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
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original of this
book
is in
the Cornell University Library.
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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:
i«
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^^
l«
*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
^-^
^
t±
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
^>
^
^^
=^
i»
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
K«
^
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^
;±=
*l
t
T
^
±
2-#-
f
*B In
^
4 parts.
4
4' s g
3fi
^
s
1
,
+
4«
^
.
J
-11
.0
O
i
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.
In
^^^^^^^i i£
in.
parts,
M
imt ^mww^
i
l
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hi
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—
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—
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minor mode
44
In 3 parts.
only.
It
j
#
•
f J.
W. 14267.
^y
j^
e
i
4Jt
•^
g—fr
153
THE VIOLIN. +
^^^^^p: S 3
In 4 parts,
9-
Resolutions.
QV oS
^
Off
S^=*
"Tim— a. ffi ff"—rr^^r i7 7 -# 9 7 7
In
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possible in
tlie
minor mode only.
In 4 parts
Resolutions.
.
i
J.
W.
14267.
possible in the
minor mode only.
.
•
155
THE VIOLIN. In
+
G.
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In 3 parts.
Resolutions.
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THE VIOLIN. +
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possible in the minor
"^ff
mode
hi
only,
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In 4 parts
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THE VIOLIN.
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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#
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ilfi
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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.
t»
^ -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
.
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|
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in 3 parts. |B;
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!?^ 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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