54 0 15MB
THE
TGCHDJQUe OF THE
MODERN 0PGHESTRfl A
^O-4-JJ
-OF
Practical Instru
TRANSLATED BY
6dward Suddard 'iNET
Copyright 1906
L
JOSEPH
tiy
Jnspph
Vi/illiama.Ltd.
ON DON.
WILLIAMS.I.IMITE.O,
32.GREAT PORTLAND STREET.
HENRY LEMOINE&C'"
ED.
NtW VORK SCHUBERTHiCO
Mr 70
Ill
DEDICATED TO
SIR
ALEXANDER
C.
MACKENZIE,
Principal of the Royal
J.
Mus.
D.,
Academy of
W. Iii>fi7.
LL.
D.,
Music.
D. C. L.
IV
Any
reader coming- across
a.
mistake, either in Hit tfxt or in the musical examples, will
greatly oblige by communicating
tm'ih
the translnin-r:
London H
r .
E. Suddard, 32, Great Portland St.
Preface.
years the mechanism of most instruments has been materially improved, and, concurrently, the orchestral palette has been enriched with a variety of tone -color formerly unknown. Hence the necessi-
Within the
ty for a ments:
last fifty
new manual
their
setting forth the present 1
compass and
state of orchestral
capabilities.
Characteristic features of the present book are the
Shakes and Tremolos Quadruple Stops
for the
works on Instrumentation. manual will fully meet the
Strings.
We
of Double. and Triple, has always seemed to us that
It
somewhat too summary a manner venture to think the
tion
Organ
in most
lists contained in this
requirements of the student, and
casionally be of service to the accomplished the
Complete Lists of
Woodwind, and
for the
these matters are dealt with in
To
instru-
may
even oc-
composer.
a special section has been devoted, in which, not to men-
a few hints that
may prove
useful
to
deavored to give such information as will
organ -builders, we have be of assistance to
en-
musicians
wishing to write for the Organ and Orchestra combined.
CH-M. WIDOR.
J. VT.
14267.
VII
Contents.
PAGES.
CHAPTER i. THE WOODWIND The FLUTE List of Shakes and Tremolos
PAGES.
The The
11
...
Transposing Flutes
NATURAL TRUMPET. ... VALVE -TRUMPET
66 67
15
List of Shakes
71
18
Muted Trumpets
71
The
TRUMPET CORNET A PISTONS .... TROMBONES TENOR TROMBONE BASS TROMBONE CONTRABASS TROMBONE SAXHORNS SOPRANINO SAXHORN ... SOPRANO SAXHORN .... ALTO SAXHORN BARYTONE SAXHORN. ... BASS - TUBA BOMBARDON
The
CONTRABASS -TUBA
The
PICCOLO
19
The BASS
73
The
OBOE
20
The
75
.23
The
26
The
List of Shakes and Tremolos
The OBOE
.
.
D'AMORE
The
COR ANGLAIS
26
The
The
BARYTONE OBOE CLARINET
27
The
29
The
34
The
37
The
The
List of Shakes and Tremolos.
The
The
...
ALTO CLARINET SMALL CLARINET
The
CLARINET BASSOON
The BASS
37
The
39
The 45
List of Shakes
......
The
BASSON-QUINTE
The
DOUBLE -BASSOON. SARRUSOPHONE
The
The
37
n.
49 50
THE BRASS INSTRUMENTS
The Theory of their Tone-Produc -
The
90 91
92 92 93
93
94 96 96
MENTS The
KETTLE-DRUMS SIDE DRUM
98 106
Muffled Drums
108
TENOR DRUM 108 The TAMBOURINE 109 The TABOR 109 The TRIANGLE no CASTANETS The CYMBALS ......... 113 ANCIENT CYMBALS 117 The
-tion The
87
CHAPTER m. THE PERCUSSION INSTRU-
The
CHAPTER
....
78
47
47
Shakes
.
78
51
NATURAL HORN VALVE -HORN. .......
55
57
Muted and Overblown Notes .... 58 Shakes.
61
The Horn in the Orchestra
63
J.
W. 14267.
.
.
m
.
.
vm PAGES.
PAGES.
The BASS
DRUM
117
The VIOLONCELLO.
175
The
GONG
121
Thumb
The
GLOCKENSPIEL
122
Pizzicato
177
The
CELESTA
123
Double Stops
178
The
XYLOPHONE
123
Triple Stops
179
124
Quadruple Stops
180
Bowing's
181
Harmonics
181
BELLS
CHAPTER
iv.
176
Positions
The
SAXOPHONES SOPRANO SAXOPHONE ALTO SAXOPHONE TENOR SAXOPHONE BARYTONE SAXOPHONE
The
HARP
128
Harmonics
188
Glissandos
129
Bowings
189
Harmonics
132
Runs
189
The ORGAN.
139
The The
The The
.
.
CHAPTER
v.
.
The Violoncello
125 .
.126
The
in the Orchestra
.
.
DOUBLE-BASS
184
126
Tremolos
186
.
.
126
Pizzicato
187
.
.
127
Double Stops
187
THE STRINGS
The
MUTE
190
The
BRIDGE BACK OF THE BOW.
190
The
.
.
.
.
VIOLIN
148
Double Stops
150
expressions used in connection with
151
the Strings
The
Triple and Quadruple Stops
...
List of French^ Italian, and
191
158
Compass of
Bowings
161
Shakes possible on Woodwind
Pizzicato
163
-struments.
VIOLA
166
Harmonics possible on Stringed
Double
167
Stops.
Triple and Quadruple Stops.
...
the various instruments. 192 In-
194 In-
195
-struments
168
Use of Double Stops in the Orchestra
Harmonics
174
List of
Bowings
174
CONCLUSION
APPENDIX TO CHAPTER
iv.
Note on the origin of the Swell, Pedal -board, Manuals, and Stops of the
200
Organ J.
w. 14*67.
196
196 .
.
199
Harp
.
Modern Composers
Further remarks concerning the employment of homophonio strings on the
191
German
Harmonics
The
182
197
IX
Order of
Chapters
In the present work, the order in which the instruments are usually ar-
ranged in orchestral scores has been followed, beginning with the
most
acute -toned:
(CHAPTER
Then, after
/)
a-
^
FLUTES,
(Piccolo)
OBOES,
(Cor Anglais)
CLARINETS, (Bass clarinet) (Double -Bassoon) BASSOONS, SARRUSOPHONE,
short Theory of the tone-production of Brass Instruments,
the following are dealt with:
HORNS, \ TRUMPETS, \ /
(CHAPTER
77)
^^^
(
TUBAS,
(Cornets a Pistons)
(Saxhorns)
Next come
(CHAPTER in) Then,
The PERCUSSION
so to speak, in parentheses,
The
The
SAXOPHONES, HARP, ORGAN,
The
STRINGS.
(
(CHAPTER IV)
The j
(
And
INSTRUMENTS,
lastly,
(CHAPTER v)
J.
W. 14267.
X
Memento. The velocity of sound is about 1100 f* per second. The deepest tone we are able to perceive is produced by a 64 ft pipe (Organs of St Louis, U. S. A., and Sydney, Australia, in which the low C=8 vibrations per second).
A
64
_ _
32
fl
pipe corresponds to 8 vibrations per second.
16
An
8
A _
4 2
_
_ _ _ _ _ _
_ _ _ _ _ _
1
_ _ _ _ _ _
16
32 64 129
258 517
The low C which the Double-bass ought to be able obtained on some recently constructed
instruments)
Double C on the Violoncello
C on
Tenor
Viola
the
(Standard French Pitch
\_Diapason
to produce
(and which can be
is
equivalent to a 16 ft pipe.
is
equivalent to an 8
fl
pipe.
is
equivalent to
a 4
ft
pipe.
Normal]
=435
vibrations).
The most acute tones perceptible to the ear are produced by 15,000, vibrations, and even more.
20,000,
30,000
Timbre (Quality or Color of Tone Klangfarbe) depends on the manner in which the column of air is set in motion, rather than on the material of which the instrument is made.
In the case of the
mines the mode the mouthpiece
depth, as
which, the air
of the Trumpet
set
is
mouthpiece, to a great extent, deter-
motion.
in
Compare
with that of the Horn;
these
the little cup which forms
two cups
are, in respect of
Cavalry Trumpet;
the deeper the cup of the
the tone,
as
Horn, the mellower
timbre. It
is
only possible to sound the various harmonics
ments, provided there tube. the
instruments, the
1:2, and the shallower the cup of the Trumpet, the shriller
be seen by the
may its
in
brass
If
is
a suitable
ratio
the diameter is too small
high and low
on brass instru-
between the diameter and the length
the tube too
narrow
it
is
impossibe
to
of
the
obtain
fundamental tone.
The subdivision of the column of fifths,
sixths,
etc...
air contained in a pipe
into halves, thirds, fourths,
(harmonics), corresponds to the subdivision of a string into the same
aliquot parts.
J.
w. 14267.
;
11
I.
Chapter *
The Woodwind.
THE FLUTE* (Ital.,
1.
Flauto.
The three- octave chromatic scale
Some
of the
players are able to sound a few
ceptional,
Ger, Flute.
still
and music should be written not
Fr, Flute)
embracing 37 degrees, extends from
Flute,
higher notes, even reaching
few out
for a
of the
El>; this,
however,
way virtuosi, but
is
quite
ex-
for the ordinary
run of performers.
The scale
of the
Flute
is
the player to take any special care:
at will, without requiring
Piano
the first 35 notes can be attacked and sustained./brfe or
fairly even;
PP
J? The 36th and 37\h degrees can only be produced
8
1st
too
Remark.is
V
l^^l
excellent forte.
36 37
In case of need, the 36tl? degree can be played piano by some performers, but this
As
exceptional.
2nd Remark:
for the
37t2?
degree,
is
it
perfectly impossible to obtain
it
piano.
All intervals can be played leg-ato on the Flute, save two:
Dangerous; piano e legato
impossible.
By saying that
this
scale
is
The E
Jfci "'
*~y *)
2-
A '
*L
Impossible piano
with some difficulty, and are inevitably harsh:
fairly
"-~
even,
I
I
,
mean
harsh.
is
I
that the composer
degrees as being sufficiently in tune with the others, and defects of a few of the notes.
need
not
may consider each
trouble
to
think
of
about
its
the
* L
3.
These defective
The three Cs flat. D!>
notes are eight
(NJ 2,6,8)
tent
4.
in
hardly concern
(fo
sharp,
emission,
L
j
(N?
El>
and
Ns
1),
4,5,7
on the other hand,
rather
are difficult to attack.
anyone but the performer, whose
talent to a
great ex-
corrects them.
Flute
Although the
eorsi.vuently
those
excels
the execution of florid passages,
in
whose signatures contain few sharps or
*The Boehm Flute with
*
number:
are somewhat too
(N9 3) requires special care
However, these defects
in
flats
*
~
descending:
Copyright 19O6
l>y
yet
cylindrical bore, adopted nowadays by most performers,
Avoid, however, the tonics D,E[>,Es aspiyots of ra-pid arpeggios,
especially
*,
and
:
'
'
Joseph Williams, Ltd.
J.
\v.
14267.
its favorite
keys are
when called upon to is
alone referred to here.
the following intervals being difficult,
THE FLUTE.
ern compositions afford sufficient proof.
Dk
Of this several charming modlikewise an excellent key, as may be seen by the
breathe forth a sweet, loving melody, no key suits A!? is
better than
it
for following example, which also illustrates another point calling
Andan-te
We
comment.
C pianissimo, so sweet and pure that it would seem Flute, despite the remark made above (3):
finishing on a
the best notes of the
here
see
an
be
one
of
to
Andante.
-/>/> (Widor, Conte d'Avril)
(By kind permission
The reason
is
C
that this final
not obtained
is
F fingering
case makes use of the
of Heugel et CSS, Editeurs-Proprietaires).
in
the usual manner.
The performer
in
this
(inferior twelfth), the pressure of the lips producing the third
upper partial, like the finger on a violin-string.
The only harmonics
5.
are
employed
the
following:
1
-'
fundamentals
the
being
the
14 degrees
first
of
the
soale:
i
is
It
impossible
to
obtain
higher notes.
any
As Gevaert very judiciously remarks
6:
in
his
Treatise on Instrumentation:"W\\en a Flute
doubles a melody assigned to a Soprano, or to a wind is an octave above the voice."
When an
organist
wishes to brighten the tone of a group of
which merely strengthens the harmonics a transposition in the octave. Likewise, the office of the Flute
monic
of the
instrument of
in
Oboe or the Clarinet.
of the
8ft. stops,
like -pitch,
8ft. stops,
without at
all
the orchestra frequently consists If,
in
a group of wind
in
its
natural position
he adds a 4ft. flute-stop,
creating the impression of
reinforcing the first har-
instruments, the Flutes doubling the up-
be suddenly suppressed, everything will immediately become dull and gloom); and weak; yet on reading the score, the Flutes would seem to be perfectly needless desperately poor
per parts
luxury,
in
mere
the octave
filling-up.
Articulation. Tonguing" is to wind instruments what bowing is to stringed instruments. Flute-players make use of three kinds of tonguing, which they call single, double, znA triple
7.
articulation.
Single -articulation
is
obtained by pronouncing the consonant t (as in "tut!"). It is with maximum strength of tone and greatest intensity of color are ob-
this species of tonguing that the
tained; c
,
.
it
corresponds to detached bowing on the Violin:
,
single -articulation:
f,
Andantino.
.
^*^T^==="
{t
"
t
*
l
^j
i
J
I
= J-W. 145J67.
13
THE FLUTE. However, great speed cannot be attained to
make use
of other, so to speak,
in this manner. In florid passages the performer has mechanical means, allowing of neither the same intensity of
tone, nor liberty of expression. In
such cases
double -tonguing,
he resorts to
alternately articulating the consonants t and
k, or to triple -tonguing, which involves the use of the three letters t(ut),
8.
mer
i.
e.
t
As an instance
Night's
k
t
t,
as
in
t(ut),
c(ut\
and k are pronounced according to the phonetic system.
of
double -tonguing, let
us take the Scherzo of
Mendelssohn's
Midsum-
Dream;
Single -articulation would
not, considering the
rate of movement, allow of producing
the
lower notes; so they are played as follows: Vivace.
Double - tonguing:
"
-gr
*
was written quires G in altissimo). instrument
This
The compass
2.
comprising tense, their
lone
the
not
is
modern
of
whole
the
of
varying
shades
becoming
thin
still
Oboe
of
be found
to
Beethoven,
in
Oboe, and,
French Oboe
Siegfried, Wagner quite
difficult,
others
to
from joy to sorrow,
and losing something
from
is
attack
exceptionally
their
idyllthe two highest degrees a-
-
J-
as to
Ctf
and
sustain, either
Highest.
r-
f
or
#fi
ft
D in alt} are
piano
inall
timbre:
Medium. m
'
re-
to
w
from tragedy to
of
J
(save two:
degrees
Schu-
homogeneous timbre, the lower ones being admirably medium register capable of expressing the human feelings in
Registers of the Oboe:
as easy
Weber,
impossible:
Upper.
the
most Ger-
tolerably
Low.
All
In
compass:
some shakes are
perfect;
of the
34 notes
for the
f
one
well
,=
r
in
tune,
flexible,
clear,
and
forte.
*.
Remark: point ly
The two notes
of quality,
but
referred to above
they are difficult
(CK and D) attack
to
are not inferior to the
suddenly,
very difficult tremolos:
i (to be avoided)
J.
W. 14267.
as, for
others
in
instance, in these two real-
21
THE OBOE.
Articulation. 3.
Oboe
The
a melodic
is
Flute.
from the
instrument,
the reed
Flute
not being capable of any great execution; it slower of speech than the mouthpiece of the
in
being "Tristesse de Rome'o" the very characteristic, pathetic wail, which, slowreaches its maximum intensity on the vibrating sonorous E in alt:
V.
in
rising,
ly
differs
the
Larg/ietto espressiro.
,
4.
being
The
Oboe exclusively employs single -articulation,
made use
tonguing, and 5. in
It
!s
of.
Double -tonguing
advisable
whichever register
not it
give a
impossible
iteration
rapid
to require the
Oboe
of
the
for the
the
same
to articulate
in
letter
is
(as
in
likewise
Oboe; note
t
beyond
quicker
its
tempo
p.
36)
"tut")
triplepower.
than
J:120,
be playing:
may (J
We now
any
consequently
is
Rome'o et Juliette,
=
120)
few examples from
Professor Georges Gillet for the use
W. Ferling's Etudes, with metronomic rates fixed by of his pupils
at the
Conservatoire:
*
*--
^_^
(By kind permission
And here follow three examples of speeds exceeding to their alternately legato and staccato character, the pensated for by the easy nature of the following bar: J.
W. 14267.
of Costallat ft ClS, Editeurs-Proprietsires.)
120, which are possible, thanks difficulties of one bar being com-
=
THE OBOE.
(J
r
140)
(J
=
156)
-if
~
I_L_J_
P-|
1
W
_J
W
(very difficult.)
The
last
bar, with
its
wide skips,
is
extremely
Slurred 6.
Ascending
ones, All
intervals
are,
difficult
Notes.
speaking,
generally
to play.
more easily slurred
than
descending
more easily contracted than distended. octave skips can thus be slurred, from middle C to E, a tenth above. the
lips
being
Vivo.
The same slurs would be much more awkard descending, as which is dangerous beyond 120:
Or this one,
impossible
in
the following
passage,
beyond 112:
(very difficult.)
On the other hand, here cluding not
very
cadence. great,
Despite
passage, with a very expressive conthe quick rate of movement, the difficulty of execution is here is
a perfectly
because this cadence
practicable
allows the lips time to prepare for the wide skip:
Vivo.
J.
W, 14267.
THE OBOE.
Length of Breath. 7.
timbre
intensity and
in
to all the other
woodwind
instruments, possessed of such carrying -power that it formerly constituted the main element in military bands, while if we once fix our attention on it in a modern orchestra we can finally hear nothing else, unrivalled as regards the ease with which it can swell and diminish its tone, the Oboe moreover
Superior
excels
comsumes
and
oboists
selves
all
far
it
less
defeated,
their
more convincing,
examples
alone,
of
the
the
Prelude
to
length of the
among the woodwind
them-
would soon
be compelled to acknowledge long before that of their rivals.
wind -supply being exhausted
Second Concerto, and
formance, on account
Oboe
these latter players
flautists,
There are few del's
congeners in sustaining-power. Despite the strength of its vibrations, it wind than the Flute, for example. If a competition were started between
in
the
this
of
than
the
Tannhauser,
Largo
of
so difficult of
Hanper-
and the impossibility of taking breath. The
phrase
instruments,
connection,
3C^ act
is
equal
to
the task.
Shakes and Tremolos. 8.
Nowadays
all
major and minor shakes can be executed on the French Oboe, from:
to
Every
modern French Oboe allows
of
finishing
off
a shake
on the lowest
semitone above) with a turn, but this was formerly impossible! ^fc_ 1g
^^
Bt|,
j
J
or on .
nowadays quite easy
Complete List of Shakes and Tremolos. +
+
etc...
All tremolos possible up to the octave.
etc...
etc...
All tremolos possible up to the octave.
All tremolos possible up to the octave.
J.
W. 14267.
C
(a
THE OBOE. All tremolos possible up to the octave, except:
etc...
diffcult.
etc...
etc...
All tremolos possible up to the octave.
All tremolos possible up to the octave.
All tremolos possible up to the octave.
etc...
an excellent shake.
All tremolos possible exce pt:
c fc
up
to the. octave,
possible in moderate
risky.
tempo. All tremolos possible up
etc...
etc...
\a
c-- -
etc...
(Y) Nowadays an excellent shake.
to the octave.
All tremolos possible up to the octave.
All tremolos possible except: up to the octave,
~ difficult.
very
difficult.
All tremolos possible up to the octave.
etc...
This tremolo can etc...
All tremolos possible up
to
be executed by means
the octave,
of cross -fingering.
...
^
Nowadays an excellent shake.
All tremolos possible up to the octave.
(#)
All tremolos possible *
*
it.,,
L
T
^
All tremolos possible except: up to the octave,
excellent on
^-^--(^ Risky
except:
and
rather heavy,
modern French Oboe. jf)
difficult.
(*)
(*) Risky notes. etc...
up
;...
to:
up
to:
up
to:
:
as well as all above.
very
difficult,
very
difficult, as well as all above.
(y) Nowadays excellent shake. very difficulties well as all above.
an
df -
etc...
very difficult^ as well as
J.W. 14267.
all
above
.
note.
THE OBOE.
25
Very
difficult,
very
difficult, as
well as all above.
difficult, as well as all above.
Very difficult beyond, but
is
possible with special fingering.
Very difficult beyond, but shake is executed by (*)This
is
possible with special fingering.
means of
a special key.
Impossible beyond,
~ difficult.
?_ ^
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
9.
Some
working
sixty years
upon the
was ingeniously perfected by Triebert (of Paris \ the Covent Garden a soloist in orchestra; despite Barret,
ago, the Oboe
suggestions
of
these improvements, however, true of intonation. Our modern
all
many shakes were instrument,
still
constructed
impossible, and others in
accordance
with
the
not
quite
views
of
Georges Gillet, is perfect as regards truth of intonation, and allows of executing all shakes, major and minor, throughout its entire compass, up to F, either piano or forte. 10r
AUTHORS AND WORKS TO BE CONSULTED:
Bach (Cantatas)-, Mozart (Quartet); Handel Beethoven (Trio, Quintet); Schumann, Dvorak (Pieces);
(Concertos, Trios, Sonata); Theodore Dubois (Pieces en canon, Hautbois, Violoncelle); Pieces by Paladilhe, Busser, Ferling, Vogt
etc.
Transposing Oboes. 11.
To
the Oboe
Anglais, and
family belong
three transposing
the Barytone Oboe.
J.
W.
14267.
instruments:
the
Oboe d'amore, the Cor
26
THE
OBOE.
The Oboe d'amore. This instrument
12
lower
pitch than the standard instrument,
in
its
from
is
compass
a minor third
is
to
w
sounding:
(The low
Bt> is
wanting).
f
r-
homogeneous quality, why is it not habitually used in our orchestras? To the Oboe d'amore Bach assigns his most pathetic cantilenas; for mezzoforte effects nothing can equal the charm of the upper register: Remarkable as
for its
is
it
(Actual sounds)
i
Each time the the
the
instrument
a
skips by
sixth
to
the accented beat,
in
sedes.Afass in
B
the last three
minor.)
bars
of
See also, in the same example quoted above, the effect is truly exquisite. Mass, Bass air: Et in spirit um sanctum, accompanied by two Oboi d'amore. In this
connection
the Magnificat,
same mechanism
and
etc.
to St.
should
Matthew,
the
Christmas
can
Oratorio,
be studied.
is played in the same manner as the ordinary Oboe; execute the same shakes, save two:
Oboe d'amore
The
13.
Passion according
the
too,
the Cantatas,
it
has
the
'
_(*)
good.
These two ted
+
00 +
impossible,
shakes (x, y)
on to the instrument,
difficult.
be rendered
will
if
very
ever
it
comes
possible
to be
used
All major and minor shakes excellent, up to D in by in
alt.
means of a special key, easily fitthe orchestra.
The Cor Anglais. Mr
The Cor Anglais
the old Oboe da caccia, so much simply the Alto of the Oboe a fifth lower in pitch than the standard instrument, with the same relative compass as the Oboe d'amore (the B!> being wanting as in the case of this latter instru-
used
in
is
former times
_*
ment).
Compass:
Lacking lais
upper
Sounding:
both the strength and the
exhibits register
three
distinct
weak and
homogeneous quality of the Oboe d'amore, the Cor Angvarieties of timbre. The lower register is very powerful, the
sickly.
and
The
best
register lies
sounding:
J.W. 14267.
between
THE COR ANGLAIS. All
the
figures
gravitating
a
to
special
-A-
shake
this
Formerly
thanks
one of the worst
this being
performer,
15:
around the highest C#
all
key,
T
for
notes on the instrument.
was impossible on the Cor Anglais; nowadays,
~j
shakes from
A
are very troublesome
j
low
B^
to
high
Dq can be executed:
(
(All possible, both major and minor)
Remark:
The two shakes x and
y,
mentioned as being impracticable on the Oboe d'atnore (see because this latter instrument actually pos-
paragraph 13), are quite easy on the Cor Anglais, sesses the special key of which I spoke.
Les Huguenots, Guillaume Tell, Lohengrin, TrisTannhauser, Manfred, Le Carnaval Romain, La Prise de Troie, Henry VIII, Samson et Dalila, Sigurd, Salammbo, Le Cid, Beethoven (Trio for two Oboes and Cor Anglais). Thais, etc. WORKS TO BE STUDIED: tan und Isolde, Siegfried, 16.
The Barytone Oboe. An
17.
octave
below the standard
instrument, with the following compass:
-
sounding:
(Bt
is
wanting)
The fingering and mechanism are those of the ordinary Oboe. The Barytone Oboe will form an admirable bass when all the instruments of the same family are concentrated inat the heart of the orchestra, in the imto a focus of intense, almost bellicose quality,
mediate 18
I
need
two varieties mitted with
of
neighborhood
into
hardly of
the
the Small
the
the Horns.
refer
same
either to the
kind
orchestra.
But
Clarinet
El>,
in
of I
in
instrument,
must
at
any time required.
or to the differing
only
men'tion
in
Pastoral Oboe the reed,
Soprano Oboe
the
military bands;
an extremely piercing upper register,
Oboes were
Musette
this
is
in
Et,
(in
for neither
used,
At), is
together
a very sonorous instrument
and would prove very useful compass is from
if
a complete
ad-
family
with of
Its
to
sounding:
The fingering and mechanism are the same as for the other instruments of the Oboe family. So far, the Soprano has only been used once in the orchestra: by Vidal in La Burgonde. J.
W. 14267.
28
THE BARYTONE OBOE.
19.
Remark:
The timbre
of the Oboe
is
so characteristic
or for background effects,
and predominating that, when uscare must be taken to employ the
ing it for holding- notes, for chords, best register only, and to choose the most euphonic intervals, the very aggressive notes of the in a word, the Oboe must never be "lost sight of." lower register being scrupulously avoided
If,
of
for
these
instance,
two
ways
the of
following
scoring
Oboes.
Clarinets.
it
common chord has is
w
preferable:
to
be written
in
four parts,
the first
29
THE CLARINET. (Ital., Clarinetto.
The compass
1.
of the
Clarinet
Ger., Klarinette.
42
is
notes, from
Fr.,
Clarinette.)
=
AT
to
f ' -
and
is
con-
sequently more extensive than that of the Flute or the Oboe.
It
is
reach
always difficult
to
fix
the extreme limit of any
A in altissimo
heights inaccessible to others.
the scale,
because such
it
proves to
be
in .
players.
In
any case, C in altissimo
most performers, and
in
piano passages G
the case
of
instrument,
as some virtuosi can
here given as the upper limit of the great majority of clarinet-
is
*p"j
T
^
is
'
beyond the most persevering efforts of should be considered
the
extreme
limit.
Every degree of the Clarinet's extensive scale is excellent, but the timbre of the instrument varies considerably in the different registers, of which it may be said there are three:
.
and A are alone emThe former are more brilliant in tone; virtuosi have adopted them for their ployed. 4:
The
concert- pieces.
latter,
lower by a
timbre, but are also able as the B? Clarinet stops at D. noble
to
not
semitone,
descend as low as
only possess Cjl
an extremely rich and
(an inestimable advantage),where-
Clarinet
sounding:
in B\>
^
Clarinet in
A
sounding:
Clarinet -players
5.
complain
of
accidentals
to
to
replace an
instrument
another
few
bars the
new
composers who prefer involving them
the instrument.
changing
instrument,
of
which
It
is
true
quite
has been gradually
that
warming up
colder, and therefore less accurately instrument will be found doing duty
in
in
it
is
in
a thorny
bush
to
have
annoying
the performer's hands by
tune.
as properly
But and
at
the
end
efficiently
of
a
as the
and the performer is satisfied. It seems to rest his lips and give him new life. Of course, am now speaking of the theatrical orchestra and of long musical performanin ces; symphonies, which are of relatively short duration, such substitutions are very selold
one,
I
dom necessary. It and that Allegro, in
the course of a
6.
with a
Among forte
the
latter:
of
the in
is
of
true that the use of the
the A Clarinet
movement;
the
in
the
B!>
following
same remark applies
is
frequently prescribed
Adagio, but no change bravura pieces.
i.s
in
ever
an
made
to
wood -wind instruments, the Clarinet alone is able to contrast a piano marked manner that the former would really seem to be the echo
such a
Allegro. Clarinet in
Clarinet
Hi.
J.
W
r .
14267
81
THE CLARINET.
The pianissimo of the Clarinets (in the low and medium registers) represents the minFlutes imum of sound obtainable from wind instruments. Compared with Clarinets, would be in mezzoas a as intense and metallic in their lower register seem Trumpets
forte.
a whiff of
but
which
allows
of
mistaken
be
tone
its
blending
other
no
for
a Second
of
place
pianissimo; the instrument has almost
lost
its
timbre:
'tis
air.
Another characteristic
7.
of
hardly even a
is
It
the
of
with
Clarinet
almost
Flute, or
of
every
the
instrument,
a Second
an unrivalled
is
its
neutral in
group
Clarinet
can,
tone-color
the medium register,
While the Oboe can
orchestra.
the
without
Horn, or even of a
in
attracting its
Bassoon,
take
notice,
rich
full,
the
quality
with that of any other
instrument. power blending In his Piano Mozart a wrote Flute two Clarinet and Concertos, single frequently part parts, treating all three instruments in the same manner, as if they were three Flutes. In the Overture to Egmont, Beethoven has ventured to assign the dissonant note of the chord
possessing
a
to
balance
of
and
single in
Clarinet,
treated as
the whole of his
two A\>'s
is
really
very
of
it
if
orchestral
were a second
writing,
for
the
Horn,
this one G\>
only instance of want
against one
E't>,
four
C's
weak:
*
Clarinets.
fe
Bassoons.
Actual sounds.
a@
Horns
^
.
Egmont
?
(Breitkopf
&
Hartel's edition)
must have noticed the "poetic Bassoon" effect produced by the Clarinet in the Ballet des Sylphes. A real Bassoon would have been ridiculously dry, and a Horn All
musicians
The Clarinet thus marking the accented Harp, sounds truly exquisite; it would seem to leave
too
heavy.
beats, beneath in
its
the harmonics
wake, as
it
were, a
the
of little
spray
of sound.
And what Note tremolo
shall
we say
the admirable of
the
of
the
orchestral
effect produced
Violins:
Clarinet
by
peroration to the duet
associating
the tremolo
in
Beatrice et Benedict!
of the
Clarinets with
the
THE CLARINET.
8_ ly
to
All
should
passages
(J
=
Oboe,
exceed
hardly
articulation
the
J
=
maximum speed in
120,
be
of
the
Oboe (3,4, 5) applies equal-
for
:
,
120)
p dfr
the
in
found
in
(Widor, Introduction
of the
case
Etudes and
(J
and
staccato
examples
Concert- pieces,
of
-. frf.fj *'> /f ft '
passages exceeding this
ff
\
speed
e.g.
B!.
in
:
numerous
Oboe,
notes
articulated
one of the registers.
any
,, (J
Clarinet
t
the
120)
But, as
may
the
case of
the
in
been said about
Clarinet.
the
As
that has
132)
Rondo)
(By kind permission of Heugel
Many rapidly
Clarinets
composers treat as
these
latter
instruments
Symphony:
as in
if
they
very quick
All Flutes.
14 8 Clarinets in
A.
Bassoons.
Horns in A.
-g-
'i'"
fl
were
vivace.
* 1
/P &i
Flutes,
obliging
t
C!, Editur-Proprie'tir.)
them
to
tempo, witness the opening
articulate of the
as
Italian
33
THE CLARINET. 9:
the matter of
In
instruments
phrase
be
may
played
the
by
sustaining -power, the
on a par. the Adagio
considered in
Horn,
can
Clarinet
Take, of
for
the
rival
the the
instance,
Oboe;
in
return to
fact the
two
after
the
Ai>,
Septet:
Bk
Clarinet in
dolce.
(Beethoven.)
good clarinet player does not take breath after the crescendo (marked two bars later, after the A. -
a
Here
+),
but
only
another example:
is
Moderate.^
A
Bk
Clarinet in
g
P
|^_
I
dimin.ed agitato poco a poco
cresc.
Professor
could
Turban
(of
Paris
the
be sustained piano,
the
in
Conservatoire)
medium
and
register,
for
myself
40
calculated
or
that a holding- note
45 seconds.
Shakes and Tremolos. 10.
the
Since
Clarinet,
system, perfected by Buffet, has been applied to the mechanism major and minor shakes have become possible, from:
Boehm's all
of
to
A
few
of
these
shakes
are
not
very
brilliant,
others
rather difficult, and
consequently
heavy:
rather harsh. JJ?
* difficult.
The fingering of the Clarinet repeats itself in the twelfth, so that the special key which now allows of executing the shake B Cjt in the low register also renders the shake F| G(t practicable in the upper register. N. B.
possible with a special key.
#(Djt somewhat
flat.)
notvery good. (Gjt somewhat
flat.)
This shake occurs in Meistersinger.
-heavy. J.
W. 14267.
THE CLARINET.
34 As a matter
11
pecially
of
these shakes
fact, all
when other simultaneous
may be
shakes more or
written,
less
even the doubtful
ones
(es-
conceal their defects), up to:
*This
G)t is somewhat flat, but might be used to reinforce the Flutes, say.
-
dangerous.
12r
We
now give a complete
list
of
shakes and tremolos:
Complete List of Shakes and Tremolos. All tremolos become heavy bevond the fifth.
N. B.
difficult.
etc...
All tremolos possible up to the octave.
etc...
etc...
All tremolos possible up to the octave.
All tremolos possible up to the octave.
All tremolos possible up to the octave.
All tremolos possible up to the octave.
rfC
All tremolos possible CXCept: p to the octave,
-
pg^
,
etc...
All tremolos possible except: up to the octave,
All tremolos possible except: up to the octave,
^= y
=
e tc
A11 tremolos possible
up
to the octave, J.
W: 14267.
-" N.B. **> Bt,and A, o^anu B are alwavs &1 Bl?* ?S -"
_M? zL^ Pf~ vv^ ,
I
All tremolos possible up to the octave,
gpi
heavy
1
difficult to attack.
THE CLARINET. All tremolos possible except: up to the octave,
etc...
All tremolos possible
etc...
up
I
M
1
ff^Otr
||
=J |
to the octave,
except:
All tremolos possible except: up to the octave,
etc...
I
35
etc...
All tremolos possible except: up to the octave, heavy.
possible.
All tremolos possible except: up to the octave,
etc...
^ ffg=
B R
etc...
*^Ji?~ possible.
=^
is Ulllll somewhat Higher tremolos should be avoided.
almost impossible,
possible,
difficult.
Higher tremolos should be avoided.
Higher tremolos should be avoided.
heavy
1
difficult.
Higher tremolos should be avoided.
Higher tremolos should be avoided.
It
is
dangerous to rise higher. (See J.
W. 14267.
11,
page 34).
87
THE CLARINET.
Transposing. We
13.
writing
exclusively
for Clarinets
that the
Clarinet
in
A.
and
Bt>
in
C
has been said about either instrument
that
All
(4)
have already seen
no longer
is
in
modern
use,
applies equally to both,
for
composers have
they
the
The only difference same mechanism, the same qualities, and the same little imperfections. lies in the timbre, the richness of tone, the sweetness and fulness of the A Clarinet, not to the B? which Clarinet is unable to sound in the lowest mention the valuable C| register.
The Alto Clarinet. The Alto Clarinet
14.
sidered the normal key).
from
is
compass
tuned
is
in
member
This
a fourth below the standard instrument
F,
of the Clarinet
not
is
family
much
in
be con-
B!>
(if
use nowadays.
Its
__^ sounding:
No higher notes can be obtained. Mendelssohn has written two Duets
for
The Small 15. in
This, also,
Clarinet.
an instrument rarely used, save
has employed
Berlioz in
Wagner
it
the
in
Nuit de Sabbat
the Finale of the Walkiire.
but the performer
transposes
frequently
J.I
In
his
this
part,
The Bass Clarinet
16.
in
is
compass
written
is
of
latter
military
bands, for which
like
his
tuned
is
it
&
and
Symphonic Fantastique, the Small
work,
Clarinet
playing on the ordinary
(By kind permission of Schott
The Bass its
Clarinet.
B.>
sounds a minor third higher than written.
it
E>;
is
and
Alto Clarinet
is
tuned
instrument
in
in
D,
Ek
(WalkUre^
p. 442.)
but sounds an octave
lower;
C9, Publishers-Proprietors.)
Clarinet.
the Bl
or
A
Clarinet,
from
\>
to
*
No higher notes can be obtained. The
lower
register,
which
The mechanism
valuable.
contains the richest the
of
Bass
Clarinet
and is
fullest
identical
notes,
is,
of
course,
most
the
with that of the standard
in-
strument.
The
Bass Clarinet
to bring
it
is
admirable
an
into notice (in the
Bass Clarinet as an almost the
Bassoons,
the 20^ act of
Meyerbeer was the
Huguenots
constant
Liszt's
Lohengrin,
Note the effect
first
composer and the Prophete). Afterwards, Wagner used the bass to the other wind instruments, as. an auxiliary to instrument;
and now and then also for melodic purposes.
son et Dalila, that
melodic
Dante -Symphony
(See the 31^ act
(Purgatory),
the
2!
of
Tannhiiuser,
act of
Sam-
etc.)
produced
by the holding -notes
form the accompaniment
to
Elizabeth's J.
for Clarinets,
prayer.
W. 14267.
Bass Clarinet, and
Bassoons,
38
THE BASS CLARINET.
The Bass Clarinet can pass from a forte to a pianissimo as easily as the standard If it were necessary to have a phrase instrument itself. repeated in slowly-dying echoes, the effect 17.
be obtained required could probably
Bassoon.
(Actual sounds).
*)
(
s
the three following by employing
Horn.
wind instruments in succession: Bass Clarinet.
39
THE BASSOON. Fagotto.
(Ital.,
The
1.
In
Bassoon has a compass
the
for
writing
piece the performer
firstly
with,
and
and
to
37
of
is
may be required
Wagner once even ventured case,
it
orchestra,
Fr.,
Basson)
notes, from
to
dangerous to exceed this upper to play up to D, a third
write
because his theme was
Ger., Fagoit.
of
was justified
he
but
E,
higher
such a nature
bravura
a
limit, but in 4
~|g~~
doing so in that special the high E could not be dispensed
that
in
secondly because the intensity of the Violoncellos and Violas, playing in unison doubling the Bassoon part, was likely to neutralize any mistake made at such a height. Allegro.
(Tannhauser, Overture,
former times, the Bassoon was seldom required to descend lower than Gamut G
In
became possible to obtain Bl>, but neither Bq nor Cs could be produced, so that scale was diatonic for the first few notes, only becoming chromatic from E\> upwards:
Later the
it
0"
TT
.chromatic..
.diatonic..
who wrote so admirably
Mozart,
y
tween
in
stance,
and
2
In
good;
j
;
so
in
register
A?
quality,
the
for
Bassoon,
was only very
Don Giovanni
usually kept
and
(Double D)
wrote
he
that
rarely
in
within
it
in
piano
all
the
37 notes
passages,
the
of
lowest
Bassoon may be looked
the
D
Bq and
being
somewhat sharp, the four following degrees the highest
register
unsatisfactory,
(El],
difficult F,
Fij,
and the highest
paration:
to
somewhat
difficult to
In
.poor and thin..
bad.
sharp,
is
attack,
followed
an exquisite finally, after
by a fairly good
seventh,
a bad
with a
Ai>,a dull
medium
timbre
fourth
register closely
?
;
K in
m exquisite.
bad. J.
thin.
W. 14267.
Wood-
^=
be-
notes,
poor and thin.
requires preparation.
comes
-^"^^^
diameter.
^ fairly satisfactory.
entire
weak
then, after four
resembling that of the Horn
admirable.
pre-
p'vr^'
produced by a tube constantly diminishing
I>TT
thin
some
requires preparation.
i
(n^J-"
equally in the
Ei>
it
Bassoon, although it usually constitutes the sole bass of the an instrument of very uneven quality, its admirable low fifth y i..4
ing
upon as
fact, the
group,
be-
Concerto
the
requiring
attack piano.
wind
of
and G) poor and
D
l,^
i|TF
3,
limits,
lower notes, as, for in-
Andante
the
old
its
(Double C).
forte passages
not
medium
it
Overture to
the
C minor
in
in
p. 25.)
=,
and
THE BASSOON. The
lowest
duction
such
of
could
Trombones.
the
bass of
fifth
intense
that
in
However, sounds would
such a manner as not to
in
Bt might even form the point of tone-power; on the involved in the prothe strain case, lungs
with the Brass
vie
in
need to be taken exhaust
completely
the
account, and
into
the part
written
performer.
it could just often been required to play down to A; Wagner, the Bassoon has of the tube. Doubtless in the length as well be made to descend still lower by increasing a few years all Bassoons will be able to sound this A, but for the present it is well not to write lower than B!>, this being the last note on the great majority of instruments.
4
Since
Articulations. 5
B? to the highest
lowest
the
Oboe and the
the
Like
the Bassoon employs only
Clarinet,
single -articulation. From
can be rethroughout a compass of three octaves, all notes or piano, almost as easily as on the Cello.
B!>,
peated or detached, either forte For instance, in the low register: (J
In
1526)
medium and
the
138)
-
(J
:
Of course,
high registers:
when
effects
soon falters,
avoided, as the tongue into
the
to
quired
abound since
wind If
of
in
lightness
of
articulation
is
play very rapid tempo, the scores of Wagner, Berlioz,
Brahms, Tschaikowsky, Glazounow, Borodine: been a composer who has not thus contrasted the Wood-
Beethoven there has hardly with
the
Strings,
in
the
ing all together
The
Liszt,
tempo.
very quick
each member of the group
course),
tune,
reof wind instruments, even when they are a matter for both surprise and admiration; instances
a mass
of
in
examined separately (with the exception of the Flutes, of some of timidity, heaviness, and even absolute inaccuracy
were
most astonishing
When
them would be discovered.
7.
must be
and the instrument must not be brought too conspicuously
foreground.
The
6.
kind are employed, all prolonging of the difficulties
this
of
^f^JT
f__j
r*^--7rpij-|
isolated
become nervous and frightened, but when
they
they are the very image of assurance and
Bassoon, as we have already
whose defects
all
it
seen (2), has several
the
skill
play-
self-confidence. in notes, not quite but when these notes
doubtful
to
requires conceal, performer's by the Violoncellos they seem excellent. Here are four bars whose bass had been given by an inexperienced composer to a solo soon:
are doubled
Andantino.
K
*- j-1
i
,
P .
f-
Now, this bass, being (3), sounded feeble and the
timbre
of
the
in
the register of
out
instrument
of
tune,
was
in
the
not
J.
J
?=*
m
fairly good
through any
itself
Bas-
fault
unsatisfactory.
W. 14267.
medium of
and of the
^ weak notes
the performer's, but because
41
THE BASSOON. As soon as the composer had concealed these defective notes beneath the pizzicato the
Celli,
the
sounded
passage
quite
mm
Bassoon.
-
^^^w~^m
33 m
Cello.
of
different:
Pizzicato.
The
instruments
all
blended
in
a pleasing
ensemble,
perfectly
as to truth
satisfactory
of
intonation.
7.
In
the matter
more easily than
it
slurred
of
can
notes,
Bassoon
the
like
Oboe and Clarinet,
the
can
rise
descend:
Allegro.
However, descending slurs are practicable the intervals are small:
in
Staccato on the
notes, skips of an octave, a tenth, a Bassoon with incredible ease and rapidity: ft
8.
i
e
Descending slurs
as well as lowest
slow tempo,
all
slurred
twelfth,
and even
a
tempo
quick
*
when
can be played
fifteenth, etc.
* i
fi>
in
a
^
to be avoided:
intervals
starting
downwards from
register: J.
W. 14267.
G'b,
E>,
D,
Cjt,
and
Cq
in
the
THE BAbSOON. Rad:
Bad:
9.
slow
In
tioned
tempo, descending
slurs
can
are
used
in
above),
any
one
chromatically,
but
Taking
10.
Is
able
which It
none
is
of
alike;
can
of
not
is
somewhat
astonishing
its
as a fulcrum,
notes
its
this
notes
deep
available
Strings It
it
sound
to
they
provided
of
neighbors
an
that
such can
reinforce
suspected:
Allegro
of
the
speed
of
is,
the
scale
course, entirely precluded.
descending lower even than the Horn, and should also be capable of acrobatic feats
intensity,
What services
perform?
blends
every combination; may be put to all kinds
accent
Bassoon can thus descend
the
men-
instrument
it
an
(always excepting the intervals ensemble, and not in a solo: played
dangerous, and
for it
be an
with
renders
it
every
in
orchestra!
the
Woodwind, Brass, and
group
work.
of
Strings, without
its
presence
being
even
so
much
as
molto.
Bassoons.
lit Violins.
"d Violins.
Violas.
Celli.
Double-basses. (j. Hamelle,
PP
Editeur-Proprietaire.)
Widor,
(
It
from
may
complete
the
Horn
group,
blending
so
perfectly
the Brass: J.
W.
145J67.
that
it
2 nJi Symphony,
cannot
be
p.
130.;
distinguished
THE BASSOON. Clarinet in
A.
43
tranquillo.
=M
J J Bassoons.
Horns
in E.
HM^-^^&H^ J9___ =3= ^EEiEE 9= A f~ ::
'
-
n~
Basses.
PP Without the
the
least
weakness,
it
can
(Mendelssohn, Sommernachtstraum?)
bear upon
its
Atlas shoulders the
whole weight
of
harmony: Flutes.
Bassoons.
(Wagner,
pp
Meistersinger, p. 354.) Figures played by the Violoncellos and Double-basses, or even by the whole group of Strings, gain verj? much in^ energy and intensity when^ doubled^ by the Bassoon; Flutes.
J.
W. 14267.
(Beethoven, 4th Symph.}
44
THE BASSOON.
The staccato
Bassoon
the
of
Strings:
Flutes and Oboes.
P
(J
=
be as
when necessary,
can,
light
as the pizzicato
of
the
69).
^qJz;
* I
I
_J
???
Bassoons.
feE5 E^
Violins.
*
Pizz Basses. Pizz.
(Meyerbeer, Struensce.) not
Is
staccato
this
the
of
Bassoon,
in
the
Serenade
of
Mephistopheles, fully as
supple
a pizzicato?
as
Oboe.
Bassoon. _.
x'
r
i
T
_.
*
r ^ *
.
Violins.
Pizz.
Violas
.
Mt'phist. Aiii.si
ton ga.lantt'ap
.
pel
lo.
.
Basses. Pixz.
By
(Gounod, Faust.}
combining the Bassoon with the Flute, at a distance of two octaves, the sweetest and richest timbre in the orchestra. Sometimes he Bassoon two octaves below the Violin:
tained the
Mozart even
obwrites
Flute.
Bassoon
.
(//
Flauto Magico, Overture.)
Violins.
Bassoon.
di Figaro.)
Any serve
score, opened all
kinds
of
at
random,
purposes
with
will
afford
unrivalled J.
instances of facility
and
W. 14267.
the
Bassoon's
efficiency.
singular
ability
to
45
THE BASSOON.
Length of Breath. General
11.
required to
The lower the pitch of the instrument,
rule:
play
The sustaining -power to
of
a
-.
80)
^^
2
1
4
2
XTJ X
playing
3
80)
in
the
it
forte,
proportion
higher register, this
still
to
its
is
4
3
p\>*
Even
is
Bassoon, playing in the lower and upper registers,is limited with the assistance of Mf Eugene Bourdeau, Professor at as follows: respectively
(J
:
more breath
experiment made
according the Conservatoire
(J
the
it.
7
6
-*
-v
the
diminished,
considerably
,Tf
5
maximum
is
bars.
9 bars.
seldom exceeded, and, of course, when of the sound in inverse being
duration
intensity.
Shakes and Tremolos. 12.
From
From
Double
Double
B't>
F to B?
to
in
Double
F no shakes are possible, save the two following:
the Treble
staff "
nearly all
are
possible, except:
e
.very bad.
.impossible..
not good..
Complete List of Shakes. .
Possible.
not good, but possible..
Eg
Impossible.
good, but heavy.
somewhat sharp.
Possible.
Impossible,
^p (impossible, as well as in the octave above.)
Good.
Bad. (bad, as well as in the octave above.)
(possible, but not good.)
(impossible, as well as in the octave below.) J.
V. 14267.
46
THE BASSOON. gp
"iar?
P '(
&
Good.
Bad.
Good.
Bad. (possible, but not in tune)
(bad, as well as in
the octave below) &--
Good.
Higher shakes are hardly available
for
orchestral
purposes.
Bad.
The major shake on E (E F)t) was formerly reckoned one of the most awkward, but the modern virtuosi, having carefully " practised it since Bizet's time, caji now execute this
Remark:
***
all
shake
brilliantly.
Moderate.
Bassoon.
'
J
^!
,
with
Satisfactory.
i
a
nasal
twang
,
Actual sounds: ^J
j bassa
loco.
Timbre growing more and J.
ike that of
W. 14267.
like
that
of
Altogether inferior to Ihe Bassoon.
a,
Toy Trumpet
a
toy
48 The
THE DOUBLE -BASSOON. octave
low
first
the
or even
Woodwind, The manner in which the tone
pedal-notes tirely eschewed.
the
but
Bassoon,
staccato passages are very Symphony, it
passages to play, which
rapid
sound
reed, being
ineffective
instrument
treats this
bravura
like
very it
when used
satisfactory,
fairly
the
sustaining
case of
alone
is
the is
larger,
on
is
Horns,
slow
in
produced is slower to vibrate, so that
Double -Bassoon.
the
carelessly,
to
tempo
first
cannot possibly execute in on a bad Harmonium:
a
to be enin
the
and
florid
Beethoven, in the 9tb to A, and then giving
rise
it
making
deep
play
staccato notes are much the same as
but
manner;
satisfactory
they
effects performed
(All? maestoso.)
V'
Contrafagotto.
L \\
(All? energico.) Contrafagotto.
Contrafagotto.
These weak notes
upper register and these florid passages, which would be difficult ordinary Bassoon, are lost in a compact mass of sound, where the most experear can distinguish nothing. Beethoven cared very little about details; besides he the
of
even for an ienced
was deaf when he wrote not
his
immortal
work.
I
mention
this
all
as a caution
to
young
be too
composers venturesome, unless they happen to have Beethoven's genius. into Here, on the other hand, is a fine effect produced by a Double -Bassoon brought prominence; nothing can sound richer and deeper than its Double 6 beneath the low 6 of the Horns: Allegro. to
s
Flutes.
PPP /TV
H
Piccolo.
P
V J
Solo.
Oboe.
PPP /T
Cor Anglais.
m
Bk
Clarinets in
PP Double - Bassoon.
Horns
1
in F.
~V5 (Saint
3rd (By kind permission
Robust a deal
lungs
of
breath.
moderato. write
in
are
needed
The
So, care
to
play
maximum
must be
such a manner as to
the
of Messrs A. Durand et
fils,
.
p. 124)
Editeurs- ProprieUires.)
Double- Bassoon; the low notes, especially, consume of a low holding- note cannot exceed two bars
duration
taken, when this instrument allow it the requisite intervals
J.
W.
14267.
is
of
placed rest.
in
the foreground, to
49
THE SARRUSOPHONE. over which it possesses disSarrusophone is a rival of the Double -Bassoon, tinct advantages as regards both facility of emission and intensity in the low register. The column of air contained in its very wide tube is set in motion by means of a double- reed
The
1.
that
like
the
of
instrument
which
Bassoon,
the
Sarrusophone also closely
resembles
in
its
mechanism. The
Sarrusophone so
tone,
that
say
vibration,
sometimes accused
is
the vibrations
pipe,
when the ear
just
criticism.
a
like
as distinctly as those
be perceived
of
reedy
quality
Each a
of
separate
32 -ft.
organdetractors, This is most unis in the immediate proximity of the striking reed. When the instrument is in the hands of a player accustomed to the bas-
It then a great measure disappear. produces a full rich tone, since it can descend without hesitation of the Wood -wind group, the Bassoon: below octave of the an orchestra, depths
soon-reed, these defects forming an excellent bass extreme
to the
sound can
its
having a rather nasal and succession of little shocks.
of
in
sounding:
Compass:
f
loco
fjta bassa....:
The
2:
Sarrusophone
is
written
When used in conjunction effect of a Gamba-bass or
The Sarrusophone
very sweet
family
Soprano
Bk
Tenor }>,->.
Bass in
to
corresponds
and
Bombarde;
organ-pipe,
just as the
-
Basses, the Sarrusophone produces the gives them a very characteristically pen-
Double it
a 16-ft.
Bk
is
complete:
Compass:
Sounding':
Compass:
in
and
tone.
etrating
in
C,
corresponds to an 8 -ft. pipe. with the Celli
Bassoon
3.
in
w
Contralto in
& p*
Ek
Barytone in
A w
Ek
Double -Bass
w
in
Ek
t>
have yet been used in the orchestra, Saxophones being cannot de-toned instrument of the Saxophone group As, however, the deepest preferred. -Bass the size of the Double scend lower than the ordinary Bassoon Saxophone making it exthe Sarrusophone in C stands without a serious rival in the practically inconvenient treme depth of the orchestra.
None
4.
of
This
these
interesting
instrument
varieties
possesses .
^?=
two really
full
excellent quality.
-toned and remarkably powerful octaves (XY):
50
THE SARKUSOPHONE. ease.
qua)
bottom
are
following,
notes
can
as
the
the
All
scale
the
of
at
produced Even top.
same clearness and precision at like quick tempo, staccato passages, the
with
be
in
practicable: (
A
Double- Bassoon overcomes
phone
the
the
the
would
case
such a
in
almost
difficulty
Sounding an octave
have no tone-power whatever, while the as easily as an ordinary Bassoon.
lower.)
Sarruso-
Articulation. maximum speed
The
5.
attainable
about
is
as
follows:
(Actual sounds.)
(For 2 consecutive bars.) bassa
(J =
^
116)
(Actual sounds.)
(For 3 consecutive bars.)
loco.
(Actual sounds.)
(For 4 consecutive bars.)
The breath can be held about as long for sustained as for detached notes. In moderate the lowest C can be sustained for or for three bars: tempo, forte two, piano, (J =
The C an
88)
octave
"}
above
^
I
.
10
11
12 13 14 15 16
*"
a
" H*
10
11
,,
5
7
6
, .
j,,
i
(jK
9
8 ,
I
\m
l>
12 13 14 15 16 * ^*
l"
h.. \J p
"
^"
1"
.
VI
2nd 4 3rd or (
piston depressed. All notes lowered by 2*^ tones.
4 3 rd (or 1st 2 nd 4 3 rd) or 2nd & 4 th pistons depressed. All notes lowered by 3 tones. 1st
VII
1234
5
6
7
8
9
10
1234
5
6
7
8
9
10 11
3
VIII
IX
2
3
45
4l_h
7
6
*
*
16
it" #
:
8
9
10
*
11
12 13 14 15
,
'
\>m
hn
16
-
pistons depressed. All notes lowered by 3^ tones.
15*
2d
23 456
1
& 4th
pistons depressed. All notes lowered by 4 tones.
:
1
pistons depressed. All notes lowered by 4^ tones.
1st
3rd
23
4
5
AU
L
6
10
11
12 13 14 15 16
7
8
9
10 11
12 13 14 15 16
L.
7
8
7
8
9
10
11
^
!>
^"
'"'
12 13 14 15 16
""
1
4 4th
pistons depressed. notes lowered by 5^ tones.
9
,
123456 ~ .
8
~
2nd 3rd 4 4th pistons depressed. All notes lowered by 5 tones.
7
-*
3rd 4 4th
XII
14 15
I?*
rr
XI
12 13
" , jt0 f
a >-fllt
1
4
15 16
~'J'
t>
1st
12 13 14
11
(better) 4th
~
2
3
4
5
L
6
l>o
,
10 11
**^..
ETw
U
12 13 14
15 16
*" ^"
"
12 13 14 15
16
l"
1>*
^ 1st
XIII
2nd 3rd 4 4th
pistons depressed. All notes lowered by an octave.
" ~
1
2 -
3
4
5
,,
.11^:
6^
^
7
* tr~
__
J.
W. 14267.
8
9
10
11
l~-
j?
*>
t~ r-
53
BRASS INSTRUMENTS. Such
the
is
compass of five chromatic octaves, which might even be exceedmust add at once that no single performer is able to travel over
theoretical
ed upwards. But we extensive such ground;
the
most
cannot
skilful
embrace more than three and a
half oc-
taves.
Excepting the Tuba, Contrabass -Tuba, Valve -Trombone, and a few Barytone Saxhorns, all the other instruments have only three valves, so that the number of combinations tabulated above is reduced, in their case, to seven VI. VII.), (I. II. III. IV. V. 5.
possible
only concern mental.
6. into
on the
instruments
at
Looking three
seven positions of the Slide -Trombone. Such are the seven comContrabass -Tubas in E.> and Bi? of military bands. The others
the
to
corresponding binations
the
used, and
little
natural
scale
of
which, besides, cannot
harmonics, we see that
descend
the
brass
11
12
funda-
the
to
instruments
fall
groups:
.
Horns and Trumpets.
'fro
(*)
10
9
or
13
15
14
16
TV
(#)
In the orchestra of
day a small Trumpet is employed, whose har monies sound an octave with higher, in unison those of Cornets and High
to
Cornets and Bugles.
Saxhorns. (See
P.
68,
6)
figures,
taking
as
Trumpet
in Bl basso
an
Tubas and Bombardons. -4^-
If
a
we now compare
standard
Cornet
the
key
the
of
B\>,
Bt
in
length
common
the
of to
all
(in
B!>
C.-B Tuba
of
we get
_ _
basso)
.
the
following
them
length of tube
Trumpet * Horn
tubes,
4
ft.
5
in.
8
ft.
5%
in.
*
octave below the
17
ft.
7
in.
17
ft.
8
in.
modern
Trumpet.
So that Cornets correspond to 4 ft., Trumpets to 8 ft., and Horns and Contrabass -Tubas to 16 ft. Organ stops. However, in practice, things are somewhat different. at pretty play Trumpets, enclosed within the same limits, much the same pitch, and in such a parallel fashion that, in many secondary orchestras, without regard for the composer's intentions or the difference of timbre, the Cornet rethe latter being much more risky and dangerous to play. places the trumpet, In
reality,
Cornets
and
J.
W. 14267.
54
BRASS INSTRUMENTS. The
7.
between
distance
become so minute that
the tube the
lips
may cause
Take
this
theme:
of
The old
Trumpet
The Cornet and
harmonics diminishing as they
the
in
least
the
hesitation,
mistake
least
in
the
of
pressure
accidents.
will
B?
the
the subdivisions
rise,
play
making use
it,
sound the same
will
harmonics 4 to 12:
the
of
notes,
making use
of
the harmonics
between
2
6:
(The notes marked with crosses could not be obtained but for the pistons.) The
theme
produce this to
perior
and
runs
or a
whose best notes
Cornet,
the
a
child's
the
high
We
8.
which
ought
sound tube
its
of
emit
it
about
lips
the
size
and
shape
more or
less
easy emission
acting
efficiently of
when the diameter and law),
and
a
the
in
The
tube
its
of
the of
is
Horn has
the
lowest
mouthpiece, which
length
special
the
Tuba,
length,
low?
quite as
the
Coll's
Horn, whose
the
of
Contra- bass
from
of
timbre,
it
the
same
especially, power, no-
classed Trumpets and Horns in the category of instruments fundamental tone. This is comprehensible in the case of the
descending fundamental tone, because
the
scales, shakes
intensity?
the
what
allow
to
su-
as much execution as a Flute
of
capable
chromatic
altogether
re-
(6)
have just
but
Trumpet,
is
it
compare with the Trumpet in point where it becomes poor and colorless? Has
dramatic
cannot
and
register, "diatonic
Cornet:
rapidity
will
.'
register,
bleness, and
an ease and
harmonics,
1
On the other hand, can in
the
6^
2"d and 5* n or
the
articulation,
medium
this
for
play
of
lightness
In
Trumpet.
are
Clarinet
with
between
lie
is
answer
a slim
not
W. 14267.
the Contrabass -Tuba,
Horn
the
that
cannot
contrast with the bellying
In
figure
Besides, there
is
which
prevents the question of
merely the timbre, but also the
bear a suitable required,
of
and elegant
register.
instruments.
J.
is
too narrow.
affects
also
that
to
The fundamental
notes.
the tube
mouthpiece
equal
tone ratio
varying
can only be sounded each other (Cavaille-
to
according to the family of
55
THE NATURAL HORN. Corno.
(ital.,
1:
is
It
from
only
the
Waldhorn.
Ger.,
historical
adays almost universally discarded. Without artificial aid, the Waldhorn
between
Horn
2 and
16
in Bl> basso.
view
of
point
Fr.,
can
that
Cor simple?)
mention
I
sound
hardly
Natural
the
notes
any
Horn, now-
the harmonics
but
inclusively.
*J
^
:
/?
(*)
^ 2
"
^^
7
8
9
_ Ut
I"
li=
4
3
l>o
5
6
\ (
10
11
o
(-*)
^0-
^
12
13
14
15
16
Sounding:
Remark: to use
two
Horn-players read the F clef an octave lower than they
ought really to be written in the
Thanks the
to
supplementary fundamentals available
Horn
lowest
note
F
(about
in
obtainable
Bt> Si;
C D! Dl|
Et El]
a
"crooks',"
dozen
basso,
in
length
_ _ _ _ _ _
G
_
At
_ _
Bl>
C
is
the
harmonic
number)
not ridiculous
=,
may
be transposed,
follows:
ft.
tube
9 9
the
series
17
of
_ _ _ _
F
At)
it
clef alone
tubes, called
_ _ _ _ _ _ _ _ _ _ _ _ The
y
these four notes of the harmonic series
clefs to write
is
ou.t^ht;
in.
in.
in.
basso,
i.
e.
Bl
for
the
56
THE NATURAL HORN.
The
G
the
is
highest
Horn
in
Horn
the
of
(*1
in
the
half
off
cutting
bell,
ear.
4
3
6
5
7
8
9
10
^$* horn -player
intervals, the
intermediate
the
get
the
for
(o)
in g=
To
E
e.
=2E
A.
2
2.
i.
A,
and
air,
flattening
the
inserts
notes
open
11
12
n
*E:
his
by a
hand
right
the
in
semitone:
Good stopped notes:
10
Remark: As der
to
The
to
dealing
The
notes
the
the
produced
inequalities
monic plest
to
the
are
be
come across
means the most
resources
of tune
out
14
15
in our
16
the player, in or-
scale,
speak
of
notes
open
valuable, on
very
will
the
of
them
account at
are
greater
Muted
excellent.
the
of
length
in
color
of
variety
the
following
Valve-Horn.
by
met two
of
which at
conjunct
powerful
the
half
column
of
are
air
dull, not quite
/(.._, ~
with
Weber has created
than
production:
3p
for
more
off
cutting
difficult
instrument to
also
we
Very bad
is
each
below
are
stopped notes:
Such
are
13
them by "stopping."
obtained notes
orchestra;
with
intonation, and
of
and 14th partials
)
flatten
to
thus
overblown
impart
section
true
them, has
semitones
and
notes they
the 7th, Ilth,l3th
utilize
12
11
I
,
the
I
classic
every
degrees are
effects
masters
step, and of
it
the
frequently
masterpieces.
Three
/7s
in D:
"
r J.
W.
14267.
is
wrote;
breaks,
impossible
same
timbre.
obtained,
notes
deficiencies,
below
and
suffice for
the
7lb
and
har-
True, with the sim-
with
such
limited
Oberon's magic Horn:
57
THE VALVE -HORN. (ital.,
used:
is
The in
are
Valve -Horns
1.
the
indications
are
G)
in
F,
Horn
made
keys: E, Eb,
several
in
met with
be
to
Ger.,Ventilhorn.
at
every page not so much
convenience
the
prefers (supposing there is a sudden ther than of numerous accidentals.
He writes The
of
change
simply as possible, and chromatic scale of the Valve -Horn
as
the
is
it
extends to
Its
the
es
Cor a pistons)
Fr.,
but
D, etc.,
nowadays
only one kind
F.
in
fop
Corno cromatico.
in
modern compositions (Muta
of
the
key)
to
D, in
in
E,
performer as of the composer, who make use of the natural notes ra-
understand him aright.
to
part
player's
from:
"
-Kir-
(actual sounds)
38 notes are perfectly homogeneous, and its compass, as will be observed, is much same as that of the Bassoon, which, although it can descend a semitone lower, los-
by
with
comparison
Bassoon.
~y
r
TJF^P
^
2r
We may
Horn
the
an
notice
upper register:
~
i"
R.I*
Thin
here
the
in
Horn.
3
notes.
Good
1
between
appreciable difference
the
notes.
capabilities
two
the
of
instruments.
While the
compass
on
pianist
assume
a
instrument, and
his
perform all kinds of acrobatic feats throughout the entire can pass from one register to the other as easily as a horn -player has to choose between the high and the low
the keyboard, cannot play satisfactorily
his
register, as
can
bassoon-player
of
he
according
shape
particular
both
at
the
to
extremities
register what the
The 111 horn-player is to the 2H^ Trombone. The First Horns (of the two or three the Second Horns the low notes. notes, tises.
3.
To meet
the
now construct cation
scend
in
the
two 3!^
of
Horns:
sufficing
piston
both
of
requirements kinds
categories
ascending enable
to
one
of
Horns kind
horn -player chiefly
Trombone
Tenor
our
in
pairs
scale, because the
the
of
which the
is
orchestras)
to
descending
rise
easily
the
and
Bass
play the high
instrument
horn -players,
and
to
lips
prac-
-
makers
Horns, a modifithe other to de-
easily.
N. B. The 3*4 piston raises the whole scale of the ascending- Horns by one tone, and lowers the scale of the descending- Horns to an equal extent.
The compass, Ascending- Horn:
in
actual
sounds, of
our two chromatic
r*^r
.-''
*)'
,
Al),
and
B\>
fiHi (Berlioz,
difficult.
^,
G,
F#,
La
reine Mab.)
;
ti
i
i
(Beethoven, 7th Symphony)
The
crook
crook
a
of
coil
single
the
to
corresponding
F
of
key
inferior
slightly
has two
8 inches
coils
and the
diameter,
in
crook
At|
the Al> diameter, a coil only Scinches
diameter.
in
How
in
the
for
harmonics,
Horn
Schumann venture
could
F V4^
|
^
j
the
of
first
up to such giddy
write
to
4 Horns
his
in
"~
rehearse too
!y
so much
are in
it
great
the
afraid
orchestra,
of
that
it
Horn
in
because
or fear,
it
gradually nearer to
getting
altho'ugh
to
play
it
they are willing enough to in public: the danger isreal-
16*!)
upper partial, goes
straight
ahead,
without
moves forward by regular degrees, and because the goal, where it expends its full force:
it
any feels
F sempre
Schumann's
But
(69 Finale)
!
hesitation is
never venture
will
they
4 Horns.)
Concerto that,
this
of
Siegfried's horn, which reaches the kind
between the 8lD and 20
Concerto?
interesting
very
(Concerto for
Virtuosi
heights,
accel. e cresc. (By kind permission of Schott
Concerto
far
is
more
&
C9, Publishers
dangerous;
-
there
Proprietors.)
not a page without a stumb-
is
ling-block. 10. D, E,
In F,
paragraph
1
we spoke
G, etc.),
rather
for
the
the indications
of
performer, who usually transposes into Indeed, he plays everything in F, save ticed
to
be
found
in
convenience of the composer than the key of F. the exceptional
in
modern scores (Muta in
the
cases which
interest
of
we have just
in
the
no-
(9).
If
then, voiding too
in
the
many
course flats
piece, the composer thinks it necessary, for the sake of asharps, to change the key of the Horns, he may do so without the means by which the change can be effected. Take, for inof
a
or
troubling himself about stance, this passage beginning
in
F and
finishing
in
E.
F
Here are two modern ways /i
Horns
in
it:
writing i
i
in i
E
*
F
The result the
of
change accustomed
the same; it is only a matter of determining the most favorable place for it is a mere question of neat key; appearance for the eye. Performers are this sort of The composer may and taken are never exercise, by surprise.
is
of
to
implicitly trust
to
them. J.
w. 14267.
68
THE HORN IN THE ORCHESTRA. When
the
make an admirable quartet.
Horns
Four
11.
is
Horn-quartet
added to the Woodwind,
the volume
of
sound
is
more than
doubled.
A
Solo Horn moving softly through the Strings blends with them most harmoniously. It one of Wagner's favorite devices. When blended with the Celli and Double-basses, the Horn acquires a singulary penetrating quality of tone, which one might fancy to be that of a soft Trombone:
is
Moderate. Solo.
Horns.
Violoncellos
Double-bass.
_,
^
,
_ (Liszt.)
The four Horns playing piano or forte can be heard through the whole mass of the orA Adagio. 4 Horns
chestra:
in E.
(Widor, 3Td Symphony.)(J. Hamelle, Editeur- Proprietaire.)
The
Horn and
Clarinet
in
unison
are exquisite:
dim. (
(i.
In
very
the
choral
following
efficiently:
given
to
Hamelle, Editeur-Proprietaire.)
the
Brass, the
Solo
Adagio sostenuto.
15*
Horn
in F.
$---> Trombones.
Tuba.
P^
C. Franck , Symphonie.)
^=*=
Horn
doubles
the
first
Trombone
64
THE HORN.
but
two
following combination so often used since, is very of
The
even
admirably:
and
Clarinets in
quality,
two Horns, little known before Mozart, the two kinds of tone-color blending
Clarinets in
Horns in
.^i
J-
Andaniino. B!>.
El>.
Strings.
(Flauto Magical)
The
next
behind
leave
the Roi de Lahore, that example shows some light, bounding chords from them a vibration as pleasing to the ear as the white mist of a summer's
morn to the
eye:
Allegretto
.
inEl>
Horns
.
Horns in F.
3
Bassoons.
3 Trumpets in
F.
3 Trombones.
(Wagner, Siegfried.) (By kind permission
of
Schott
&
C9, Publishers -Proprietors.)
Remark: When the Horns are written in four parts, the bass is naturally obliged to expend more wind than the other parts, and to take breath oftener, being at the same time less sonorous. It is better, when sustained notes are needed, to make use of the Bassoon, which is less fatiguing for the player and forms a more solid basis to the harmonic group: 1*1
Tranqvillo.
Horns
in F.
Bassoons.
(By kind permission
of Schott
&
C9, Publishers-Proprietors.)
(Humperdinck, Hansel Und Gretel.)
2nd Remark:
As we have usually four Horns in the orchestra, it must be remembered that Horn of each pair is an ascending Horn, and the second a descending Horn; consequently, the high register must be confined to the !$t and 3J Horns, and the low register to the 2"d an d 4th. the first
12. AUTHORS AND WORKS TO BE STUDIED: Mozart (Quintet); Beethoven (Sonata, Schumann (Concerto); Brahms (Trio); Quintet, Sextet and Septet); Schubert (Octet)} Saint -Saens (Romance); Friedr. Gumbert (Solobuch Dauprat, Gallay, Mohr (Schools);
fiir Horn), etc. Read Handel, Bach, phony),
all
Weber,
all
Mozart,
Beethoven
Wagner, and
all
the J.
(who writes down modern authors. W. 14267.
to
double
B\>
in
the
9th
Sym-
66
THE NATURAL TRUMPET. (Ital.,
We
1.
allow with
the
low
have
seen
already
Trumpet E (actual
to
sound
Tromba.
(P. 51, its
2)
E
has
Manfred, Schumann ually
transfer Flute.
I
a
from
Allegro. |
>
tone,
narrow its
diameter
scale
in
the
of
its
practice
tube would only
not
beginning
j>m
fL.
always been regarded as the inferior limit ventured to write El>, a semitone lower,
note
this
the
Fr, Trompette.}
_^
pitch):
nearly
that
fundamental
Average compass:
This
Ger., Trompete.
intimidated
*Tj r-^-8
Trumpet
the
to
!
i
of
but 1^l
the
instrument.
In
prudent conductors usTrombone:
*LJ" k^
i
:
1
THE NATURAL TRUMPET.
^Tr
*>
TI
TV
3=
^ 4
T &
*
9^
a-"'"*
3 _
rj
in Ak.
8
t>o
f
*
Sounding:
67
68
THE TRUMPET.
4
THE TRUMPET. Remark:
The Trumpet
in
D
(#)
required for Bach's
is
is not used otherwise, for, genof the Trumpet, and produce the
works;
it
erally speaking, notes above Bt (actual pitch) lose the timbre sensation of a large Flute rather than of a brass instrument.
cannot be attacked piano, and still less B and C J^T '*/ high a key? The true compass of the Trumpet is two octaves, from
and within these limits nothing E, according to tonal
in
Compared with sounds
almost
is
l~~
G
so fine and so powerful
to
what need
tf
there
as the
old
in
Trumpet
so
for
(actual sounds.)
G
]*
.
F
(in
F
or
little
modern Trumpet
of
that
and
exceptionally
quite
is
A
necessities).
the Cornet a Pistons. Wagner scrupulously avoids making too free use of the ly, and to produce a special effect, that he writes up to It is likewise ual pitch):
-i
so
manly and imperious instrument, the tone of the
this
like
Besides, Gjt and
in a
ff that
it is quite exceptionalin alt (actual pitch) in Parsifal. he sends the F Trumpet up to BP (act-
high notes;
C
li F
in
Trumpet
J
r
ff* (By kind permission
However, the the
high
basso;
Et>
of
it
when
Manfred,
to
Ei>
play the
2!
C,
in
of
it
but
have
to-day
even
B?, have
D
(actual
the
all
a
all
for
-
adopted the Trumpet in C, easy to play in have Nearly tuning- slide which allows of falling one tone below is to the necessary for the Second Trumpet to descend still lower instance it takes the B\> crook, and its tuning -slide not only allows
performers
register.
Rf
(March for the Centenary of American Independence^} & C9, Publishers Proprii-tors.)
of Schott
so
pitch),
that
enormous
following
Tuning-Slide.
the
2
Trumpets
of
a
pair,
the
^
in
compass: ..--"''Natural
Scale.
in C.
-
TY
Trumpets:
(Actual
-in
Remark:
The tuning- slide
is
not used
-
for
keys lower than Bt.
Articulation 8.
and
Like the
triple
Flute, the Trumpet articulation, so that
Trumpet
in
is
of
capable
.
three of
kinds
great
of
tonguing: single, double, of emission:
rapidity
E.
(By kind permission
(J :
Trumpets
makes use it
Sounds.)
.....--"Natural Scale.
Tuning-Slide. 2
of
HeuKl
et CIS,
Editeurs-PropriMairts.)
(l)elibes, Sylvia?)
88)
in D.
Flutes.
Oboes. Clarinets
.
Bassoons. (Berlioz,
Menuet des p.
J.
W, 14267.
259.
Follets.)
THE TRUMPET.
70 (J
Presto.
Trumpets
=
160)
in E.
f
?
f
f
f
\
\^f
^L^
_^(By kind permission of Heugel
et CIS,
.
.
,1
/
%
^^ f
f
f
^JL^
Editeurs-Proprietaires.) (L/alo,
Le Rot
d'Ys.)
Andantino. Solo
(Meyerbeer,
March e aux Flambeaux.)
Trumpet
in
Trombones.
Violins.
Basses. (By kind permission
The
are
following
(J =
120) ^{k-ft
(J =
144)
about
1~~
of C.F.Peters,
Editeur
maximum speeds
the
:^~~~~
-
(Wanner,
Proprie'tMre.)
attainable
in
the
low and medium registers:
the
fatigue
^_j~~~
3
However, the passage must not be very consequent heaviness of articulation.
long, on
account
of
of emission and
Length of Breath. 9-
bars
Piano, the
in
the
low
Trumpet
can,
with
the
,
,
same rate
It
is
the
needless
holding -note
67
&
of
movement,
can
it
hold
a
note
in
the
of
8
or
9
8
TVTTTrTYTTTTT*
bars:
1
medium
? register for 12
.
(J
then
8_ _*
*
p^f or 14
tempo, sound a
register:
J?
and
moderate
in
to
expenditure
r
120)
observe of
that
breath
o
(
is
numbers
these
doubled.
J.
W. 14267.
are
halved
in
forte passages,
because
THE TRUMPET.
71
Shakes. We
10.
the
have
Trumpet,
The
seen that
the
Horn
does
just the reverse: are those which may
is
it
following
it
be
make use of the pistons only use its pistons.
not
can
used:
(the cross
for shakes.
means bad; the double
With
cross im-
possible).
18
14
15
16
17 possible.
C)|
somewhat sharp. 18
19
20
21 difficult,
OlO
10 difficult
very
difficult.
HltpOf:
and
unsatisfactory. 11
12
24
Impossible
beyond
.
Muted Trumpets. Neither
11.
them they
into
are
Beethoven
nor
Weber made use
of
muted Trumpets.
fashion by employing them in Siegfried and in constantly to be met with in modern scores:
Wagner has brought Since then, Meistersinger.
_... ., Allegro. (mit Dampier.) ^ .
Trumpet in
^
Bk
Violins.
..|WH1
i
I
^ 1
^
y
J
)
Basses.
(And Wagner
]'']' [iV^rM^ll^V^IT^'^'^'vlJVj* blow very (Meistersinger,
directs the performer to
J
W
hard).
14267
iy kind permission of Schott
p.
&
460.)
C9, Publishers- Proprietor*.)
THE TRUMPET. There
is
no modern
Strauss,
Vincent
following
exquisite
composer
who
does not
d' Indy,
use
Bruneau, Debussy. of muted Trumpets:
Richard use the Trumpet con sordino: will abound: only quote the Examples I
Flutes.
Clarinets in A.
Horn
in
Trumpets
F.
in
C
(muted)
Triangle.
Celesta.
Harp.
15*
"
Violins.
Violins.
PPP The an
articulations
of
(By kind permission of Heugtl
the
et Clf,
Editeurs-Proprietaires.)
(Charpentier,
Louise.)
Trumpets loom through the surrounding veil of orchestral haze; detect them under the tremolo of the Violins and the
experienced ear can only just silvery notes of the Harps.
J.
W. t4J267.
73
THE The
12.
tone
of
quality
BASS Bass
the
of
TRUMPET.
Trumpet
is
admirably
and even, from:
rich,
full,
to
tube
Its
7
is
ft.
writes
Wagner
8^
in.
in
it
long.
El>, D,
&
C:
Written:
~S
9
10
7
11
10
9
8
12
14
13"
12
11
15
13
n
ktv **~^
D
--
34567
8
9
a /c
whatever
posing
when
"
4
the
key
necessary),
5
6
indicated
Bass
7
8
by
the
9
in
11
17
18
19
**
fr-
17
18
19
12
13
__i
1 ~ . h* *>" diT^o""!^o H"
t> it" -** it
Trumpets
I
in El-
mp*
f *j
10
12
11
composer, D Et> and
Bass Trumpet
"
16
Im im
15 krrr
14
16
15
it
13
is
not
14
15
always being
16
Avoid
though
'
17
played
18
in
C
20
19
(trans-
made.
Sounding:
'
Ij.
Sounding:
-JF
*
j>
-
Bass Trumpet in
20"
C 3
but,
10 _,
-^ty-vr
in
19
3456
in
Sounding
18
14 -brr
1
1?5~T7
C
Sounding an octave lower.
falling F,
a
as
low
semitone
as the above,
3fj! is
partial,
possible
J.
or
and
rising
higher
tolerably
W. 14267.
than
sonorous.
E,
the
20tt>
partial,
74
THE BASS TRUMPET. AUTHORS AND WORKS TO BE CONSULTED:
13.
as
the
instrument
"Lately, an
a
blem; be
4
to
the
raised
that
assembly octave
an
Where
How
ft.
is
than
this
Bi>,
D.
At
preserved
time
of
little
been
a
meeting the
it
a question
merely
specialists
"The of
radical
Soprano
ployment his
the
been
of
the
of
by
able
was due
to
Trumpet
Soprano
So
one
would
it
think from a pass-
-
can
slide,
before
notes
of
pro-
an
sounding
Trumpets!'
been
have
should of
&
Breitkopf
discovered,
and
Trumpets
employed, as
use?
current
in
formerly
kinds
all
the
it
played
emission
agreeable
solves
a tuning
of
Rosleck
Berlin,
ordinary
mouthpiece
although
Trombones
from
we the
Eichborn supposed by and the majority of Ha'rtel) is
consult?
by
scientific
to
their
mouthpieces, whose
various
in
and
easy
specimen
single
made
mistake
Trumpets
of
lips,
have
I
far
Was
Trumpet.
Heidelberg, which
at
held
(Die Trompete in alter und neuer Zeit, the
C?
in
instrument
the
specimens onwards?
V
and
(as
manner dif-
their
prehistoric
found, which, by means
has
numerous
Charles
Bach
curiosity
them,
imitating
almost
their
made
been
produced Is
this
only
about
Trumpet
has
admired
those
Trumpet?
that
it
it
in
unanimously
have
Was
of
key
of
of
style.
discovery
long,
idea
the
out
musicales:
Curiosites
higher is
our
to
with
more
read
be
since
published
Everything
should
information
little
important
tube
than
modern
our
analogous
Deldevez's
in
age
from
we have
Technically,
masters
illustrious
concerned)
is
Trumpet altogether
fering
an
iwo
These
Handel.
men consists
tube very
obliged
the high tone
exclusively
to
the
to
player
much smaller mouthpiece than
a
having
bore
that
thinking
was due
it
No,
narrow
in
the
the
em-
contract
ordinary
Trumpet'.'
The
truth
is
for
practised
inaccessible. its
own The
Beethoven,
G
to
in
employment a
limited
we must
Besides,
of
part
note
a
very
that
narrow
the
of
scale
Bach's
mouthpiece enables reach
to
Soprano
heights
hardly
ever
lips
generally plays
specially
deemed
outside
of
octave.
Trumpet Weber,
begins
with
Wagner, and
Haydn Berlioz,
and
the
Mozart,
neither
too
high
imperious nor
too
and manly Trumpet of
two octaves
low:
from
G:
This
is
Perfect
ought
the
playing
special real
that
the
ancient
Consonances, to
Trumpet, the
Fifth
the
and
oldest
instrument
the Octave.
It
write.
J.
W
14267.
in is
for
the
world, unchangeable like the
this
kind
of
Trumpet that we
75
THE CORNET A PISTONS. (ital., Cornetto.
Ger., Kornett.
Fr.,
Cornet a pistons)
For nearly half a century, in French, Belgian, and Italian orchestras, the Cornet a This was due to the fact Pistons took the place of the Trumpet, gradually ousting it. that the Cornet was easier to play, requiring less talent and artistic intelligence. Trum1.
pet
became rarer and
virtuosi
were
cornet -players
while
rarer,
be met
to
with
every-
where. Although the timbre of the two instruments could not for one moment be compared, the same the one being thick and vulgar, the other noble and brilliant, as they had of so the worse in tone was much sensithe difference for ignored; compass, quality ears!
tive
However, since the invention of the little modern Trumpet, which can rise as easily as Cornet, makes use of the same harmonic series, and is not much more risky in its
the
2
Cornet
the
emission,
Cornets
are in
little
Trumpets the same C in
has gradually
tuned
B;>
in
B? and
and
A:
and
A,
the
the
before
retreated
their
length of
scale, which
their
reinstated
starts
tube
Trumpet.
same as
the
is
from the same
Fjl,
that
of
rises
to
alt.-
Cornet
in
Bt>
length of tube
A
4
ft.
5
in.
4
ft.
8
in.
Compass:
Need we again highest ful
the
or
the
of
quality
call
lowest
to
notes
brass
first
weakness and
creasing
danger incurred by too frequently using either the instruments? We must ever bear in mind the doubt5 or 6 degrees in the low register, from F# to C, and the inthinness of the timbre from the sixth partial (G) upwards. the
attention of
High register where I
I
6
good register.
the tone gradually
8
becomes thinner.
S:
.
The highest notes can only be produced which is relatively easy. It
and
is
dangerous
surer
cadence
notes the
like
to
attack
precede
these
them
following, for
the
with
extreme danger
some
without
degrees is
except
difficulty,
obviated.
B!>
preparation,
Nothing
A
but
when
easier
is
more
frequent than a
C
(2!
upper
instance:
Cornet in Bt
and the B? thus prepared is excellent. So we see that the best notes of the and G (6ti? upper partial). 3:
Cornets
same possible gle,
and Valve -Trumpets have and impossible shakes.
double, and
mouthpiece,
it
tonguing. Still can perform the wildest triple
instrument
the
same
Like
the
more
lie
between
mechanism, Trumpet,
the the
same Cornet
partial
capabilities,
makes use
)
the of sin-
easily than the Trumpet, thanks to the shape of its acrobatic feats: runs, iterated notes, chromatic scales, etc. J.
W.
14267.
76
THE CORNET.
"But ondary
technical
its
forms
instrument."
art
of
See
military
Alex.
However, we must
and
says
resources,"
Luigini's
not
forget
used
their
and
Gevaert,
Cornets
best
the
where
it
advantage in the sectreated as a bravura
is
Gounod, Meyerbeer, in the orchestra. Trumpets the West of Europe wrote for 2
rendered; instead of
contemporaries Till within the last few years, composers in is only quite recently pets and 2 Cornets, and it into
to
Caprice.
interesting
services
"show
bands
brass
Berlioz,
that
4
Trumpets
have
Bizet,
Trum-
come
again
vogue. Allegro. a 2.
Trumpets
in B'.
Cornets in
E\>.
Trombones.
-
gs
_C_fr!
HE (Kerlio/,
L'Enfance du Christ^}
Andante. Orchestra.
Cornets in At.
Trumpets
fit^
in E\>.
Trombones. Ophicleide.
Hy-
-j>
*'
--
-
(Meyerbeer, Le Propkete.)
Allegretto. Flutes. (Orchestra).
3 Cornets in
B\>.
a J iyi P
J
JJJJ JJJ
l
I
T
I
Bassoons.
Triangle.
(Gounod, Faust)
i.
W.
14267.
77
THE CORNET. Moderate.
Trumpets
A.
in
J? Cornets in A.
"Jl V
*
ff 3E=
Trombones.
Orchestra
.
fl
V
{
I'Arlesienne.) (Chondena, Editeur- Propriotaire.)
Flutes.
(Orchestra)
Trumpets in
^
E.
^
y
t
F
Cornets in A.
/I
Pizz.
Orchestra.
^=!
7
:
3E$
5fe
Violins. I
ff
T^r^r
^
i
,
Trombones. (By kind permission of Heugel
At ing
present, Cornets their
place,
thus
are
gradually
resuming
et Cif, Editeurs- Proprietaires.)
disappearing
their
legitimate
J.
W.
from
the
position.
14267.
(Widor, Ouvertum Espagnole)
orchestra, and
Trumpets are tak-
78
THE TROMBONES. (ital., 1.
Bach,
bones
Mozart, and Tenor, and Bass.
more or less obsolete,
now become most
a duplicate
that
of
his
(in
to that
of
because
its
timbre, akin
admirable
its
Posaunen.
Get.,
Beethoven
Gluck,
Alto,
Despite
Tromboni.
Fr.,
Trombones)
youth)
the
wrote
always
in
Trumpet
the
F,
3
for
Trom-
Trombone
Alto
compass being much the same,
al -
is
it
has
instrument.
magnificent
Alto Trombone:
Trombone
Trumpet and the
section,
in
necessary so
indispensable
2
In
with
last
the
played
a
Its
Trumpet. from taking
it
soprano
kind
conjunct
the
quartet
part in
part
produce
in
any
the
brass
It
but
was
higher
Alto Trombone was
Trumpets,
started
the
not
is
it
the the
but
"//
in
connection
natural harmonics pre-
never
instruments,
unknown.
almost
nowadays
the
were,
two
than
theories
notes
polyphony. of
it
the
If
Trumpets.
mentioned
I
to
inability
high Trombone
of
13)
chapter (P. 74,
Bach's
vented
else
the
four
or
more
had
never
we have three
now that
as
section
of yore, which
orchestras
the
each other, the former being, of a single keyboard.
complete lower
the
latter
was
Trumpet
that
Cornetto, or a characteris-
German custom,
on Sundays and Church holidays, to have the Choral the for day played by a band of Cornet and Trombone players, standing in the tower of the principal church. Bach introduced this effect into his Cantatas, the brass instrument group playing alone or doubling in unison each of the vocal parts" (Cantata N9 25}. tic
So, the
an
indispensable
The
old
minor. on
Cornetto
one
and
voice
formula
the
never
Trombones robust
this
Alto,
were
exceeding
remained the
adopted the
grouped
together,
became
and
the
the
Symphony
Alto
quartet.
Tenor, Bass
Beethoven
Afterwards, staff,
in
limits
of
in
system of Tenor
the
force
till
writing
two
the
Trombones,
and
first
in
C
Trombones
Weber
and
his
successors
followed his example. 4 Trumpets came to be used in the orchestra, the Trombones being ever when Then, more confined to the lower parts of the harmony, the Alto became more and more obsolete.
THE TENOR TROMBONE. ( Ital.,
3.
Its
Compass:
mechanism
displaces
the
Trombone tenore.
35
is
Get.,
notes,
from
y
simple;
the
slide,
harmonic
series
each
Tenorposaune. =
which
time
J.
by
Trombone
tenor.)
to
can a
Fr.,
be
drawn out
semitone.
W: 14267.
to
seven different
lengths,
THE TROMBONES. &*"* ,.
66789
84
=_ 10
79
IS* Position. The instrument is, so to speak, closed, the tubes fitting into each other. The fundamental tone, termed pedal-note, is practicable.
m
ii
a
^
IV
4
ip ro
-n
1
to
56
9
8
7
fundamental tone
10
The "? lengthening of the slide. fundamental is no longer so practicable
10
The lengthening of the slide. fundamental is still less practicable.
10
The lengthening of the slide. fundamental tone cannot be sounded.
three
is
practicable.
.
Position.
4th
4
8
7
I
o
o
9
> :
5
6
7
i
9
o
j|o
^ 56 78
the
complete
scale, with
7M
fr*
Position.
The lengthening of the slide. fundamental tone cannot be sounded. 6ti?
9
10
above each note showing the position which seen, some degrees are common to two or
indications
As
note.
said
10
* Position. The lengthening of the slide. fundamental tone cannot be sounded. sth
will
be
positions:
VII VI
V IV
VII VI V IV III VII VI VII VI
V IV
VII VI VII VI
1
V
oflo
IV
III II
I
VII VI
V IV
This
but good
and
is
above,
possible, avoid
therefore
which
III II
III II
V IV
V IV III
III II
II
II
III II
I
I
I
I
I
I
jt" (*)
When
The
10
3ld
66
allows of sounding the even
9
5 th
^ is
8
7
1
^
Here
Position. of the slide.
?*
lt lengthening
86789
^
VII
I**
-
o
HW3 3
VI
I
56
234
.
,
o
B!>j-
284
^
in
^
L
can
the onl_y
the
most be
7*1]
Bli
is
of indifferent quality in a rapid passage, for some time.
when held
which
position,
difficult
of
all,
produced
in
this
J.
requires the
the
two
notes
position, are
W. 14267.
maximum Double the
worst
extension of the slide,
E + and
B+
a
fifth
on the instrument.
80
THE TROMBONES. The
4.
Trombone: and
the
It
is
in
in
the
P.
both
case of
the
low register,
as
after
will F,
E:
As a matter B!
.)
Trombones,
Symphony
J^T^
which he and in the
J
rau
Horns in
PP
Trombones.
H
b
r
T
**
"
M-
r
r
Bassoons.
f Note
extreme
the
lip
-tension
required
to
sound
the
high
El>
+
of the
r
Horn
and Trom-
in
our modern
bone.
This
is
orchestras,
certainly
we have players the
Trombone, ware of the breathe
freely
Let
us be
7.
In
ferent
with
15*
the
not
public
danger,
when careful
feel
the
it
is
the Trombone
example
skilful
even
a
so
thrill
difficulty
not
preceding
positions;
net, etc.,
a striking
to write
paragraph,
of
dangerous to sound this enough
much as suspecting of
has
suspense at the been overcome.
Yet,
composition.
very
Ei>
the
on
harmoniously difficulty,
beginning
of
but the
their
Tenor
professionals, a-
piece,
and
only
so high.
I
referred to
to
only
add
hardly necessary can emit a succession
that, of
slurs
between
like
the Horn,
harmonics
having
one single articulation.
Position:
Oth
J.
W.
14267.
Position:
notes
belonging to difthe Trumpet, the Cora common fundamental
83
THE TROMBONES.
This
8.
breath
at
which
instrument,
every note,
is
is
short-winded
so
in
remarkable,
piano
in
forte
passages,
and obliged to take
passages,
for
its
astonishing
sustaining-
power:
Moderate. Violins.
Violas.
Trombones.
Violoncello
Double-bass.
marcato. (By kind permission
Through eight giving ing
its
long
cf Sehott
&
C9, Puhlishers-Proprietors.)
without respective notes quietly, and then the sound vanishes like mist, without our so much as notic-
Trombones hold
bars, the
any sign of fatigue; slow tip-toe exit.
their
Articulation. 9.
It
becomes.
goes without saying It
is
that of the
like
evidently
lower the Trombone
that the to
difficult
sound
Tenor Trombone (Bb), or 12
descends, the heavier the emission the fundamental tone of a tube 8ft. 10 in. long, ft.
H
in.
long, like
that of the Bass Trombone
Not only did the classic masters dispense with these voided
anything
that
looked
like
a
bravura
effect.
low notes, but they carefully Nowadays, thanks to the skill of
strument-makers, many things formerly forbidden have become possible. Berlioz and Weber always wrote in semibreves, minims, and crotchets, school
are not
afraid
of
much
which come out very
ages,
well,
livelier
on
While
and
(F).
ain-
Beethoven
the
modern
movement, or even of prolonged florid passcondition they are written in the sonorous medium re-
rates of
gister:
Allegro.
Mephistopheles suddenly appearing.
(88
=
J)
(Marche Hongroise.) a 3. J.
W.
14267.
THE TROMBONES. No one would
formerly
ddmmerung:
have
of
thought
using
the
articulations, from Gotter-
following
Allegro.
Tromb.
(By kind permission
Or these, from
of Schott
C?, Publishers -Proprietors.)
Parsifal: y
T*y
I
j
(The low
(By kind permission
(138
&
G+
of Schott
difficult to repeat.)
is
& C9,
Publishers -Proprietors.)
:
a 2.
i (By kind permission
3^
(Saint- Saens. 5E^ Sympk.) Svn (Saint-SaenS,
>ires.v of HeuRtl et C!f, Editeurs-Proprietaires.)
Violins.
Tromb.
^
^^ (By kind permission
of Hen^el et Clf, Kditeurs-Proprietaires.)
>,. *
*
,
'
The performers of to-day look upon these passages as mere child's play. ask them for Mozart's long susBut set them to play the Scene of the Commander collect their to tained tones; you will see them shake their heads and beg for time strength,
and
indeed
they
have
need
of
it
all:
Andante. Violins.
4-
i
f
Trombones.
P Violoncellos.
Double-basses.
it
fp
^
ta:
^ J.
W.
14X67.
THE TROMBONES.
85
(Don Giovanni}
The matic
whole than
or anything
be studied, note by note. Can there be anything more drain octaves under the chromatic harmony of the orchestra, rising than the of crescendo these sounds of brass? impressive
scene the
more
should
Trombones
Allegro. Orchestra.
Trombones.
Remark:
The low Et
(*)
is
possible
on the Bass
Trombone, for which instrument Mozart wrote
the part. J.
W. 14267.
86
THE TROMBONES.
Shakes. impossible with the slide; they can only be produced by the lips: the stand between degrees of the scale which one tone in are ones only practicable apart the harmonic series, i. e. when the 71!), 8*1?, and 9il? partials can be employed.
Shakes are
10.
34587 In
the only
reality,
possible
(l?t Position.) 10
shakes are as follows
(the
positions
being
indicated):
\f^T IV
VI
VII
III
II
I
was passing near a public ball-room, heard such strange bellowings esthat went in and asked the Trombones caping performers, as soon as the dance was over, to show me their music. This was what they had been playing: Lately,
as
I
from
I
the
I
Tempo di marcia. Trombones.
Side Drum. Kettle-drum.
and
to
wind up:
3 Tromb. -^fc-]
One would
thought it was the Beast in Revelations, "Fire!" tail, roaring through a speaking-trumpet. that this effect will ever be used in a symphony, any more
Astounding effect! cracker tied to its not
is
It
and
likely
have
with
than
a the
only mention it here on account of its rarity. fantastic howl is produced by the combined action of the slide and the lips, as a glissando is performed It is by the finger on a stringed instrument. very easy to execute, and suitable for a nigger dance.
shake, This
AUTHORS AND WORKS TO BE CONSULTED:
11
the
I
Trumpet;
read
all
the
scores
I
since
must repeat the advice given in connection with the time of Bach and Handel; the special
published as poor as that of the but all the masters have Trumpet, written for both each one them in his own and it is instruments, treating personal manner, these various manners which must be studied. The brass instruments of Bach and Handel are written very high; those of Mozart, Schumann's sometimes too high, sometimes too Beethoven, Weber, in their true register; literature
of
the
Trombone
is
low;
Wagner's low
usually
in
the
rich
medium
register, but
not
pets,
We
a secret
predilection for the Trombones); those of the
(Bass Trumpets, Tuben, Bass Trombones, Contrabass contemporaneous school with just the contrary tendency, especially as regards Truma tendency to be for it is antiinstrumental. regretted, must read, compare, and take our advantage of the
register
young
without
experience acquired
ors. J.
W. 14267.
by
predecess-
87
THE BASS TROMBONE. Trombone
(ital.,
12.
Tenor
the
is
It
^' Ifcl*
Trombone
4
3
5*
Get., Bassposaune.
8
7
1
22*
^3^
--84578 456
fc>
5**
5E
5
lower.
Position. l$t JTVSlllUn. 6
5
basse.)
Jli."
j|
~J'
Trombone
Fundamental tone theoretically practicable.
bii.
t) :
FT.,
.
1
TT
a fourth
transposed Z^
4^
" EE
basso.
Position.
Fundamental tone theoretically practicable.
78
Fundamental tone impracticable.
(HF) i
TV V A
h--
ii-
7
8
*>:
4
3
TV
5
6
Fundamental tone impracticable.
2
.
C-*) -
i^
1,^
bTT
2
11
"
4j):
^
Position.
Fundamental tone impossible.
7 *~ Position Fundamental tone impossible. -
VII
1=*7 2
Trombone
The Bass and
special
Its
is
^
with
the
as
admirable
to
but
tone,
to
difficult
requiring robust lungs
play,
lips.
compass
has
that
All
is
as
follows: 3
2
FFy been
restrictions, other referring to
the Tenor
the
first
the
difficulty
concerning
}
J
j
>J
about
said
two
j
Trombone
experienced
in
equally
applies
slowness
the
of
speech
producing
the
to the of
Bass
a tube 12
pedal- notes
Trombone, ft.
long,
(fundamental
tones). If
the Tenor
Double
Trombone
?
A
-
j
\
V of
Bass
the
Not indulge
than
Et
in
too "f
,
barely
the
sound
lower
as
notes
Double
and
pedal -notes anything
but
not
less can the pedal-notes
coming out,
still
B:>
Trombone be obtained:
have
only
can
the
free
great
a
use
masters of
the
but they are very careful not to never employed them, lowest notes of the real scale. They rarely write lower
^^ J.
W.
14X67.
THE TROMBONES. for
Take,
a
in
dulges
Once
only
the
instance,
score of
Tristan-, do you
know how
many times Wagner
Bi? +
(P.
76), and
just
see whether
he
tires the
performer by the length of the
note:
Oboes.
Clarinets in Kb.
W^
ff
dim.
/f
dim.
Cor Anglais.
Jf
Horns in
in-
m
F.
p
^
cresc.
Bassoons. cresc.
Tenor. cresc.
Trombones.
Bass.
e"
I" 9
fe
& cresc.
V
Violins.
cresc.
/
cresc.
f
Violas.
Basses.
J.
W.
14267.
,
register:
in
Actual ^ "^Ac
the
low one)
very
................. .
is
the general
used,
is
unfortunately
I
=
I
On rich
the in
most
register
interesting
but
b*
it
is
can, with
the
imprudent, when
,
and
even
this
in
the
third
X
note
#^
Y
\*
performers
other hand, the
in
C.
(the
Ai
:
should
be
z .
5-piston
scoring
TT
comprised
the
the Tuba
for
Ful1 tone-power. I.
I
$
t>3
exceptional ,
that
write
to
is
;
Less sonorous.
II
x
=
find
practice
weakest:
..........................................................
Sonorous. H
Some
the
sounds.)
..................................................... .
; '
instrument
performer transposing when necessary. we consider this extensive scale, we
If
possessing two extra semi-
key
i
Bass-Tuba
But, whichever
latter
High
Bass -Tuba, descend
for the
sparingly
register.
as
orchestra, to write
used,
as well as
all
as
low
D
than
lower
the
;
degrees
Y.
two
octaves
between
Y
quality. J.
W. 14J467.
and
Z
are
remarkably
intense
and
THE SAXHORNS. The Tuba, which has factory a substitute blend well; the soft
with great advantage replaced the Ophicleide, is not so satisfor the Bass Trombone, for the two kinds of tone -color do not thick
tone
of
the
Tuba jars
with
the
bones, and the comparison is altogether to the disadvantage But let us try to be content with what we have got, and
Weber had these deep bass notes the use that can be made of them: showing
hoven
jd
nor
Trombone Tuba.
*p-n
f
1=?
at
their
metallic of
timbre
remember that
disposal.
of the
Trom-
the Tuba.
We
give
neither Beet-
some
examples
THE SAXHORNS.
THE DEEP BASS SAXHORN. (BOMBARDON)
tuned
is
It
Tuba
German:
In
11
either
in F, in Es.
F or
in
in
E!>.
inF. :
Compass;
^
sounding: in
instrument
This
is
between
necting
link
usually
doubles.
not
used
in
the
Tuba
and
orchestra, but only in military bands, as a conthe Double-bass Saxhorn in By, which latter it
the
THE DOUBLE-BASS SAXHORN. (CONTRABASS -TUBA) 12.
In
tuned
is
It
Kontrabass-Tuba.
German: in
Bi>.
Compass:
written
is
It
sounding:
like
a
16
ft.
stop,
*)'
e. g.
Double -bass Saxhorn in Bl>.
be seen, this is, of the whole family, the member that has the most limited All the notes of the compass, but, on the other hand, it is perhaps the most sonorous. scale come out well, down to G, and the execution is satisfactory, despite the great of the notes. depth
As
will
Wagner had to
16
when
ft.
a
Contrabass -Tuba
These
El>.
forte
played
Contrabass -Tuba.
extremely (V. P.
low
186).
in
C
constructed
notes Their
are
not
effect
is
for
Rheingold, which as could
as
satisfactory better mezzo -forte:
could
be
descend wished,
m
"}' " \b,\> 1>
Lento.
Bass -Tubas.
Contrabass -Tuba
J-n-y^J-jn^^f^^ MM- bil!ll> ,,13 |W-
in C.
(Sy kind permission
It
is
mf
also
that
he gives this
F
low J.
to
the
W. 14267.
of Schott
&
Contrabass -Tuba:
W C?, Pnbllsherii-Proprietorij
THE SAXHORNS. Bass Trumpet
98
Chapter III. Instruments.
Percussion
THE KETTLE - DRUMS. Timpani.
(ital.,
"The Kettle-drum
1.
The
made
usually
loosen
or
This
last
some
the
proposition
well
the
to
the
to
are
shell,
over
kind
of
which
is
or
flaw
makers curried,
homogeneous,
means
of
can
be
a
skin.
"head"
the
goat- skin,
employ
by
stretched
dint;
shell
better
of
Fr, Timbales.)
action
dimensions
notes
deep is
be
attached
No precise
-
instrument
must
obedience
in
expanding
Kettle-drums
large
is
It
membrane.
the
hemispherical from any
The skin
thickness.
and
contracting
but
skin,
a
of
brass, free
good
calf- skin.
uniform
of
consists of
ass's
of
sheep-skin, or
and
be
should
shell
Pauken.
Ger.,
dog-skin,
without
cracks, screws; an iron ring,
of
these
screws, serves
given
for
to
tighten
Kettle -drums,
but
on
(Kastner)
quality!'
self-evident.
Nowadays, all Kettle-drum heads are made of well curried calf -skin, usually from the animal's back, that being considered the most serviceable part of
2.
lected
is
sethe
hide.
As the
a
the
skin
rescue,
is
uniform
absolutely
parts, and may sometimes
the
sparing
thin
drummer
conscientious
much
not of
beating be seen
out
drummer's
the
thickness,
the
ones.
thick
out
hammering
experience comes to Before a rehearsal,
parts
the
of
head, very
a
like
gold-beater. It sometimes takes 4 or 5 years to "mellow" a Kettle-drum. The instrument - maker constructs it, but the performer gives it the finishing touches, which take more time, as we have just seen, than the making of the Drum.
A
made
well
accident
Kettle-drum
happen to
performer
on
this
it,
a
lasts
about
as
instrument
in
time.
long
"On the
long as the drummer," the Colonne Orchestra;
average,
says
and
Mr
and
if
Henri
accidents
no
untimely
Vizentini,
the
rare
the
are
in
orchestra.
3.
The ed
in
Kettle-drums are made largest
the
can at
will
three to
sizes.
sound
any
one
of
the
J smallest
size
gives
J the
J
the
degrees compris-
following
|J notes:
v and
chromatic
fifth:
=SJF
The
in
made
be
medium -sized :,
according
ones play to
the
either
custom J.
in
of
the the
W. 14267.
r or
fifth
various
countries.
in
the
fifth
99
THE KETTLE-DRUMS. For the sake
y
compass two
completeness, we will " to be found
of
..
in
weakness
atoned
being
for
the
by
ff |*
J
|
f
J
f
j
Fq
with
it
(8^
I
with
practice, the
in
F an octave low
this
sonorous, and al-
not
is
the the
of
quality
h\
?'
to go
advisable
not
is
f
J
H-;t f- V
it
rich
hardly ever used
*
*/
So,
and
full
Kettle-drum
little
Even
Beethoven
though
a
but
museums,
,
degrees, Ft and 6, being of poor quality. he never fails to contrast uses it
highest
4.
mention
also
its
lower,
F:
Symphony.)
(9tb Symphony.)
either
beyond
F or
high
low
E
F.
==
^
is
required for a special effect, but has no tonal value except in a pianissitone suggests the idea of a cracked Bass Drum. that Berlioz wrote the high FJI, and Wagner the low E, but only fully aware
sometimes
mo; I
its
am
and
exceptionally,
ask
them
if
something another
Besides, there is drum: it consists
5.
In
ened
and
by
means
of
which
he
wise
there
is
is
means
using old
for
borrow
to
from
anything
risk
been
varying in one.
small
familiar,
some
the
roll
to
better
is
it
number
from
Taking
into
head
membrane
the
9 to
to
bear tightening
to
the
a
of
screws
several
but
fifth,
it
tightened and loosKettle - drum, large
inequalities
Besides, quality
cracking.
extent
the
the
of
be
of the composer to require such skips. The performer requires a relatively long time to change the pitch than a major third, and if the great masters' works be examined, it
skin
other-
accordingly;
and correct
Drums depends The head is would
Kettle-
the
of
sticks.
is
a
for
11
account
the
that
Kettle-drum
depend on well-balanced tension. The length of time required to change the tuning of the on the number of turns to be given to the screws. val, strong
them,
than
deeper
with
retained;
drummer adjusts
the of
a
producing
Drum played
has
system
a
of
Bass
a
screws,
9
7 to
with
in
the
France,
from
inclined
feel
you
else.
for
intonation
on the
inter-
sufficiently
very unskilful on the
part
they I
carefully
take
five
avoid
scores
Liszt:
exceeding at
this
random:
Festkldnge... 4 Kettle-drums tuned in: G, A, Bl>, C. Ff A, Bl>, Bl). Changing to: (Maximum skip: a semitone?)
Hungaria
....
3
Kettle-drums tuned
in:
to:
Changing Then to:
B\>,
Ff,
D|. Bb, D|. C, Dl|.
B\>,
Bit,
And finally to: A, (Maximum skip: a major third.)
_
Mazeppa
2 Kettle-drums tuned
Changing
Then
And
to:
finally to:
(Maximum J.
in:
to:
skip:
*. 14267.
a minor
D.
A,
A, D. A, Cf. A, Bl|. A, D. third.)
a
will
limit.
,
_
of
Drum be
by
more
seen
that
100
THE KETTLE-DRUMS. Marche Nocturne
2 Kettle-drums tuned
(L'Enfance du Christ.)
Changing to: (Skip of a second.)
Berlioz:
_
Fantaisie sur la "TempSte". 2 Kettle-drums tuned Changing
(Lelio.)
Then
in:
G, C. G, Bk
in:
At,C. Al, D.
to:
At.E.
to:
And finally to: C, F. (Maximum skip: a fourth, but a gradual one, by seconds.)
About
bar of quadruple time, in moderate tempo, is required to raise or lower the Drum by one tone. Naturally, more time is required for a third, a fourth, a
one
of a
pitch
if
fifth,
When the
ear;
the
screws.
a
small
only
a
such
indeed
when
know
they
In
risked.
are
to is
it
fact,
be
skip
intervals
in
give
only
drummers manage
question,
tune
to
without consulting
or a whole
a quarter, a half, three-quarters, thus that they can tune in & forte, amid
turn
to
the din
of
tutti.
when wide
However, ience;
whether
may
they the
skips are
seen
be
instrument
in
for,
touching
gently
is
called
the
they no longer trust to their manual experskin with a drum -stick, endeavoring to judge
tune.
Germany, Russia, and Italy, this system has tuned Kettle-drums exclusively adopted. Two kinds are made: (1) Drums mounted on pivots, 6.
ened
as
according
levers
acting
latter
kind
is
upon
instrument
the
number
a
more general
in
is
turned to
notches
of
the
the
right
corresponding
All
head
mechanically
being tightened or
or to
the
the
series
to
left:
of
(2)
Drums
semitones.
loos-
with
This
use.
The great
tempo,
discarded, and
been
In
advantage of mechanical tuning lies in its figures such as the following can be executed
instantaneousness. on a
single
In
moderate
Drum.
moderate.
=*"
i
J
J
J
J
(The sudden motion of the lever coincides with the stroke of
the
stick, so as
to avoid
blurring.)
Curious glissando effects can be obtained the violinist's finger on a string:
by
handling
the
lever
slowly,
very
much
like
Andante.
The Paris
had
Kettle-drums, but has just discarded them again, their intonation is inaccurate. The skins contract or distend according to alleging that the temperature and the or dampness dryness of the air, so they say, and they complain
that
Opera
they
have
Sub judice Us
not
adopted
these
sufficiently
direct
control
estl
i.
W. 14267.
over
the
tuning
of
the
Drum.
101
THE KETTLE-DRUMS. As
7.
for
without
fit,
composers,
they
need
other preoccupation
any
take
not
than
sides
that
of
the
in
quarrel,
the
confining
but
write as they think
instrument
to
its
of-
true
fice.
What do we require A vibration, a sound denly damp the Drum's function
With
4
in
successive
without It
is
involving
up and down rapid scales? combinations are possible. As
all
the
all
that,
a
at
first
such
case
a
It
I
sometimes,
happens
unable
the
think
make the necessary
to
course
the
change
of
changes the
of in
can
scale
is
performer
tuned
easily
be
obtained,
embarrassed by the
beforehand; changes for the
it
key
proper somewhat to blame.
is
composer in
the
rehearsal,
composer having neglected to indicate the drummer's business to study and arrange
Drum can be
each
chromatic
degrees of the a minor third.
than
greater
skip
happens
frequently
To abruptly cut short or sudharp -string's. the nature of the instrument. Is it really
to
antagonistic
semitones,
a
a
like
away
run
to
Drums
three
dying
sound
this
Kettle-drum?
the
of
will
be
the
next rehearsal.
In
a piece, that a single performer is absolutely the tuning. Suppose his Drums are tuned as
follows:
,
J
and
then
that
needs to finish
he
on
off
IT
Bi>,
as follows:
Vivo.
t Orchestra.
Kettle -Drum.
he
If
his
is
neighbors
own the
he will
na'fve,
accord, request give two
C, to
one of
on
If,
his
of
his
troubles to the
his
tell
assistance.
for
screws
the
he
contrary, in
companions
half -turn
the
conductor,
the
is
a
who
will
bright
orchestra, while
necessary
to
raise
direct
man, he the
will,
himself
A
ask
him to
he
is
Drum
of
his
playing
by
a
semitone.
Nowadays, anything can be written, technical difficulties constantly diminishing, but nothing ought to be written which is not in keeping with the nature of the instrument.
The 8.
There are
Sticks
with
for
two
skin soft
Sticks.
kinds:
knobs, for
ordinary
use forte
or
piano, and
sticks with sponge knobs,
effects.
particular/ Formerly, wooden- headed
sticks
were sometimes used,
but
the quality of tone produced the Side Drum.
hard and has very little timbre, recalling that of drummer avoids playing on the extreme edge of the head, as this only produces a He also carefully avoids the centre the of nasal, dry tone, without vibrating power. is
very
The
head,
and
prefers playing
mid -way
between
J.
edge
W. 14267.
and
centre.
THE KETTLE-DRUMS.
102
Mode 9.
If
as that
written
the
vibration
overture
the
of
beginning
of
sound
to
remainder
of
the
E
the
of
would
Fidelia,
Kettle-drums.
whereas, for the
required, the
is
Drum
must be as carefully
part
instrument.
any other
of
Beethoven, fearing the
duration
definite
any
of writing.
*}'
E
orchestra, 3-
8 Jit
the
V
J)
E
is
in
the
separates
ty
beyond the attack of the B^, two notes by a rest +:
last
J
^
dotted:
.
Orchestra.
^*pt In
ed beat
just
course
the of
as
a
bar
by
have
well
the
work,
means
of
of
written
it
a
be
will
crotchet, it
minims;
is
Beethoven frequently marks the accent-
observed,
when, not a
having
any
mere question
of
special
intention, he
might
habit:
Allegro.
Kettle-drums.
1
Orchestra.
m
Elffe
t^pEEfp
(Quartet) such
In
Mozart
cases,
usually
writes:
m When a
10.
Some
others
write
like
the
roll
the
is
roll
tremolo
the
required,
like
a
of
the
great
shake
masters
make use
of
two
kinds
of
notation.
*}'
*)'
Strings
o .
and
same
the
Remark: specify
master
frequently
both
X
system
seem
in
systems
It is hardly necessary to add that with the time -values sufficiently rapid to produce a roll.
Vivo.
The
uses
Y
Afoderato.
preferable, precisely
J. \V.
on
succession.
system
it
becomes indispensable
Adagio.
account
14267.
of
its
uniformity.
to
103
THE KETTLE-DRUMS. 11:
When a
performer
may
wr
roll
think
lasts
the
through
two
composer
or more
intends
the
bars,
the
first
beat
notes of
must be
each
bar
tied; otherwise, the
to
be
marked:
104
THE KETTLE-DRUMS.
dramatic
in
its
energy:
Kettle-drums.
Orchestra.
(By kind permission of Rieter-Biedernann, Editeur-Proprletalre.)
We on the
must
also
mention
Double-basses;
the the
possibility
two
qualities
of
continuing of
ring:
Kettle-drums.
Double-bass.
J
T~-C
*
tone
a roll
follow
(Gernsheim, on the
each other
Drums
#*2*
Symphony.)
by a
tremolo
without the least jar-
THE KETTLE-DRUMS. Allegro. Kettle drums
(Ek
Bk)
Orchestra
.
106
THE SIDE DRUM. Tamburo
(ital.,
We
1.
case
The
have
seen
are
sticks
effects
its
depend
The 2
Kemak: not
Drum
Side
the
material,
and
detain us,
or
be
3
suited
being
on
solely
to
all
The
sticks
on
the
one
of
stead, the
its
but, in
two
stroke
single
first
is
also
stick
is
short
in
Side
Bt>,
Drum,
A^, or
in
because
keys,
the
in
it
has
in
no
it
would be more is
F#
quite
key of
im-
own
its
of the
tuning of the
Drum need
Side
is
membrane,
Strokes. used:
rarely
double- stroke,
"coup de
the
the
of
be
could be quoted
produced
the
by
(fla) Soundipg: from
1
differing
charge',
almost
simultaneous attack
of
the
employed:
usually
Written:
as
calf -skin;
of
sufficiently conclusive.
Various 2:
made
is
rhythm.
that
examples
they are not
as
tone
the
to
assigned
Whether the piece
noise.
it
Kettle-drums
of
Fr, Tambour.)
used.
is
sheepskin
can
pitch
call
to
head
Kleine Trommel.
Ger.,
wood.
of
As no definite correct
the
that
Drum
Side
the
of
piccolo.
the
=^= above
by
the
accentuation
of
the
note:
Rolls. 3
Rolls
They
are
consist
ra.
called: of
3,
4,
5,
6,
strokes, and
10
8,
7,
so
on:
etc.
There a
is
shake, or
also
continuous
the
like
the
tremolo
similar
roll,
of
the
to
the
Kettle-drum
roll;
it
is
written
like
Strings:
or:
care values
being
taken, as
sufficiently
in
rapid VtTO.
the to
case
produce
Kettle-drum
the
of
a
true
Moderate.
B
J.
(P.102,
roll:
"
W. 14X67.
Adagio.
10),
to
write
time-
107
THE SIDE DRUM.
Rhythmic Combinations. Some
4.
the
of
summarize
rolls
the
all
Aux
in
of
capabilities
^
(J--80U
=
(J
use
in
French
the
are
army
,
^
i
r_ 3E
,
pretty
well
*
Champs-. L
a-
no)
=
(J
La
they
76)
L_
Pas
below:
given
instrument:
the
accelere: 5K^
7
Retraite:
Notation. The
5.
Drum
Side
is
the
idea
of
high
notes.
line
without
any
clef
of
usually
However,
is
to
given
written
G
the
in
the
in
majority Side Drum,
the
its
clef,
as
Drum
this
6. is
do
I
not
frequently
a
derive
used
for
and
peculiar
Kettle-drums, the
think
the
for
it
has
ever
been
Drum,
in the
employed
in
a
acute
timbre
evoking
published nowadays, a single arrangement economizes space.
scores
of
The same practice prevails as regards Cymbals, Bass them being instruments without definite pitch.
Use of the Side
clear
Triangle,
Castanets,
all
orchestra.
symphony.
On
the
other
hand,
it
"Meyerbeer," says Gevaert, "has known how to the the association of the Side Drum with
dramatic terrible
purposes. effect from
famous
crescendo
roll
Berlioz's
own words,
dehis admiration for Meyerbeer's expressing has been so often used that it seems super-
of
the
Benediction des Poignards
(in
Huguenots)'.'
These vice,
are,
then
fluous
to
quite
quote
At random, account
in
in
I
fact,
Since
novel.
examples. quote
this
his
Everyone
theme
it
time,
of
can
them
call
mind.
"Marche de Turenne"
the
L'Arlesienne: Allegro.
Horns &
Wood-wind. Side -Drum.
Violins.
Basses. ere (Choudens, Editeur-Proprietaire.)
to
J.
_
-
seen
W. 14267.
which
Bizet
has turned to
THE
108 And
other
this
delicate
incisive
yet
SIDE DRUM. from
effect,
Scenes Pittoresques:
the
Solo.
Side
,
Drum.
Orchestra.
(Joseph Williams, Limited. Publishers
-
Proprietors.)
7.
of
heard
a very
cloth,
at
striking
or
parchment being the Drum. Nothing
Sometimes either
by
means
of
the
dismal
tone to
than
met with;
is
as
snares, or by muffling usually
the
to
left
The following passage illustrates the
use
of
is
of
the
obtained,
speak,
a
long
the
described
performer. the muffled
. PJ
Horn in
m
E
Bassoons.
im
F.
m
Trombones VP\
Tuba. -
m
4
>:i>,
-J>
Es-4
8 m
i3S
Kettle-
fffF)
Drums.
(muffled
m
i
Side Drum.
PP
Bass Drum (Mackenzie, Solemn (By kind permission
of Novello
&
C9, L4.,
March from
the "Story of Saytd".)
Publishers- Proprietors.)
THE TENOR DRUM. (WIRBELTROMMEL, HOLLTROMMEL, RUHRTROMMEL.) 8.
brass.
in
Tenor
sound
Drum
is
longer
than
the
Side
Drum, and
is
made
of
wood, instead
of
be that of a small -sized Bass Drum. duller, and might same purposes and has the same mechanism as the Side Drum. Gluck, Iphigenie en Tauride (Chorus of the Scythians), and Wagner, in Die Walkiire and Parsifal, have made use of the Tenor Drum.
It
in
The Its
serves
is
the
J.
W. 14267.
109
THE TAMBOURINE. Tamburino.
(ital.,
There
\:
(1)
By
are
three the
striking
ways
Ger., Schellentrommel.
of
parchment
using it: with the back of
Tambour de Basque)
Fr.,
hand:
the
Tambourine.
Carmen.
Orchestra.
(Choudens, Editenr
-
Carmen,
(Bizet,
Proprie'tire.)
182.)
p.
1
(2)
shaking the instrument, in order to call into play the "jingles', i. e. the small metal which are, so to speak, embedded in its hoop; a metallic rustle rather than a roll
By
plates is thus
obtained:
Tambourine.
;
p
Mr
r
r
p
p
Orchestra.
(Choudens, Editeur
As
in
a
like
case
the
shake, or
of
Kettle-drum
the
like
a
tremolo
and the
for
-
(Carmen,
Proprietaire.)
p. 183.)
written
either
writing is employed, time-values be indicated (P. 106, 3).
suffic-
rustle
this
Drum,
Military
is
Strings: or:
Note, iently
before, that rapid to ensure
the
the
104)
of
Military
temporary
This, however,
clef has no more value Drum, the Triangle, etc. A
in
the notation of the
single
line
is
can
roll
)
^
be produced,
some
requires
i^-yJ^-yiJSJSiJS^i
j_J
J
|
predominates.
The
2.
mode
latter
continuity of sound must thumb over the parchment, a
By gliding the sound of the jingles
(3)
(J =
when
as
|J
>J
)
)
-y|J -yJ
Tambourine than
usually
in
which
skill.
employed, as
the
v|J
)
v
of
the
above
ex-
that
in in
)
ample.
THE TABOR. (Fr.,
This
1.
blows his
a very long drum, without timbre, used in three -hole pipe, or Galoubet, which he holds
is
a
into
left
Tambouring
he
beats
_ Allegro
time
with
a
single
Provence. in
his
The
right
tabor -player hand, while with
stick:
.^
Piccolo.
Tabor.
iuj
*m.
\i
i
i
(Choudens, Editeur- Proprie'Uire.)
J.
W. 14267.
(Bizet,
L
1
'
ArleStetttie.)
110
THE TRIANGLE. Triangolo.
(ital.,
The
1.
suitable
written
be
Triangle may all kinds of
for
Ger.,
Triangel.
a
on
either
single
combinations,
rhythmic
Triangle.}
Fr.,
or
line,
G
the
clef.
It
is
group
of
triple strokes, etc.
double,
single,
in
Allegro.
The
tremolo
2.
The
5
notes,
seems
sometimes
stroke
single
2, 3, 4, or
as for the' Drums:
written
is
the
have
alone
last
simple, and
too
appreciable
any
in I.
The
short
note
the
preceding
note
true
group of 3 notes is excellent, to left. direction, from right
II.
This
III. This
4 notes
of
group
is
IV. Groups of 5 notes, as well reason given above (See II).
If
where the
a
pianissimo
the
Remark-.
has
rod
performer I
4r
heard
is
only likely to
is
think
it
a
sprightliness.
third
first
and
groups
(7,
the
natural,
odd -numbered
all
wanted,
an
know
it
or
inch
his
is
so
the of
top
business,
it
the
of
struck
being
last
being
is
as well to call attention be said to be out of tune;
needless to
9, etc.),
Triangle
move
to
space
may be
a double sound; they may produce a single sound.
alone
so
more
and
first
by
value.
in
the
same
in
con-
struck
directions.
trary
3.
not
the
replaced
IV
it
gives
is
time
that
are
very
must
good,
be
touched,
backwards and forwards to
note
this
in
for
the
in.
As
score.
that some Triangles produce stroke of the rod ought always to
the fact
the
Always effective, the Triangle is absolutely indispensable in the orchestra, for to it sometimes entrusted the duty of marking the rhythm of the piece. It can be through the whole of the polyphonic mass, even when struck
is
A
(J
=
88)
rrm
Triangle.
PP Tempo di Minuetto.
Orchestra.
r J.
W. 14267.
(Berlioz,
Damnation de
Eatust.)
in
THE TRIANGLE. /""*
112)
-.
f
Piccolo.
Mj
^
Flutes.
Triangle.
^
I
fff
I
f
^ ^
fefe
p
Violins.
Violas.
i (By kind permission
(J
=
~r A.Durand
of
o et Fils,
""/."
Editeurs-ProprUtaires.)
(.Saint- SaenS,
La
Jeunesse d'Hercule.)
120)
Flutes.
Triangle.
Violins.
m
f
^
r
m f^f
Violas. fizz.
Violoncellos.
^^ Allegretto.
Horns in E.
Triangle.
Violins.
Violas
.
Violoncellos.
Double-basses.
^ife
^
(Schumann,
/? Symphony?)
112
THE TRIANGLE.
Here for
the
is
a
very
delicate
effect
Strings.
Triangle.
of
the
Triangle
tremolo, with
pianissimo
holding-notes
THE CASTANETS. this
Usually, tain
formulae
instrument, so characteristic of current tras los monies, which
113
popular are not
Spanish
music,
varied,
very
is
confined to cer-
as may
be
seen:
Treble.
Castanets.
Bass.
Allegretto Treble.
Castanets.
Bass.
The
2.
beneath
are
Castanets
2nd Scehe
The
the
of
veil
this
Samson
of
rhythm
persisting
Ones)
a et the
for
single
without
line,
Dalila
should
Castanets
any clef. consulted.
be
(both
wooden and
Note, iron
Allegro.
the
then
Act
on
written
usually
3!^
the
of
skilful
drawing
use
of
the
finally
alternating with and replacing each other, produce the maximum outburst of strength.
instruments
percussion
closer, and
to
uniting
THE CYMBALS. (Ital., Piatti. 1.
They
They ly
may
struck
The In
be
with
sound the
may be played violently
a
may
former
drum
either
together
one
clashed
Ger., Beckett.)
or
against
separately. the other,
either
be
case, the
damped, or
Cymbals
are
it
may be allowed
written
6
in
the
latter
or
one
them may be
as
vibrate.
to
follows: .
case, thus:
tp
of
-stick.
-
"
ff J.
W. 14267.
*
r
I
light-
114
THE CYMBALS.
Even
so
the
if
be
2:
bind
an
brass (2)
There
axis
for
discs in
pended
they may the right
to
its
by
the
to
uneven, but
strap, and a from piano
example
of
be
the
of
nevertheless surer, the
retains
two
to
forte, the
specimen
_ Cymbal.
Orchestra.
/5
tL
of
Vivo. i*
the
and
its
value as a bind,
preceding
sonorous
i.e.
examples may
al-
kind
of
sound
the
roll,
swells
tutti
/
(
other
kind:
/ll
/!
metallic jingle;
two
with
great
passage
/>
Cymbals
may
performed on
roll
Overture may be mentioned: eight
ff as a
violent
a
A
Allegro.
very
crescendo, one of the perfectly even and continuous for
first
Tannhauser
*
and
it
make
(1) In a producing a roll, or tremolo, with the Cymbals: clashed against each other, the performer's wrist serving these shocks, as rapid as possible, of the two left motion;
of
passages, or
piano
an
an
produce
drumsticks; vice versa.
As
two ways
are
of
oration
be
written:
forte passage, as
not
a rest, To stopped.
leads
only
must
vibrations
the
sus-
by
means and
regularity
which
bars
it
be
announces the per-
fortissimo
for
the
115
THE CYMBALS. 4.
sponge -tipped angle.
has noticed
one
Every
could
seems
gold-dust
as
drumstick, so
Nothing
to
the
color a rise
to
equal
or
more
rhythm out
up
charming
the
of
effect
even
a
of
Cymbal the
surpass
with
delightfully;
struck
gently
of
pianissimo each
stroke
a
with
the cloud
a
Triof
orchestra:
Andantino.
Cymbal
Poco
2
.
rit.
Flute. (Solo.)
Violins.
Viola.
Violoncello.
Double- bass,
la
Tempo
(J. Hamelle,
The in
Cymbal strokes which are indicated in the above example are not to be found Suite from Namouna (P. 74); it was Vaucorbeil who very ingeniously added
during
characteristic, of
(Lalo.)
two
the
them
Editeur- Proprietaire.)
the
theme,
the
rehearsals
of
so unexpectedly
that
it
still
Lalo's
posthumous
picturesque
rings
in
my
was ear,
this
work at metallic
despite
elapsed.
J.W. 14267.
the
the
Paris
quiver,
many
Opera-house.
So
upon the reappearance
years
which
have
since
116
We midst
THE CYMBALS. now
another
give
the
of
example
of
the
skilful
use
of
a
fymbal
struck
piano
in
the
Strings:
Allegretto. a 2. Clar. in
B\>.
Bassoon.
Horn
in Bt>.
*
Cymbal.
Violins.
I
v
J>
^^T
*/ !/
Violas.
Violoncellos.
v
^^
J * J
J
EE cantando.
Double-basses.
"
(By kind permission
of Heugel
t
Ci?, Editeurn-Proprietaires.)
J.W. 14267.
Arco. __ (Th. Dubois, Suite miniatured)
THE CYMBALS.
ANCIENT CYMBALS. 5.
are
They
Museum
the
of
made
Pandean
Flutes, Organs, They are much smaller and have a more silvery
Since
their
many
The
would
be
the
of
Ancient
held
Cymbals
timbre.
and
the time of the
in
employed
in
etc.
from
varying
Romeo
in
kinds
all
preserved
and
6
8
to
inches
Les Troyens,
in
in
diameter,
Gounod,
St Sae'ns,
as
for
such
and
tremolos,
some
figurantes
small
a
effect
special
rolls
Cymbals, avoiding
ordinary
on
surface.
will
some
step
keep
frequently
However, such
rolls
day
be
produced
with
the
assistance of
by
hand.
the
in
of
Pompeii, and
at
them.
production
perhaps
dancers
stage,
acute
them
for
discovered
Citharae,
Cymbals,
Berlioz
difficult
impossible, and means.
On
Pipes,
our
employed
not
their
and
by
have writes
composer
which are
adoption
others
than
those
of
instruments
with
Naples, along
Caesars:
and
model
the
after
THE BASS DRUM. (ital.,
This angle,
the
another
is
What
obtained
is
required
Bass Drum
The
ment
instrument etc.
Castanets,
result
ought
to
Gran Cassa.
act
without
worth
Bass Drum
the
of
to
ought
the
equally
be
large:
upon
the
or
felt
gle
the
handle, a
wise
We of
the
have
rarely
already
sticks
been
a
is
rods
sometimes
rather
said
for
used.
this
We
(P.
99,
Bass
been
1
large drumstick
with
or
a
Tri-
attempted, but
provided
either with
one
knob,
held
by
on In-
Treatise
(Pares,
double
mailloche
the
Drum,
heavy quality of tone. which stretch the parch-
braces
circumference',
of a
With
or
Military
involves).
and
full
the
has it
the
at
middle
a
sin-
each
end
of
its
Drum can
like-
deeper than
that
might employed, the player making use The roll thus produced is very effective, but
Ket-
resembling distant thunder may be produced. cannon (Berlioz, Marche Hongroise).
Kettle-drums, the
tle-drum
that
(mailloche simple},
(mailloche double).
roll
imitate
knob
cork
stick
Drum
whole
strumention for Military Bands). The Bass Drum is played by means of
Bass trouble
the
like
intonation,
precise
the
(Tuning not
is
Trommel. Fr, Grosse Caisse)
Get., Grosse
4)
that,
Drum
in
order
be
purpose. give one example:
J.
W. 14267.
to
obtain
The
a
Bass
roll
of
has
118
THE BASS -DRUM. Allegro. (J = a 2.
Trumpets
Do able
-
8)
in C.
basses. ,
(By kind permission
Who bals,
has
not
been
accentuating
a
deur? Bassoons.
Horns
in
E
moved
by
the
phrase,
to
which
of
Henry Lemoine
pianissimo it
lends
attack
Hercule au Jardin des Hcsperides.)
et Clf,
of
mysterious
Editeurs- Proprietaires.)
the
united
solemnity
Bass Drum and Cymand impressive gran-
THE BASS -DRUM. I
II
119
~mm THE BASS -DRUM.
120
I i
^^ f' f
f
if
r 7
Ul 1
J
J
il.
J
U itJ Ji
Tf-rgfe
r
r
,
J
r
^s
*jr-
j
,
J
^ y
(Balakirew, Thamar.) .1.
W. 14867.
121
THE GONG. Tam-tam.
(ital.,
The
Gong
The
composer
able
not key,
to
a
give
to
when struck forte, and threatening even when struck pi(tno. beware of its long -sustained vibrations. Although the Gong
must
tone
definite
of
borrow
to of
change
any
continues
Tam-tam.)
Fr.,
terrifying
seems
it
yet
that
is
Tam-tam.
Ger.,
pitch,
the or
harmony
vibrate.
and
is
the
of
tonality
must
modulation
any
consequently adapted chord in which it be
as
avoided
use
for is
in
is
any so
struck,
long as the Gong
Andante. Gong.
Orchestra.
The
seems
Gong
appears to second bar the
of
chord,
otherwise,
bar;
a
like
its
such
In
Pianoforte
it
tune
in
quite
lose
suddenly (Y Z).
first
be
to
it
case,
will
without
first
of intonation
truth a
the
in
is
when to
necessary
seem, during
the
bar
(X)
the above example, but harmony changes in the of
the
damp
second
vibrations
its
to
bar,
hold
the
at
the
end
preceding
dampers.
Different Altitudes of Percussion Instruments of Indeterminate Pitch and Long Vibration. Let
and If
us that
three
cataclysm,
suppose
we need such I
we to
shocks
think
the
are give
at
to
required
the
depict
impression
Titans
violent
sonorous
altitudes
instruments
would
different
percussion
of
the
Cymbals. Gong.
Bass -Drum A
being
shocks might need to
in
hurled down from Heaven,
quick
suffice-
be
succession. to
indicate
disposed
as
the
follows:
122 Percussion
Exceptional
Instruments.
2.
The Glockenspiel. The Celesta.
3.
The Xylophone.
4.
Bells.
1.
THE GLOCKENSPIEL. means
of
for
If,
to
"it
length,
an
extent
the
were would
be
only
their
necessary
are
struck
by
proportion to their thick-
length.
between
difference
direct
in
increase
to
bars, which
steel
is
chromatic
the
obtain
to
the
to
bars
of
square
desired
small
of
these
of
pitch
to
equivalent
number
a
of
the
ratio
it
instance,
equal
bar
inverse
in
consists
hammers;
little
ness, and
of
instrument
This
1.
scale
means
thickness
the
each
by
the
of
of
bars
of
all
each successive
semitones."
(Mahillon).
The compass
the
of
from
is
keyboard
Glockenspiel
to
two
and
octaves
sounding
a
tone
-f
l>TT
(The actual sounds
The
little
instrument
allowed
Wagner,
me,
best
lowest tone, I
the
Massenet,
The
believe
After
him
finale
La
in
notes
notes
which
somewhat
the
in
treated
be
may
for
the
of
keyboard
much
long
instrument to
tendency the lower
Mozart
was
the
first
^***\
i
in
it
employed i
are,
sound the
manner
Meyerbeer,
have
etc.
employed of
as
course,
the
fifth
in
the
the
composer
to
make use
Zauberflote:
*
Tenor
in
B!>
Barytone
in
El>
Saxophone
Alto
Soprano
Tenor
can
about
have
all
They
and
rise
same
the
Barytone
to
11
compass as the at
stop
the
in
El>
is
family
in
Soprano
the
the
low
the
Oboe, including
highest
composed:
officially
whereas
register,
however,
B!>;
Alto
and
better to avoid
writ-
the
F.
->L
..''
f.
Compass
of Alto
Compass
The
2:
the
ing
their
in
As is
it
for
lowest the
notes
for
cannot
them;
descend
the
& Tenor.
very
and
Alto
it
Saxophone,
is
used
not
in
replaced by the Sarrusophone, which to the extreme depths of the orchestra.
Proceeding
easily,
Barytone,
so
it
on
the
is
are excellent
contrary,
register.
Bass
usually
ease
ful
low
very
Tenor
and
Soprano
& Barytone.
of Soprano
by
analogy
and
tone -color
of
of
practice, on
can
pitch,
skip
the
account
down
of
with
its
the
great weight;
most
comparison
following
grace-
may
be
established:
Soprano Alto
n
Tenor
n
Barytone
n
The Saxophones are
8
ft.
stop
12
ft.
ii
_ 16
ft.
.1
Saxophone
written
in
* Avoid attacking pianissimo the applies equally to all the members
_
the
_
24
G
clef,
ft.
= = = =
whatever
Oboe, Clarinet.
Cor Anglais. Cello.
Bass Clarinet. their
actual
pitch
notes comprised in the lowest sixth: =# of the Saxophone family. "V** J.
W. 14267.
may
= ~-^
;
be.
*
this restriction
126
THE SAXOPHONES.
SOPRANO SAXOPHONE
Bk
in
3 sounding:
Compass:
office
Its
need.
in
a
is
It
bands
military
rather
shrill
the
reinforce
to
is
instrument, and
-toned
replace them
Clarinets, or to
used
not
is
ALTO SAXOPHONE
in
in
the
in
case
of
orchestra.
Ek
4
the
is
It
best
the
of
tone is
It
even, and
Remark:
rise
easily,
the
at
it
of the
can rise easily,
medium
I
do not
The 5
register.
They naturally become thinner and
virtuosi.
Saxophone
can
it
that
By saying
as the notes
be
to
enough to be a match for 4 or 5
powerful
ticable for
is
instrument
the
family,
heard
Hamlet, L'Arlesienne,
in
etc.
Herodia.de, Werther, Its
^
sounding:
Compass:
same time possessing
good bass notes.
Clarinets.
mean
that the highest notes are as prachighest notes can only be written
or 6
thinner.
E\>:
sounding:
(Choudens, Editeur It
the
to
is
are
peggios
Alto
given
the
Avoid, however,
that
Saxophone in
military
following
florid
bands'.'
figures,
-
scale
quick
It
is
an
below
octave
timbre
Its
the
Soprano,
dapted It
is
as
full,
Like
the
Alto,
for
the
execution
better
nearly
in
sounding:
is
to
the
avoid
as
even,
Tenor of
giving
shakes
and
ar-
'Pares).
Compass:
Alto.
passages,
shakes:
TENOR SAXOPHONE 5.
(G. Bizet, Arlesienne)
Proprietaire.)
and
in
Saxophone
every is
in
unison
Bk with
the
as
satisfactory as that of the
of
capable great execution, chromatic figures, etc.
bravura passages, it
the
4
J.
or
5
highest
W. J4267.
Clarinet.
m
)'
respect
Alto
notes
to
play.
and
well
a-
THE SAXOPHONES.
BARYTONE SAXOPHONE &.
Compass:
instrument
This
Bass
the
7.
is
is
neglected, and
consists
I
to
quite
the
simple as
so
in
for
which, as we
Bi>,
the
Bass
the
it
plays
much
same
the
mention
that
the
of
of
Saxophones
higher
There is another Saxophones. for the sake of completeness. of
family
part
it
pitch.
group,
but
it
varieties:
following
Saxophone
in
F
Soprano
n
in
C
Sopranino
As
bands
military
orchestra.
official
only
in
carry;
)'
sounding:
:
the
in
not
the
of
^-^
heavy
is
Such, then,
It
=
.
Clarinet
mechanism
Its
is
Ek
^
6
as
in
Alto
n
in
F
Tenor
n
in
C
Barytone
u
in
F
in
Saxophone
have just seen
C,
it
is
not
any more than
used
(2), on account
of
its
great
Bass Saxophone
the
weight,
is
replaced by
Sarrusophone.
8.
ophone,
as
for,
I
Bassoon are equally
Oboe, Clarinet, and
on the
possible
figures
Sax-
and tremolos possible on the Oboe can be performed on the have already said, the two instruments have the same mechanism.
shakes
the
All
"All
suitable for the Saxophones,
legato passages suit them best'.' (Gevaert). The quartet of the Saxophones produces the illusion of the Organ. when However, breathing must not be lost sight of, and the composer,
but
long legato passages, must
notes and
A note quadruple
in
the
medium
register
be
not
careful
cannot be held
for
to
exhaust
the
more than 10
writing
holding-
players.
bars,
in
moderate
time.
each instrument comparing the Clarinet with the Saxophones,it will be found that which can only be a maximum is can sustain a note for about 40 seconds. However, this
Upon
expected
in
case
the
What may
9
be
of
the
a
soloist
future
playing
destiny
piano. the
of
whole family be some day admitted, or will Time will show. been done so far? If
me by to it
I
may
rather
venture
loud
and
to
out
an opinion,
express
proportion
which
with
only
I
that
Saxophones
individual
confess of
in
its
is
the orchestra?
members
the tone of the
be
Will
invited, as
instrument
the
has
seems to
the example neighbors, excepting, however, But since the Saxophone here seems
perfectly pleasing. Bizet, quoted above, harmonize so well with the surrounding instruments, if elsewhere it seems out of place, be must be because it is then seen at a disadvantage, and is consequently not to
criticized. All
means are good, provided
they
are
J.
properly
W. 14267.
used,
each
in
its
own time and place.
128
THE HARP. (Ital.,
The
1.
following
figure
Arpa.
Ger., Harfe.
shows the compass
of
Fr.,
the
Harpe.}
Harp, which
comprises 47 diatonic de-
grees:
This
octaves pitch
of
diatonic at
the
scale
once. string
becomes chromatic
According is
raised
as a by
a
by is
means
seven
of
hitched
pedals which act on all the one or other of two notches, the
into
pedal semitone or by two semitones.
Example:
'
1st notch.
One and the same string:
*)'
becomes:
\i The various octaves of one and the same string:
-^
:
Bd notch.
m
or:
:
129
THE HARP.
r: passage, quoted by Berlioz as impossible, on account of the presence of both and Ff (and so it was, formerly, for single-action Harps), is very easy, nowadays, for double-action Harps, Ft) being played as E# on the E string.
This
So and, fold
double -action
this
as
Gevaert
conditions
glissandos, whole
for
remarks,
modern
of
diatonic
is
system a
very
music,
century of
allowing
seem
or otherwise, which
was
It
ingenious.
whole
invented
Sebastien
by
Erard,
been adapting itself to the and executing chromatic passages has
it
throw
to
a kind
of
the
Harp:
poetic
haze
manithose
over
the
orchestra.
The
3;
following
shows the various
figure
Register of
of
registers
full tone-power.
jjJJJ
J
rrff i
Excellent in a
m
Thin.
PP
Catgut strings. Covered strings
!
The tone
first is
rich
three
and
B in altissimo, notes
alone
is
are
low notes full,
less
whether
used forte
sonorous, but
rather poor
From
are rather hollow.
and
thin
or
in
in
quality,
lowest
The next
piano.
excellent
still
the
F
to
Bt;
in alt
octave, from
strings
B in alt The
pianissimo passages.
the
the to
highest
becoming shorter and short-
er.
The
4.
first
eleven
wards the strings are shall
see
5.
low of
notes
catgut.
are produced
(Harmonics
by
are
covered strings; from only
possible
on
Gamut
catgut
G
strings,
*
upas we
later).
As has already been said (2), each string of the Harp can be raised either a or two semitones; twenty -one notes (nearly double the numconsequently,
semitone
chromatic degrees) are available in each octave. How is it that we have not got which us two for would each semitone? is because three notes: D +, It 24, give strings G +, and A +, have no enharmonics, no synonymic or homophonic equivalents, as may be seen from the following diagram: ber of
J.
W.
14267.
130
THE HARP. What
6. ful
we can
combinations
curious
get, by
the strings
tuning
all
in
sorts
fanci-
of
What extraordinary scales we can imagine!
ways!
E. g.
even
nor or
may be transformed
scale
can be found, or the
others
Many
succession
of
mi-
thirds:
major
3 Minor
a
into
thirds:
7|
-1
G(t
Bb
At
Ct
E*
t
Ft|
=0-8-
1 Bf
All Ftt
\
Major and Minor thirds: B Cl|
J
6
V=
fJ
i
J Chords
3
such
as
^^^
Cl
^^PF^ji^sfe J
the
can
following
^N J
S
also
be
J'
^
^^ J
jj
"
;
obtained:
^s^=
$
i
j"u
r 'j
(Gevaert, Traite d'Instrumentation,
combinations
the
All
in
comprised four
notes,
fourth only
three
note
to
prepared
the
is
slide
mentioned
octave. of
the
produced his
fingers
When notes by
a
over
in
these are
paragraph
strings
sounded
single
the
this
the
complete series of strings
grouped so as to produce a chord with by two homophonic strings, whereas the
Once the pedals are
string.
strings,
are
each
employ
gently
p. 86.)
or
violently,
fixed,
order
in
to
the harpist
produce
has the
harmonic effect.
Presto.
(Rimsky-Korsakow, Sheherazade.)
8
(By kind permission
of A. Durand et FiU, Editeurs-Proprietaires.)
J.
W.
14267.
(Saint
:
-
Sae'nS,
Oratorio de Noel.)
131
THE HARP.
(By kind permission
(DcbuSSy, PelleaS et Melisatlde.)
Kditeur- Proprietaire.)
of E. Fromont,
Moderate.
(By
&
kind permission of Schott
C9,
Publishers
-
Proprietors.)
(
Wagner, G otterdtimmerung?)
8
(Liszt,
Dante -Symphonic.)
(Hasselmans.)
Sometimes, of
indicating
needless
to
for
the
a particularly complicated figure, a prudent composer takes the precaution When this has once been done, it becomes tuning of the Harp himself. the
write
before
each
of Heugel et
c!?,
accidentals
note:
Accrochez:
(By kind permission
7.
easily
nately
The play
harpist,
iterated
plucked,
having
two
notes,
without
the
strings
even
ear
in
in
the
at
his
Editeurs
least
1.
for
tempo, detecting
W. 14267.
(MaSSenet, Esclarmonde?)
ProprieUires.)
disposal
quickest
the
-
each
each the
of
degree the
ingenious
of
the
strings
scale,
being
subterfuge.
can
alter-
132
THE HARP.
Vivo.
(Saint-Saens, Ascanio.) (By kind permission
of
A.Dunnd
et
Pils,
Editeurs
-
Proprietaires.)
(J=116)
Vivace.
(Oberthiir.)
be impossible to perform the preceding passages Erard's invention, possess the means of tuning the to our fancy, making all imaginable kinds of harmonic
to
cording
two
have
always
ly
(6
would
It
thanks
our
at
strings
disposal
for
each
and 7)
if
we
did
not,
instantaneously accombinations, as we near-
Harp
note.
Harmonics. 8
never
Harpists
division
damental
We
the
of of
have
metry's
into
other
two
harmonic
equal
than
parts,
second, which
the
and
is
consequently
open string. already seen (4) Verdi
writes
this
it
cannot
be
sake;
that
the
catgut
arpeggio,
descending heard:
alone
strings
the
low
Harmonics
can
be produced
within
the
following
Register in which harmonics can be produced.
It
ity
is
to is
the by above the fun-
produced
octave
produce
satisfactory
added
is
only
harmonfor
sym-
(Falstaff.)
limits:
;
sounding:
>
o
not
is
E +
o 9.
an
the
When
ics.
string
use any
1
to go still In higher, but at the expense of quality. reality, it is better so high, as the tone becomes thinner and the thinner; register of good quallimited to two octaves from Gamut G upwards:
possible
rise
3
o
~nr sounding: ;
Register of best quality.
;
J.
W. 14267.
133
THE HARP.
Double -action Harps allow of sounding 2,3, sometimes even 4 simultaneous harmonwith the left hand, on condition the intervals are small, and require no extension of the
10. ics
The
fingers.
right
never play more
hand can
than one
harmonic
a
at
time.
I
i
=
^ES
(The low C +
(Reinecke.)
(Humperdinck.)
i^f? -QO
pp
^E 8
(Parish Alvars.)
(R.Martenot.) Of poetic
like
dew-drops sounds
recall
They ed
harmonics
course,
and
silence
in
over
by
the
the
time
of
indication:
always
lusion
of
a
the
wish
moonlight.
a
dream;
they
can
heard when
be
only
all
is
hush-
written
an octave
below the
actual
sound, with
a
zero
^ sounding:
note
was sometimes
Hence
frequent
written
mistakes
at
true
its
were possible;
pitch,
two
bars
to
be sounded
as written, or an
So composers have done well to give up this mode
vibrations
accompanied
e. g.
Harmonics....
these
harmonics, the
brief
they are mysterious and
forte passages:
o
"
harmonic.
There remains a doubt.
etouffe sounds: the
in
notes:
Berlioz,
Does the composer
Besides
of
sleep.
/I
11.
the
through
Written:
In
in
glistening
written
the
made use
be
echoing
harmonics are
Nowadays, placed
cannot
is not
played as a harmonic.)
Harp has yet another color of
the
are
string
pizzicato, very analogous
to
of
tone
at
stopped as soon as that
of
the
Violas
its
octave
higher?
of writing.
disposal,
produced,
viz.
giving the il-
or Violins.
Andantino.
Harp.
Violins.
(By kind permission
of Heugel et C^S, Editurs-Proprie'tires.)
J.
W. 14267.
(Widor, Choral ct Variations.}
134
THE HARP.
the
of
whole of
the
In
Harp
resembles
closely
arpeggio which like a violinist
rich If,
extremity,
The
the
of
an
in
than the ail
a
cathedral,
empty
As
to
its
those natural sorts
in
the
between
as
a
it
harpist
plucks the strings at their
may
full
lower
mistaken
be
easily
for
is
fact
further
hands,
but
consonant
it
it
to
travel
not is
is
of
Organ
diatonically.
strings
are
closer to each other
octave that
the the
use
first
the
of
inadvisable
only
the
an
like
harmony
the
prevent
not
dam-
and disappear. Muconfuall kind of
and
than
rather
does
that
as
that,
that
time
without
Pianoforte
magnificent
enough to prevent instrument must be treated
tenth
the
Harp.
slow
in
first
of
allowed
be
the
possible
which
hand,
the
contrast to the
an
produced
kind
tempo
in
observe
observe
intervals;
tone
the
short,
as
far
Pianoforte, of
span
of
distance
intervals
the
of
be
technique,
special
absolute
sound
the
finger,
forming
of writing for the
incoherence;
as
single
Guitar.
must
Harp
harmonic
all
sion,
the
for
the
sound-waves must
say, the
to
is
written
sic
Strings,
a
with
phrase.
corsidered
be
Harp should
that
pers:
the
of
staccato
played
sounding-board,
Mode 12.
is
sul ponticello,
playing
timbre
metallic
the
that
the
concludes
the
to
close
passage, which
this
to
importance
corresponds to octave and of
leave
too
great
balance
to
the
skilfully.
of
Example
sonorous
very
writing
slow
in
tempo.-
Andante.
fy
Note
also
the
bass
that parts,
comes heavy, octaves
the
rate
of
movement
is
accelerated,
it
becomes necessary
giving octaves only to the left hand;
thick, and
the
of
if
incomprehensible,
like
the
buzzing
of
otherwise
chords played
the in
to
simpli-
music the
be-
lowest
Pianoforte:
Quasi Allegretto.
Note
the accented beat, Meyerbeer assigns to the bass nothing but or single Few composers have notes, because he needs clearness and rhythm. the the instrument as well as he. the following are quite Oversights such as
that
octaves treated exception
in
immediately
his
after
works:
J.W. 14267.
135
THE HARP. Here
seems
he
unable
being
other
this
to
to
play
which
figure,
have
I
four,
quite useless to since they never
often
heard
that
forget
more than
is
it
write
of
five
of
the
account
of
its
on
criticized
chords
make use
notes,
little
harpists
finger.
weak and
Take
confused
character:
Harp.
Basses.
'it
not
built
being
low
upon
its
say
down','
true
besides
virtuosi, "and a
bass;
arpeggio
simple
has the
it
would
be
serious
defect
more
infinitely
of
sonorous'.
most
The
why
too
written
is
we
powerful effects are produced by the simplest means. True. But is that a reason should always follow the beaten track, and confine ourselves to one and the same
arpeggio?
Shakes. The
13:
a
shake
performed
violinist
tipsy
With
the to
attempt
might hands, and
two
with
piano,
it
aid
the
on
hand
single
pizzicato
play is,
a
of
the
on
is
nearly
first
as
string
bad of
as the
the
one
Violin,
excellent:
contrary,
accelerando.
It
main
at
14.
to
better
is
the
fingers
all
All
airy
keep to this piano, and and delicate.
all
scales,
it
the of
keyboard is
keys
always of
repetitions
Cl>,
of
keys unless a
the
D!>,
rather
same chord
always
play
great
than in
can
minor,
to
be
great
spaces
between
the
of
of
the
shake
is
to
re-
with equal ease; thanks same, just as if the
double
flats
Bq, F|, C#.
same hand:
Much hands:
(Poor and thin quality.)
J.
if
upon.
Not good. Avoid
executed
remains the
number
those the
a forte,
attempt
fingering
white
better, Gl>,
the
key,
not
or
arpeggios, major
whatever
pedals, had a
However, choose the Avoid
to
W. 14267.
better.
are
involved,
to
1
136
THE HARP.
Let ing
by
the
a
string
other
the
between
distance
has just
which
hands
the
been
hand.
Give
the
be finer
than
the
be neither
plucked
by
sound-waves
one
too
time
to
nor
great
hand
too
immediately let
travel;
small,
set
the
in
and avoid havmotion
again
vibrations die out of
themselves.
What each
can
bar,
and
filling
the
bass- notes
following
orchestra
with
their
of
the
Harp, marking
the beginning of
deep tones?
long
Lento.
m
Flutes. Clarinets.
Harp.
Violas.
Violoncellos.
Double-basses.
(Massenet, (By kind permission
This called
deep register rather
hollow,
of
the
instrument
is
admirable;
when considered by themselves
Za
Navarraise.)
of Heugel et Cl5, Editeurs- Proprictaires
even
the
(3),
are
lowest
notes,
admirable
in
which
we
.)
had
octaves:
=55
Here follow some figures
15.
practised
b^
harpists, sonorous
because they are easy:
Animato.
.
seen
.
(By hind permission
.do of Heugel et
Editcurs-Proprietaires.)
J.
W. 14267.
(Th. Dubois, Fantaisie,
Harpe
et
OrcAestre.)
137
THE HARP.
Rapide.
(By kind permission
of A.Ledur, Editeur-I'mprieUire.)
(HaSSelmanS, Ballade)
Allegro.
(By kind permission
o{
A.Durand
et Fils,
Editcurs-Proprie'uires.)
(HaSSelmanS, Gitatia.) 8'
3 Tres mte
p
J^L^J
(By kind permission
of
J.
Geo. Morley, Publisher- Proprietor.)
.1.
W. 14267.
(HaSSelmanS, Cottte de Noel!)
138
THE HARP. ljl>
Andante.
..
f~f
-
139
THE ORGAN.
Speaking of the Organ used in combination with the Orchestra, Berlioz in his Treatise The Organ and the says: "a secret antipathy seems to exist between these two powers. Orchestra the
are
both
same;
or rather, one
kings,
are
interests
their
too
is
other Pope;
the
Emperor,
and
vast
diverse
too
allow
to
mission
their
of
is
not
amalgamation'.'
I.
Whom have
I
consult
Berlioz
did
been
never
vaille'- Coll,
able
to
On what
subject?
ascertain,
went
sometimes
I
on this
although,
so far as
to
him
charge
the
to jog
with
he
did
organist
order
in
stumble?
unluckily
memory
indifference
Ca-
Aristide
of
to
Master's
the
fame.
And
to
give
and
stops
true
is
it
Although
that
Reed-stops,
Mixture -stops
and
from
ing
suffice
Guido
three
of
an
the
sanctioned
d'Arezzo,
found
qualified
that
fact
the
the
true,
with
one
any
Foundation-stops dat-
Organ,
genuine
whose traditions
Bach, and
by
than
Foundation-stops, Mixture-
the
old,
than Cavaille'-Coll,
better
kinds:
indisputable
constitute
to
been
have
we
should
successors.
failed
understand the
to
function
these
of
Mixture-stops
was
it
the
fault
of
informant.
his
"Organ
-
builders
however
sonance;
would
'it
and organists" he writes, "agree in praising the effect of this manifold reit decidedly causes several different keys to be heard simultaneously.
be insufferable',
are never heard, how a good
When
effect
Berlioz
can
they
be
produced
these
lines,
fundamental
the
cession, or simultaneously,
appreciate beginning
If,
after
another,
the
with
value
the
of
first
acute
upper notes
drowning
them
ear
what
the
on
by
and
the
importance not yet been
This
sounds
most
tone
had
Enregistreur Harmonique.
two
the
'if
say,
fundamental
the
wrote the
of
composition
to
are
have
Berlioz
who would
nevertheless
is
it
could
authority
organ-stops
alone
of
our
to
Berlioz
If
time
the
down
hand
reliable
frequent intercourse, and him correct information?
had
he
else
more
indeed, what
whom
instrument,
32 upper beyond
function
of
consisting
320
in altissimo
*, unless
rest
long
(at
if
B!>
Btj,
E
N. B.
ner and
C,
CjJ,
above if
tolerably
notes
con-
impossible to play above.
Bt>
without
to
of
up to by conjunct moderate quadruple time), led
run up to the top of the scale
preparation,
still
more
this
the
160).
Wag-
is
and
in altissimo, however, is excellent others do not hesitate to write
in altissimo
However,
2.
nearly
many
semitones
still
is
it
with
time
is
it
one bar
least
player's finger must be allowed sufficient find its very narrow resting-place.
And case
the
preparation
F
for the
and
without
employ
?
fr
attack
to
impossible
or preceded
degrees,
to
dangerous
third:
highest
almost
is
is
it
orchestra,
the
in
may be said
becoming
a number
sonorous;
of
Violins
hence
Here follows the table
be the
to
and
thinner
as a harmonic (V. List,
the
highest
occasional
seven
J.
P.
sonorous
on
note
the Violin;
the four
thinner.
move upwards by conjunct
their
of
when played it.
use
positions
W. 44267.
degrees,
by the great
of
the
these
classic
Violin:
4
notes
masters.
are
149
THE VIOLIN. 4th String. l?l
position.
2nd
position.
Std position.
4th position.
5th position.
6th position.
7th position.
*
HH
d
String.
2^
15* String.
String.
150
THE VIOLIN.
5.
Is
mirable liant If
the
it
to
necessary
41!)
string,
speak
rather subdued
the
of
qualities of tone on the Violin: of the adtimbre of the 3!^ and 2"d strings, of the bril-
different
of the
15*
string? a theme be given to the fourth string, loudest, the power of the tone being
ever, the limit
quality
and
full
in
proportion
of the
the
to
of
length
up to Treble
homogeneous
lower
C
octave
will
the string.
(7tJ!
position),
be
Howwhich
exceed.
unwise to
is
it
remain
will
sul G, the notes
Moderato.
am aware
I
Moderato.
that
-&,.
in
a
solo
notes can
higher
reached:
be
(^^T-
j>b
(Widor, Concerto?) but
in
for
writing
the orchestra
it
would
be very imprudent
to
go
beyond C.
Double Stops. 6.
It
is,
of
course, easy
to
play
all
double
stops that
include
an open
string.
LIST OF DOUBLE STOPS IN THE ORDER OF INCREASING DIFFICULTY.
EASY:
major and minor
all
sixths.-
from
EASY:
up
and diminished sevenths:,
major, minor,
all
to:
va.
so
'
from
up
to:
major and minor thirds:
EASY:
from
POSSIBLE-,
i
~-jL-
all
perfect and augmented fourths: -6 -6-1
from -Af-
POSSIBLE:
all
up
POSSIBLE.-
"
up
i
to:
octaves.-
-6 from
A
D
*
fez
\>3
this
to:
diminished and augmented fifths: from 3B
From
fa.
upwards they become
to:
\f