:

if

are no breaks:

there

^J ^'

i

clef

ear

for

the

i

US Sounding:

43 notes none ascending Horn,

scale

on

^

Horn.

unison

in

not

F Y Z;

the

in

octave

the

in

clef?

chromatic

(Dj|+)

GjJ

G

the

of

Wh^

absurdity!

of

the Horn

of

Horns placing F clef, what is

two the

in

Triumph

notation

(P. 55)) the

instance,

other

the

e^e.

the

this

In

and

clef

for

for

^>

^

^^

=^



o H"

'E

j|

Three Varieties of Tone -Color.

— Besides

5.

ther kinds

of

the

and pontic

rich

quality

of

and charactieristic

very special

the

open notes,

tone -color,

viz.

the

Horn possesses two

o-

"stopped notes" and "overblown

notes'.'

Stored

means of a mute {sordino); overblown notes by the inThe former are weak, the latter powerful. sordini (in Gtrmin: geddmpft), Stopped notes, which should be indicated by the word the echo, so to speak, of the open notes. are equivalent to the most absolute pianissimo Nothing is more easily or more quickly accomplished than slipping the mute into the bell; the performer does not so much as interrupt his playing, for, while holding the Horn with his left hand, he slips in the mute with his right. sertion of

notes are obtained

the hand

in

the

by

bell.



$

SE

Moderato.

4

>

cJ

i'/' (Sordini.)

ff-

^ !^Qj ai

1^ iiJ

Moderato.

^V mf

i

rFfj

i*s: ^EqE

#•—

(Sordini.)

^Lv rjif i

i

W.

14JJ67.

r

1

r\

^^ Rit.

^ rpuwiruii^-Ln^-

-'''''(SoVdini.) J.

I

(Popular Theme.)

59

THE HORN. Andante.

&

Flutes

Clar.

Horns in

F.

Violins. Sclmberth

&

Though barely audible beneath the undulating figure Horns is, in this case, extremely gratifying to the ear.

of

(By kind ppermission

Overblown

notes,

whose production

of

J.

the Violins, the velvety tone of

considerable

involves

the tube with the right hand: the lips the and the insertion of the hand lowers the note to an equal

time

lowering simply

by

a cross

placed

obtained by closing

El^,

If,

his

the

required,

note

the

for instance,

hand

same

the

at

^m ^

£

the word

cuivre

these overblown

notes:

above the note to be overblown:

^ by

he attacks

note,

column of air by a semitone. has several ways of indicating

Horns in

(2)- or

extent.

the

the

The composer (1)

D as an overblown

wishes to sound

player

are

effort,

semitone above

attack

half

(LiSZt, FaUst.)

C9, Publishers-Proprietors.)

(in

^

German scores gestopft

(Wagner, Tristan^

/)-.

(Gestopft.)

Horns in *)

(3) or by a

cross and

i-S-

r

the word

-d

*

^

*

-d -d

d-

5

y=

-# -#

(Wagner, Rheing-old)

cuivre {gestopft f): +(Gestopft.)

Horns in

E {Meistersing^er, p. 225.)

It

that

sonvetimes case,

attack, the

happens that the word cuivre

the note tone

can be overblown

becomes

very

at

the

accompanied by the

is

moment

of

attack

indication

subdued, like that of the muted

piano.

immediately

only;

after

In

the

Horn.

-n~ Horns in

/'(Gestopft.)

E

^(Gestopft.)

The

Horn can

duced with

the

be played aid

of

the

con sordino throughout hand

can hardly

* Gestopft means simply "stoppedj' but undetrstood in the sense of overblown.

be

its

obtained

entire

accompanied by an accent J.

W. 14267.

compass.

below the

>-,

Stopped notes pro-

3[^ upper partial:

or by the indication

/

or

sf,

it is

60

THE HORN.

In

Requiem,

his

unison

in

the effect

,

When Valve-Horns were horn -players,

of

When

the

being

still

beginning to

subordinated

being

Fjt

first

a note

but

who

pair,

for

the

extreme

is

retained Natural

still

belonging

not

this

two Horns

lower)

limit.

were assigned to the second pair

vogue, they

into

the

(a semitone

good,

tolerably

come to

pair was assigned

first

an overblown

has written

Berlioz

Horns.

scale, accompanied

the natural

to

sforzando, as no mistake was possible, the composer had no need to give any special directions; these stopped noies forte were necessarily overblown, as, for instance, in Faust: by the

forte

indication

in

or

^

Et>.

^^

-Tf

Natural Horns

l^±^

in C.

^ _a^2.

V

-

^

-^=.

-r

Mephisto.

'>H

=^

-

.. ifcr: 4 Horns in E. _ __ (Widor, itj* Symphony):

chestra:

l^

_

(j. Hamelle, Gditeur-Proprietaire.)

The

Horn and

Clarinet

in

unison

are exquisite:

Allegretto.

,

,

.,

fcantabtle.

^

P

'

dim. (C.Franck, Symphonic.) ii.

In

very

the

following

choral

efficiently:

given

Hamelle, Edlteur-Froprietaire.)

to the

Brass, the

Solo

Horn

doubles

the

first

^^^^^.^ sostenuto.

15t

Horn in

F.

Trombones.

Tuba. (Ganaye, Ouverture dramatique) J.

W. 14267.

Trombone

64

THE HORN.

The following combination but

so

used since,

often

two

of

ver^

is

and

Clarinets

even

in

quality,

two Horns,

little

before Mozart,

known

blending

the two kinds of tone -color

admirably:

j.

Andantino. Clarinets in

Horns in

Bl>.

El>.

Strings.

(Flauto Mag-ico)

The

next

behind

leave

example shows some light, bounding chords from the Rot de Lahore, that them a vibration as pleasing to the ear as the white mist of a summer's

morn to the

eye:

AUe^retu.

Et Horns { .

in Bl>

Strings.

4

'^^

^^

Note

also

the

of

this

charming

Strings

and

i

i

-

}

I

% i

of Heugel et CIS, Editeurs

effect

of

=

[L£/m;CLLf

tf

j'V)

accompanied by the

Flutes,

recurring

^^»

I

I

(MaSSenet, Le Rot de Lahore^

Proprirtaires)

Horns and

the

rhythmically

the

-

^^ r

W

?=)=

''l^f

LUiLI

n^-j^y

notes

^

*

^

(By kind permission

vii

^

W

i=F

'

figure

of

holding-

the Harp:

Flutes.

Horn

in

G

Harp.

Strings.

(By kind

In

Horns

a

chord at

the

played

extreme

permission of A. Durand

by

all

end

wind

the of

a

et

FUs, Editears-Proprietaires.)

instruments

diminuendo,

J.

together,

to

W. 14267.

give

the

(Saint-SaenS, DanSC MaCabre)

nothing

can equal

impression

of

a

the

stopped

dying

echo:

THE HORN.

65

Flutes.

3

Oboes.

3 Clar. in

h\>.

Horns in F.

3 Bassoons.

3 Truiiq>ets in

F.

3 Trombones.

(Wagner, Siegfried^ By

kind: permission of

Schott

&

C?, Puttllshers- Proprietors.)

Remark: When the Horns are written in four parts, the bass is naturally obliged to expend 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: l?i

more

TratiQu tllo.

Horns

in F.

Bassoons.

(By kind permission

of Schott

&

C9, Publishers-Proprietors.)

(Humpefdinck, 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 llJ and 3td Horns^ and the low register to the 2Gd and 4th. the first

— Authors

12.

Quintet, Sextet Saint

and works to be studied: and

Septet);

-Saens {Romance);

fiir Horn), etc. Bach, Read Handel, phon^),

all

Weber,

all

Oauprat,

Mozart,

{Quintet); Beethoven {Sonata, Schumann {Concerto); Brahms {Trio); Mohr (Schools); Friedr. Gumbert {Solobuch Mozart

Schubert {Octet); Gallay,

Beethoven

Wagner, and

all

the J.

(who writes down modern

authors,

W. 14267.

to

double

Bl>

in

the

9tl]

S^m-

i

66

THE NATURAL TRUMPET. (Ital.,

— We

have

1.

the

allow with

low

seen

already

Trumpet E (actual

sound

to

Tromba.

(P. 51, its

Get., Trompete.

§2)

pitch):

transfer

this

ventured note

from

narrow

the

diameter of in

its

practice

tube only

would

not

beginning

^g

^^^

.

as

the

inferior

limit

a

semitone

lower,

intimidated

Trumpet

to

write

to

Trompette.)

scale

its

A

E has nearly always been regarded

This

Manfred, Schumann

the tone,

_^

Average compass:

ually

that

fundamental

Ft.,

Et,

the

of

but 1§!

the

instrument.

In

prudent conductors us-

Trombone:

HI

Allegro. Flute.

Oboe. Clarinet.

Trumpet in

EI>.

PP

S PPyt +

Violins.

^

PP

— Like

2.

less,

and

in

Bk

in

B

^

\

the Horn, the Natural Trumpet has crooks, which lengthen transpose the harmonic series into nearly all keys: («)

Trumpet

S ^^

fTflf

the tube more

or

67

THE NATURAL TRUMPET Trumpet

M

in Gb.

^

\=i

XT in Ab.

3i:

~n~

''"

"

o

Sounding:

8

9

3

TV 2

"

l>o

— — -«vr6 Z: TV » 4

Sounding:

8

7

9

8

N. B. The llth partial is always given in parentheses; exactly coincide with the 4th degree of our scale.

(*)

not

This very

the

of

list

indifferent

keys of

the

Trumpet

on

the

Trumpet, and

quality

Symphony, Symphony,

Beethoven

Mendelssohn

uses

writes

ought

Trumpets

his

we have already seen

very

but

A,

a key of

In

the 7th Italian

the

in

does

it

is

it

used.

little

Mendelssohn

likewise

D;

In

with

begin

to

really

consequently

that

nor changes to E for the last two movements. Neither Beethoven them in A. The Trumpet in A would be in unison with the Horn in A; the Trumpet in Bl> is in unison with the Horn in Bl> alto-, the Trumpet in Bij is in unison with the Horn Bl^ in alto, and

3.

so

— The

on.

in C alto and the Trumpet same actual sounds.

Horn

producing Their

he

but

the

however,

quality,

quite

is

mouthpiece greatly influences

the

C are two non - transposing \niirumexA%

in

We

different.

the quality of

have tone,

observed

already

and

shape of

the

that

mouthpiece of

the

that

Horn

the



Trumpet sometimes even deeper; the little cup which serves as a mouthpiece for the Trumpet is not inch deep, whereas the long, conical mouthpiece of the Horn measures about an inch. The conical mouthpiece is necessary for instruments with a soft velvety tone, like the Horn, whose timbre blends so well with the Woodwind; on the other hand, the hemispherical mouthpiece of the Trumpet produces power and brilliancy. the influence exercised by the shape of the mouthpiece on the "it is easy to understand when it is remembered that in this cup the sound-waves formation of the sound, are as deep

twice

is

as that

the

of

^

We

generated.

mouthpieces

as

It

could the

for

necessary

nothing

to

instrument- makers to

which

the

exclusively

such

ones suited

only

mouthpieces are constructed."

said

the

employ

be

They had

but

point

natural

the

out,

as

Trumpet,

Natural

the

of

stopped

even

not

two

to

harmonics,

we

did

for

which

conjunct

case

the

in

the

the Horn, how limit-

of

composers

degrees

being

of

former

times

available only

from

upwards.

partial

the

instrument

the

resources

write

7tb

that

hardly

is

are the

ed

has shown

Elements d' Acoustique.)

(Mahiilon,

Ar—

of

experience

performers

advise

strongly

too

therefore

long

timbre

the

to

cannot

three

or

notes

instances

of

at

their

their

disposal,

employment

for

their

resulted

quality

in

was

miserable

so

execrable

failures.

THE VALVE -TRUMPET. 5.

the

— As

the

in

Trumpet,

out

monics plete;

all

case

allowing of

the

tune

of of

in

the

a

our

Horns,

the

invention

of

valves

regular

chromatic

succession, and

scale.

From

E to high

degrees are very

even

piano:

low

and true;

all

the

-^ ^

Excellent

J.

W. 14267.

Bl»,

notes

3t\,^

~W

remedied bringing

the are

all

into

chromatic

the

defects

tune scale

excellent forte,

of

the

har-

is

com-

nearly

all

68

THE TRUMPET.

^ PP

^^

''"w'^xcellent register.

Emission difficult.

,

•*k

i Good.

Difficult.

6.—

Like the

of

D,

able

for

its

been discarded, this

ing

performers is

It

to

Trumpet

the

the

but

seek

to

use,

no

longer

the

Cornet

8

an

and

more

as they

have

4 ft. Trumpet same dimensions:

C

Length: 7

bound

that

is

used

^

basso.

and

higher,

it

is

IZ

11

4

8 in.

TT 2

3 t.

Modern Trumpet in

C

Length: 3

— The

7.

modern

The following

alto. ft.

Trumpet

il\

is

show

figures

in

" .

played

the

length

Trumpet

Their

chromatic

in

A.

scale

starts

the

in

of Dl]

in

..

D|>

.,

C

..

Bli

.1

Bb

)i

A

from

Fjt

and

keys

tube

= = = = = =

of

of

3 3 3

4 4 4

5^

ft.

8*4

ft.

11\

ft. ft.

2 5

ft.

8

reaches

Sounding:

Sounding:

in Bt.

in

Bl).

in C.

Dk

in

i m

m

Bt,

Bl;,

various

C,

and D^.

alt.

i-

rt

,^^

,=&-

>-. 5Ai.

Sounding:

r;^

?^^ ,-^Sounding:

^:^ ,^=Sounding:

^:^

i :Hi^ ^ TT

,-^

I^'-#

D|>,

Trumpets.

^

C in

.-

,.=^

^^^

the

ft.

,^2=^

i

A,

Sounding:

1^

^P^ J.

W. 14267.

old keys

oblig-

register.

high

=^ 10

ft.

the

an octave higher;

present;

at

time

tone incompar-

have the

only

higher the

in

long

of

skipped

writing

playing

of

but a

ft.

has the

single

kept on

means

pratical

Old Trumpet in

a

a

For

quality

ten years, not

last

at

a

having

last

the

has

series

when necessary.

ke^

two

the

but, within

harmonic for

change

can

in

El^,

composers are responsible,

for

ion

Horn,

and F were beauty and energy;

Et,

kejfs

a compan-

69

THE TRUMPET. Remark:

The Trumpet

in

D

erally speaking, notes above

required for Bach's works;

(*) is

sensation

cannot be attacked piano, high a key?

and

less

still

The true compass of the Trumpet and within these limits nothing E, according to tonal

in

B and C

G

so fine and so powerful

is

what need

so

two octaves, from

is

is not used otherwise, for, genof the Trumpet, and produce^the "" ^ Besides, G| and A

it

(actual pitch) lose the timbre of a large Flute rather than of a brass instrument. B\>

to

G

as the

is

for

there



(actual sounds.)

Trumpet

old

in

F—

F

(in

or

necessities).

Compared with

this manly and imperious instrument, the tone of the little modern Trumpet almost like that of the Cornet a Pistons. Wagner scrupulously avoids making too free use of the high notes; it is quite exceptionally, and to produce a special effect, that he writes up to C in alt (actual pitch) in Parsifal. It is likewise quite exceptionally and in a. ff that he sends the F Trumpet up to Bl| (actual pitch):

sounds

Trumpet

in

^

f^i

F

//p

-

X

{March for

(By kind permission

However, the high

the F|t

basso;

Et

oi

it

when

Manfred, play

to

Et»

2^

the

C,

performers

in

but B!>,

all

for

instance



even

(actual

have

the

have

have a

necessary

is

it

^or

to-day

of

Nearly

register.

of Snhott

which

allows

C,

in

of

easy

play

to

in

one tone below

falling

the

so

the

that

enormous

2 Trumpets

of

a

pair,

the 1?1

in

compass: Natural Scale.

_^Q.

""":S

ijQ.

i (Actual

Trumpets:

m

Bl..

^

The tuning- slide

is

1>TT

Sounds.)

'Natural Scale.

Tuning-Slide.



Remark:

Projirietors.)

Second Trumpet to descend still lower— to the Bt crook, and its tuning -slide not only allows

the

Tuning-Slide. in C.

-

adopted the Trumpet

all

pitch),

following

Publishers

C?,

tuning- slide

takes

it

&

T^^^T American Independence)

the Centenary of

->*

i]TT

jl-"-"'^'^

not used for keys lower than

Bk

Articulation 8.

and



Like the Flute,

triple

the

Trumpet

articulation,

so that

makes use it

is

of

three

capable of

kinds of

great

tonguing:

rapidity

of

single, double,

emission:

Allef^ro.

Trumpet

in E.

(By

Itind

permission of Heugel

et Cif,

Editeurs-Proprietaires.)

(DelibeS, Syltiu.)

88)

Trumpets in D.

Flutes.

Oboes. Clarinets.

Bassoons. (Berlioz,

Menuet des p.

.1.

W. 14267.

259.

Follets.)

THE TRUMPET.

70 Presto. (J

Trumpets

^

in E.



A,

modern Trumpet, which can rise as easily as series, and is not much more risky in its

same harmonic

the

of

tuned

are

Trumpeis

little

invention

makes use

Cornet,

the

and

the

the

before

length

their

of

scale, which

their

Trumpet.

reinstated

tube

starts

same as

the

is

from the same

F)|,

that

of

rises

to

alt.-

Cornet

Bt

in

_

length of tube

4

ft.

5

in.

_

4

ft.

8

in.

A

-dfr

Compass: t^

Need we again highest

quality

ful

lowest

the

or

call

the

of

to

notes

brass

of

5 or 6

first

weakness and

creasing

the danger

attention

degrees

thinness

in

the

low

frequently

by too

We

must ever

F||

using either the in

mind the doubt-

and the upwards.

C,

to

partial (G)

sixth

the

bear

from

register,

timbre from

the

of

incurred

instruments?

in-

High register where I

1

good register.

the tone gradually

8

becomes thinner.

S:

6

4 .#

bad.

The

relatively

is is

It

and

notes

highest

which

can

only be produced

with

dangerous to attack these extreme notes precede them the danger

surer

cadence

the

like

following, for

Cornet in

— Cornets

3;

arid

gle,

double, and

mouthpiece,

it

and

except

difficulty,

B\>

degrees is

without

but when easier more frequent than a

preparation,

Nothing

obviated.

is

instance:

Bl>

and the Bl> thus prepared is excellent. So we see that the best notes of the and G (6tl! upper partial).

same possible

some

easy.

Valve -Trumpets

impossible

triple tonguing.

have

shakes. Still

can perform the wildest

instrument

the



same

Like

the

lie

between

mechanism, Trumpet,

the the

C (20^ upper

same Cornet

more easily than the Trumpet, thanks acrobatic feats: J.

W.

14^67.

partial)

the

capabilities,

makes use

to the

shape

of sinof

its

runs, iterated notes, chromatic scales, etc.

76

THE CORNET.

"But ondary

technical

its

forms of art

See

instrument."

However, we must

and

pets into

within

and

2

the

not

last

military

Luigini's

contemporaries

their

Till



Alex.

forget

used

Gevaert,

says

resources,"

and

brass

interesting

instead

few years, composers

Cornets, and

it

is

only

bands



quite

to

best

the

where

it

is

advantage treated

in

the

sec-

as a bravura

Caprice.

rendered;

services

Cornets

"show

in

of

the

recently

Meyerbeer,

Berlioz,

Trumpets

West that

in

of

the

Europe

Gounod,

Bizet,

orchestra.

wrote

4 Trumpets have

2 Trumagain come for

vogue. Alleg^ro.

Trumpets in

Bk

Cornets in

Bl>.

Trombones. (Berlioz,

L'Enfance du Christ)

Andante. Orchestra

Trombones Ophicleide

(Meyerbeer,

Le Prophete)

Allegretto. Flutes. (Orchestra).

Cornets in

Bl>.

Bassoons.

Triangle.

(Gounod, Faust)

3.

W.

14267.

77

THE CORNET.

^^^ ;CJ' ^ ^ ^ ^^^ Moderate

Trumpets

in

A.

Cornets in A.

'

4

Trombones.

r'* Orchestra.

^"""^j^

'

i

i

-

J

J

"

^^^

i:"^-i'"^

^

^fe ^^^

^

V

^

^ i.

U^rrOj

^^^

^^ (Bizet, I'Arlestenne.)

(Choudens, Editeur* Proprietalre.)

^^ rt Vivo.

Flutes.

(Orchestra)

Trumpets in E.

J

Cornets in A.

Orchestra.

1

^^ ^^ ^^

^

i^

iJ:

r

1

T

r

^ Pizz

^

'1

^

^

/

Trombones

At

present, Cornets their

place,

thus

are

f

y

gradually

resuming

et ci°, Editeurs-Proprietaires.)

disappearing

their

^

(Widor, Ouverture Espagnole)

(By kind permission of Heugel

ing

.i^

legitimate

J.

W.

from

the

position.

14267.

orchestra, and

Trumpets are tak-

78

THE TROMBONES. (ital., 1.

— Bach,

bones Despite

Tenop, and

section,

the

necessary so

Trombone

orchestras

the

now that

indispensable

2rwith

the

In

Bach's

vented

it

played

the

Trumpet.

soprano

Trom-

3

for

part

in

in

Alto Trombone

the

F,

compass being much the same,

.- •

•• l?

each other,

*"

has al -

is

it

section

never

we have

three

or

conjunct

the

quartet

any

the

Trumpets,

brass

started

theories

notes

polyphony. of

Alto Trombone was

the

two

than

higher

the

not

is

it

Trumpets.

four

produce

to

in

were,

it

If

more

had

mentioned

I

as

being,

keyboard.

single

a

of

which

"^^

("

former

the

of yore,

part

Trumpet

the

of its

"r .--•^^'-^'^

| |5

inability

Its

taking

wrote

alwa;ys

instrument.

chapter (P. 74, §13)

last

from

to that

Tin—

complete lower

the

latter

in

Trombones^

his ^outh)

(in

because

magnificent

that

Alto Trombone:

Trumpet and

Fr.,

Bass.

more or less obsolete,

a duplicate of

Posaunen.

Get.,

Beethoven

timbre, akin

admipable

its

now become most

Mozart, and

Gluck,

Alto,

Tromboni.

the

but

was

It

natural harmonics pre-

never

instruments,

connection

in

the

Trumpet Cornetto,

the

but

that

or

nowadays almost unknown. "It was a characterison Sundays and Church holidays, to have the Choral for the 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). else

a kind

tic

German custom,

So, the

an

Cornetto

indispensable

The

old

minor. on one

and

voice

Then,

followed

his

confined

adopted the

grouped

together,

became

and

the

the

Symphony

Alto

remained

in

system

of

the

limits

of

force

Tenor

the

till

writing

two

the

Trombones,

and

first

in

C

Trombones

Weber

and

his

Trombones being

ever

example.

came

lower

the

to

were

quartet.

Bass

Tenor,

exceeding

4 Trumpets

when

robust

this

Beethoven

Afterwards, never

Trombones

the

in

Alto,

formula

staff,

successors

more

Trombone

high

of

to

parts

used

be of

the

the

in

harmony,

orchestra, the

the

Alto

became

more and more ob-

solete.

THE TENOR TROMBONE. ( Ital.,

3.

— Compass:

Its

mechanism

displaces

the

Trombone tenore.

35

is

Ger.,

notes,

from

V'

simple;

the

slide,

harmonic

series

each

Tenorposaune.

Fr.,

Trombone tenor^

to

which

time

J.

by

can a

be

drawn out

semitone.

W. 14^67.

to

seven different

lengths,

THE TROMBONES

^ ^

fundamental tone, termed ^«(/a/-ne/«,

10

k5

is

practicable.

1

3

II

79

/£/ Position. The instrument is, so to speak, closed, the tubes fitting into each other. The

^ #S;

3^ 2

Z=.

2«^

Position.

lengthening of the slide. fundamental tone is practicable. lit

10

The

1

HI

3^

'-"

y

I...

ko ^^

^

»>- ''^

10

10

3ld lengthening of the slide. The fundamental is still less practicable.

»

8

3ti Position. 2nd lengthening of the slide. The fundamental is no longer so practicable

(t^)

^

IV

4th Position.

=nzi

(Y)

^

1.^

3^ dn^

:= (l-Y)

2

b^

1.^

I'rg:

5th Position.

4

3

10

The lengthening of the slide. fundamental tone cannot be sounded.

10

6tb Position. The lengthening of the slide. fundamental tone cannot be sounded.

4th

VI

|

>

o

«^

5tt

,

=

8

2

.

(f)

^

^

VII



rr

-«»•

-

slide;

degrees

(lit Position.) 10

the oni^

reality,

In

possible

shakes are as follows '(the positions

being

indicated):

was passing near a public ball-room, heard such strange bellowings esfrom the Trombones that went in and asked the performers, as soon as the dance was over, to show me their music. This was what they had been playing: as

Lately,

I

I

caping

I

Tempo di marcia. Trombones.

Side Drum. Kettle-drum.

and

to

wind up:

3 Tromb

Astounding cracker is

It

This

a

not

and

shake,

its

only

fantastic

execute, and

howl

written

produced

is

by the

a

for

all

nigger

will

is

instruments,

in

with

Revelations,

speaking-trumpet. ever be used in a symphony, any more

on

account

by

the

finger

of

a

a

than

the

rarity.

its

combined

on

action

stringed

of

the

slide

instrument.

It

and

the

lips,

as

js very

easy

to

dance.

scores published

the

Trombone

the

for both

here

was the Beast

it

through a

and works to be consulted:

read

of

"Fire!"

effect it

performed

is

11r— Authors literature

this

mention

suitable

Trumpet;

roaring

tail,

that

likely I

glissando

the

One would have thought

effect!

to

tied

must repeat the advice given

since

as poor as that

each one

I

of the

treating

time of

the

them

Trumpet, in

his

in

connection with

Bach and Handel; the but

all

the

masters

own personal manner, and

special

have it

is

manners which must be studied. The brass instruments of Bach and Handel are written very high; those of Mozart, Beethoven, Weber, in their true register; Schumann's sometimes too high, sometimes too lowWagner's usually in the rich medium register, but not without a secret predilection for the low register (Bass Trumpets, Tuben, Bass Trombones, Contrabass Trombones); those of the young contemporaneous school with just the contrary tendency, especially as regards Trumthese

various

pets,

a

tendency

We must

read,

to

be

regretted,

compare,

and

for

it

is

anti- instrumental.

take advantage of

ors. J.

W.

14267.

the

experience acquired

by our predecess-

87

THE BASS TROMBONE Trombone

(ital.,

12.

It

')

I

°

"

3

4

5

m

III

IV

^



^ ^

VI

(T>

^

i^

2«rf Position.

6

7

8

>o

I'"-

^^ SZd

6

5

8

7

4th Position. Fundamental tone impracticable.

"

"

Position.

5th-

Fundamental tone impossible.

4~

3

Position.

Fundamental tone impracticable.

-U

^ ^

l>Ty

lower.

Fundamental tone theoretically practicable.

l

"



basse.)

Fundamental tone theoretically practicable.

^ Tr34S678

')•

V

^

6

4

3

!»-»•

18

6

^

(Y)

a fourth

Trombone

¥r.,

l?t Position.

^ 4

Bassposaune.

Get.,

transposed

.^

(f)

m

II

Trombone

Tenor

the

is

basso.

5

6

7

i"



tui

:«:

gth Position.

Fundamental tone impossible. 4

4>

5

6

8

7

2

m —

VII

~=^

special

in^

as

is

^^

other

the

;-^^

r

has

that

admirable

8

7

as

u^ u^

been

to

tone,

but

to

difficult

requiring robust lungs

pla^,

referring

to

3

^

^

about

the

first

the

difficulty

^

7'^'''f .k'f

Tenor Trombone

concerning

the

^

"^

.

*'!:.--°.

r

said

two restrictions,

with

6

jz

i

All

is

5

follows:

^ ')--j

4

7tb Position.

Fundamental tone impossible.

--

lips.

compass

Its

Fr-t^-^

Trombone

The Bass and

"

-

experienced

equally

applies

slowness

the

of

speech

producing

in

the

to the of

k'f Bass

a tube 12

pedal- notes

k

Trombone, ft.

long,

(fundamental

tones). If

the

only

indulge

than

can E,

Bass

the

Not

Trombone

A

Double of

Tenor

in

barely

the

sound

lower

as pedal -notes anything

notes

coming out,

not

still

but

Double

and

B[>

less can the pedal-notes

Trombone be obtained;

have too

great

the

free

a

use

masters of

the

never employed

lowest

notes

them, of

Eb J.

W.

14267.

the

but real

they scale.

are very

careful

They rarely write

not

to

lower

88

THE TROMBONES.

Take, dulges

Once

for In

instance,

the

score of

Tristan; do you

know how

many times Wagner

in-

a Bt;?

only

+

(P.

76), and

just

see

whether

he

tires the

note:

Oboes

Clarinets in Bt.

Cor Anglais.

Violas

Basses.

—f J.

w.

i^kzem.

performer by the length of the

89

THE TROMBONES. He does lowing

not

exquisite

make

Bass Trombone descend

the

holding- note

+ pianissimo

(P.

to

El>

250)

is

more than 8 or 9 times; one of the

cases

in

the

fol-

question:

dolce.

Z Flntes.

Oboe.

Clarinets in

Bk

Bassoons.

(By kind

permission of Breitkopf

&

HSrtsl, Editenre-Proprietains.)

Twice he writes D:

Andante. Tromb.

V"

PP

^

|j

PP

w (p.

242)

PPP Ten.

Vnh>«^

B«?T

-

1 [^

Trombones.

Bass

^^

PP

\

'

'

[

^

f PPP

PP J.

W. 14267.

(P. 319.)

THE TROMBONES. So

that

than

whole

the

And when

E\>'s.

of

rare

the

Parsifal;

act of

doubled

a question

Double Bii, two Dh, and a few Wagner never employs anything lower

the most one

contains at

holding -notes,

of

and always piano.

El>,

One

score

this

of is

it

by a

examples

of

admire

but

Tuba, and

only

^r/&

a holding -note

to

is

asks

Trombone

the

play

to

be

seen at the

end of the 20^

who has

his

Bass

fortissimo

for

4

prudence of the musician

the

Trombone

bars, while the

Tuba continues for 8 more: Orchestra.

Ten. Trombones. Bass.

Tuba.

(By kind permission

of Schott

&

G?, Publishers -Proprietors.)

THE CONTRABASS TROMBONE. 137-The Contrabass Trombone is an octave below the Tenor Trombone, like the Double - bass compared with the Cello, or, more precisely, like the Sarrusophone compared with the Bassoon. In its first position, its harmonic series is as follows: ^y

L

^

^

l^e

L

Ml

^ ^ = 5: = el's:)

12

10

Wagner makes use It

hardly

is

mouthpiece about

the

still

latter

Trombones.

of

necessary

more

to

instrument add that it

special

instrument

than

apply

in is

the

even

Tetralogy. more difficult

Bass Trombone, still more force

the

with

^ m^

S ^^m

^

ff

Bass Trombone.

this

ff

Contrabass Trombone.

ff

of Schott

&

in

to

play,

that

this

^ ^w

all

and

requires

the remarks

a

made

case.

^

^m (By kind permission

and

*-i^

f

-dimr

dim

^^

C9, Pulilishers-Proprletors.)

dim.

-—

{Rheinffold)

As

Gevaert very judiciously remarks, it would be more practical to write the ContraTrombone an octave above the actual sounds, as is done in the case of the stringed Double ; bass, the number of leger lines becoming troublesome to both performer and bass

score- reader. Instrument - makers are beginning to construct Soprano Trombones, as in the time of These instruments have the same compass as Cornets. they are not capable of as much execution, the slide mechanism It need hardly be added that being unable to compete with the valve mechanism. N. B.

Bach.

J.

W. 14867.

91

THE SAXHORNS. — This

1.

a

is

struments,

the

Trumpets

separate

tube

family

The

absolutely

of

Saxhorns

being

timbre

different

instead

conical,

from

the other brass in-

cylindrical

of

that

like

of

and Trombones.

we enquire

If

gotten

group

the

of

group

the

into

Keyed

of

consists

Sopranino

origin

seven

of

we can trace

Saxhorns,

the

of

Horns and

it

back to the almost

for-

Ophicleides.

instruments:

Saxhorn, or

Small

Bugle in

in

El>

Soprano

_

or

Bugle

Alto

_

or

Alto

Barytone

_

or

Barytone

Bass

_

or

Tuba

Deep Bass

_

or

Bombardon

Double Bass

_

or

Contrabass -Tuba

Bl>

El>

in

in

Bl>

This is the instrument used in the orchestra as a bass to the Trombones, (v. §8, P. 94

(*)

Except

(*)...

Tuba, which has

the

analogous

are

to

mechanism and

2tupon

of

or

to

repeat

to

be

expected.



3.

notes

such

depths,

be well

a

mellow

for

the

serve as a

foil

background

would

what

is

spectively

The

total

El>

total

4

Bugle

members

the

all

of

family

this

making use

pistons,

of

Saxhorn

the

compass

rather

of

are

the group

is

group

of the

same

as

an

nothing

as

into

of

compared in

of

is

bravura

serve

and

and

Alto

ft.

8

in. long,

as

This

a

not

perfectly

firm

and

Trombones.

combination

and

increas-

the

17

effects are

our orchestra.

would

Tenor -Tuben modified

but

with

Bb, which

the Trumpets

element

his

dimensions of the tubes,

the

in

long,

octaves,

five

flourishes

than

in.

becomes slow and

speech

brilliant

3%

Contrabass -Tuba

the

of

which

of

B!*

differences ft.

and

compass

in

F)

pistons,

five

when he conceived

Bb),

(or in

same number

the

intended

Wagner in

of

admit

to

with

It

a

lowest

homogeneous mass,

Eb

upon the

enlarge

to

the at

in

fingering.

emission

that,

would

It

same

having

of

facility

heaviness

ing

the

unnecessary

is

It

the

Cornet,

C)

(or in

four or even

the

of

Bt

in

with them.

This

Bass-Tuben

(fe-

Bass

Saxhorns.

follows:

u

^

(Little Bugle.)

S.

(Contrabass -Tuba.)

The for

Saxhorns

they

are

make use

made of

of

neither

brass;

length

their

tuning -slides

J.

W,

nor

is

invariable,

crooks.

1426-7.

i.

e.

their key never changes,

92

THE SAXHORNS.

SOPRANINO SAXHORN. (little bugle in at)

4.



FlUgelhorn piccolo in Es:

German:

In

'"U

*')

has

hardly

played

usually

dead,

by

unable to

is

correspond the

been

to

those

capabilities

of

of

less

is

employed the

i XT

(Hardly practicable.)

Excellent register.

i

J.

W:

14367.

U

p

r

the

both

T

more

than

Cornet {Robert le

protest.

Cornet,

there

is

instruments being

i-

dentical.

i

vulgar than the

^f

High register.

93

THE SAXHORNS. dangerous,

is

Fjl

not

inferior

Remark: the

but

the

two

of

the

Cornet,

that

to

Except

octaves

following

are

which latter instrument

Fjt^

the low notes are of

"

J

much

and

excellent,

the high register

frequently

is

to C.

rises

better quality and purer of intonation than on

Cornet.

Bugles in Bt.

i

Although capable strument, and

great

of

ought

Bugle

the

execution,

used

be

to

Jjjplj. i

^'"'^

sounding:

JJ

J 4

melodic

for

chiefly

Is

more especially

an

in -

expressive

purposes.

ALTO SAXHORN. (alto in



6:

Althorn in Es:

German:

In

Compass:

eI»)

fc

-(¥h4-

sounding:

It^

This

forms

part

of

articulates

with

which

instrument,

inferior

between

link

ease

considerable

Low

and

can

or

the

in

octave

It

descend

to

are

Alto in Et.

--yi

Results of experiments made with the kind assistance of Captain Soyer, Bandmaster of

£

the 24tfe Infantry Regiment, Paris.

— Of

10.

and

the

all

Tuba, having

Such

is,

instruments;

Saxhorn group,

While

fingering.

five till

so

Doubtless, the

pistons,

some far

is

better it

future

the

Tuba

other Saxhorns

the

is

has

necessarily

instrument

the most

member on

played

has

currently

something

the only

modelled

Is

are

better

J.

in

been

a different invented,

employed in

store

W. 14267.

the

and for

having

Cornet

special

manner.

the usual

bass of

most practical. us.

mechanism

with 3 pistons, the

the

brass

96

THE SAXHORNS.

THE DEEP BASS SAXHORN. (bombardon)



11. It

In

tuned

is

Tuba in

German: either

F or

in

Es.

F, in

Ek

in

F.

r-U

Compass: ^4^

This

^

Ek^ is

not

used

in

between

the

Tuba

and

link

usually

doubles.

^

sounding:

instrument

necting

a.

S

orchestra, but

the

Double

the

-

onl^

military

in

Saxhorn

bass

in

as

bands,

which

Bl*,

a

con-

latter

it

THE DOUBLE-BASS SAXHORN. (contrabass - tuba) 12. It

in

German:

tuned

is

Bk

in

=^

Compass:

It

is

written

Kontrabass-Tuba.

like

sounding:

a 16

stop,

ft.

e. g.

Double - bass Saxhorn in Bk

As

sounding:

be seen,

will

compass, scale

come of

out

the

this

hand,

down

well,

whole

the

of

is,

other

the

but, on

depth

^^

to

is

it

6,

and

family,

the

member

the

perhaps the

*J'- ^\'

most

execution

is



^

that

^Pf has the most

sonorous.

limited

the notes of the

All

satisfactory, despite

great

the

notes.

Wagner had

Contrabass -Tuba

a

16 ft. Ek These when played forte

extremely

to

Contrabass -Tuba.

'

*)'

C constructed

in

low

are not

notes

Their effect

(V. P. 186).

is

for

as

Rheingold, which

satisfactory

better

^

i^H,i

could

wished,

be

mezzo -forte:

^' V «!

the

chromatic

degrees compris-

medium -sized :,

according

ones play to

the

H^

notes:

^ and

the

fifth:

^ The

be

either

custom J.

in

of

the the

W. 14267.

^m or

fifth

various

countries.

in

the

fifth

99

THE KETTLE-DRUMS. For the sake

two

though

degrees, F| and

Beethoven

weakness

uses

G, being

he

it

*^« 4.—

So,

sometimes required

moj

am

I

them

ask

aware

that

you

5.



France,

In

means

ened

by

and

from

7

with

which

wise

there

depend

part

of

number

than a major

I

carefully

take

to

turns

to

five

avoid

the

to

require

to

and

the

E

F.

value except in a pianissiDrum. and Wagner the low E, but only

Bass

high

F||,

from

borrow anything

to

a

Drum played been

in

one.

the

of

a

requires

third,

(Sth Symphony.)

F or low

high

them,

head

deeper than

roll

_

number

from

Taking

into

cracking.

membrane

the

retained;

9 to account

the

Kettle-

Kettle - drum,

large

inequalities

screws

several

the

of

tightened and loos-

is

for a

11

the

of

skin

other-

accordingly;

and correct intonation

Besides, quality

if

change the tuning be given to extent

such

relatively

the

exceeding

great this

of

a

the

the

of

screws.

fifth,

but

it

Drums depends The head is would

3

Mazeppa

inter-

sufficiently

be very unskilful on the

time to

masters' works

change the pitch be

examined,

it

of a

Drum

will

be

limit.

Festklange... i Kettle -^mms tuned in: G, A, Bl>, C. Changing to: ¥$, A, Bb, Bl). (Maximum skip: a semitone^

Hungaria.

on the

skips.

long

Kettle-drums tuned Changing to: Then to:

in:

A, Bt, D. F(t,

Bl|, DJ|.

Bt,

Bl|,

And finally to: A, C, {Maximum skip: a major third ^

_

to

sticks.

scores at random:

Liszt:

better

is

it

that

Kettle-drum

with

drummer adjusts the

required of

composer

the

its

tension.

bear tightening

The performer

they

risk

of time

lower,

F:

has no tonal

producing

of

varying

a small

for

but

wrote

has

familiar, the

some

is

the

to

is

system

old

well-balanced

on

on

val,

9

to

either

cracked

a

Bass

a

screws,

of

he

The length strong

the

beyond

inclined

means

using

in

low

else.

another

is

consists

it

F an octave

the

the

of

this

sonorous, and al-

not

Is

with

practice, the

in

(9th Symphony.)

of

Berlioz

ever used

Fl)

with

it

quality

^f=\

effect,

idea

feel

something

for

Besides, there

drum:

if

contrast rich

f

special

the

and

fully

exceptionally,

for a

suggests

tone

its

and

full

to go

not advisable

is

it

to

fails

the

Kettle-drum

little

Even

poor quality.

of

never

by

for

a

museums, but hardly

in

^ ^m

atoned

being

mention

also

will

found

be

to

,

highest

we

completeness,

of

V

compass

2 Kettle-drums tuned Changing to:

Then

in:

to:

And finally to: {Maximum skip: a minor

J.

W. 14267.

A, D. A, Cjt. A, Bl|. A, D. third)

D|.

Dl|.

by more

seen

that

100

THE KETTLE-DRUMS. Marche Nocturne

Berlioz:

2 Kettle-drums tuned Changing to: {Skip of a second^

in:

G, C. G, Bk

Fantaisie sur la"Tempete".z Kettle-drums tuned

in:

Al>,C.

(ij'Enfauce du Christ.)

_

Changing

(Lelio.)

Then

And

of

fifth,

if

one

ear;

the

screws.

such

small

onljr

the

one tone.

bj^

indeed

When

a

bar of quadruple time,

Drum

a

a

know

the^

when

fact,

In

be

skip

required

is

required

is

raise or

to

a third,

for

drummers manage

question,

a quarter,

a

thus that

onl^

is

it

in

give

to

tempo,

more time

one, by seconds.)

a

lower

the

fourth,

a

risked.

are

intervals

moderate

in

Naturally,

C, F.

a fourth, but

skip:

a gradual About

Al»,E.

to:

finally to:

{Maximum

pitch

At, D.

to;

tune

to

three-quarters,

half,

the^

can tune

the^

no

without consulting

or a whole

a forte, amid

in

turn

to

din

of

the

tutti.

when wide

However,

mxj be seen

they

ience;

whether

6r—

instrument

the

Germany,

In

Two ened

kinds

as

levers

acting

latter

kind

The great

tempo,

upon

is

and

such

of

this

Italy,

skin

a drum-

with

system

Drums mounted

(1)

a number

advantage

the

to their manual exper-

longer trust

stick, endeavoring to Judge

discarded, and

been

has

mechanically

adopted.

is

on

turned to

notches

of

more general

in

figures

touching

Instrument

the

for,

tune.

in

exclusively

made:

are

according

called

gently

is

Russia,

Kettle-drums

tuned

are

skips

right

corresponding

head

the

pivots,

the

being tightened or

loos-

Drums

with

or to

the

the

series

to

left:

of

(2)

semitones.

This

use.

mechanical

tuning

as the following

can

lies

be

in

instantaneousness.

its

executed

on a

single

In

moderate

Drum.

AW moderate. J

"^M*,

^^

J

J

(The sudden motion of the lever coincides with the stroke of

Curious glissando like

the

violinist's

the stick, so as to avoid blurring.)

effects

finger

on

can a

obtained

be

by

handling

the

lever

very

slowly,

much

string:

Andante.

^^ The

Paris

alleging

the plain

that

their

temperature that

had

Ope'ra

they

Sub judice

intonation

and

the

have

not

lis

adopted is

these

r

or

sufficiently

^r'

Kettle-drums, but

inaccurate.

dampness

''

i

The

dryness direct

control

est!

J.

skins

of

W. 14267.

the

has just

contract air,

over

the

or

so they tuning

them again,

discarded distend say, of

according

and the

they

Drum.

to

com-

101

THE KETTLE-DRUMS.

— As

7.

composers,

for

without

fit,

an^

the^

need

take

not

than

other preoccupation

sides

that

the

in

quarrel,

write as the^ think

but

instrument

the

confining

of

to

its

true

of-

or

sud-

fice.

What do we require of the Kettle-drum? A vibration, a sound d^ing away like a harp -string's. To abruptly cut denly damp this sound is antagonistic to the nature of the instrument. Drum's function

the

With

4

in

Drums

three

without

having

drummer's such

a

case

unable

sometimes,

^

change

follows:

and

then

he needs

that

to

J,

Orchestra

J''

/

'

on

off

r

that

he

he

naVve,

neighbors

his

own

C, to

two

give

will

one of

screws

his

troubles to the

on the

If,

his

of

in

half -turn

the

next rehearsal,

performer

single

in

absolutely

is

Drums are tuned as

his

^

^ he

T==^

m^

conductor,

the

^

4

w^

contrary,

companions

the

as follows:

r

his

tell

assistance.

for

accord, request

the

a

J

is

be

will

it

the

for

Suppose

Kettle -Drum.

If

obtained,

embarrassed by the

is

beforehand;

changes

tuning.

Bi>,

tuned

easily

be

can

blame.

to

^

finish

g

Vivo.

the

in

key

of

a piece,

of

scale

performer

the

proper

the

somewhat

is

course

the

in

make the necessary

to

arrange

composer

the

really

it

third.

changes

the

chromatic

the

of

Drum can be

As each

possible.

rehearsal,

first

Is

scales?

minor

a

indicate

and

study

to

think

I

a

at

to

are

than

greater

neglected

business

happens

It

skip

rapid

degrees

the

all

happens that,

frequently

It

a

involving

composer

combinations

all

semitones,

successive

down

and

up

run

to

short

a

is

who

J

necessary

to

direct

will

man,

bright

orchestra, while raise

;•] J

J

he

him to

he

will,

himself

is

ask

of

his

playing

Drum

A

the

?

by

a

semitone.

Nowadays, anything thing

ought

to

can

be

written

be

technical

written,

which

is

not

keeping

in

The

— There

8.

Sticks for

are

with

particulary

two

soft

very

The nasal,

head,

hard

and

has very

drummer avoids dry

and

tone, without

prefers

the

nature

the

of

but

no-

instrument.

Sticks.

use

ordinary

forte

piano, and

or

sticks with sponge knobs,

effects.

Formerly, wooden- headed is

with

diminishing,

kinds:

knobs, for

skin

constantly

difficulties

sticks little

playing

playing

timbre,

on the

vibrating

sometimes used,

were

power.

mid -way

recalling

extreme edge

He also

between

J.

that of

W. 14267.

of

the

carefully

edge and

the quality of tone produced

but

the

Side

head, avoids

centre.

Drum.

as this only produces a the

centre

of

the

102

THE KETTLE-DRUMS.

Mode



9.

as that of any other

Beethoven, fearing the

duration

definite

anjf

If

written

beginning

sound

Drum

required, the

is

must be as carefully

part

instrument.

the vibration overture

the

of

of

of writing.

to

Kettle-drums.

whereas, for the remainder of

the

E would

the

of

Fidelio, V-

_

such

in

notes which

tie

bars,

mode of writing.)

(Correct

to

or more

composer intends the

the

think

two

through

lasts

roll

ma^

performer

tre-

the

Allegro.

^E r

^

dSE

p^

I

r (Clear notation.)

(inaccurate mode of writing if the final D is to be articulated.)

^

SS

m

(inaccurate mode of writing if the final D is not to be

(Clear notation.)

articulated.)

12.a

is

It

necessary

hardly

roll:

ir

enlarge

or to effect

to recall

be

to

is

Need we add

upon

However,

it

is

of

^

that

from

perhaps

correct

quite

is

it

not

the

last

to

end a

same to

the

crescendo D

instance, the continuity

other

swell

of

being

as

so rapid

the that

^^ Here

is

a

directions

to the

drummer

if

this

curious

to

mention

~

— not

having reached an accented

E

that

even

coming

to

will

reach "

the

J.

a

a

crescendo

dash, whether

crescendo D

JT P crescendo

without

roll

example?

superfluous

fortissimo terminus with the same energy and Drum throughout, or whether the Drum changes. For

in

^ accurate

giving

and diminishing the tone

swelling

of

effect

emphasized:

may be seen

beat, as

propriety

the

the

most

W. 14367.

D;

practised

^

climax

its

+

reaches

roll

executed

on

a

its

single

culminating point with

the

the change from one Drum ear could

=S«2=

=S«=

detect

it:

^

before the accented beat, singulary

104

THE KETTLE-DRUMS.

dramatic

its

in

energy:

Kettle-drums

Orchestra.

(By kind peTmission

We

must also mention

on the

Double-basses;

(Gemsheim^ 3t^ Symfhony.)

of Rieter-Biedermann, Editeur-Proprlatalre.)

the

possibility

two qualities

the

a

continuing

of

of

tone

roll

follow

on the

each other

Drums

tremolo

by a

without the least jar-

ring:

'/

Kettle-drutns.

(1

^

P

Double-bass.

Here

a

is

rhythm

characteristic

from m.d.

t dimin.

^

^^

PP

Les Erynnies: T

<

Kettle-drums,

Orchestra

(By kind permission

Here

are

some other formulae

of Hengel et

(Massenet.)

C^, Editeurs -Proprietaires.)

current use:

in

Allegro.

And:

to

13.— From the harmonic point of view, the Kettle-drum connot be counted on. What can be expected of an instrument that never affords more than 2 or 3 notes choose from? Can good "part- writing" be expected in the case of the Drum? Let

us be content

notes of sight

ing

The is

the of

Drum

possible;

bar

by

the

vvith

harmony, the

the

practical

by

itself

see

the

orchestra,

best

introducing

can

means

of

only

serve

following its

obtainable

them

into

of

Drum notes with

the

polyphonic

the

weft, without

ever

the los-

execution.

as a true

example,

effect

coincidences

freely

in

which

lingering

still

the in

ters:

J.

W.

bass

14267.

in

true

the

ear

cases bass

when

where is

no

sounded the

tonal in

the

Kettle-drum

doubt first

en-

105

THE KETTLE-DRUMS. Allegro. Kettle drums

aE

'

Orchestra.

Here

the

and

confusion

14.

— The

treated being

given

to

a

bars

of

din

— There

15.

harmonic

the

orchestra,

in

the

case

of

sometimes

Drums,

the

significance

in

first

bar, the E\}

wholly

different;

tlie

be

the

that

not

notes

when

with the

Side

the

new

the

be

harmony

Drum,

the

or

to avoid a sud-

wishing

thus,

it

may sometimes

it

coinciding

Triangle,

treated

especially

excusable

only

orchestra, be

retains

note would be of use

rhythmic

its

when the

a forte,

in

value

Drum, drowned

only.

done

never

is

It

the

by in

a

inadmissible.

quite

why

reason

no

is

little

have

of

is

would

it

if

would

case

the

(say),

Bl>

But

clear.

only.

licence

whole

the

of

piano, where

of

in

so

done

is

tuning

the

However, this

has

Massenet

and

in

couple

as

it,

J'3r

arise.

element

neutral

Verdi

change

den

would

uncertainty

a

chord

and

pure

quite

is

the

b^

Kettle - drum

as

Cymbals.

for

replaced

r

i

impression

tonal

were

chord

i

Drums

two

should

be

not

together:

struck

Kettle-drums.

A 16:



It

heaviest,

With have

a

two

for

roll

length

a

of

rhythm,

light

tendency

to

necessary

be

hardly

will

their

simultaneously

attacked

notes

it

would

out

point

to

being

vibration

in

be

not

two

requires

the

that

proportion

advisable

deepest their

to

write

to

drummers,

F,

of

course.

notes are always the

depth. F#,

G, as

these

notes

"boom":

^ The the

notes

Finally,

large

we

the

of

pizzicato

of

will

medium, on

the

Cello.

(D

point

out

that

the is

C

other

hand, have

a

very

pleasing

tone,

resembling

exquisite). is

an

equally

good

note

on

either the small or the

Kettle- drum.

Large Drum:

^E J nj

J ^J

J

S

Small

J.

W.

14267.

Drtttn:

y bJ

l|J

j

it

^J

'i

f

''P

106

THE SIDE DRUM. Tamhuro

(ital.,

— We

case

The sticks are As no

to

material,

and

Remak:

depend

The 2

detain us,

not

Drum

Side

the

tone

the

to

Whether the piece being

suited

calf- skin;

of

the

in

as they are not

to

because

ke^s,

all

in

Bl»,

in

Drum,

Side

the

of

be

Alj, it

or

has

in

no

it

would be more is

F)|

of

kejf

quite

im-

own

its

rhythm.

on

solely

3 examples that

or

made

is

used.

is

assigned

be

noise.

it

effects

its

can

pitch

call

Kettle-drums

of

Tambour^

Fr.,

wood.

of

definite

correct

Kleine Trommel.

Ger.,

head

the

that

Drum sheepskin

Side

the

of

seen

have

1.

piccolo.

of the tuning of the

could be quoted

Drum need

Side

sufficiently conclusive.

Various Strokes. 2;— The

stroke

single

one

of

stick

^^"'^

^ but, in

two

stead, the

its

sticks

^

Written:

as first

is

also

short

"coup de

the

r

produced

double -stroke,

membrane,

on the

-

^

^

(Xla) Sounding: from

differing

charge','

almost

the

by

simultaneous attack

of the

employed:

usually

is

used:

rarely

is

the

g

*^

^

above

by

the

accentuation

of

the

note:

Rolls. 3:

— Rolls

They

There a

are

consist

is

shake, or

called: of

also

3,

the

tremolo

^ care values

being

taken, as

sufficiently

in

rapid Vivo.

the to

10

8,

4, 5, 6, 7,

continuous

the

like

ra.

similar

roll,

of

strokes, and

the

to

the

so on:

Kettle-drum

roll;

it

is

written

like

Strings:

*"

case

the

of

produce

a

true

Kettle-drum

(P.102,§10),

roll:

Moderato.

Adagio.

^

^ J.

W. 14 267.

to

write

time-

107

THE SIDE DRUM.

Rhythmic Combinations.

— Some

4.

summarize

Aux

Pas

the

of

rolls

the

all

use

in

capabilities

in

of

French arm^

the

the

3

(J

=

« n^

(J

=

76)

(J

:

110)

are given

the^

below:

wel

prettjf

Instrument:

3

3

3

Champs:

'• accelerer-

4

ff'i^

i'^

r

i

mr

UAJii

iN'

i'

li^-

^

^'1^

i'^

/V

^V

/'i^

Mtfi^

f^V

(J= 100)

ia

i^

i?e^ratte:

J

pp[|i

pppppp

j[^p^ |^^|^|J

V^|^

^

|

^

|

^

^

|J

pi

^

|

j|

[

Notation. 5.

— The

Drum

Side

the

idea

of

high

line

without

any

clef

written

usually

is

However,

notes.

given

is

to

The same practice prevails as regards

them

of

instruments

being

without



6.

do

I

not

frequently

is

used

Kettle-drums, for the

ever

dramatic

single

arrangement economizes space.

this

Drum,

Bass

evoking

Triangle,

Castanets,

all

pitch.

Drum

in the orchestra.

employed

been

as

timbre

published nowadays, a

purposes.

in

the

association

effect

famous

crescendo

roll

own words,

expressing

of

other

the

hand,

of

the

Side

Drum

with

the

Benediction des Poignards

the

it

Gevaert, "has known how to

"Meyerbeer," says

from

terrible

On

symphony.

a

(in

Huguenots)"

These vice,

are,

in

then

quite

to

quote

fluous

At

the

has

it

for

peculiar and

a

derive

think

Drum,

clear acute

its

scores

of

Cymbals,

definite

Use of the Side

clef,

majority

Side

the

G

the

in

the

in

random,

account

I

fact,

Berlioz's

Since

novel.

examples. quote

this

^

Allegro.

^

Horns & Wood -wind

PP

Everyone

theme

of

has

it

can

been

call

his

so

them

admiration

used

often

to

for

that

Meyerbeer's it

de-

seems super-

mind.

"Marche de Turenne"

the

^fe^ ^^

_

which

Bizet has turned to

V

m^

i

Basses. .

seen

ere

Il m^Iim^Ilm=S'j-pv^^v^jjT v^Apv

^^ ^m •J

Violins.

time,

L'Arlesienne:

in

Side-Drttm

his

pp

ere

do.

j^

H m ^ ^ - ^Sl

«Pj>V^.lf*>JJ.

m W^ m

seen

_

_

(Choudens, Editeur-Proprietaire.)

J.

~n[^. do.

'"^^"^afixi^di^i^r^^J pp ere

*—if

.

~_

seen

W. 14267.

1

'

i

/



jj. .jj-.j],

^^ -t

*

-Xnj! V i

do.

1

i

THE SIDE DRUM.

108 And

other

this

yet

delicate

incisive

from

effect,

Scenes Pittoresques:

the

(J=108)

Solo.

Drum.

Side

Orchestra

(MaSSenCt, Fete Boheme.)

(Joseph Williums, Limited. Publishers -Proprietors.)

7.

— a

with of

the

terior

cloth,

a very

parchment the

of

diminishing, on

and

striking

more

being

Drum.

^

mournful

Sometimes

means

by

loosening

of

the

execution

the

of

obtained, driven

Drum

be covered

the

vibrations

back

into

the

gradually swelling

roll,

in-

and

use

as

required

effect

the

described

above;

the

is

choice

obtained of

the

performer.

the

to

-PJ*

met with;

is

snares, or by muffling left

^

T

:/?=

The following passage illustrates the ^

is

less

sans timbre

usually

is

tone

of

Drum:

indication:

the

head

the

If

quality

damped and, so to speak, can be more dismal than a long

or

Nothing

a muffled

funerals.

military

at

J'P^

either

Drums.

Muffled may be heard

They

Maestoso.

Side Drum:

muffled

the

of

-gc::s- a 2.

Clarinets

KettleDrufflS.

Side Drum.

Bass Drum (Mackenzie, Solemn (By kind permission

of

Novello

&

C9, L4.,

March from

the "Story of Say id")

Publishers- Proprietors.)

THE TENOR DRUM. (WIBBELTROMMEL, HOLLTROMMEL, RUHRTROMMEL.) 8.

— The

brass.

Its

Tenor

sound

Drum is

is

longer

duller,

and

than

the

Side

Drum, and

might

be

that

of

in

is

made

small-sized

of

Bass

wood, instead

of

Drum.

serves the same purposes and has the same mechanism as the Side Drum. Gluck, Iphigenie en Tauride (Chorus of the Scythians), and Wagner, in Die Walkilre and Parsifal, have made use of the Tenor Drum.

It

in

a

.1

W

14 267.

109

THE TAMBOURINE. Tamburino.

(ital.,

— There

are

\:

(1)

wa^s

three

striking

Bjf

using

of

parchment

the

Schellentrommel.

Ger.,

with

Tambour de Basque.)

Fr.,

it:

back of the

the

hand:

Tambourine.

Carmen.

m n^

>»>;;

Orchestra.

n r^ n n

sv r^

F,'!'?'

F'T'ir' F'/'F' (Choudens, Editeor

(2)

shaking

B'j

thus

is

the

which are,

plates

instrunfient, in

so

obtained: n

Tambourine. \

order

to

embedded

speak,

to

call

in



i

'i

hoop;

tr

r

r

the

a

pp-r

''^i As

in

case

the

Kettle-drum

the

of

shake, or like

a

tremolo

a

*

i as

Note,

before,

rapid

iently

that

ensure

to

and



the

for

when

the

mode

latter

^m

of

tr-

— The

2.

Military

either

employed, time-values

suffic-

rustle

is

writing

be

is

indicated

(P.

106, §3).

J

I

clef

in

which

Ir

J

Drum,

p. 183.)

written

this

By gliding the thumb over the parchment, a temporary roll can be produced, the sound of the jingles predominates. This, however, requires some skill.

f

f

{Carmen,

(3)

(J = 104)

p p

II

^

must

sound

of

"

!

I

roll

Strings: .r,

continuity

Drum,

Military

"

ProprleUire.)

-

a

^^

Ij'

Ij

J

the small metal

e.

i.

18 p. 182.)

rustle rather than

K MH

(Choudens, Edlteur

like

"jingles','

metallic

s

Orchestra.

Carmen,

(BizCt,

Proprie'tslre.)

pla^

into

its

4r~~

-

has

\

no

^t^1\^'f^f\^t^

more value A

the Triangle, etc.

in

J

\

line

is

i^ V J^

-y I

Tambourine than

the notation of the

single

1

usually

employed, as

S

that

in in

"^

^

^

the

7

I

i' 7

of

the

above

ex-

ample.

THE TABOR. (Fr.,

1.



blows his

This into

left

he

is

a

a

very

three -hole

beats

time

long

drum-,

pipe, or

with

a

without

Tambouring timbre,

Galoubet, which single

used he

in

holds

The

Provence, in

his

right

tabor -player

hand, while

with

stick:

Allegro.^ Piccolo.

Tabor. (Choudens, Editeur

J.

W. 14267.

-

Proprietaire.)

(

Bizet, L' Arlesienne.)

110

THE TRIANGLE. (ital., Triangolo.

1.

— The

suitable

may

Triangle

for

kinds

all

be

written

rhythmic

of

Triangel.

Ger.,

on

either

a

single

combinations,

Triangle.)

Ft.,

or

line,

6

the

in

clef.

It

is

group

of

double, triple strokes, etc.

single,

Allegro.

tremolo

The

t^ 2.

— The

2, 3, 4, or

5 notes,

the

seems have

alone

last

^

nz

sometimes

stroke

single

Drums:

as for the

written

is

^

simple, and

too

time

appreciable

any

replaced

is

a

by

value.

j^ '''^

^m f HI I.

The

II.

This

short

group

direction,

trary

reason

3.



the

notes

note

true

excellent,

is

gives

the

and

first

4 notes

so

not

is

sprightliness.

struck

being

third

first

and

groups

(7,

the

natural,

If

5

a

the

notes, as

above

given

pianissimo has

rod

performer

in

the

same

last

being

in

con-

struck

odd -numbered

all

— Always

wanted,

an

is

it

or

inch

know

to

effective,

his

the Triangle

sometimes entrusted

alone

is

heard

through

whole

the

..

(J

--

are

9, etc.),

good,

very

for

II).

is

only

likely

is

well

(See

so

the

top

business,

it

of

the the

absolutely

is

duty

is

mass,

polyphonic

needless to

must

that

Triangle

move

to

be

touched,

backwards and forwards note

to

this

in

the

in.

As

score.

the fact that some Triangles pfoduce stroke of the rod ought always to

the

indispensable

marking

of

the

of

space

of

Remark: I think it may be as well to call attentioa a double sound; they may be said to be out of tune; produce a single sound.

4.

more

it

to. left.

right of

the

directions.

IV. Groups of

where

3

of

from

group

III. This

preceding

note

IV

the

even

in

the

orchestra, for to

rhythm of the

piece.

It

can

it

be

when struck pianissimo.

88)

Triangle.

PP' Tempo di Minuetto.

iH\

Iff

^f

r

^

i

^=^

Orchestra. '>--h

1^

f^

T J.

W. 14267.

x

muii

f

iBH}

J

J

(Berlioz,

J

Damnation de

Faust.)

Ill

THE TRIANGLE. (J. 112) Piccolo

Flutes.

(By kind permission

(J

--

of A.

Durand

et Fils, Editeurs-ProprUlaires.)

(Saint- SaunS,

La

Jeunesse d'HerCUle^

120)

Flutes.

Triangle.

Violins.

Violas.

Violoncellos.

(Schumann,

1^ Symphony)

Allegretto.

Horns in E.

Triangle.

Violins.

Violas

Violoncellos.

Double -basses. (Joseph Williams, Limited,

J.

Publishers-Proprietors.)

W. 14267.

(Paladilhe, OuVerture de

Suzanne)

112

THE TRIANGLE.

Here the

for

a

is

ver^

delicate

effect

of

tremolo, with

Triangle

the

pianissimo

holding-notes

Strings. r\

C^ _

Triangle.

(sordini)

Violins.

(sordini)

ns Violas, i \ -r (Grieg, Anitras Tanz.)

(sordini)

PP (By kind permission

The

Bacchanal

Meistersinger point

this

At

scores,

upon

most

March

and

Introduction

the

onwards),

intensity,

observed

nois^

Tetralogy,

the

suffices

it

that

etc.

Corporations

the

of

should

be

studied

in

from

to

a

stroke

or

when the orchestra add

tremolo

on the

Triangle stands

background.

orchestral

crescendo,

a

of

be

will

it

the

climax

the

maximum

453

P.

view.

of

these

In

out, even

Tannhauser,

of

(from

of C. F. Peters, Editeur-Proprletaire.)

the

Triangle,

in

would

seem

order

to

have reached

to

convert

red -heat

its

into

white -heat.

THE CASTANETS. (ital., Castagnette.

— The^

1.

each

in

tions

For tle

made

are

hand.

Like

Fr.,

of

the

Castagnettes.

wood

or of iron,

Triangle

and

Gar.,

and

Drum,

Kastagnetten.

are

used

the^

in

can

Span., Castanuelas.)

one

pairs,

execute

an^

a Triangle



pair

being

rhythmic

held

combina-

imaginable. instance,

used

they

can

mark the

accented

beat

like

a charming and

lit-

effect:

^jJ Castanets.

^

=

72)

jj

Orchestra.

(By kind permission of A. Durand

et Pils, Editeurs-Proprietsires.)

J.

W. 14267.

(Saint

- Safe'nS,

La Lyre

et la Ilarpe)

113

THE CASTANETS. Usuallj^,

tain

this

formulae

instrument, current

so

characteristic

of

tras los monies, which

popular

Spanish

are

very

(Jz76) Treble.

Castanets. Bass.

^ Treble.

Castanets.

Bass.

(J - 160)

-/L *i

P

p—p—TT—

m m m m

m

not

music,

varied,

is

confined to cer-

as may

be

seen:

114

THE

Even the

the

if

so

be

bind

leads

onl^

must

vibrations

a rest,

to

stopped.

be

not

CYMBALS.

two

surer, the

value as a bind,

its

I.e.

examples ma^

preceding

al-

written:

i^ — There

forte passage,

the^

as

the

an

axis

brass

for

(2)

piano

in

pended

b^

ma^ be clashed to

an

uneven, but

drumsticks;

a

to

each

these

ver^

and

forte, the

r

with

continuous

sound

serving

wrist

of the

ma^

C_ymbals

performed on

roll

with

swells

a

two

metallic jingle;

two

the

In

(1)

as possible,

rapid

sonorous of

Cymbals:

the

performer's

the

other,

and

violent

even

^

shocks, as

crescendo, one

a

TI~

-

«-

or tremolo,

roll,

against

perfectly

piano

from

for

a

motion;

left

passages, or strap, and

its

producing

of

right

produce

discs

^

two wa^s

are

2:

of

retains

nevertheless

it

make

To

regularity

great

sus-

be

b^ means

it



and

versa.

vice

As

example

an

oration

the

of

kind

first

Tannhduser

the

of

^

*'

of

tutti

the

roll,

passage

Overture ma^ be mentioned: eight ^

^ f^^^^^

^

^

# ^ #

of Heugel et CIS, Editeurs

-

Proprie'taires.)

J.W. 14267.

V

7

^

^^

(Th. Dubois^ Suite miniature.)

THE CYMBALS.

ANCIENT CYMBALS. —

5.

Caesars:

have

Since

much

smaller

more

a their

The

composer

which are

adoption

would

not

by

writes

be

impossible,

Cymbals,

timbre.

Berlioz

and

as

preserved

in

the time of the

in

etc.

and

6

from

8

to

inches

Les Troyens,

in

Cymbals, avoiding

ordinary

for

such

on

some

perhaps

employed

kinds

all

varying

Romeo

in

production

of

of

Pompeii, and

at

diameter,

in

Gounod,

St Saens,

and

tremolos,

them.

them

for

difficult

discovered

Citharae,

our

employed

have

others

Pipes,

acute

than

and

silvery

those

of

instruments

with

Pandean

Organs,

many

and

Naples, along

of

model

the

after

Flutes,

are

Thejf

and

made

are

Thejf

Museum

the

special

small

a

effect

rolls

However, such

surface.

will

rolls

some

day

be

produced

step

with

the

assistance of

by

means.

their

On

the

figurantes

and

dancers

stage,

Cymbals

Ancient

keep

frequently

hand.

the

held

in

Ital.,

Gra« Cassa.

THE BASS DRUM. f

This

the

another

is

angle,

Castanets,

is

Bass Drum

The

ment

required

ought

to

act

is

without

(Tuning

etc.

obtained

result

What

instrument

Crt'x..

not

of

ought

the

Bass

Drum

to

equally

precise

the

worth

the

be

Grossc Trommel.

Drum

trouble

that

the

a

rods

whole

of

the

handle,

wise

a

the

have

cannon already

sticks

been

for

used.

distant

said

this

We

(P.

With thunder

braces

a

with

quality

which

stretch

provided

double

by

may be produced.

one at

the

Bass

The

parch-

on In-

either with

knob,

held

tone.

of

the

Treatise

(Pares,

mailloche

the

attempted, but

middle

a

sin-

each

end

of

Drum can

its

like-

Marche Hongroise).

(Berlioz,

Kettle-drums, the

tle-drum rarely

resembling

roll

imitate

We of

{mailloche double).

stick

heavy

rather

large drumstick

or

been

Tri-

involves).

it

or

Drum,

Military

sometimes

circumference','

strumention for Military Bands). The Bass Drum is played by means of a knob {mailloche simple), gle felt or cork

the

like

has

and

full

the

large:

upon

intonation,

Bass

is

Fr.,Grossc Caisse.'

99, §4)

Bass

Drum

purpose. give one

that, in

might

The

roll

order

be

thus

example:

J.

W. 14267.

to

obtain

employed,

produced

the is

a

roll

deeper

than

that

player making use of Ket-

very

effective,

but

has

118

THE BASS -DRUM. Allegro. (Jzl38) a Z.

Trumpets

in C.

Kettle-drums

C

Gditeurs-Propriet&ires.)

attack of the united

mysterious

solemnity

Bass Drum and Cymand impressive

gran-

^

deur?

a-

Bassoons.

Horns in E.

Kettle-drums. Bass Drum & Cymbals.

Marguerite.

Basses.

fVizz.

The with

following

a

view

to

bars illustrate

produce

a

very

skilful

arrangement

an overpowering fortissimo:

J.

W. 14267.

(Gounod, Faust)

of

the

percussion

instruments,

119

THE BASS -DRUM. ±

t*

jti

\\f.

I. II

3 Flutes

1

Oboe. ^1

1

Cor Anglais.

I.

3 Clarinets in

>f

f

^f

r

ttJ

^

hJ

-^-^

»J

^

^f

W^: .

ii

fff

II

A III

2 Bassoons.

I.

II in

£

4 Horns in

F

2 Trumpets in

£

III.

IV

^__

$

=^SF 0^

qjt

J

J

q

J

"W ^ ^^

4

2 Trombones.

,/

r

»r

'T

r

^

i:

i.iJ..

J

\>^

i

^

^

.

I

J^J

U

^^

^^

^

r

iiJ

^

Bass Trombone & Tuba.

Kettle-drum.

=^^^

^^

Triangle.

-r—-"

-:f

r

r r-

Tambourin.

=7^ Side Drum.

§

=7^

Cymbals.

=^

Bass Drum.

^

f

V

=^^=

J

zW

Gong.

Violins.

^ f"

Div.

=5^

:r r

Violoncellos.

Double

-

basses.

n

r



e ^^ Div.

Violas.

^

S

S

-; J.

W.

:

1/4

267.

rf'

^

^^=*^

^^.

T

'T

"l^

tl_

1

^^ ^

igE

ia

IffT

-K

;

;

^ :

;

120

THE BASS -DRUM.

t

I f:

tE

i

^

"^E

I^

*f 'f

»

f

^r

r

^t 1g

h

^t

ffg

1

ii =^

^

i

^ C

y

i i

f

f"

=5?

^

fct

ifi

^^ T*f

f

^f

ft

ttJ

^

iJ » J

J

5

i

^ i

ff"

V

^f-r-fg

^

^^ ^ ,^^

^f-f^-f

^J

i-U-

^j

i::^

^ j

E^

I* e^: ^^

V

'-

i*r

^ =3^

kv.

r

'f

r

r^..

J

iJ

^

J

-^

-i

i^J

b

iz^

^^ ^j

ti

J

-

^ :i)

(Kalakirew, Thamtir.) J.

W. 14267.

121

THE GONG. Tam-tam.

(ital.,

The

Gong

The composer not

able

kejf,

yet

that

to

must a

give

seems

it

change

anjf

continues

to

when struck forte, and

teppifjfing

is

beware tone

of

the

harmony

vibrate.

tonal it_y

chord

the

of

must

it

Gong

the

use

for

in

is

anjr

so

struck,

is

avoided

as long as the Gong

(X)

the above example, but

^

'

'y-i^

adapted which

in

be

Andante. Gong-.

Although

vibrations.

consequently^

is

when struck piano.

even

threatening

modulation

any

or

and

pitch,

Tam-tam.)

Fr.,

long -sustained

its

definite

of

borrow

to of

Tam-tam.

Ger.,

)

XT Orchestra.

^^

\,-^

XT ^f-The

Gong

seems

appears

to

suddenly

second

(Y

bar

the first

of

chord,

Z).

its

such

In

otherwise,

bar;

a

like

lose

Pianoforte

tune

in

be quite

to

a case,

bar

first

when

necessary

is

it

seem, during

will

it

the

in

of intonation

truth

the

the

damp

to

second

of

harmony changes vibrations

its

to

bar,

the

end

preceding

the

hold

in

at the

dampers.

without

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

are give

shocks

think

the

at

required

the

to

depict

impression

different

percussion

of

Titans

the

being

shocks

violent

sonorous

altitudes

instruments

would

in

might need

to

hurled down from Heaven,

quick succession.

suffice

be

to

indicate

disposed

the

as follows:

/ and

we should

get the

very

^ ^

distinct

each:

impression

of

two

successive

skips

Presto.

So we have,

and

in

the

high

register:

the Cymbals,

in

the

medium

register:

the Gong,

in

the

lowest

register:

the Bass Drum.

J.

W. 14267.

of

a

fifteenth

122 Exceptional 1.

Percussion

Instruments.

123

THE CELESTA. 2.— This placed

hand,

other

strument,

was

which

somewhat

it

wind a

may

Celesta

instrument,

delightful

On had

P.

72

The

Celesta

same

the

over

an

time, the

the

steel

bars,

but,

inventor of the

the

Opera,

the

at

it,

in-

ft.

almost

percussion

2

and

of

ft.

those

like

the

organ-stops,

attack

of

a

throws

Celesta.

the

in

4

like

sustained

crystalline of

Louise,

from

illustration of

tone

be

can

vibrations

come ever more

will

the

of

^

i

rather

Piano, or

the

like Its

mystery

gave

I

that

Mustel,

Celesta.

of

sounding;

resembles.

made use

already

than

poetical.

name

the

it

to

be treated

of

weaker

and

octaves:

and, at

veil

giving

in

much

is

ethereal

the bars being re-

Glockenspiel,

the

like

Ice^board,

tone

more

^m

from

The

Their

justified

four

is

a

with

infinitely

fully

compass

Its

instrument

tuning-forks.

hy

the

on

an

is

which

in

the

Celesta

is

employed.

I

Korrigane.

the

vogue.

into

THE XYLOPHONE. (Ger.,

— This

3.

disposed

length,

instrument

an

is

like

consisting

organ- pipes,

Holzharmonika.) a

of

which

series

are

wooden

of

struck

by

bars, or

means

of

two

rollers, of little

varying

wooden mal-

lets.

Compass: three octaves:

i Saint inent

-Saens has used

composer

writes

the

it

in

the

notes

an

Danse Macabre, octave

below

Alleg-ro.

^'^:t

and

their

Gevaert

true

pitch:

^^m

rm\i

Sounding:

J.

W. 14267.

remarks that the em-

134

BELLS. 4.— of

and

tin

diameter To

that

the

than

195

So,

idea

say

the

of

composed

are

should

height

a

of

be to

the

in

«

7-

18

tons, and

the

category

weighs

(Paris)

C

Tenor

sounding

bell

them

employing

of

difficulty

-Dame

Notre

of

bell

practical

weight

the

that

may

an

is

allojr

greatest

their

orchestra,

Kremlin

the

22

over

is

will

it

tons,

more

bell

classed

be

Organs

church

with

in

instruments

musical

of

manipulate.

to

writing

for

must

care

bells,

be

taken

the

actual

deep or acute

whether

indicate

to

sounds

required.

remarks

Gevaert

"

(I

been

tocsin

in

on

to

considered

as

composer

Large

bells

the

in

the

act

411!

sound

only

used

bells of

Les Huguenots,

upper

the

octave

the

of

in

alt

Paris Opera-house,

the

at

6

than

lower

rarely

is

large

bells

practical, "attempts

very

being

alarum -bells

are

Day,

they

yet

two

the

that

pitch

have always

notes

written

"

>'

much deeper notes

These

say

rarities:

not

hemispherical

theatres

Bartholomew's

St

of

the

ing

that

He goes

the

for

by

dimensions, their

their

they

which

of

tons.

bells

difficult

are

an

great

When

for

metal

12 to 15.

as

to

The

ke^s.

all

in

As

copper.

give

suffice

made

are

Bells

cast

with to

a

be

bronze;

in

smaller

far

their

as

of

made

been

relatively

weight

arranged

heard,

have

thin

to

sides

them

replace allow

of

by

attain-

metal."

follows,

the end

at

of

the

act

1§1

of

Parsifal: 'y the

(on

Stage)

Do they Besides,

and deal

satisfy I

truer.

case,

Bells

are

i*.

all

once It

a

^

m

^ i^^

^ desiderata?

which

written

Hardly;

Moscow

at

obtained

system

usually

^

^ etc.

heard

was

^

J

}

^

Bells

in

F

means

by

has long the

better

will

much more successful

a

simply

something

been

in

of

use

clef.

J.

W. 14267.

a

^

j

deep for

^

surely

bell

be

-effect"

piano -string

some

kinds

of

^

J

found.

much

stretched clocks.

deeper in

a

125

Chapter IV.



4.

THE SAXOPHONES. 1.



This

family

was invented The the

produced

is

Of

wind

all

Oboe

instruments

can

they

means

French

in

and

rich

bands than

military

the

some

is

mouthpiece

made

orchestras,

in

and

expressive;

losing

tone

the

to

of

the

like

timbre, which

their

the

of

al-

Cor

the

Cello,

much the same

are

fingering

similar to that

metal.

of

most

ever

without

analogy

mechanism

The

Clarinet).

tube

perhaps the

are

tone

their

(bearing

the

a

into

fitted

and

Saxophones

diminish

full

reed

a

of

conical,

is

the

and

swell

ways remains Anglais, and

by

air- column

the

Clarinet;

used

Sax.

by

tone

instruments, more

of

as

for

Oboe.

the

The

are

following

four

the

members

They

Tenor

can

about

have

all

Soprano

to

rise

in

Alto

II

in

E!?

11

in

Bl>

Barytone

»

in

Et

stop

compass as the at

the

in

El?

Officially

is

composed:

6I>

Tenor

same

the

Barytone

and

family

the

Saxophone

Soprano

the

which

of

Oboe, including

highest

low

the

whereas

register,

however,

81?;

Alto

and

better to avoid

writ-

the

F.

"

Compass

*b»

fi.

& Barytone.

of Soprano

Compass of Alto & Tenor,

2.— The Soprano and the

ing in

their

As it

ful

is

for

lowest

the

usually

Tenor

low notes

very

for

the

very

and

Alto

easily,

Barytone,

so

it

on

the

is

contrary,

are excellent

register.

Bass

Saxophone,

replaced

the

by

to

the

extreme

Proceeding

by

analogy

ease

descend

cannot

them;

it

not

is

used

Sarrusophone, which

depths

of

the

practice, on

can

skip

account

down

of

with

its

the

great weight;

most

grace-

orchestra.

tone- color and

of

in

of

pitch,

the

comparison

following

may

be

established:

Soprano

The 4^

Saxophone

Alto

II

Tenor

n

Barytone

»

Saxophones are

written

in

the

— 8 _ 12 _ 16 _ 24 G

ft.

stop

ft.

II

ft.

h

ft.

11

clef,

= = = =

whatever

Oboe, Clarinet.

Cor Anglais. Cello.

Bass Clarinet. their

actual

Avoid attacking pianissimo the notes comprised in the lowest sixth: members of the Saxophone family.

applies equally to all the

J.

W. 14267.

pitch

may : ;

^\>t.

be.

*

this restriction

i26

THE SAXOPHONES.

SOPRANO SAXOPHONE

^

3—

i

Compass:

office

Its

need.

a

is

It

bands

military

in

rather

shrill

I ti^ i

the

reinforce

to

is

-toned

Clarinets, or to

instrument, and

^

t

best

the

is

It

tone

Its

is

It

By

Remark:

Saxophone

in

them

the

case

in

of

orchestra.

Ek

b

heard

in

Hamlet, L'Arlesienne,

rise

easily,

at

the

it

can rise easily,

I

same time possessing good bass

notes.

Clarinets.

do not mean that the highest notes are as pracwritten

of the medium register. The 5 or 6 highest notes can only be naturally become thinner and thinner.

They

virtuosi.

can

it

saying that

ticable as the notes for

V'

be

to

enough to be a match for 4 or 5

powerful

in

replace

etc.

even, and

is

instrument

the

family,

used

not

is

sounding:

the

of

Herodiade, Werther,

Bk

sounding:

ALTO SAXOPHONE Compass

in

y

£l>:

sounding:

(Choudens, Editeur is

It

to the

peggios are

Alto

given

Saxophone

that

military

bands'.'

in

Avoid, however, the

following

figures,

florid

-

quick

scale



It

is

an

Compass

^

dapted It

is

as

is

full,

as

the

Alto,

for

the

execution

of

avoid

giving

better

to

the

even,

and

in

Saxophone

Tenor

bravura it

the

every is

and

ar-

4

.J.

or

W.

5

respect

with the

of

as

Alto

satisfactory

great

execution,

chromatic figures,

highest

14267.

Bk Clarinet.

^2

capable

passages,

in

unison

in

so unding:

Like

shakes

^_-^

^^-^

Soprano, nearly

the

$P

timbre

Its

Alto.

below

octave

passages,

(Pares).

shakes:

TENOR SAXOPHONE 5.

(G. Bizet, ArlesiennC^

Proprietaire.)

notes

to

play.

etc.

as that

and

of

the

well

a-

12T

THE SAXOPHONES.

BARYTONE SAXOPHONE —

6

Compass:

Bass

the

— Such,

7.

i

the

of

carr^;

As

family

mention

following

Bass

the

for

part

Saxophones

the

of

Saxophones.

of

sake

There

higher

of

another

is

pitch.

group,

but

it

completeness.

of

varieties:

Saxophone

in

F

Soprano

w

in

Alto

n

in

Tenor

>(

in

C F C

Barytone

t>

in

F

Saxophone

C,

in

any more than

used

not

is

it

C§2),

account

on

of

Bass Saxophone

the

weight,

great

its

is

replaced by

Sarrusophone.

the



8.

as

for,

figures

possible

have

I

The quartet However,

the

quadruple

them

suit

must not be

the

medium

expected

in

— What

9.

the case of a

be

with

40

be

may venture

not

exhaust

to

the

writing

holding-

players.

more than 10 bars,

for

Time to

Saxophones,

the

soloist

moderate

in

an opinion,

express

loud

quoted

to

harmonize so well with the surrounding

proportion

which

is

with

that

seen

at

means are good, provided

they

are

because

it

is

I

the orchestra?

in

individual

confess of

its

pleasing.

perfectly

then

be

only

will

rather

out

instrument only be

members be

Will

invited, as

the

has

show.

will

Bizet,

above,

that each

maximum which can

a

is

Saxophones

the

of

by

and

be found

will

piano.

playing

or

it

However, this

me

must

Organ,

the

of

and the composer, when

of,

careful

seconds.

some day admitted,

done so far? I

illusion

sight

lost

may be the future destiny

whole family

If

"All

suitable for the Saxophones,

time.

comparing the Clarinet

Upon

Sax-

mechanism.

(Gevaert").

cannot be held

register

can sustain a note for about

been

best"

Saxophones produces the

legato passages, must

long in

Bassoon are equally

Oboe, Clarinet, and

breathing

notes and

A note

of

two instruments have the same

already said, the

on the

legato passages

but

and tremolos possible on the Oboe can be performed on the

shakes

the

Ail

ophone,

it

that

the

for

it

we have just seen

which, as

Bi>,

much the same

plays

it

orchestra.

Sopranino

in

=^

bands

military

in

so simple as

official

only

sounding:

^

to

quite

the

i

^^

"

the

in

not

then, is

consists

It

heav^

is

is

neglected, and

is

^^

i

Clarinet

mechanism

Its

£

instrument

This

as

#

Ek

in

the tone of the

seems to

neighbors, excepting, however, the example

But

instruments,

a

instrument

since if

the

Saxophone here

elsewhere

disadvantage, and

is

it

seems

consequently

seems

out of place,

not

to

be

criticized. Ail

J.

properly

W. 14267.

used,

each

in

its

own time and place.

128

THE HARP. Arpa.

(ital.,

— The

1.

following

Ger., Harfe.

shows the compass

figure

of

Harpe.)

Fr.,

the

Harp, which comprises 47 diatonic de'",

grees:

# This

octaves pitch

of

diatonic at

the

becomes chromatic hy means

scale

According

once. string

as a pedal

raised

is

b^

a

is

of

hitched

seven

one

into

V*

[

,

or other

semitone or b^ two semitones.

of

two

all

the

notches, the

Example:

ani

'

ist notch.

One and the same string:

pedals which act on

J

notch/

i§ becomes:

^ s

i

The various octaves of one and the same string:

1

2r-When

the pedals are

For the

scale

of

C|

into

the

the scale of

al Scale:

not

Ctj

i

I

i

if

become:

!.»

above.

or:

m

used,

the scale naturally

other set.

pedals

'

i

w

I

If

the seven

^

SQd notch.

Ist notch.'

produced

are hitched

into

is

that of

Cl>,

as shown

one set of notches, and

for

129

THE HARP. This

and

passage,

(and

Fjl

ble-action

So

so

Gevaert

as

glissandos, whole

system

remarks,

century

allowing

has been

easjr,

adapting

both

of

Ft;

nowadays, for dou-

a

kind

mani-

the

to

itself

poetic

of

Erard,

Sebastien

and

passages

chromatic

throw

to

verj^

was invented by

It

it

is

presence

the

of

string.

executing

of

seem

or otherwise, which

diatonic

Harps),

E

the

ingenious.

a whole

music,

on

Eft

very

is

for

modern

of

as

played

account

on

impossible,

as

Berlioz

being

Fii

double -action

conditions

fold

b^

was, formerljr, for single-action

it

Harps,

this

and,

quoted

haze

those

over

the

orchestra.

— The

3:

following

shows the various registers

figure

Register of

of

the

Harp:

full tone-power.

Catgut strings. Covered strings.

I

The tone

three

first

rich

is

and

B in altissimo, notes

alone

is

low

are

notes

whether

full,

rather

sonorous, "but

less

are

rather

first

eleven

excellent

still

poor

and

thin

low

notes

are

piano.

or

in

quality,

in

F

From the lowest

hollow.

used forte

The next

Bq jn alt

to

pianissimo passages.

the

strings

the

B in

octave, from

The

aU

to

highest

becoming shorter and short-

er.

— The

4.

wards the strings are shall

5.

see

— As

semitone ber

of

+,

has already or

seen

two

chromatic

and from

by

are

covered strings; from only

possible

on

Gamut

catgut

G

strings,

*

up-

as we

later).

24, which

G

produced

(Harmonics

catgut.

of

would

A

+,

the

been

said

semitones;

give

have

us

consequently,

are

degrees)

(§2', each string

available

two strings

no enharmonics,

following

in

the

notes

each octave.

How

synonymic

diagram:

Cb

c^..

J.

W.

Harp can be raised

twenty -one

each semrtone?

for

no

of

14267.

or

It

(nearly is is

homophonic

it

double

either

the

a

num-

that we have not got

because three notes: D equivalents,

as may

+,

be

130

THE HARP.

— What

6.

What

wa^s!

ful

E. g.

others

even

nor or

J

'1^

^

^i

can be found, or the

major

get, b^

we can

scales

extraordinary

i iJ J

Man^

we can

combinations

curious

" J

-

V B#

>i'-"

oi 11

ot

I

as the



j"V

also

"^

'^

V

3

S

«^

f', ^^

«'

obtained:

be

4j»^";'^'''

i/ui

«^

ii

fjfj^-

^

't

i^jli

j"^^'t

J»^

(Gevaert, Traite d'Instrumentation,

combinations

the

All

comprised four

note

to

is

slide

prepared

the

three

notes,

fourth only

in

mentioned

octave. of

the

produced his

mi-

of

n

i*f"'i

''f '^

''^

iii''*^*i*^

succession

a

into

K^

C|

such

V

i

i

^L ct

Chords

^i'liJ^JitJ^^i'^-

Bt

Major and Minor thirds:

A« «^

fanci-

of

thirds:

t



^

may be transformed

scale

sorts

all

in

imagine!

JdJitJu^tt^

^.

f

the strings

tuning

fingers

When notes by

in

these are

paragraph

this

strings

sounded

each

the

strings,

grouped by

two

gently

or

homophonic

violently,

I"

p. 86.)

complete series of strings

the

so as to produce a

Once the pedals

a single string.

over

are

employ

^

are

fixed,

order

in

to

chord with

whereas

the

the harpist

has

strings,

produce

the

harmonic effect.

Presto.

(Rimsky-Korsakow, Skeherazade.)

Allegro.

(

By kind permission

of A.

Durand

et Fils, Editeurs-Proprietaires.)

J.

W.

14267.

(Saint

-

SaenS, Oratorio de Noel.)

131

THE KARP.

(By kind permission

of E. Fromont,

(Debussy, Pelleas et Melisande.)

Editeur-Proprietaire.)

Moderate.

(

By

kind permission of Schott

&

Publii^hers

C?,

-

(Wagner, Gotterddmmerung)

Proprietors.)

8-

^^^

(Liszt,

Dante -Symphonie^

(Hasselmans.)

Sometimes, for a particularjr of

indicating

needless

to

tuning

the

the

write

of

complicated

Harp

the

each

of Heugel et

Ci?,

composer takes the precaution

prudent

When

himself.

before

accidentals

a

figure,

has once been done,

this

it

becomes

note:

Accrochez

(By kind permission

7.

— The

easily

nately

pla^

harpist,

iterated

plucked,

having

two

notes,

without

the

strings

even

ear

in

in

the

at

his

disposal

quickest

the

least

J.

(MaSSenet, Esclarmonde.)

Editeurs -Proprietsires.)

for

each

tempo, each detecting

W. 14267.

the

of

degree the

ingenious

of

the

strings

scale,

being

subterfuge.

can

alter-

132

THE HARP.

Vivo.

(

(By kind permission

of

A.Durand

Saint -Saens, Ascanio.)

et Fils,

S

Kditeurs -Proprietaires.)

3

#

(J =116)

(Wagner, Lohengrin^

^^

t

Vivace.

i Fi^

(Oberthiir.)

would

It

thanks cording

two

have

to

ihvention,

our fanc^,

to

always

ly

impossible

be

Erard's

to

perform

the

preceding

possess

the

means

making

strings

imaginable

all

our

at

passages (§§6 and 7)

kinds

disposal

we

if

did

instantaneously

not,

ac-

combinations, as we near-

harmonic

of

each

for

Harp

the

tuning

of

note.

Harmonics.

— Harpists

8:

division

of

damental

We

When

ics.

metry's

use any

the

string

into

the

open

string.

of

have

never

seen

already Verdi

sake;

it

other

two

(§4)

writes

this

cannot

be

harmonic

than

and

equal parts,

that

the

catgut

consequently

is

alone

strings

arpeggio,

descending

second, which

the

low

the

produced

is

an

the

above the fun-

octave

produce

satisfactory

E +

added

is

by

only

harmonfor

sym-

heard:



-

^^

^^^ _ — L .

.

.

^

.

..0

^

0^

r+ {Falstaff.)

9.

— Harmonics

It

ity

be produced

the

within

following

limits:

-^

Register in which harmonics can be produced, o

S not

can

sounding:

is

to is

possible rise limited

to

go

so high, to

two

still

as

higher,

the

octaves

but

the

at

tone

becomes

from

Gamut

expense

thinner

6 upwards:

3

2

^

sounding:

Register of best quality. J.

and

W. 14267.

of

quality.

thinner;

In

the

reality,

it

is

better

register of good qual-

133

THE HARP. 10.

— Double -action the

with

ics

Harps allow

hand, on

left

The right hand can

fingers.

y j?

_

^

r

/^



may be said

becoming

a number of

sonorous;

follows

without

preparation,

still

more

this

the

160).

Wag-

is

above.

is

excellent

others do not hesitate to write

above

tolerably

still

must

c|, and

C,

in altissimo

semitones

to

in altisstmo, however,

many

of

m

by a fairly

nearly

is

it

mechanism

the

narrow resting-place.

very

its

Vtolon.)

third:

finger

player's

of

Fr.,

dangerous to employ

is

it

impossible

or preceded

rees,

for the

highest

the

in

is

It

orchestra,

the

account

stated

f But, in

VIOLIN.

Ger., Violine.

Violino.

(ital.,

^-^-

hence

the table

highest

sonorous

move upwards by conjunct

their

of

as a harmonic (V. List,

P.

on

note

the Violin;

the four

and thinner.

thinner Violins

be the

to

when played it.

the

occasional

seven

J.

use

positions

W. 14267.

degrees,

by the great

of

the

these

classic

Violin:

4

notes

masters.

are

149

THE VIOLIN. 3rd String.

4ti String. l§t

^E

position.

i

2nd

^

i

position.

$

3!;^ position.

i3

i 2

8

*

12

f

1^

i

4th position.

i

i12

^

r

i

4

3

4

r^

1

2

^^

^=4=^4^

4

3

^

t

6t^ position.

3

4

2

3

4

— Diatonic nearly

uut

note

true

2

so

the

to

are

scales well,

excellent

because

altered

2

1

the^

note,

and

3

4

"T

4

3

on

can

3

T

f

f

F

1

2

3

4

tempo

b^

this

2

f

f

f

f

2~

2

1

4i4J ^-^^ T

4~

5

r

obtained

be

rapid

2

1

^^^

4"

3

2

2

1

«-

#

3

4

chromatic scales do not come

instruments;

stringed onl^

in

2

^^

^

^

7th position.

3.

2

*

2

T

4

Eg^

#-

5t^ position. 2

^e^eI

E^ 3

2"

1

r

3

12

r

fei

4

3

a

r

r

^^ ^ String.

2

^

2

1

3

ist String.

T

2S^

the

sliding

sliding

is

finger

from

the

inevitably of but ap-

proximate accuracjr. However, the scale

ing

that

— The

real

maximum

4:

minished

ascending

chromatic

difficulties

stretch

of

on

scale

quite

is

execution

practicable;

is

it

onl^

in

the descend-

one string

arise.

cannot

exceed

an

augmented

fourth

or

a

di-

fifth:

In any tempo.

Impossible.

From the

the

perfect

execution

fifth

becomes

upwards, inclusively, two

heav^,

the

bow

having

to

strings oscillate

have

from

to

be

one

employed, and then string

to

the other.

Impossible in quick tempo.

Remark:

The utmost

Stretch possible

the minor ninth, and even this interval

for the

hand on two strings

diminished fifth: it corresponds diminished fifth on a single string). opposite

(in orchestral playing) without care. (The minor ninth on two strings to the stretch required for

should not

to the

J.

W. 14267.

be used

is is

a

150

THE VIOLIN.



5.

Is

liant

necessary

it

mirable

string,

4i!!

speak

to

of the

of the

different

rather subdued

qualities

timbre

of

of

the

tone on the Violin:

and 20^

3!!^

of

the ad-

strings, of the

bril-

string?

1§J

a theme be given to the fourth string, sul G, the notes of the lower octave will be Howthe power of the tone being in proportion to the length of the string. ever, the quality will remain full and homogeneous up to Treble C (7tl! position), which If

the

loudest,

limit

unwise

is

it

exceed.

to

Moderato.

I

am aware

that

a

in

higher notes can

solo

be reached:

Moderato.

(Widor, Concerto^ but

writing for

in

the orchestra

it

would

be very imprudent

go beyond C.

to

Double Stops. 6.—

is,

It

of

course, easy

to play

double stops that

all

an open

include

string.

LIST OF DOUBLE STOPS IN THE ORDER OF INCREASING DIFFICULTY. EASY:

major and minor

all

from

EASY:

M

m,ajor

to:

and diminished sevenths:

u EASY:

^4=

^

-:

^

from

i

up \c

major, minor,

all

sixths:

up

*

,

,

^

to:

tninor thirds and minor

from

POSSIBLE:

all

perfect and augmented fourths:

from

POSSIBLE:

all

diminished and augmented fifths. from

POSSIBLE:

octaves:

^

up

^

...^M

from

From

this

D

POSSIBLE:

RISKY:

up

upwards they become more and more

to:

difficult.

major seconds.

minor seconds,

which

should

J.

only

be used

W. 14a67.

with great

care.

THE 8.

for the

consider

to in

— As

perfect

fifth,

a chord, carefully avoid going

may be as

It

stretch

possible

well

to

the

for

repeat

hand

Impossible to reach the

It is



9. We now give a list mon chords on which they Mr Sechiari, Solo Violinist

orchestral

in

work;

If

F C on the

beyond

ever

the minor

It

becomes necessary

it

is

better

to

use

it

string:

first

remark already made at the end of §4:

the Is

perfect on stringed Instruments.

hardly

is

it

as very tlangerous

it

151

VIOLIN.

maximum

the

ninth:

major ninth. sevenths

of

In

keys,

all

and

the various positions of

of

much assistance In this matter Lamoureux Concerts).

resolve. (For

the

of

am

I

the com-

indebted

to

Chords of the Dominant Seventh. The crosses + show the tions

that

are

Resolutions

impossible not

the

specially

unsonorous

or

difficult in

chords;

the

asterisks

* show the

resolu-

minor mode.

marked

are

possible

in

either

mode.

DOMINANT Seventh Chords. In

+

C.

+

»

-H9-

In 3 parts. x:

f^

1:

-.

m

iliiliUi

Resolutions.

^

n p

F

F

2p -+9^

;±=

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t

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^

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,

+



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J

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Resolutions.

* +

* +

+

*

*

t

8i

1

*

t

-^:

t

H

Jo

i

*

*

?:f==Pf 4th String, J.

W.

14267.

"^

152

THE VIOLIN. In

Dk

In 3 parts

Resolutions

Resoltttions.

In

CH.

In 3 parts

Resolutions.

+

mode

possible in the minor

Resolutions.

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THE VIOLIN. +

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9-

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J.

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14267.

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THE VIOLIN. +

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14267.

J

*•

cool

J> aJw 2W zzJ» I'm

possible in the minor

"^ff

mode

hi

only,

i

In 4 parts

^

AijlttjJ I'

THE VIOLIN.

'

ffl'iifJ l^

i

r.

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^

Resolutions.

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^

possible in the

minor mode only.

Chords of the Diminished Seventh*

*

In 3 parts.

On the three lower strings.

m *

On the

\>f

three

#

tjf

^

F

H*

r

.

i

^=^

1

It'

^fuft r ''r'^f.^f l.g

tt^

higher strings.:

In

4

parts.

*

^i

U

«*

^

I'f

ilt

''ft

1^

f

T T



^*

r

r

# f^? tr;:

i#

^i—^

''f^

k

ilfi

?

gS^

^r— i—|r=^

Chords of the Major and Minor Ninth. In 3 parts. the three lower strings

jg

l,J

1

On

^—^-

Chords of the Augmented Fifth are easy

in

four parts within

the following

limits

Rising chromatically up to

* All

the Chords of the Diminished Seventh

may

be written enharmonically.

J.W. 14267.

''f

!? 3f

^^^

THE

VIOLIN.

Harmonics.



10. 3!!9,

lightly If

Taking

4^,

as a fundamental

and

Stb;

touching

we take

tone

the

upper partials

6tl!

b^ each

note produced

can be

obtained

the

with

of

the open strings, the 20^^

single

a

help of

finger

the string.

6 as

Fiddle

a fundamental

we get the

tone,

following

monics:

series

har-

natural

of



F

f

^ 1

The 20^ partial i.

e.

at the

obtained

Is

where

point

touching

by

depressed

the

the

mid- way

string

—^

between

produce the

would

finger

and

nut

the

same

bridge,

note.

fiL

Written:

The

I.e.

at the

can be obtained

partial

3!!^

either (1)

the

by touching point

where

string

the

at

touching

by

point

the

two different ways:

a distance

depressed

the

i or (2)

in

at

a

at

from

distance

Sul G. % [

(jk

at the

can also be obtained

partial

4li!

by touching

point

the

string

at

where the depressed

or (2)

by

touching

the string

where the depressed

the point

touching

where

the

the

finger

or (2)

by touching

point

the

nut

equivalent

the

string

where the depressed

%

to

of its

length,

i.

e.

note:

two different ways:

H

from the nut equivalent to

would produce the

in

at a

finger

at

A

of its length, i.e.

would produce

J.

the nut the

Written:

_^ ~"

from

the

would

%

of

equivalent

to

%

at

of

its

length, at

major third:

i

nut

equivalent

sound the major sixth:

W. 14267.

length,

its

note:

ways:

distance from

a distance

finger

to

equivalent

same

^

f

four different

t the

^^

a distance from the nut

at

string

depressed

length,

Written:

The 5tb partial can be obtained by

its

would produce the perfect fourth:

finger

Written:

either (1)

in

a distance

i the point

of

fifth:

It is necessary to indicate the stringy for this 35^ partial is also the asd partial of the D string.

«r

The

%

equivalent to

nut

where the depressed finger would produce the same

Written:

either (1)

the

produce the perfect

W.„e.,



string

from

would

finger

to

%

of

its

length, at

159

THE VIOLIN.

i

Written:

OP (3)

the

touching

bj^

the

string

a distance from the nut

at

where the depressed

point

would

finger

produce

equivalent

major

the

to

%

of

its

length, at

%

of

its

length, at

tenth:

Written:

or (4)

the

touching

by

the

distance from

at a

string

where the depressed

point

Written

Remark:

The

the

equivalent to

nut

produce the same note:

would

finger

-t

two ways of obtaining the 5th partial are the

onlj' ones used in the orwith the 3ld vray the harmonic is strangled and does not come out immediately; with the 4tt way the tone is very pure, but it requires considerable stretching to reach this position, which would be still more difficult on the Viola, on account of

first

the others being rather

chestra,

risk^';

larger dimensions.

its

The

6th partial

can be obtained

touching

either (1)

by

the point

where the depressed

the

string

two

in

a

at

ways:

distance from

the nut

equivalent to

would produce the minor

finger

^

of its length, at

third:

J

i or (2)

the

by

touching

where

point

the

the

Written:

w

Tx

string

distance

at a

depressed

Written

this

the

It

indication

fourth

is

If

stain

the

vague, for

partial

of

D

this

^i

6tl?

from the nut

produce

the

%

equivalent to

same

of

its

length, at

note:

4

upper partial

of

the fundamental

G

also

is

(open string)

necessary

therefore

on the

out

is

would

finger

to

indicate

whether the harmonic

is

be played

to

on the

G

or

string.

the

first

beauty

from

way

of

or charm;

using

the

neighboring string,

producing the 6t!!

a

it

is

employed,

second

wa^

partial,

the

fifth

involves

the

a

harmonic

painful

same note coming

above.

J.

W. 14^67.

comes out

stretch,

out

so

better

it

as

with is

the

difficulty,

with-

advisable to

4\h partial

abof

160

THE VIOLIN.

List of Natural Harmonics practicable in the Orchestra.

^

4ti string.

5

4

3

rf

f

1

3£d String.

p^

^

f

,4

i%

2

T

j*«

A Ci

2

^i

^

6

Sa

*a

^a

*a

«a

««

sa



=

2ad String.

2

MM —

ist

6

4

3

i

String.

i

11.

— This

gers, the

this

class

as an

serving

harmonics

of

above

the

the

whose

harmonics artificial

1.

e.

the

only

fundamental; touches

finger

little

fundamental,

ial

sounds

to

artificial

^

fundamental can

only

the

nut,

tone

not

is

produced

be

other

finger

by

a

sounded

note

means

of

two

fin-

lightly touching the string

point.

two octaves followed;

given

These

string.

fore-finger

at a given

Of

name

the

is

open

an

^f

g

;

Harmonics.

Artificial by

ti

i

^

^

a quarter

of

one

the

employed

system

in

orchestra

the

explained on

distance

P.

158

the

string

the

way between the depressed

at

.the

of

is

the

4th

partial,

(fourth partial

(1))

is

a fourth from the artificfore -finger

and

the

bridge.

Written:

These

12:— Other can ger,

artificial

be obtained i.

e.

harmonics

artificial

a point

are

third

from the lowest

* possible

harmonics are made use

by touching

a

all

A

of

with

the

the

way

little

of

finger

Ai/

up

to:

by virtuosij e.g. the third partial, which the

fifth

above the depressed

between the fore-finger and the

bridge.

'^^

Written:

p*

It is

possible to rise chromatically

J.

W. 14867.

up

to:

fore - fin-

161

THE VIOLIN. 13.

bove

— The

can be produced

partial

SlJ!

the depressed

fore-finger,

touching

by

a point

i.e.

a

the bridge:

ring-finger the major third a-

with the

way between the fore-finger and

of the

fifth

J Written:

f

V but

this

not

is

done, for the quality

often

so obtained

tone

of

is

poor.

A

careless composer may write any note, putting a zero above it, so that the performer that this note is to be produced as a harmonic, leaving him to choose the best means of execution. In this case^ the composer must not forget that the complete chromatic scale at his command does not begin till G in alt-.

Remark: may know

I

From:

^}

}

f

f

f

f"'^-

Below this G, he has at his disposal none but natural harmonics, which are limited to of the perfect major chord on each string (V. List P. 160.)

the

notes

Bowing. 14.— When the bow said

drawn over the string from

widely,

accented

beat,

to

heel

Down -bow u

Fr.

Tire.

Up- bow

Fr.

Pousse.

V

When a down-bowj and when an up -bow, varying

the

the

point, the

to

is

be used,

it

is

and

is

the

not easy to decide, cases

may be stated in a general fashion that a down -bow and an up-bow for an unaccented beat or an unaccented part but

violinist

from the point to the heel an u^-bow,

when needful:

are used

indications

following

is

down-bow, when

a

to be playing

it

is

used for an

of

a beat.

Varieties of Bowing. 15.— The length,

Grand Detache

from

the

no slur being

heel

written

to

the

produced

is

point,

by using

u

^m

V

y

r

^

I

f

powerful If

the

tone

effect

made use

of,

note

requires

with

the

is

but the

is

to

bow throughout the whole

of

string,

its

and

over the notes. V

A

the

and vice versa, the bow never quitting the

^^ u

y

V

In any tempo.

^

thus obtained. be not

then

there

repetition

of

only is

powerful,

but

the heel

even violent,

some intermittence between each

the

same

motion, and

stroke

uuuuuuuu J.

w. I4a67.

of

becomes impossible

it

Grand Detache. Moderato.

the

of

u

u

u

u

u

bow

alone

is

the bow, for each to play as fast as

162

THE VIOLIN. Detache Moyen

The and a

The Petit

Detache, which

tempo and for The Martele as

soft

The

of

Sautille

tip

the

of

the

of

in

tempOj

rapid

bow,

is

used

very

in

rapid

each note being attacked

bow,

',

In 3 parts

Resolutions.

4

In

...

1

*

parts.

*

*

L*

*

L*

L^

L*

U-

8l>f:

Resolutions.

Resolutions

+0 8^^ -^5

In 3 parts, pousibio in the minor mode.

r-r °

possible in the

minor mode J.

W. 14267.

only.



^ -F-

172

THE VIOLA.

Resolutions.

poss: in the minor

!

Bk

In

mode

only.

k

In 3 parts,

il j)

4'l>i^

lU

U

ib

S

^B

it

Resolutions

In

4 parts

Resolutions

In

.

|[g

|

kb

£

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=

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in 3 parts. |B;

{^^j

^S

^j|^

!?^ i^ ^t Resolutions. possible in the

minor mode only.

.^

^

_k

XT

Virtuosi

can play some

two notes above although

ing,

Bl>),

Verdi,

higher

still

however

—h>— Mr Ed. Nanny, instrument

this

which

fects ison

Double-bass

might

be Obtained

by

*\

El>

Opera-Comique,

high

notes

means

of

the

use

to

(the

writ-

orchestral

in

(Actual sounds.)

the

at

soloist

practice

should

extreme notes

these

avoid

scrupule

not

did

Falstqff",

in

They are quite accustomed to C and

notes.

better to

is

it

considers

and he

up to 6,

the admirable ef-

Double-basses doubling

the

performers on

that

of

tells

Celli

tlie

un-

in

cantabile passages:

in

Violoncellos

(Actual sounds.)

Double-basses. cresc.

2: ten

— The

Double-bass, corresponding

to

notes.

The part

F

Written:

present

the

time,

smaller number

"Without

of

greater

or

and

which

for

three

strings

This

had is

the

sake

low

into

the question

of

the

I

their

part

instrument

its

of

was perhaps

tone

instrument

for

and

advantages

Even

better.

solos, because the

the

of

discussing

Double-bass,

true

easy

of

disadvantages

"without

Bottesini;

as

well

fourths.

sounding-board.

says

by treating

tone, as

of

and type

respective

the

in

^^

resonance of the

of

tuned

is

of

their

the

kind

furnished

fingering, is

with

only."

E

of

5tlL

was the one used

Double-bass

our modern

whenever they

Finale of the

only,

classical

begin

will

sounds an octave below the writ-

pipe,

ft.

This

Double-basses','

quality

instruments

at

instruments

latter

came

Symphony

to

his

a

were

difficult in

his

and

disposal, to

playing

passage.

time played

best

The low in

and

the

they C's

the 16

less

still

one

write

as

Beethoven, who

time of

the

in

He used

Double-basses.

Double-basses, the

and

strings

this

the

increases

now obtainable on some

Celli

three

four -stringed

three -stringed

the

had

virtuosi prefer

depth of tone,

less

16

a

clef.

Sounding:

strings

entering

three -stringed

the

in

^J Double-bass

Formerly, the at

written

is

the

same

could, and at

octave

the

ft.

never

C

which

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.

(ong If

it

time,

this

really ever

fourth string

had existed we

185

THE DOUBLE-BASS. should

find

in

C

fabulous

museums

our

will-o'-the-wisps

cross

numbers

bass dating

By

from

XIII

and

1815

or

manner

their

and

contempt

deserve

not

3:

were

E

the

Conservatory,



These

used

other

of

all

Double-bass players

the

descend

might

done

has been

which are

i

to

me

to

with

furnished

I

yore a

the size

the

of

Double-basses used tuned as follows:

strings,

five

of

lately, "did

of water"

provided

C,

case of the

the

in

in

a single Double-

not

^

anywhere? for

expression,

whereas instruments used hands,

all

of

a-

I I

coming

into

Monte -Carlo

orchestra

instruments

descending

vogue

Germany and England;

in

(conducted

by

Jehin), not

to

they

mention many

places.

Even low

the

in

that,

were no better than drawers

which

string,

Double-basses are

five- string

likewise

credible

manifested

they

j are

it

this

neither

a chemical

to use

they,

stead

with

we come

reality,

in

their

in

"Those men" said a musicographer

increased, as

slightly

Were

discovered

composers

musicians

we have

ts

1820 can be

fully justified.

of

but

collection,

XIV are to be seen on

Louis

writing,

name

the

Brussels

the

of

disdain

— Nowadays,

instrument at

one and the same time?

time of Louis

the

Trumpet, whereas,

little

an^

in

Double-basses.

three -stringed

of

at

volatilized

all

be seen

to

is

specimens of Double-basses

thirty

ay,

Bach's

with

b^ side

side

string,

these

twenty,

ten,

the

with

ordinary

complicating

note, without

However,

we must

diminished, so

the

it

would

Our orchestras five- string

ought

Double-basses

Solo Double-bass:

D can

low

be

not really

be

E,

to

obtain

one

extra

extent.

the

of

satisfactory

really

possible

is

it

great

string

41!!

piano

in

proportionally

is

passages

only;

in

a

to

besides

of

descending Horns

Double

ordinary

the

those

C, like

the

Brussels so

57, §3)

(P.

- basses,

two or three

Conservatory.

Just

we should have

as

Solo

Double-basses.

^ ^^

o

V'

to

any

tension

of

possess,

to

to

good.

very

Horns and

Tutti

and

degree

descending

instruments

we have ascending

fingering

the

that

note

that

forte passage

the

^^

T^tti Double-bass:

Fingering.



4.

In

case

between

possible

semitone.

The

the

It

the is

the

of

20^ and shows

and

3!!^

between

only

figure

following

Double-bass,

the

between the

1§i and

the

strings

the

fingering

20^ of

are so 3!!^

and 4ib that

fingers

the

diatonic

maximum

long that the

fingers

this

is

interval

less

stretch

than

a

can be reached.

scale: 3

3

1 I*

i

J

-I

I I '

'

-I

I'

*

P

»

1 1 * ^ f

I

I

f e I

^= 3

+

Open String; 4 3: Harmonic.)

(0--

(+ =

Depressed

String, or Harmonic.)

*

Dr Biemann calls

my

attention to the fact that N. W.

Koch (Musikalisches Lexikon, ISOs) not known at that time, but

ly speaks of the four- stringed Double-bass (B, A, D, o), as being already en mentions the possibility of descending a tone lower, to D.

J.W.

14JJ67.

onev-

186

THE DOUBLE-BASS.



5.

It

is

placed

is

ver^

change

not

to

lose

short;

in

the

well

from

down -bow

a

a forte each attack

in

which

change

the

of

bow

piano

at

is

to

liberty

undue, notice,

attracting

is

but

audible.

intention

his

the Double-bass

which

with

and

clearly,

determine the exact points at

take place.

to

is

bow

the

that

holding- notes, the performer

distinctly

is

mark

therefore

bow

fact

up -bow, or vice-versa, without

an

the

the

of

case of

to

of

The composer should

sight

Quality of the Strings. 6.

— The

Double-bass

so much

a

strings

of

four

Its

may be considered as

brass wire) ter

not

is

orchestra leans.

the

of

being

which

two

the

although

good,

equally

all

whole

as a prop on which the

instrument (of

are covered with

lowest

the

most

sonorous

regis-

between:

lies

and

The great virtuosi as a

expressive

Beethoven

If

melodic catgut

players,

for

Cello

were

present

the

of

^4^

sounding:

can succeed

day

rendering the l^l string as

in

intense'y

string.

write a

certainly

"drawers

longer

they are no

would

he

alive

still

but

water,"

of

Concerto

first-rate

Double

please

to

-

bass

musicians.

Shakes and Tremolos.



7.

and

major

All

minor shakes

are

currently

used, and

up

possible

to

Bi>:

n>±

m^ The minor the i.

string,

3!!!^

e.

third

the

only

the reason

is

from

practicable

only Fj?

(extreni'.' limit.)

from

upwards on the

Gff

being

that of

a

it

is

only at

minor

this

4il!

string,

and

Bi;

upwards on the

2!!^ string,

upper notes can be used, to the

enough to allow

upwards on the

distance from

"stretch" between

third

from the

two

first

the nut

that

the

exclusion

of

the

and

1§l

4th

from

Cjj

upwards on 1§^

string,

tones on each

string,

intervals

become small

fingers.

Tpemolos practicable on one and the same string and that may be w^ritten without danger. On

the

4tl3

String.

On

the grf String.

On

the 2nd string.

On the

ist String.

(

(

;

«[

")• _^

)

(^)

i^m)

">'•

^^

")

Jtg'

^ i.

W.

|

[gf

\^ 14267.

' |

ff

'^^ \

I

|

jd

^

^ ^ I

\

187

THE DOUBLE-BASS. Staccato passages ")

Allegro.

I*

in

octaves are

ver_y

^

Legato, these octave

good, whatever

cUd

^

skips are

impossible

the rate

quick

in

movement

of

ILLCJ

tempo.

Pizzicato.

— The

8.

sonorous

Pizzicato can be used

register

=

between:

lies

")

Pizzicati are

up to A

written

frequently

an^ part

in

the instrument's

of

compass, but

the

most

^

and

and

even

B'?:

V Pizz.

")

^

f;

:=

\

\

\

but

at

such

heights

the

tone

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 tetnpo, the composer will do well to write for the Double-basses divisi, giving a few bars to each group alternately:

^

All? Vivace.

Double-basses. (Divisi)

^

^

^

Pizz.

LL,U Pizz.

^

^m

Double stops. 9.

— The

All

following

double

minor and major

stops

are practicable:

thirds:

from:

"W

All

Perfect fourths-.

....

from:

|t

J-T^

j|

^^ to:

All

perfect fifths-.

from:

")'• ,.

to:

J.

I

'')'•

W. 14267.

up

to:

188

THE DOUBLE-BASS.

10.— Sixths

are

impossible, except

tuosi, but are impracticable taves

(unless

the

in

orchestra;

iij

J

4

*j

I

'"I

"'i

I

f^r

^

register,

open

iff

m

I

Octaves possible

the use of

illustrates

UuuVl-l^i

sevenths and oc-

-tr

Sevenths possible

P

to

string);

\) t.

'I,

I

where the^ can be played by vir-

same remark applies

the

Sixths possible

The following perfectly sonorous passage Moderato.

high

lower note happens to be an

the

'

"

the

in

fr-r ffff r ff i

i

f |

fp

^.r i

double

stops:

rf ffp ^i^ i

^

(E.Nanny.) (E.Nann^

Harmonics.

— On

11:

the

know,

artificial

harmonics are alone practicable,

Double-bass, natural

Double-bass players cannot reach this the

natural

which onl^

interval

means

on

one and the same string.

harmonics some are hardly practicable, the

4tl!

and

5tll

upper partials can

s

because, as

b^

harmonics are usually obtained

of

a stretch

of

those of the ver^

viz.

a

we

already

fourth,

Even

thick

E

and

among

string,

on

be produced:

.

J

(Actual sounds.)

List of Harmonics. (actual sounds.) 4th String.

^

fundamentaL

(others impossible)

Srf String.

10

It

would

above;

be is

it

dangerous,

better

to

3rd String.

^

orchestral

writing, to

^

make use

on the side of over-caution

and String, ^.r-^.ri

I

# 1^

Tenor Trombone. ^9^

^

Kettle-drums.

^^^

Harp.

^E

Viola.

i

..- ^' ^

^

Vrf 111

V^

^^^

Double -bass.

*X'

Page

58, §4.)

Written:

C

in

(written as

ii

sounds.)

j^^^^^"^^

^

is

very

little

^^

used at present,

(v. P. 78.)

y 3

Wanting

Tuned

7=

in

many

C and

in

orchestras.

K!..

(V. P.

94.)

Only sections of this scale can be played on one Drum. To obtain a complete octave several (2 or 3) Drums are employed.

^

D and C

i ^"-'V

below this

E

are possible, but not so

rich.

Maximum

stretch possible.

{Tremolos on one and the same string):

do. II

5i

Violoncello.

(V.

y^^'

,

The Alto Trombone

if m

written:

Nowadays tuned

I

^

!^ Violin.

Written:

do.

1 Written:

")' i

_>

S-(V.

!>^ J.

W. 14267.

do.

Page 185.)

full

and

194

List of

FLUTE:

Shakes practicable on Woodwind Instruments. _^

Excellent; 52e

very

I

On

old-fashioned Flutes the following

^

trr

OBOE: Excellent:

somewhat

heavy

very difficult.

difficult.

Remark:

All major and minor shakes

^

flat.

impossible.

shakes must be avoided:

Remark: lowing

On old-fashioned Oboes the shakes are unsatisfactory.

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:

^E

except the following which are bad:

J.

W. 14267.

fol-

195

List

of Harmonics. More Risky Notation.

Safe Notation. (The manner of production being indicated.)

(The manner of production being

T

From

w

f

to:

the

N. B. The actual sound is written, and a zero placed above the note shows that it is to be soundS"-—. ed as a harmonic.

(i

VIOLIN

left to

player.)

From:

t

to:

J VIOLA From:

$m

J

:

f

i

to:

From:

to:

VIOLONCELLOJ.From:

^

From

:S to:

Double-bass. As a fourth on players

this

instrument

do not make use cf

constitutes

artificial

too

harmonics;

them are the natural ones between the

20^ and

great the

a onlj^

stretch

for

harmonics

6tb, Ttb, or St!)

the that

fingers,

ma^ be

upper partials

Double-bass written

(See

list

for

on

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 R 181; ble-bass P. 188.) Remark:

The 20^ upper partials of two neighboring strings on any one of the instruments of the String Quartet.

'""

Violin

may be

^

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