atljata, SJem

^nrb

BOUGHT WITH THE INCOME OF THE

SAGE ENDOWMENT FUND

THE GIFT OF

HENRY W. SAGE
1891

Library
Cornell University

MT 70.W64

1906

3 1924 022 381

556

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

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

^^t;2?7^

^^^^A.Hjf

V-^::-"'

THE

.,

ri=J

TGCHmQUe
OF THE

MODERN PGHBSTRfl
O F

Practical Instrumentation

TRANSLATED BY

Edward Suddard.
Price

10/-

NET

Capyri^ht 1906 by jD5eph Williams.Ltd.

Joseph

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

32,Great Portland Street

PA R S
HENRr LEMOINE&C'p
I

ED.

NEW VORK
SCHUBERTHiC" CJF.H.Meyeb)

/>

^
l.E.1

PZ

BREITKOPF &

c-

hA

RTEL.
^7"-^

Ill

Dedicated to

Sir

ALEXANDER

C. MACKENZIE, Mus.

D.,

LL.

D., D. C. L.

Principal of the Royal Academy of Music.

J.W. 14267.

IT

Any

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

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

London W.

Preface.

Within the last fifty years the mechanism of most instruments has been
materially improved, and, concurrently, the orchestral palette has been enriched with a variety of tone- color formerly

ty for a
ments:

new manual

their

unknown. Hence

compass and

capabilities.

Characteristic features of the present book are the

Shakes and Tremolos

Q uadruple Stops

the necessi-

setting forth the present state of orchestral instru-

for the

for the

Woodwind and
,

String s.

It

has always seemed

these matters are dealt with in somewhat too

works on Instrumentation.

We

Complete Lists of

of Double^ Triple^

us

to

summary a manner

and
that

in most

venture to think the lists contained in this

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

To

the

tion a

Organ a

few hints

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

that

may

prove useful to

organ -builders, we have

deavored to give such information as will be of assistance to

en-

musicians

wishing to write for the Organ and Orchestra combined.

CH-M. WIDOR.

J.

W.

14267.

VII

Contents.

PAGES.

PAGES.

Chapter i. the woodwind

The FLUTE
List of Shakes and Tremolos

.11

...

Transposing Flutes

The

NATURAL TRUMPET. ...

66

The

VALVE- TRUMPET

67

15

List of Shakes

71

18

Muted Trumpets

71

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

The PICCOLO

19

The BASS

OBOE

20

The

.23

The

The

List of Shakes and Tremolos

The

OBOE d'AMORE

26

The

The

COR ANGLAIS

26

The

The

BARYTONE OBOE
CLARINET

27

The

29

The

34

The

37

The

The

List of Shakes and Tremolos.

...

The

ALTO CLARINET
SMALL CLARINET
BASS CLARINET

37

The

BASSOON

39

List of Shakes

45

The

The

The

BASSON-QUINTE

47

The

DOUBLE -BASSOON.
SARRUSOPHONE

47
49

the brass instruments

The

BOMBARDON

The

CONTRABASS -TUBA

NATURAL HORN
VALVE-HORN

96

The

KETTLE-DRUMS
SIDE DRUM

9S
i06

61

63

ANCIENT CYMBALS

117

Muted and Overblown Notes .... 58

J.

....

108

57

in the Orchestra

96

TENOR DRUM
The TAMBOURINE
The TABOR
The TRIANGLE
CASTANETS
The CYMBALS

55

Shakes

94

108

51

The Horn

-TUBA

The

-Hon

Muffled Drums

The Theory of their Tone-produc -.

The

The

The
il

Chapter m. the percussion instru-ments

50

Shakes.

Chapter

'.

The BASS

The

The

The

37

W. 14267.

i09
io9

no
112
113

vm
PAGES.

PAOGS.

DRUM

The BASS

117

The

VIOLONCELLO

175

The

GONG

121

Thumb

The

GLOCKENSPIEL

122

Pizzicato

177

123

Double Stops

178

123

Triple Stops

179

124

Quadruple Stops

180

Bowing's

181

Harmonics.

181

The CELESTA.

The

XYLOPHONE

BELLS

Chapter ir.
The SAXOPHONE&

The Violoncello in

125

176

Positions

the Orchestra

182

The

SOPRANO SAXOPHONE
ALTO SAXOPHONE
TENOR SAXOPHONE
BARYTONE SAXOPHONE

The

HARP

128

Harmonics.

188

Glissandos

129

Bowings

189

Harmonics

132

Runs

189

ORGAN

139

The
The
The

The

Chapter

v.

i26

186

126

Pizzicato

187

i27

Double Stops

187

148

Double Stofs

150
.

184

Tremolos

the strings

Triple and Quadruple Stops

DOUBLE-BASS

i26

VIOLIN

The

The

The

MUTE

190

The

BRIDGE

190

The

BACK OF THE BOW.

List of French^ Italian, and

.151

the Strings

i9i

Compass of

Bowings

161

Shakes possible on

Pizzicato

163

-striunenta

VIOLA

166

Harmonics possible on Stringed

...

the various instruments. 192

Woodwind

In-

194
In-

-struments

167

Stops.

195

168

Use of Double Stops in the Orchestra

Harmonics

174

List of

Botving-s

174

CONCLUSION

Triple and Quadruple Stops.

APPENDIX TO Chapter

Modern Composers

Harp

iv.

199

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

Stops of the

Organ

200

J.

w. 14267.

196
196
197

Further remarks concerning the employment of homophonic

strings on the

i9i

expressions used in connection with

158

Double

Grman

Harmonics

The

IX

Order of

Chapters

In the present work, the order in which the instruments are usually ar-

ranged in orchestral scores has been followed, beginning with the

most

acute -toned:

(.Chapter I)

FLUTES,

(Piccolo)

OBOES,

(Cor Anglais)

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

Then, after a short Theory of the tone-production of Brass Instruments,

the following are dealt with:

(Chapter

it)

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

a Pistons)

Next come

(Chapter hi)
Then,

instruments.

so to speak, in parentheses,

(Chapter iv)

And

The percussion

The

The

The

SAXOPHONES,
HARP,
ORGAN,

The

Strings.

lastly,

(.Chapter v)

.;.

W. 14267.

Memento.
The

velocity of sound is about

The deepest tone we are

S* Louis, U. S. A.,

iiOO f* per second.

and Sydney, Australia,

A
_

64

ft

16

An

A
_
_

in

which the low

_
_
_
_

_
_
_
_
_
_

2
1

32
64
129

258
517

able to produce

obtained on some recently constructed instruments)

Double C on the Violoncello

C on

the Viola

vibrations,

Organs

of

(and which can be

is

equivalent to a 16 f* pipe.

is

equivalent to an 8

f*

pipe.

is

equivalent to a

ft

pipe.

= 435

[Diapason Normal]

(Standard French Pitch

perceptible to the ear are produced

The most acute tones

_
_
_
_
_
_

16

The low C which the Double-bass ought to be

Tenor

C=8

f* pipe

vibrations per second).

pipe corresponds to 8 vibrations per second.

32

by a 64

able to perceive is produced

vibrations).

by 15,000,

20,000,

30,000

and even more.

Timbre (Quality or Color of Tone

Klangfarbe) depends on the manner in which the

column of air is set in motion, rather than on the material of which the instrument is
made.

In the case of the

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

brass

mines the mode in which the air

is

set in

motion

Compare

the mouthpiece of the Trumpet with that of the Horn;

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

may be
its

seen by the Cavalry Trumpet;

these

the little cup which forms

two cups

Trumpet, the shriller

are, in respect of

the tone,

as

the deeper the cup of the Horn, the mellower

timbre.
It

only possible to sound the various harmonics

is

ments, provided there

tube.

If

is

high

on brass

and low

a suitable ratio between the diameter and the length

the

the diameter is too small

tube too

narrow

it

is

impossibe

to

instru-

of

the

obtain

the fundamental tone.

The subdivision of the column of

fifths,

sixths,

aliijuot

parts.

etc...

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

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

.1.

w.

wn\T.

11

Chapter

I.

The Woodwind.

THE FLUTE t
(Ital.,

1 The
Some

Flauto.

three-octave chromatic scale

players are able to sound a few

Ger., Flote.

of the Flute,

still

Fr.,

Flute)

embracing 37 degrees, extends from^

higher notes, even reaching

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

El>; this,

however,

wa^ virtuosi, but

is

Fto:

quite

ex-

for the ordinary

run of performers.

The scale

piano

of the Flute is fairly even;

the first

35 notes can be attacked and sustained^rfe

or

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

^
^^
^
s

36tl!

and 37tS degrees can only be produced

Remark:
is

As

37th degree,

for the

perfectly impossible to obtain

is

it

it

piano.

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

Dangerous; piano e legato

2: By

excellent forte.

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

exceptional.

2nd Remark:

V-

36 37

too

with some difficulty, and are inevitably harsh:

Impossible piano

1st

PP

ff

The

impossible.

saying that this scale

degrees as being sufficiently

in

is

fairly

UM

even,

mean

The E

is

harsh.

that the composer

tune with the others, and

may consider each

need not trouble to think

about

defects of a few of the notes.

These

3.

defective

notes are eight

in

Dt (N? 3) requires special care

in

its

the

ff

number:

The three Cs (N5 2,6,8) are somewhat too sharp,

flat.

of

emission,

El

and

(N9

1),

Nos4j5j7

on the other hand,

rather

are difficult to attack.

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

great ex-

corrects them.

tent

Although

4.

the

Flute

excels

in

the execution of florid passages,

consequently those whose signatures contain

few sharps or flats *,

and
yet

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

especially

descending:

Copyright 1906 by Joseph Williams, Ltd.

\V.

14JJ67.

its favorite

when
is

called

keys are

upon to

alone referred to here.

intervals being' difficult,

12

THE FLUTE.

breathe forth a sweet, loving melody, no ke^ suits

ern compositions afford sufficient proof.

Al> is

it

better than

Dk

following example, which also illustrates another point calling for

Andante

finishing

on a

C pianissimo,

the best notes of the Flute,

Andante,

l.^

Of this several charming mod-

likewise an excellent key, as

comment.

so sweet and pure that

despite the remark

made above (3):

it

may be seen

We

by

the

here

see

an

would seem to be

one

of

13

THE FLUTE.
However, great speed cannot be attained
to

make use

manner.

this

in

so to speak, mechanical

of other,

passages the performer has

florid

In

means, allowing

of neither the

same

intensity

of

tone, nor liberty of expression.

such cases

In

he resorts to

double -tonguing,

alternately articulating the consonants < and

k, or to triple -tonguing, which involves the use of the three letters

t(uf),

i,

e.

As

8:

and k are pronounced according

t,

as

in

t(ut), c(ut),

the phonetic system.

to

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

Midsum-

mer Nights Dream;

Single-articulation would

not, considering the

rate of movement, allow of producing

the

lower notes; so they are played as follows:

Vivace.

Do u ble - tonguing:
t

The same remark applies to the

solo

k
in

Namouna

etc.

(Lalo):

Double - tonguing:
k

t k t

k etc.
(j.

Remark:

.
Hamelle, Editeur-Proprietaire.)

Flute-players .look upon both these examples with great apprehension, staccato passages

being difficult to execute in the low register, but as they are possible and their

what does

it

effect

delightful,

matter?

Double -tonguing

also allows of easy and rapid iteration;

Andantino.

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

9.

When

rapid
of

ternary

groups are

as double -tonguing,

inequality

of

tone,

in

question,

but with this

..

et

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

triple -tonguing
kind of articulation

on account of the natural

is

(Saint -Saens,' Ascanio)'

adopted,

there

is

being

always a

tendency to accent the last

of the

nearly
slight

as
risk

three con-

sonants.

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

of

the

they are played quite mechanically:

Vivo.

fkftkttkttkt
J.

etc.

W. 14267.

figure

and

14

THE FLUTE.
But here

a much more difficult figure,

is

the execution of which calls for the utmost care

on the part of the performer:

Moderate.

'

k'

^-

'

a.

\.-

\-i.

(Gounod, Ballet in Faust)

(Choudens, Editeur-Proprietaire).

Speed of Articulation.
10.

With single-articulation
J

stated as

experienced

the

maximum speed

112, and even then the passage

must

attainable

in

may

the low register

not be too long,

be

on account of the fatigue

the player, and the consequent heaviness of emission:

bjf

Allegro. (J = 112)

Single - articulation:

In

the high register, the

speed of articulation

tissimo can hardly be articulated

in

(J = 120)

Single - articulation

Double -tonguing
of

intensity

may, of course, increase;

tempo

quicker

however,

Bt in al-

than J=120:

I*

.-

allows of easily attaining

144, at the expense,

it

must be confessed,

and clearness:
Allegro.

Single- articulation:
(Difficult

beyond J = 116)

t;

^'f f f
I

^fe

f f f .ik
.

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

11.

with

In

medium

the

Strings

in

register,

point of speed,

Rimsky- Korsakow's

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

being able to produce a true tremolo,

manage to
as

compete

may be seen

by

Grande Paque Russe:

(J = 138)
/111

Piccolo.

T:

v:

mf

Simile
Jimtie.

c
C:

yPri <'L>i
? ri^i^;;/

i"ppi'f*ifprFrp~t pr P Cfffir f * rrri *rrr r~f

^ ^S^SJ^ P^JJJ ^^^^^^ ^JfJr^Jr Jr Jr lrMMJr
i

mm mm mm m$m ^M
Simile.

2 Flutes.l

#%gmf

violinist's

wrist could

not act

more

swiftly,

J.

or produce a closer tremolo.

W. 14267.

15

THE FLUTE.

Length of Breath.

12.

The

mouthpiece

of

the Flute making

greater demands on the performer's breath than

that of the. Clarinet or the Oboe, the composer must beware of requiring tones to be sustained
bej^ond

certain

brated

limits, in slow

tempo.

breathing has not always been carefully attended to by composers, even

Easjf

works,

where the

e. g.

Trio of the

the

Andante

Young

Ishmaelites"

requires such long wind that

it

Berlioz's

in

is

in

some

Enfance du

cele-

Christ,

the terror of performers.

Shakes.

13.

All

shakes are good from the lowest D to E in alt.

EXCELLENT:
(the last one possible forte.*)

All major and minor very

good.

very

difficult,

very difficult.

somewhat

heavy

flat.

impossible.

8
N. B. This shake

*Ride of the

is

Valkyries' (page 284),

a very
it

awkward

one;

was because he had

if

Wagner did

it

doubled by the Piccolo.

not scruple to use

it

in the

Complete List of Shakes and Tremolos.

(

The

cross means: bad, the double cross: impossible^

14."

not quite in tune, but

possible.

good.

_i

heavy,

possible,

possible.

J.

11267.

heavy,

heavy.

possible.

possible, very heavy.

heavy.

16

THE FLUTE.

g-ood

ph
I

.r^
good

II

not in tune.

,rp

II

.^ jv

not in tune.

heavy,

possible.

II

possible.

.rp

II

difficult,

.Q

&si

.good.

All .u,. diffMt.

,ff ,fp

II

-I

heavy

others impossible.

i
f

f T^r
good

others very heavy.

Others very heavy.

heavy.

.good.

r.

"r

"''

^
efe

f-^
,

good.

Others difficult.

Others bad.

Others difficult.

Others impossible.
.

difficult.

formerly almost impossible,

now be performed,
can
thanks to the new key.

,rB ,ni ,ff .fV

possible.

.good

g-ood

good
.J.

W. 14267.

17

THh FLUTE.
Others impossible.

Others impossible.

Others impossible.

Others impossible

-good

'

Others impossible.

,-r-

heavy, difficult, possible

''^p
.

good

good

'

Others
impossible.
N. B.

In the

March of the Corporations (lfs-

tersinger, p. 460) '^ffa.gnet has written this tremolo,

'^
pssj ] not much noticed in the orchestral en-

S
"D,

.fTo
Ht^

"

^Tn'^
I'_^

t.

Others imDOSsible.

semble. The li' Flute makes use of its

^^^^^ partials and not of the ordinary
fingering; as everything gravitating around E
is difficult, the 2!^ Flute does the best it can.

^^
tf~P

Others impossible.
.good.

disagreeable

tone.
If

Others impossible.

Others impossible.
.good.

rTTf

impossible.

'

Others impossible.

fairly easy, but not

in tune (F$ rather flat).

Others impossible.

G rather

good.

possible,

flat.

Others impossible.

Others impossible

good

iJi*)
Others
.

very difficult

^^.

Others
impossible.

impossible.

good

very difficult.

good. difficult,heavy.

the shake
*
iL
^^'
^TZ7'''l^,\^
Ride of the Valkyries.

(*)

This

is

Others impossible.
possible (f)

rather flat

N B

All this section has been verified by

Mr
J.

Barrere, Solo

W. 14267.

flute-plaver of the

Concerts

Colonne.

THE FLUTE.

18

15 AUTHORS AND WORKS TO BE

Mozart,

Reinecke's

Pratten,

Romance,

Briccialdi,

Fantasia, Godard's and

Faure's

Poem,

Symphonic

Concerto, Andersen's Concertos and Fantasias, Peter Benoit's

Saint-Sans's

{Sonatas, Trios),
Sonata, Langer's

STUDIED: Bach (Soitatas), Handel

Schubert, even Kuhlau, and a whole modern repertory:

Pieces

Widor's Suites,

b^

Clarke, etc.

Transposing Flutes.
16r- Flutes are made

in

several

Bass Flute, tuned an octave

At the Paris Exhibition (1900) was to be seen a

ke^s.

below the standard instrument,

impossible for the lips to bring out the lower notes.

and

Bl>

figure

(below the normal pitch);

the first of the three (in 6)

still

El?,

Flute

in

F was

in

played

was almost

it

is

and

excellent,

G, A,

in

likely

to

the orchestras of the future.

in

Among Flutes tuned above the normal

in

but, unfortunately,

There are also Flutes tuned

use,

is

it

used:

still

pitch,

hard to see why,

for this

the onl^ one we now have

military bands.

in

In

left is

the time of

the Flute

Mozart

the

Entjiihrung aus dem Serail,

instrument he wrote ihe

nowadays on the Piccolo.

Remark:

The Flute

is

so

weak-toned in

its

medium

struments, that, when used in combination with them,

upwards.

Written lower,

it

register,

it

compared with other wind

as

only begins to

tell

from

or

in-

'

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

otherwise.

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

octave below

his

First

Flutes,

and consequently not sonorous,

instruments are always so admirably treated

in

his

Second

Flutes,

whereas the other

incomparable orchestra:

Presto confuqco.
Flutes.

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

'r
Strings.

(Oberon,
Rezia's Air.)

and again:
Alleg-ro.

Flutes.

Clarinets,

Bassoons,

Horns, Strings.

(Oberon)
1

ing

could

wonder.

give numberless

instances;

at every step

we are

________^__
.r.

vv.

14267.

filled

with the

same

question-

19

THE PICCOLO.
(Ital.,

1.

that

it

The Piccolo

Flauto piccolo.
written

is

the Flute,

like

has neither the lowest

is

Ti\

of the

B!]

Petite Flute)

Note,

however,

Flute.

(Sounding an octave higher.)

to

"TT

Fr.,

sounds an octave higher.

but

C nor the highest

Compass: from

Remark:

Kleine Flote.

Ger.,

impossible for most performers,

but in case of need the

C above may be

written,

being easier to produce:

t
2: The
opera

Piccolo

that

is

Piccolo

with

its

it

usually has staccato

cation, Course

4.

tV.

All the

remarks made

sea-sick.

its

part

or even to use
is,

it

so to speak,

as a first

mechanical,

Pdque Russe.
effectively. See the Damnation
de

R14) from

the

passages or rapid runs

to play:

Faust,

Valse des Sylphes,

Evo.

the preceding section, concerning the fingering and articulation

in

was said about shakes and tremolos

holds good

are absolutely impracticable on the Piccolo.

would be played

in

the case of the

Piccolo,
the

possible ff

very difficult.

in

also

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

other only just possible,

the lower

If

octave such

the first of these two shakes were written,

is

the practice of orchestral performers

as for the second shake, the

a composer has been too daring;

less

remember a short-lived

equally to the Piccolo.

with two exceptions, however.

it

ultra-sentimental part to pla^.

a lAbime.

of the Flute, apply

All that

tune.

having a tendency to flatness, evoked the idea of

feel

Berlioz always employed the Piccolo most

where

in

a mistake to write a melodic part for the Piccolo,

the example already quoted

in

not quite

an important and

as a soprano to the other two Flutes, unless

Flute,

as

is

It

to

possible jf

is

it

it

swooning tones,

some unfortunate wretch beginning

3:

impossible,

which the composer had given

in

This

defect of the

(Sounding an octave higher.)

Bi|

when

not existing, there

is

risk of its being written.

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

besides being truer of intonation.

skilful

performer on the metal Flute preserves

best characteristics of the Flutes of yore, at the

richness of tone formerly unknown.

discarded.

Authors
scores.

In

a few years,

In

some parts

same time imparting

of

the

all

to the instrument

Europe wooden Flutes have already been

suppose, a wooden Flute will be a great rarity.

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

No special works have been written

for the

Piccolo.

etc., in

their

20

THE OBOE.
Oboe.

(Ital.,

1.

In

The

Oboe used by the s^mphonists

man,

Russian,

mann, and

This

Dutch, and

Italian,

has

Wagner

(Sometimes
quires

Bach the scale

the time of

Bl

the

was written

Oboe.

Get.,

of the

last

of

Fr.,

century, the

the

one

still

Oboe

of

to

.^

be found

Beethoven,

in

most Ger-

Weber, Schu-

compass:

Oboe, and,

for the

^=^

Oboe extended from

other orchestras

following

Hautbois.)

S/e^gyrterf,

in

Wagner

quite

exceptionally

re-

G in altissimo).
instrument

Very

some shakes are

not perfect;

is

difficult,

impossible:

others

difficult:

Impossible:

2.

The

compass

of the

modern

comprising

34 notes

of

tense,

whole

the medium

the

of

tolerably

shades from

their

varying

lone

becoming

thin

Oboe

French

is

from

to

Tf

homogeneous timbre, the lower ones being admirably inregister capable

expressing

the

of

their

the

as easy

Remark:
point
ly

to

degrees

as to

The two notes

of quality,

all

Highest.

w
(save two:

attack

in

Medium.

Low.

All

feelings

timbre:

upper.

Registers of
the Oboe:

human

from tragedy to idyll_the two highest degrees a-

joy to sorrow,

and losing something

of

but

C||

and

sustain, either

D in alt) are

piano

referred to above

they are difficult

(Ctt

and D)

attack

to

J.

in

are not

suddenly,

Very difficult tremolos:

(to

well

tune,

flexible,

clear,

and

or forte.

be avoided)

W. 14267.

inferior

as, for

to

the

others

instance, in these two

in
real-

21

THE OBOE.

Articulation.

3.
is

The

from the

differs

melodic instrument,

Flute. V.

in

the

in

being

de Romeo"

maximum

its

Flufe

the reed

'Tristesse

reaches

rising,

ly

Oboe

not

being

capable

of

any great execution;

slower of speech than the mouthpiece

the

very

characteristic,

on the vibrating

intensity

it

the

of

pathetic wail, which, slow-

E in alt:

sonorous

Larghetto esfresstro.

4^

I'lr

fjrr

I>

K'

ip-y

Berlioz,

4.

The

Oboe exclusively employs single -articulation,

made use

being

of.

Double -tongving

tonguing, and consequently any

5.
in

It

is

advisable

whichever register

not
it

to

We now

give a

(J

.2)

108)

iteration

of

the

the

for the

same
in

Romeo

letter

note is beyond

quicker

(as

likewise
its

tempo

in

p.

36)

"tut")

triple
power.

than J =120,

120)

for the

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

use of his p upils a t the Conservatoire:

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

Jl\>'4 f iTm

et Juliette,

Oboe;

g^

playing:

few examples from

Professor Georges Gillet

(J. =

impossible

require the Oboe to articulate

may be
rJ

rapid

is

ir"^

-"t^T

22

(J

132)

(J

140)

(J

156)

eaaaaf- f

sr

r F

'

'.

(very difficult.)

The

last

bar, with

its

wide skips,

extremely

is

Slurred
6.

ones,

Ascending
the

lips

intervals

being

are,

more easily slurred

middle

to

Vivo

E,

a tenth above.

^ /irf^/^t:r^

The same slurs would be much more awkard descending, as

which

dangerous beyond

is

Or this one,

112)

impossible

4"

^'

in

the following

passage,

120:

(J = 120)

(J

than descending

more easily contracted than distended.

octave skips can thus be slurred, from

All

Notes.

speaking,

generally

to plaj.

difficult

i,

f\

i*.

beyond 112:

'y

"

^i

(very difficult.)

On the other hand, here

cluding
not

very

cadence,
great,

Despite

is

a perfectly

the quick

because this cadence

practicable

rate

of

passage, with a very expressive con-

movement,

the difficulty of execution

is

here

allows the lips time to prepare for the wide skip:

/
J.

W. 14267.

<

23

THE OBOE.

Length of Breath.
7.

Superior

intensity

in

such carrying -power that

we once
rivalled

over

fix

excels

comsumes
oboists

all

far

and

del's

ease with which

in

their

sustaining -power.

of

the

to

length of the

Oboe alone, among the woodwind

If

in

the

the

tone,

its

the strength

of

if

un-

Oboe more-

vibrations,

its

of

it

competition were started between

them-

acknowledge

before that of their rivals.

connection,

this

than

Largo

the

3C^ act of Tannhduser,

phrase

instruments,

long

while

hear nothing else,

would soon be compelled to

more convincing,

Second Concerto, and the Prelude

formance, on account

Despite

for example.

bands,

military

in

finally

can swell and diminish

it

possessed

instruments,

the main element

wind- supply being exhausted

examples

woodwind

a modern orchestra we can

these latter players

flautists,

There are few

in

wind than the Flute,

less

selves defeated,

it

congeners

it

to all the other

formerly constituted

it

our attention on

as regards the

timbre

and

of

Han-

so difficult of per-

and the impossibility of taking breath. The

is

equal

to

the task.

Shakes and Tremolos.

8.

Nowadays

all

major and minor shakes can be executed on the French Oboe, from:

to

Every modern French Oboe allows of finishing

off

shake on the lowest

semitone above) with a turn, but this was formerly impossible!

i_

^nowadays
H-

11

etc...

All tremolos possible up to the octave.

etc...

etc...

All tremolos possible up to the octave.

All tremolos possible up to the octave.

J.

W. 14267.

quite easy

Complete List of Shakes and Tremolos.

^^

or on

Bl^,

(a

4
i>

THE OBOE.
I*

Inj"~"

J^^

*i*^

-A-ll

up

tremolos possible

to the octave, except:

!,

diffcult.

All tremolos possible up to the octave.

etc..

OB

<c...

J ba

.-.I'd

All tremolos possible up to the octave.

A^ JT] JT]
"'
gr

"-^

/^

All tremolos possible except:

up to the octave,

etc...

11

>

jP L
^n,

j>i

ri

9f

'"nrw

N>J

gj^.

t|l>

"

(J) Nowadays
an excellent shake.

All tremolos possible up to the octave.

AH

^^^rfe...
J

'''T'/j

mmoderate

'

All tremolos possible up to the octave.

etc...

e<c...

ij

j^'

~"r ~:
. C
possible

'-7^

risky.

(x) Nowadays
an excellent shake.

All tremolos possible up to the octave.

etc...

.^r

tremolos possible
"<=?*=

,
octave.
up
to the octave,

^r

very

difficult.

etc...

..

difficult.

All tremolos possible up to the octave.

This tremolo can

etc...

All tremolos possible up to the octave,

^=

etc...

be executed by means
of cross -fingering,

^^

^^^ Nowadays
excellent shake.

All tremolos possible up to the octave.

an
u

zz^

a
'

\f
^

All tremolos possible

/e...

up

excellent on

.,

to the octave.

.hi

except:

:5i
^1
Ljj

^^
w

difficult.

-^^^^^-(*)

,f~^o

and

rather heavy,
,

Risky notes

up to

etc...

very

difficult, as well as all above.

very

difficult, as well as all

etc...

4*A*

LJreJ

etc...

up

tO;

etc...

up

above

(y) Nowadays
excellent shake.
very difficult, as well as all above.
,.,.,..

an

to:

very
J.

difficult, as well as all

W. 14267.

note.

:and

modern French Oboe.

f.

{^Risky

All tremolos possible

*^,
except
,,
up to the octave.
,

etc...

above.

(*)^*:>'
"*''*

THE OBOE.

25

Very

very

difficult,

Very

difficult, as well as all above.

difficult, as well as all above.

beyond, but

is

possible with special fingering.

Very difficult beyond, but

is

possible with special fingering.

difficult

(*)This shake is executed by

means of a special key.

Impossible beyond

Impossible beyond.

Impossible beyond.

Impossible beyond.

Impossible beyond.

9. Some

^ears ago, the Oboe was

sixt_y

working upon the suggestions of

all

these

true

of

Georges

improvements,

throughout

10 Authors and works

Ferling,

Dubois {Pieces
Vogt

entire

its

in

were

shai(es

perfected

the
still

constructed

by

{of Parish,

Triebert

Covent Garden

orchestra;

impossible, and others

in

accordance

with

the

compass, up to

F,

either

piano

or

not

despite
quite

views
all

of

shakes

forte.

to be consulted:

{Concertos, Trios, Sonata);

Theodore

ingeniously
soloist

as regards truth of intonation, and allows of executing

perfect

is

major and minor,

many

however,

Our modern instrument,

intonation.
Gillet,

Barret,

Bach {Cantatas)^ Mozart {Quartet); Handel

Beethoven {Trio, Quintet); Schumann, Dvorak {Pieces)-

en canon, Hautbois, Violoncelle); Pieces

by Paladiihe, Busser

etc.

Transposing Oboes.
11.

To

the Oboe

Anglais, and

the

family belong

three transposing

Barytone Oboe.

J.

W.

14267.

instruments:

the

Oboe d'amore, the Cor

26

THE OBOE

The Oboe d'amore.

127- This instrument
compass

from

is

.M

W
Remarlcable as

B\> is

wanting).

homogeneous quality, why

for its

|
is

effects nothing

Its

^i

()

^
not

it

habitually

To the Oboe d'amore Bach assigns his most pathetic

chestras?

forte

pitch than the standard instrument.

in

sounding:

(The low
is

it

a minor third lower

is

used

cantilenas}

our or-

in

mezzo-

for

can equal the charm of the upper register:

Lento.

(Actual
sounds)

PP

(Qui sedes.

Each time the instrument skips by a sixth

the

example quoted above,

the

Bass

Et

air:

connection too,

The

effect

to the accented beat, in the last

See

truly exquisite.

is

in spiritum sanctum,

Passion according to St. Matthew,

the Magnificat, etc. should be studied.

Oboe d'amore

played

is

in

the

in

same

of

Mass,
In

Christmas

the

minor.)

three bars

also, in the

accompanied by two Oboi d'amore.

the

the Cantatas,
13.

the

Mass

this

Oratorio,

same manner as the ordinary Oboe;

has the

it

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

(y)

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

impossible, very difficult

good.

alt.

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

fit-

The Cor Anglais.

14. The Cor Anglais
used

in

former times

is

simply the Alto of the Oboe

fifth

lower

compass as the Oboe d'amore (the

lative

Compass:

Lacking

i 1p

the old

pitch than the standard

Bl>

being

wanting as

^g

ment),

lais

in

Sounding:

in

Oboe da caccia,

instrument, with the

so much

same

re-

the case of this latter instru-

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

exhibits

three distinct

varieties

upper register weak and sickly.

^^ and

of

timbre.

The lower register

The best register lies between

ii

sounding:

J.W. 14867.

is

very powerful, the

27

THE COR ANGLAIS.

figures

All

the performer,

15:

thanks

special

key,

for

was impossible on the Cor Anglais; nowadays,

shake

this

are very troublesome

C|i

notes on the instrument.

one of the worst

this being

Formerly
to

around the highest

gravitating

shakes from

all

low

to high

Bi|

can be executed:

Dt|

(All possible, both major and minor)

Remark:

The two shakes x and

paragraph

13),

special key of which

sesses the

y,

mentioned as being impracticable on the Oboe d'amore (see

because this latter instrument actually posspoke.

are quite easy on the Cor Anglais,

Works

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

to be studied:

The Barytone Oboe.

An

octave

17.

below the standard instrument, with the following compass:

is

(Bl>

mechanism are those

The fingering and

form an admirable
to a

18r-

neighborhood

need

two varieties
mitted
with

almost

focus of intense,

mediate

of

hardly
of

into the

the Small

the

when

bass

all

the

wanting)

of

the

heart of the

at

refer

same

kind

of

But

Clarinet

El>,

in

in

Musette

either to the

orchestra.

any time required.

#W

instrument,

far,

in

differing

must mention the

military

bands;

Pastoral Oboe

or to the

only

Its

compass

in

the reed,

Soprano Oboe

this

the im-

is

a very

sounding
inS=

to

the Soprano has only been used

J.

once

in

in

El>,

(in

for neither

used,

At),
is

together

sonorous instrument
if

a complete

ad-

family

with
of

from

is

The fingering and mechanism are the same as

So

orchestra,

in-

the Horns.

an extremely piercing upper register, and would prove very useful

Oboes were

will

same family are concentrated

of the

at

quality,

The Barytone Oboe

Oboe.

ordinary

the

instruments

bellicose

-4^

sounding:

=S

for the other

instruments

the orchestra: by Vidal

W. 14267.

in

of the

Oboe family.

La Burgonde.

28

THE BARYTONE OBOE.

Remark:

The timbre

19.

ing

for holding- notes,

it

and

best register only,

of the Oboe

to

If,

for

instance,

these two

of

scoring

in a word,

common chord has

the following

wa^s

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

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

lower register being scrupulously avoided

of

so characteristic

is

or for background effects,

for chords,

is

it

the Oboe must never be

be written

to

lost sight of.

four parts,

in

the first

preferable:

TV
Oboes.

3E

Clarinets

In

nets,

and

conclusion of the

Allegro

of

Horns, Trumpets, and

Bassoons

in

the

Oboes, on

which he

alone

the

8th Symphony, Beethoven

the background,

bringing

leaves the

the front

to

the

Clari-

Flutes

relies:

""

""
-I-

Flutes.

Oboes.

Clarinets.
^

Trumpets

Horns

pp

pp-

^ ^EE^^
pp

Bassoons.

'H

PP

Strings.

PP

If

the

elegance
weight,

parts

Clarinet

were given

would forthwith vanish,

like

bird

with

to

the

Oboes and the Oboe parts

and the harmonic

shattered

mass appear

wings.

J.

W.

14267.

to

to

sink

the

Clarinets,

beneath

its

all

own

29

THE CLARINET.
(ital., Clarinetto.

The

compass

1.

the Clarinet

of

Ger., Klarinette.

42

is

Fr, Clarinette)

notes, from

alwajfs

is

It

difficult

heights

the scale,

the extreme limit of an^

to fix

because such

proves to

it

be

the case

in

as some virtuosi can

here given as the upper limit of

is

clarinet-

of

great majority

the

of

con-

is

instrument,

A in altissimo

inaccessible to others.

and

:,

to

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

reach

s-

players.

In

case,

anj^

most performers, and

C in altissimo

beyond the most persevering efforts

is

piano passages 6

in

should be considered

of

extreme

the

limit.

Every

degree of the Clarinet's extensive scale

strument

considerably

varies

the

in

different

is

excellent,

registers,

but

which

of

three:

timbre

the

it

may

the

in-

there

are

of

be said

"

.-

i 1=*=

high.

medium.

Chalumeau
The dramatic intensity

was

had no suspicion,

The medium

schiitz.
ister

2.

case

of

fects

of

say

that

all

Flute

and

the

the

some few notes,

these

They are
should

not

inferior

degrees

the

Oboe,

from

3r- Next

to

shows

peggios of
seventh.

be taken

to

in

point

great

to

Overture

have

to

Frei-

to

timbre, and the high reg-

excellent,

mean,

as

the

in

composer need not stop to consider the de-

the

may,

he

in

upon the talent of the performer

number:

intensity

of

to

to

con-

*
the

to

figures

Flute,

same remark

The

is

scale,

and

apart from this,

they

degrees

any description,

of

when a shake on A

Clarinet

the

advantage

in

or

the

but

applies

written,

the

of

it

the

to

difficult

has to be performed

instrument

capable

of

most execution.

passages (especially chromatic ones), and

the chords of

difficulty

excellent,

wind

the

is

scale
of

when the Clarinet

are

neighboring

kind of fingering.

increase

keys

common chord,

However,

their relative

Bl|

special

the

the

not

the scale are

composer no further concern.

of a

ficulties

characteristic

less

of

that

as

relying,

be used as pivots for

means

It

predecessors seem

notice by the

into

imperfections.

little

give the

passage
by

much

register has a

These defective notes are three

need

which Weber's

of

time brought

the first

very piercing.

is

When

ceal

chalumeau,

of the

for

is

the

required
by

writing

dominant

to play
in

seventh

bravura

extreme keys

and

passages, care

C,

F,

because they are easy; with D major and

begin.

'

J. y/.

'

14267.

ar-

in

diminished

must

G, Bt
El>

major

and
dif-

30

THE CLARINET.

On perusing Die Walkiire,

sharps or flats,
ulation

ner

not

simple,

ly

the

change

of

knew

slow

performer

When

part

execute,

to

begins playing

Mozart,

again

the first

for

{Trio del Mascheri),

he

the Finale

of

effect

in

concert- pieces.

timbre,

as the

B't>

The

are also

able to

stops at

D.

i
^

Clarinet
in

accidentals

to

to

replace an

instrument

one,

old

ces;

in

and

the

performer

am now

Allegro, and that

is

of

6. Among
forte

with a
of

the

the
in

wood -wind

of

the

Bl>

lower register

sim-

and A

em-

only possess
C|t

are

alone

them

for

an extremely

their

and

rich

(an inestimable advantage),where-

sounding:

be

the

gradually
less

found
It

relatively

duty

seems

to

^z

the

in

But

as properly
rest

his

bush

a thorny

have

to

the performer's hands by

tune.

in

in

annoying

is

lips

at

end of

the

and efficiently as the

and

give him

new

life.

and

duration,

such substitutions are very sel-

Bl>

Clarinet

following

Clarinet

is

of

Alleg-ro
B\>

W. 11^67.

long

musical

performan-

frequently prescribed

Adagio, but no change

bravura pieces.

is

in

ever

an

made

to

alone

is

able to contrast

marked manner that the former would

latter:

.1.

it

orchestra

same remark applies

instruments,

that

warming up

accurately

short

the

true

doing

theatrical

in

quite

is

It

satisfied.

of

in

sounding:

Clarinet
in

its

the key of F for a

composers who prefer involving them

the A Clarinet

such a

not

descend as low as

true that the use of the

the course of a movement;

used

in

virtuosi have adopted

tone;

semitone,

has been

speaking

symphonies, which are

It

in

therefore
will

is

At

fingering.

^'

of

and

new instrument

dom necessary.

in

nowadays Clarinets

instrument.

which

the

Of course,

Beethoven

V^

the

colder,

of

G.

in

C.

of

Wag-

necessar^j and the

Clarinet

of

arpeggios to the Clarinet

changing

instrument,

bars

complain

Clarinet -players

of

another

brilliant

but

in Bl>

or

or difficulty

risk

of

Besides,

player an extreme-

giving the

Eroica.

lower by a

latter,

F,

assigned

Clarinet
Clarinet

5.

C, or in

chose the key

the

The former are more

ployed.

few

in

precise moment.

change

the

four

or

with three

due to a sudden mod-

solely

is

was

he

no kind

involving

time,

but this

cases,

particular

Clarinets have disappeared, and

A:

noble

these

that, in

of signatures

Clarinet just at that

of

resting-place the composer indicates

first

ilar

instances

then onl^ for a few bars,

allowing

well

verjf

and

onl^ two

find

really

seem

piano

to be the echo

31

THE CLARINET.
The pianissimo

imum

sound

of

forte.
a

but

hardly

is

It

whiff of

Another

which

allows

parts,

chord

treating

to

all

the

AV%

and two

and

Trumpets

as

metallic

would

pianissimo; the instrument has almost

is

the

of

Clarinet

almost

with

of

Egmont,

Clarinet,

lost

very

group

tone- color

Clarinets,

Flutes

mezzo-

be

in

its

timbre:

'tis

treated as

wrote

Bassoon,

Flute

single

has ventured

if

for

this

\H

a2>

>

Actual sounds.

a 2.

Horns

i
i

a 2.

i i

Ballet des Sylphes.

heavy.

real

Bassoon would

The Clarinet thus marking the accented

Harp, sounds truly

exquisite;

quality

part

two

were three
dissonant

the

Horn,

and

Clarinet
Flutes.

note of the

only instance of want

the

Ci

it

would seem to leave

^
^^
^

U)

must have noticed the "poetic Bassoon"

the

rich

full,

the

one G\f against one EV, four

Egmont

too

take

notice,

weak:

Bassoons.

musicians

its

they

if

assign

to

were a second

it

writing,

While the Oboe can

attracting

without

same manner, as

the

in

Beethoven

the medium register,

with that of any other instrument.

blending

of

in

orchestra.

the

in

can,

Horn, or even of a

whole of his orchestral

really

neutral

its

Clarinet

Mozart frequently

instruments

three

the

power

is

every

a Second

Clarinets.

All

with

min-

the

represents

registers)

Compared

instruments.

intense

an unrivalled

single
in

as

medium

the low and

(in

wind

instrument,

Flute, or

Overture to

balance

of

other

Concertos,

Piano

the

In

no

possessing

his

In

blending

its

for

a Second

of

tone

of

even a

characteristic
of

mistaken

place

from

air.

7.

be

Clarinets

the

lower register seem

their

in

of

obtainable

effect

have been

(Breitkopf

its

Hartel's edition)

produced by the Clarinet

ridiculously dry,

beats, beneath
in

&

wake,

and

the harmonics

as

it

were, a

Horn

the

of
little

in

spray

of sound.

And what
Note

tremolo

shall

we say

the admirable
of

of

the

orchestral

effect produced

peroration to the duet

associating

by

the tremolo

in

the Violins:
Clarinet
(actual sounds).

4
Violins
(divisi).

^^
/'i'l

Violas.

3E
3SE

Pizz.

TT

ae
3SE

Celli.

^^

~PP
Double-bass.

m
PV
J.

Fizz.

W. 14267.

Beatrice et Benedict}

of the

aE

Clarinets with

the

32

THE CLARINET.

8.
ly

to

All

the

As

case of

the

in

been said about

that has

passages

should

But, as

be

//

(Widor,
Introduction

(J

Bk

in

120,

of

Oboe (3,

the

4,

5) applies equal-

in

notes

articulated

for

and

staccato

one of the registers.

any

MM

numerous

Oboe,

the

of

//

Etudes and

in

Clarinet

<

articulation

maximum speed

the

exceed

hardly

the case

in

found

Oboe,

the

''"^
may

the

Clarinet.

examples

Concert- pieces,

of

passages exceeding this

,JJJjJJJIJJi>J

'

speed

e.g.

IJJJI.JJIijJJJII

132)

Rondo^

PIANO.

(By kind permission

Many composers treat

rapidly

as these

Clarinets

as

Instruments

latter

Symphony:

if

in

they

were

very quick

Flutes,

of Heug^el et CIS, Editeurs-Proprietaires.)

them to articulate

obliging

tempo, witness the opening

of the

as

Saltan

Alio vinace.

Flutes.

1!

3E

3E

aE

3E

aE

3E

aE

3SE

fP

Clarinets
in

A.

^17*

Bassoons.

fP

n^

i!

Horns
in A.

fp

fp
Clarinet- players

keep
in

pace

with

the foreground

admit that,

the

Flutes,

they

would

in

their

this

passage,

execution

attract

is

although
not

unfavorable

J.

W.

really

notice.

14267.

they use their utmost endeavors to

satisfactory,

and that

if

they stood

33

THE CLARINET.

9;

may be considered on a

instruments

phrase

sustaining -power, the

matter of

the

In

played

Horn,

the

by

rival

the

instance,

for

the

Oboe;

in

return to

fact the

two

after

the

^\>,

Adagio of the Septet:

the

in

Take,

par.

can

Clarinet

AdagiiK_^^

.^

^^_

Bk

Clarinet in

(Beethoven.)

good

two

clarinet - player

bars

Here

breath after the

crescendo (marked

+),

but

only

A.

example:

another

is

does not take

the

after

later,

Moderato.,

Bk

Clarinet in

dimin.ed agitato poco a poco

Turban

Professor

be sustained

could

(of

Conservatoire)

Paris

the

piano,

the

in

medium

and

register,

myself

for

40

calculated

or

that a holding- note

45 seconds.

Shakes and Tremolos.

10. Since
the

Boehm's

Clarinet,

system,

major

all

perfected

by

Buffet,

and minor shakes have

has been applied to the mechanism

become

of

possible, from:

to

few

these

of

shakes

are

not

very

brilliant,

others

rather difficult, and

consequently

heavy:

l>3not

very

brilliant.

|3_P7- rather harsh.

||3__^ difficult.

The fingering of the Clarinet repeats itself in the

twelfth, so that the special key which now allows of executing
the shake B Ctt in the low register also renders the shake Fjt
Gjt practicable in the upper register.

40

N. B.

possible with a special key.

ig(D)t somewhat

flat.)

noTvery good. (Gtt somewhat

flat.)

It^

=
'

-heavy..
J.

W. 14267.

This shake occurs in Meistersinger.

34

THE CLARINET.

11: As a matter of
pecialij^

these shakes ma^ be written, even the doubtful

fact, all

when other simultaneous

shakes more

or

ones (es-

conceal their defects), up to;

less

* This Gi
dl

dangerons.

12T-We now

give

a complete

is somewhat flat, but might

be used to reinforce the Flutes, say.
'

list

*'

shakes and tremolos:

of

Complete List of Shakes and Tremolos.

All tremolos become heavy beyond the fifth.
N. B.

etc...

J3

All tremolos possible up to the octave.

i^J

rather dull.

etc...

All tremolos possible up to the octave.

rather harsh.

All tremolos possible up to the octave.

etc...

All tremolos possible up to the octave.

etc...

All tremolos possible up to the octave.

etc...

a: B. a, Bi>,and
Bl|
are always

All tremolos possible

etc...

the

up to

except:

octave,

difficult to attack.

etc...

All tremolos possible

except:
,.
'^
up to the octave,
,

All tremolos possible

etc...

"

.,

^
up to the octave,
,

except:
^

rather heavy.

^^
heavy.

etc...

IS

All tremolos possible

'^,

up

,,

to the octave,

except:
"^

etc...

i-^

in

.j^J/

heavy.

All tremolos possible

^
except:
^.
up ^to the octave,
.heavy.
J.

W. 14267.

4^y
i

r-

35

THE CLARINET.

\ni

\'-

'i

All tremolos possible

'^

etc...

up

r^

except:

^,

to the octave,

,.

a ^'

All tremolos possible

i

ff

etc...

"

up

except:

to the octave,

All tremolos possible

etc...

,r^

,fT3

^>

up

,,

except:

=B

to the octave,

All tremolos possible

fit'...

up

except:

to the octave,

possible.

t^
^
O^ ^^

g>

''^<^-

All tremolos possible

e.xeept:
.. . .u .
up to the octave.
heavj'.

iiO^

All tremolos possible

'O^

'''

except:

up to the octave.
heavy.

possible.

Above

N. B.
^

1^
-

oossible.
possible.

>

P^^

VlJ

*}<

iJj'

|l> p

become difficult.

tremolos

..1*^.
difficult.

etc...

which

All tremolos possible

is difficult

well as

except

all

as

above.

up to the octave,

possible

i
Q

up

'^Tq
^r

^ L'
"

All tremolos possible

g-^^

'"^^n

L^F^^
r^

f^

Liitfj

All tremolos possible

etc...

up

Difficult beyond.

except:

to the octave,

,,

*^,

Difficult beyond.

except:

to the octave.

rf
eavy-

difficult.

etc...

Iy-Tpp

m
ti

fO

t'"'^

i
i

fdf

af

etc...

etc...

All tremolos possible up to C in alt.

All tremolos possible up

to

in alt.

All tremolos possible up to C in

J.

W.

14267.

alt.

.,,

rf

rf

'Hf

.g-ood.

which

it

is

difficult to

attack piano.

36

THE CLARINET.

p'gn

All tremolos possible up to C tn

etc...

zi^SSn^

All tremolos possible up to C tn alt.

etc...

etc...

All tremolos possible up to

etc...

All tremolos possible up to C in

tn alt.

etc...

All tremolos possible up to C in

etc...

difficult

above.

difficult

above.

etc...

r%

alt.

alt.

alt.

^a
Higher tremolos should be avoided.
ffood,

but

Dli

IS

r^ ri\
a J
trifle flat.

+^

('Z-t

^
ll

^D|t

^p

,..

somewhat
fla
t;
""^'

Of

II

^L^'

almost impossible,

a^n^r;

,.

difficult.

possible,

/^

*
II

*fiJj'^ Higher

tremolos should be avoided.

difficult.

Higher tremolos should be avoided.

difficult.

Xag
I

l^asT

\^aP

II

heavy

Higher tremolos should be avoided.

difficult.

IkJ (I

^J =

II

ier tremolos should be avoided.

Hir.

difficult.

^^p

^"Sji^

Higher tremolos should be avoided.

8
It

is

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

J.

W. 14267.

87

THE CLARINET.

Transposing.
13.

We

writing

that

All

have already seen (4) that the C Clarinet

exclusively

same

the

timbre,

the

in

and

Bl>

in

qualities,

and the same

Clarinet

Bl>

from

tuned

is

in

in

not

to

the lowest register.

Clarinet.

a fourth below the standard instrument

F,

member

This

unable to sound

is

the

The only difference

imperfections.

little

they have

which the

Alto Clarinet

is

for

applies equally to both,

C)t

sidered the normal key).

compass

composers

modern

use,

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

The Alto

The

in

the

mention the valuable

14.

no longer

is

A.

in

has been said about either instrument

same mechanism,
lies

Clarinets

for

of the Clarinet

family

not

is

much

(if

be con-

Bl

use nowadays,

in

its

:g

_^j

^^^

sounding:

to

No higher notes can be obtained.

Mendelssohn has written two Duets

The Small
15.

This, also,

El>;

in

Clarinet.

an instrument rarely used, save

has employed

it

bands, for which

military

in

the Nuit de Sabbat of

Walkure. In this latter

in

the Finale of the

in

the performer frequently

but

Clarinet.

Bl>

tuned

is

it

sounds a minor third higher than written.

it

Berlioz

Wagner

is

and

Alto Clarinet

for

Symphonie Fantastique,

his

the Small

work,

transposes his part,

playing

(By kind permission

&

Clarinet

on the ordinary

is

and

tuned

instrument

in

D,

in

Ei.

Clarinet
in O.

.,

.//

of Schott

The Bass

The

Bass Clarinet

16.

compass

its

is

written

is

the

like

Bl

or

register,

Bl>

sounding:

to

li.A

No higher notes can be obtained.

but

Clarinet,

sounds an octave

lower;

Bass

the

of

^ 1^

^w
v*

contains the

which

The mechanism

valuable.

from

4 ^
lower

p. 442.)

Clarinet.

/in

The

{WalkUre,

C?, Publishers-Proprietors.)

richest

Clarinet

and fullest
is

identical

notes,

is,

of

most

the

course,

with that of the standard

in-

strument.

The

Bass Clarinet

bring

to

Bass
the

it

Clarinet

Bassoons,

the 20^ act of

Note

the

Liszt's

instrument;

Meyerbeer was the

and the Prophete).

bass to the other wind

constant

Lohengrin,

melodic

Huguenots

and now and then also

the effect

form

admirable

an

as an almost

son et Dalila,
that

is

into notice (in the

for

melodic purposes.

Dante- Symphony

first

composer

Afterwards, Wagner used the

instruments,

(See the

(Purgatory),

as an auxiliary to
act

of

Tannhduser,

the 2!!^ act of

Sam-

etc.)

produced

by

accompaniment

the
to

holding-notes

Elizabeth's
J.

for

prayer,

W. 14267.

Clarinets,

Bass Clarinet,

and

Bassoons,

38

THE BASS CLARINET.

The

Bass Clarinet can pass from & forte

17.

instrument

itself.

If

pianissimo as

to a

were necessary to have a phrase repeated

it

easily

as

the standard

slowly-dying echoes, the effect

in

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

Bassoon.

(Actual sounds).

Here

is

V*

(*

i ^^5

:^

PP
Legend of

from the

an example,

succession:

in

Bass Clarinet.

Horn.

the Loreley.

P
^

Moderato

Bk

Bass Clarinet in

Horn in

competition

this

In

ssimo

F.

prize,

Meyerbeer

18:

(A. Bertelin.)

comparative tone-qualities, the Clarinet would

of

unanimous

by

the standard

instrument

But from

Lohengrin

(treating

as a 16

it

onwards,

same

the
ft.

for

Violoncellos

call

for

an urgent

ious systems, they are never sure

not

for

such too

the

is

Bass

the

the Bass

Clarinet

as

Clarinet

for

French practice.
in

the F Clef:

reform

this

in

it

would

be well

to clear up.

The Horns

bewildered as they are by the var-

respect;

which octave the composer means them to play.

in

Would

it

worth while holding a congress to decide the matter?

be

my

To

piani-

the

sounding:

This gives rise to a serious misunderstanding, which

and

notation

stop);

Wagner writes

Bass Clarinet
in

certainly take

consent.

Wagner have employed

and

PP

mind, notation
playing

Clarifiet

nunciation

of the

Authors

in

in

the F clef

is

nearer the truth.

unison with a Bassoon

words 'honorary and

in

the F clef

'honorarium.

To write

seems

to

in

me

the

Let us vote for the

Bass-

clef for

as illogical as

pro-

the

clef.

studied: Mozart (Concerto); Weber (2 Concertos, 1

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

Pieces

and works to be

hauser

in

dromache

Clarinet, see,

in

Tannhduser,

the

the first act, the entrance of Tannhauser and Wolfram

prayer

beth's

Bl>

Messager,

competitions by

written for the Conservatoire

For instances of use of

at

in

the third;

Hector's tomb,

Remark:

20.

One

for instance
in

the

of

Marty,

Rabaud,

etc.

scene between Venus and Tannin

the second act, and

Eliza-

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

Prise de Troie.

of the most frequent mistakes

made by students who

are beginning

to

or-

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

What is wanted is a neutral background, i. e. an unostentatious,

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

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

W.

1'4;J67.

39

THE BASSOON.
Fagotto.

(Ital.,

The

Get., Fagott.

Bassoon has a compass of 37

1.

notes, from

Basson.)

Ft.,

==

V-

to

t>TT

writing

In

for the

orchestra,

dangerous to exceed this upper

is

it

may be required

piece the performer

to play up to D, a third higher

braimra

but in a

limit,

||

Wagner once even ventured

case,

firstly

with,

and

and

write

to

because his theme was

was

Bassoon part,

doubling the

doing

in

the

of

special

that

in

playing

Violas,

unison

in

mistake made at such a height.

any

neutralize

to

likely

and

Violoncellos

so

could not be dispensed

such a nature that the high

of

because the intensity

secondly

was Justified

he

but

E,

Allegro.

^""^

ff

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

former times, the Bassoon was seldom required

In

Later
the

it

scale

Mozart, who wrote

and

2:

good;

medium

in

register

quality,

in

paration:

Bassoon,

for

was only very

it

the

Dan Giovanni

kept

usually

rarely

that

and

(Double D)

in

within

it

wrote

he

the

old

its

be-

limits,

lower notes, as, for in-

Andante

of

Concerto

the

(Double C).

so

not

.chromatic.

so admirably

forte passages

In

7^

-etc^

'^^==^

I"

diatonic.

Overture to

the

in

C minor

in

1^

-^<
I

stance,

descend lower than Gamut G

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

S
tween

to

Al>

In

piano

all

37 notes

the

passages,

the

of

lowest

Bassoon may be looked

the
Blj

and

being difficult

somewhat sharp, the four following degrees

unsatisfactory,

register

the highest

S
somewhat
difficult to

'

(El^,

F,

upon

as

attack,

equally
El>

in

and G) poor and

F|i,

and the highest

to

some

requiring

the
thin

pre-

l>ii.

^
-poor and thin.

bad.

requires
preparation.

sharp.

attack piano.
3:

wind

In

fact, the

group,

is

Bassoon, although

an instrument

of

usually constitutes

it

very uneven quality,

its

the sole

bass of the

admirable low

fifth

entire

Wood-

=^

be-

\>-r

ing

followed

an exquisite
finally, after

by a fairly good

seventh,

a bad

with a

Al),a dull

medium register

timbre

fourth

closely

:,

then, after

resembling that of the Horn

produced by a tube constantly diminishing

four

weak
ijfi

in

fairly satisfactory.

poor and thin.

admirable.

^
exquisite.

bud.
J.

til ill.

preparation.
i'i'<;07.

diameter.

1^

t>o

notes, confes
,

and

40

THE BASSOON.

The
bass

lowest

duction

such

of

could

fifth

However,

sounds

intense

such a manner as not

in

4:

Since

as well

be

few years

write

to

Bassoons

all

than

lower

of

the

need to be taken

exhaust

tone-power;

on the

strain

Bl>

involved

and

account,

into

be

will

this

Bl>,

lower

still

the

sound

able to

being

the

length

but

A,

this

note

last

in

part

the

the pro-

written

performer.

the

increasing the

by

form

might even

lungs

Bassoon has often been required to play down to A;

descend

to

would

point

in

case,

that

in

completely

to

Wagner, the

made

with the Brass

vie

Trombones.

the

of

majority

could just

it

Doubtless

tube.

the

the present

for

the great

on

of

well

is

it

in

not

instruments.

of

Articulations.

5:

the Oboe and the Clarinet, the Bassoon employs only

Like

the lowest

highest

to the

Bl>

peated or detached, either forte

For

instance,
(J

low

the

piano, almost as

or

high registers:

i>-

when

effects

lightness

quired to play
in

Wagner,

of

the

Strings,

the

The

7.

they

of

wind

instruments, even when they

surprise and admiration;

a matter for both

Liszt,

When

are doubled

by

the

it

requires

examined separately

(with the

Violoncellos

exception of

image

of

assurance and

the

they

performer's

seem

skill

doubtful

conceal,

to

notes,

not

when

but

quite

these

in

notes

excellent.

^^

Flutes,

some of
when play-

of

self-confidence.

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

the

become nervous and frightened, but

they

isolated

all

Wood-

tempo.

timidity, heaviness, and even absolute inaccuraoy

are the very

re-

Brahms, Tschaikowsky, Glazounow, Borodine:

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

whose defects

are

instances

been a composer who has not thus contrasted the

were

most astonishing

them would be discovered.

ing all together

is

Berlioz,

very quick

in

each member of the group

course),

tune,

be

instrument must not be brought too conspicuously

a mass

of

tempo,

very rapid

the scores

with

If

of

in

articulation

of

Beethoven there has hardly

since

wind

foreground.

6. The
abound

- -

kind are employed, all prolonging of the difficulties must

this

of

avoided, as the tongue soon falters, and the

the

as on the Cello.

138)

Of course,

into

Vnm

notes can be re-

register:

(J

easily

all

126)

medium and

the

In

in

single -articulation.

throughout a compass of three octaves,

Bl?,

to

a solo

Bas-

of the

weak

notes

Andantino.

Flutes.

this

bass, being

(3), sounded

the

^M

Bassoon.

Now,

timbre

feeble
of

the

and

^
in

the register of the

out

instrument

of

tune,

was

in

^
^j

::^,J

^"^r
^
^^^

fairly good

medium

through any fault

not
itself

J.

^ J

unsatisfactory.

W. 14267.

of

and

the performer's, but because

41

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

passage

the

Celli,

sounded

quite

of

different:

Bassoon.

Cello.

Pizzicato.

The instruments

blended

all

in

a pleasing ensemble, perfectly

as to truth

satisfactory

of

intonation.

7.

In

matter

the

more easily than

it

intervals

are

notes,

Bassoon

the

like

the

Oboe and

can

Clarinet,

rise

can descend:

However, descending
the

slurred

of

slurs

are practicable

in

slow tempo,

and even

in

quick

tempo

when

smalt:
Vivo.

Staccato notes,
on the

Bassoon

Allegro. I

skips

with

Vivo.

8.

Descending

as well as
lowest

all

of an

incredible

octave,

a tenth,

ease and

^-^

a twelfth,

can be played

a fifteenth, etc.

rapidity:

tJk

',

.1

^i

*'

tk

slurs to be avoided:

slurred

intervals

starting

downwards from

register:

14267.

Gl>,

El>,

D,

Cjt,

and

Ct|

in

the

42

THE BASSOON.
Bad:

9.

In

slow tempo, descending

slurs

can

are

used

in

above),

tioned

provided

Lento.

i~\

Ltr

'

k;

L^r k/'

an^

one

of

chromatically,

but

this

Taking

able

Is

which

it

none

of

deep
its

is

available

Strings

alike;'

It

It

can

somewhat

astonishing

not

sound

to

is

notes

ever^

it

reinforce

suspected:
^

may be
an
.,,

such

put

accent

Alleg-ro

^'^
instrument

of

to

all

the

solo:

'7\

L^^

kinds

f^'

;'

kf L^ L^ IJ L^

Bassoon can thus descend

speed

of

is,

descending
also

with

lower

even

capable

it

renders

ever^

the

scale

course, entirely precluded.

be

What services

blends

it

should

intensity,

combination;

in

~>

^'T^^

men-

excepting the intervals

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

perform?

can

(always

e;Lj; f;-

dangerous, and

an

that

of

neighbors

for

L4r'

*~^,

as a fulcrum, the

notes

its

placed

ensemble, and not

^~^ ~^ ~\

f^M.

be

an

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

10.

the^

group

than -the Horn, and

of
in

acrobatic
the

feats

orchestra!

Woodwind, Brass, and

work.

of

Strings, without

its

presence

being

even

so

much

as

,,

molto.

Double-basses
(j. Hamelle,

Editeur-Proprietalre.)

(Widor,
It

may

complete

the

Horn group,

so

blending

perfectly

from the Brass:

J. VN

14AJ67.

that

It

2^ Symphony,

cannot

be

PP
p.

130.)

distinguished

^ ^
^ ^

43

THE BASSOON,

^And^^ tranquillo.

Clarinet in

A.

Horns in

n*in

Bassoons.

E.

d^

r^

i.

^^

f
^

Basses.

PP
Without
the

the

weakness,

least

it

(Mendelssohn, Sommernachtstraum.)

can heap upon

its

Atlas shoulders the whole weight

^
it

harmony:
d

of

--^

AX

i.
|

Flutes.

Oboes.

Bk

Clarinets in

Horns in

F.

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

Figures played by the Violoncellos

much

gain very

in

energy and

and Double-basses, or even by the whole group

whe n doubled by th e Bassoon

intens ity

of Strings,

Flutes.

Oboes.

Horns

Trump,

in

Bk

in Bl>.

Bassoons.

Drums.

f^.mi
Violins.

^!ism

Violas.

Basses.

(Beethoven,
J.

W. 14X67.

4thi

Symph.)

44

THE BASSOON.

The staccato

of

the

Bassoon

Strings

when necessary,

can,

be as

as the pizzicato of the

light

(J = 69).

Flutes and
Oboes.

Bassoons.

Violins.

Basses.
Fizz

(Meyerbeer, Struensee.)
not

Is

this

staccato

the

of

Bassoon,

in

the

Serenade

of

Mephistophetes, fully as

supple

as a pizzicato?
Oboe.

ji

Bassoon.

V-

^''

^|'

^''

hi;

it

Violas.

't

>

!
(

J ij
Pizz.

Mephist.

'

^^^

fi't

p
Ain . si

ser!.

^^^^^^

Basses.

^MF

2
^

Violins.

>

pel

J'

By

combining

the

the

Bassoon

the

and

two

richest

octaves

timbre

j)

(Gounod, Faust.)

Bassoon with the Flute,

sweetest

le.

Pizz.

tained

Cj-

f tf rr

ton ga . last t'ap

=T=?=

--^

in

at

the

a distance
orchestra.

of

two

Mozart

octaves,

Sometimes

he

even

obwrites

below the Violin:

Flute.

Bassoon
(//

Flauto Mag'icOj Overture.)

Violins.

Bassoon.

{Nozze di Figaro)

Any
serve

score, opened
all

at

random,

kinds of purposes

with

will

afford

unrivalled
J.

instances of
facility

and

W. 14267.

the

Bassoon's

efficiency.

singular

ability

to

45

THE BASSOON.

Length of Breath.
11.

General

The lower the pitch of the instrument,

rule:

required to play

The sustaining -power

according
the

Conservatoire

(J

Bassoon, playing

of

made with

experiment

to

respectively

80)

^^
Z

(J

Even
playing

in

the

still

forte,

proportion

to

it

is

is

lower and upper

the

registers,is limited

Mf Eugene Bourdeau,

of

Professor

at

as follows:

5
-o-

maximum

higher register, this

considerably

in

assistance

the

80)

more breath

the

it.

diminished,

bars.

9 bars.

is

the

seldom exceeded,

duration

of

the

and, of

sound

being

course, when
inverse

in

intensity.

its

Shakes and Tremolos.

From

12:

From

Double

B!>

to

Bt

in

Double

to

Double F no shakes

the Treble

staff

possible,

nearly all

are

save the two following:

oossible, except:

not good.

.very bad.

impossible.

are

Complete List of Shakes.

.not good, but possible.

Possible.

Impossible.

^
good, but heavy.

somewhat sharp

Possible.

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

Good.

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

Good.

^^'

^'^Q-

I'iE

/iJryr

piJ'^Q'll

^^

Bad.
(possible, but
not good.)

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

W. 14267.

46

THE BASSOON.

Good.

Bad.

Good.

Bad.
(possible, but
not in tune)

(bad, as well as in

the octave below)

Good.

Higher shakes are hardly available

for

orchestral

purposes.

Bad.

^Remark:
all the

shake

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

brilliantly.

Bassoon

Orchestra.

*.|~:-~:~~

^m
m^
Moderato.

.^

i^

^
^

Jjy Jut

'/^"^u

fefe
(Carmen,

(Choudens, Editenr-Proprletire.)

Tremolos

13.

Horn;

would

It

the great

of

from

V-

*-^'

often

is

f^J f

\ f'

O' f^

II

Tenor

if

on deep -toned

an instance

quote

thirds, or

impracticable,

ff

practicable
to

Below

masters.

C upwards

this

itself

are hardly
be difficult

C the

even greater
not

rising,

f^= Impossible beyond.

\\

tJ'

Impossible beyond.

%^^

produced

would

least

in

an^

hardly

be

'J-

{jQ^ /j|^

V-

\'lQ

||

^rjj^

but

the

third

Ij^^jp ^ Impossible beyond.

\'^'

Impossible beyond.

/JP ^[

r^f

Impossible beyond.

Impossible beyond.

'>

g |j||g/
|

works

satisfactory;

II

Impossible beyond.

Il

of the

and

falling.

Impossible beyond.

ttpjf

Bassoon

the

sometimes used,

intervals, are

Impossible beyond.

V-

at

like

employment

their

of

effect

instruments

p. 177.)

* N.B.

^fj^

Impossible beyond.

Beyond this
become

point, tremolos

almost impossible.
J.

w. 14267.

Impossible beyond.

i^^-p'

Impossible beyond.

'P,riTl

1^

47

THE BASSOON.

ossible beyond.

Impossible beyond.

Impossible bej'ond.

Impossible beyond.

Impossible beyond

^^

Impossible beyond.

No higher tremolos possible.

Impossible beyond.

Works and authors to be studied: Mozart (Concerto, Serenades, Quintet)^ Weber

{Concerto, Andante and Hungarian Rondo); Beethoven {Quintet, Octet, Trio for Flute,
Bassoon

and

Gambaro,

Septet, eic);

Piano,

Thuille {Sextet);

Schubert

Suites

Raff {Sinfoniette);

Neukirchener,

Ch.

b^

^ehecVe

Buh\n%it\n {Quintet);

{Octet);

Lefevre,

Etudes

Pierne, etc.

{Octet);

by d'Ozi,

Milde, etc.

TRANSPOSING INSTRUMENTS.
The Basson-quinte.
14.
It

The

Basson-quinte has not ^et been made,

would

form

bass

true

the

ment, descending

Woodwind

the

of

consequently to

group,

semitone

'>>,

bassoon-players are calling

but

'why not

ary

Bassoon?'

makers
tale

We

fi/va'baasa..

admirably rich and

is

seen (3i that

have already

bear any weight

to

The Basson-quinte

robust.

W^

soundinjf:

full;

'then',

say profession-

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

robust

sufficiently

Double-bass:

lono.

V*
A which Wagner wrote below B?

The low

it.

below the standand instru-

a fifth

lower than the

\>

als,

for

to provide

with

us

said

is

easy of

be

to

fifth,

from

"new" low

the

the near future.

in

it

sound;

of

low

the

Double
fifth

is

F,

more

be

still

look

to

instrument-

we

construction;

(See C. Pierre,

Bl to Double

would

La Jacture instrumen

de 1889).

l'Exposition

The Double -Bassoon.

Double- Bassoon

15; The

possess the lowest

Bl>

The Double- Bassoon

factory

point

in

in

siderably

overblowing

seventh,

intensity

and

made

compass

either

in

it

of

wood

to a

stop

trumpet.
.

V'

or of

of

,^^

brass.

the register

in

begins to grow

the neighborhood

comes

is

written

l/p

timbre, especially

of

the first
in

to

is

below the standard

pitched an octave
Its

Bl|.

from

Bassoon

and

is

It

is

common

to

decidedly
both

the

Satis-

dll higher notes being obtained by

,

with

a nasal

twang

like

that

of

Altoerether
inferior
0^,
to the Bassoon.

Satisfactory.-

'

Sva'bassa

loco.
'oce

-Timbre growing more and more

hat 01
of a^
a
l^ike thfit

*
J.

to

weaker from Double Bq upwards, diminishes conF|t

about

inferior

instruments.

Actual sounds: -y-

=ff5

but does not

instrument,

W.

14267.

Toy Trum^^et

toy

48

THE DOUBLE - BASSOON.

The

octave

low

first

alone fairly

is

Woodwind,

pedal- notes sustaining the

tirely

The manner

eschewed.

case of

the

Bassoon,

but

Symphony,
it

Instrument

treats this

bravura

like

first

making

Beethoven,
rise

to

and

the

in

A, and

a satisfactory

in

the

in

florid

9ti!

then

giving

manner;

they

Harmonium:

on a bad

effects performed

it

to be en-

as

slower to vibrate, so that

cannot possibly execute

it

much the same

is

deep

play

to

staccato notes are

but

Double -Bassoon.

the

carelessly,

very

tempo

slow

in

produced

is

larger, is

on

ineffective

passages to play, which

rapid

sound

reed, being

the

staccato passages are very

the Horns,

or even

which the tone

in

when used

satisfactory,

{All? maestoso.)
Contrafagotto.

(All? enerz ico.)

Contrafagotto.

{Prestissimo.)

Contrafagotto.

These weak notes

y-j^

ienced

Bassoon,

ear can distinguish

are

j^

lost

in

immortal

his

]lj^

JTj J JTJ J
jJJ]
|

work.

cared
I

prominence;
of

other

the

hand,

can

nothing

is

fine

produced

effect

sound richer and deeper than

the Horns:

^
^^
^

young

to

Beethoven's genius.

have

Double

Double

its

he

besides

as a caution

this

to

by

about details;

little

all

difficult

sound, where the most exper-

of

very

mention

composers not to be too venturesome, unless they happen

Here, on

j 'JjT^

these florid passages, which would be

a compact mass

Beethoven

nothing.

was deaf when he wrote

upper register and

the

of

even for an ordinary

<

Bassoon

brought

G beneath

the

into

low

Allegro.

Flutes.

v'\y^\

Piccolo.

^ ^ \

*t

PPP
7

Solo.

Oboe.

i ^^

Cor Anglais.

Clarinets in

Bl>.

Double - Bassoon.

Horns in

li

^^

7 V j

PPP

^^

^'^i''i>l!

E
-: (Saint

*
(By kind permission

Robust

a deal

lungs

breath.

of

moderato.
write

in

are

^ 1 i

ppp"

needed

The

So, care

to

the

play

maximum

such a manner

Double- Bassoon;

duration

must be taken,
as to

of Messrs A. Dnrand et

allow

of

when
it

the

J.

this

low

14267.

low

holding-note

intervals

p.

124)

Editeurs - Praprietires.)

the

instrument

requisite

W.

fils,

Saens,

313 Symfh.

is

of

notes, especially, consume

cannot

placed
rest.

in

exceed two bars

the foreground, to

49

THE SARRUSOPHONE.
1.

The

Sarrusophone

is

advantages as regards

tinct

column

of

that

like

contained

air

both

which

Double -Bassoon,

the

of

facility

very

its

in

Bassoon,

the

of

rival

emission

of

wide

tube

instrument

and intensity

set

is

over which

low register. The

the

in

dis-

motion by means of a double- reed

in

Sarrusophone

the

possesses

It

also

resembles

closely

its

in

mechanism.
The

Sarrusophone

sometimes accused

is

sound

so

that

the

vibrations

vibration,

say

its

detractors,

tone,

pipe,

when the ear

just

criticism.

soon-reed,

When

extreme

to the

The

Bassoon

Sarrusophone

is

the hands

in

Wood -wind

depths of the orchestra,

an

group,

written

in

corresponds to

I.

The

3.

and corresponds to a 16-ft.

with

the

Bombarde;

organ -pipe,

them a very

gives

it

Sarrusophone
Compass:

family

just as the

characteristically pen-

complete:

is

Compass:

Sounding:-

in Et.

Tenor

Barytone

Bk

in

Bass

Ek

Dottble-Bass

in Bt.

None

Sounaing:

Contralto

B\>.

in

of

these

interesting

As,

however, the

preferred.

varieties

Bassoon

inconvenient

practically

depth

This

4.

instrument
the size

of

the

in

orchestra,

Saxophones

Saxophone group

the

of

being

cannot

de-

Double -Bass Saxophone making

the

it

in

C stands

full

-toned and remarkably powerful octaves (XY):

Sarrusophone

the

Ek

been used

have yet

deepest -toned

lower than the ordinary

treme

loco
.'

Double- Basses, the Sarrusophone produces the

and

Celli

very sweet

Soprano

scend

Iv*^

8va bassa

tone.

etrating

in

rich tone,

full

can descend without hesitation

it

^4^

sounding:

C,

un-

an 8 -ft. pipe.

When used in conjunction

effect of a Gamba-bass or

in

then produces a

It

since

is

accustomed to the bas-

a player

of

This

organ-

most

below the Bassoon:

octave

Compass: ^9^

2:

is

separate

32 -ft.

of

of the striking reed.

of

quality

Each

shocks.

little

measure disappear.

a great

in

of

as distinctly as those

be perceived

instrument

the

bass of the

excellent

succession

immediate proximity

the

in

these defects

an

forming

is

can

and reedy

having a rather nasal

of

like

without

a serious rival

the

in

ex-

orchestra.

of the

two really

possesses

instrument

.excellent quality.

not so good.

bi
From
the

of

All

the

Y upwards the tone

Bassoon;

the

Cor

notes

but
of

Anglais;

this

of

the

matters

the

Sarrusophone

they

can

be

Sarrusophone
the

little,

as

are

attacked

flexible

forte
J.

becomes

lower octaves

or

and

piano

W. 14267.

dry,

resembling the

alone

supple

being

really

as those

of

high

register

important.
the

swelled or diminished

Oboe
with

or

e-

50

THE
ease.

qual

bottom

the

All

the

of

are

following,

scale

notes

can

be

as

the

top.

at

SARRUSOPHONE.

produced

Even

with

same clearness and precision at the

tempo, staccato passages, like the

the

quick

in

practicable:

A Double- Bassoon
phone

overcomes the difficulty

almost

as easily as an

ordinary

lower.)

Sarruso-

have no tone-power whatever, while the

would

case

such a

in

Sounding an octave

Bassoon.

Articulation.
5.

The

maximum speed

attainable

about

is

as

follows:

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

(Actual sounds.)
(J =

(For 3 consecutive bars.)

116)

loco.

(Actual sounds.)

(For 4 consecutive bars.)

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

tempo, the lowest C can be sustained forte

88)

(J =

^^

^
two,

for

or

piano,

for

three

moderate

In

bars:

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

Shakes.

6.

the

All

two

the

short,

In

being

Bassoon

same.

the

are reproduced

Even

in

the

Sarrusophone, the fingering of

on the

lowest

can be performed

octave, shakes

and precision:

speed

with

shakes of the

instruments

the

(Sounding an octave lower.)

Sarrusophone stands in much the same relation to the Bassoon as the DoubleThe two pairs of instruments may be treated in a parallel manner.

bass to the Violoncello.

Bassoon.
sounding*.

Sarrusophone

What

Bassoon can

the

assigned
treated

low notes,

to

people

like

Saint -Saens
is

an

instrument

perfected

and

lower than
the

and

Colonne

its

16-ft.

and

of

do, the

which

Sarrusophone

are, of course,

is

likewise

heavy

in

able to perform,

proportion

to

their

within

consequence.

Massenet have

employed the Sarrusophone

in

several

Important works,

come more and more into use, especially now that

(a few years ago it could
low register extended downwards;

which
C).

the limits

depth, and must be

will

In

Paris,

it

has been adopted

Lamoureux Concerts.

It

is

by

the

now beginning

J.W. 14267.

it

has been

not descend
Opera-Comique, and
appear everywhere.

Opera,
to

it

the

51

Chapter

II,

-{.

The Theory of

Let

1.

those

Onlj^

instance, the

for

correspond

which

a third,

or of

we see

in

ancient

whole column

of

air,

Trumpet

long

that

bas-re-

the

to

or of a quarter,

vibration

according

etc,

the

of

amount

the

to

pressure

of

or

half,

of

exercised

bj^

lips'.'

When
when

the

of

column

of

air

set

in

air-column
us assume

Let
the

whole' column

the

half

the

of

take a tube;

What are the sounds obtainable?

liefs.

the

us

Tone -production of Brass Instruments.

the

following

is

as the

and

thirds

16-32

octave,

higher

The

2.

series

theoretical

the

by

note

the Violoncello;

of

obtained:
r-i

"

(^^

11

la

13

a body

"^ ^^

(1-2\

finally

almost

a tone.

Just

attempt

following

octave,

the

of

the

of

apart

then

merge

down

fourth (3-4\

separated

by

only

sounds

16

the

next

the

of

mathematically
the starting-point,

(2-3;, then a

fifth

writing

16

draw

each other,

into

64

15

from

farther

get

they

14

water

into

falling

as

proportion

in

10

octave

compass

16,

instruments

extends

practice,

but, in

from

start

is

it

can

second

the

reach and

can alone

Trumpets,

and

to

brass

the

all

instruments

brass

other

of

from

Tubas and Contrabass -Tubas,

like those of

as Horns

such

produced

an

harmonics

natural

of

and so on.

produced,

is

sounded;

is

the

of

octave, the

128

throughout

the

the

of

octave!

wide tubes,
tone;

32

apart,

eighths

the

tone

obtained; when a third

is

the lowest

be successively

other

first

seconds

fourths, and

still

each

to

thirds,

waves

circular

closer

8-ft.

sound-waves,

so these
then

can

upper partial

third

is

upper partial

12

Just

the

tone

fundamental

the

vibrate,

to

the second

._

closer and

motion,

harmonics

of

_,

made

is

vibrates,

fundamental

the

series

air

much

more

sound

alone

the

Very

fundamental

the

Very narrow tubes,

upper partial.

even go beyond

whole

limited.

12t!!, 13t!),

and

14t]}

upper partials.

And yet these 13 or 14 notes, unequally

have,

centuries,

for

Mozart, nor

nor
able

play

to

sufficed

to

Beethoven,

Weber

nor

ever

semitones

chromatic

four

scattered

power

give

two and

throughout

suspected

that

half

octaves,

Neither Handel,

would

Trumpet

succession, or a Horn

in

and brilliancy to the orchestra.

come down

one

day

be

the scale with-

out jolting.

Owing
proceed

by

Writing

3.

skips,

invention

giving

him

monic

series,

also

system,

e.

tonal
It

sound

able

flung

of

equal

very

g.

to

compete

removed

valves

and

7tl]

with

the

dungeon

Htll

the

the

into

the

to

difficulty,

chromatic
tune

scales
the

branch.

to

each of the parts

neglecting

all

kind

sonorous note.
the

setting

throughout

degrees

which

composer

did

at

whole

the

not

liberty,

of

the

and

har-

coincide with our

partials.

others
In

a puzzle,

chase

constitute, in

to

Trombone -Tuba group.

wide

and

exactly

bringing

the

solving

(up to the 7th partial at least) only

could

branch

from

hopping

like

diatonic

became possible

then

Trumpet

was

order to give

in

Trumpet

scale, the

sparrow

like

progression,

The

the

in

Horn quartet

logical

of

breaks

the

to

in

the

heart

point

short, the

of

invention

gates.

J.

of

W. 14267.

the

orchestra,

flexibility,

of

viz.

valves

the

two

new groups

Horn

loosened

all

of

group and the

fetters

and

52
4.

the

BRASS

The

lowers

valve

the pitch of

table, which

following

refers

to

INSTRUMENTS.
instrument

the
the

4-piston

lengthening

b^

Tuba

in

!*

l|..tl^

as may be seen from

it,

general use:

10 11

12 13 14 15 16

None of the pistons depressed. ^^

Actual sounds.

2S^ piston depressed.

All notes lowered by

II

-^

a semitone.

1
1st

piston depressed.
All notes lowered by
a whole tone.

III

."5

'

Ao-.

y-u" i^j"
b

1
1st

IV

4 2nd

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

^.^

>

"

..

" " "

9

10

^
8

.>

10
n

11

I.,
=bi

- o
" "
"

tt

15 16

.ht'^

10

12 13 14

11

12

13 14

15

16

k ^ ^^

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

11

"

12

10 11

12 13 14 15 16

10 11

12 13 14

3t* piston depressed.

All notes lowered by

two whole tones.

b5

VI

2nd &

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

1st
St

VII

3rd^ or ^better) 4th

-^

^,
d 3rd (or 1st, and^ & 3rd), _^^
4th
&
<
pistons depressed,
depressed. ^E

12

- f*

All notes lowered by 3 tones.

^^
^*

2nd
or 2?ld

15 16

'

12 13

10 11

,.

.,^.il.>Ml-""^pt

14 15 16
, jj,. ^p

^_

*t

1
1st

VIII

4tji

pistons depressed.
All notes lowered by 3^ tones.

ist

IX

,6

S ^~~"~
12

2nd & 4th

pistons depressed.

-t-

12

10 11

12 13 14 15

10 11

12 13 14 15 16

16

-e>-

o K '>{K

"E

All notes lowered by 4 tones.

3rd 4

oi l"

^^

-^^i"

'tf"

g^

10 11

12 13 14 15 16

10 11

12 13 14 15 16

4tji

pistons depressed.

All notes lowered by

4^ tones.

5iFfe

!>>

2nd 3rd

XI

,6

4t_h

pistons depressed.
All notes lowered by 5 tones.

3rd & 4t_h

pistons depressed.
All notes lowered by 5^^ tones.

12

^^

isj

XII

^~f

^^6

I/

!>

10 11

12 13 14 15 16

10

12 13 14 15

'

t^

1st

XIII

2ad 3rd & 4th

pistons depressed.
All notes lowered by an octave.

m 12

\v

;:;

J.

W. 14267.

8
-**

11

^^

16

53

BRASS INSTRUMENTS.
Such

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

is

theoretical

upwards.

ed

But

taves.

5.

Excepting
all

ations

tabulated

the

corresponding
binations

instruments

above

possible

Contrabass -Tuba,

Tuba,

have

reduced,

is

only
their

in

Valve -Trombone, and

three

valves,

case,

seven

to

(I.

Contrabass

on the

instruments

Tubas

used, and

little

in

and

El>

II.

VI.

VII.),

com-

Such are the

The others

bands.

military

of

Bl>

descend

which, besides, cannot

combin-

seven

V.

IV.

III.

Sax-

Barytone

a few

the number of

that

,so

seven positions of the Slide -Trombone.

the

to

concern

only

the

other

horns,

funda-

the

to

mental.

6.

into

Looking

at

the

natural

scale

harmonics, we

of

see that

(*)

10

11

S:

\>ix

to
is

=:

we now compare

a standard

the

Cornet

Bi>

in

key

the

of

length

Bl>,

the

of

common

to

all

16
In

basso)

Cornets

without

regard
the

pitch,
for

Trumpet,

and

the

However,

and

Cornets

much the same

places

correspond to

Organ stops.

ft.

reality.

tubes,
of

we get

them

length of tube

C.-B Tuba

So that

\nx

13

14

tji

15

16

In the orchestra of

day a small Trumpet

employed, whose har

Trumpet *
(in Bl

(^)

-^
3

to

fall

monies sound an octave

higher, in unison
with
those of Cornets and High
Saxhorns. (See R 68, 6)

(*)

Tubas and Bombardons.

12

()

Cornets and Bugles.

Horn

instruments

iit

Horns and Trumpets.

If

brass

the

groups:

three

in

such

latter

ft.

in.

ft.

5%

in.

17

ft.

in.

17

ft.

in.

Trumpets

to

within

fashion

intentions

or the

much more

J.

taking

as

Trumpet

in Bl> basso

an

ft.,

and

the

Horns and

difference

risky

W. 14267.

same

that, in

and

modern

Trumpet.

things are somewhat

parallel

being

figures,

octave below the

enclosed

following

_
_

practice,

in

Trumpets,

composer's

the

ft..

the

Contrabass -Tubas

different.

limits,

play

many secondary
of

timbre, the

dangerous to play.

at

pretty

orchestras,
Cornet

re-

54

BRASS INSTRUMENTS.

7.

The

between

distance

become so minute that

the tube
the

lips

ma^ cause accidents.

Take

this

theme:

of

harmonics diminishing as the^

the

Trumpet

The old

play

will

the

least

making use

it,

pressure

the

in

of

harmonics 4 to 12:

the

of

mistake

least

the

hesitation,

subdivisions

the

rise,

i
4

12

10 11

_J

l_

The Cornet
and

in

B?

sound the same

will

making use

notes,

the harmonics

of

between

6:
f>

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

theme

produce this
perior

and

are

lightness

and

an

harmonics,

ease and rapidity

and

will

altogether

chromatic

re-

su-

scales, shakes

capable of as much execution

is

it

or 6th

5^1^

register, "diatonic

Cornet:

the

for

2"<^

the

articulation,

of

medium

this

In

play

child's

between

lie

cf^

a Flute

Clarinet'.'

On

other

the

the

in

with

Trumpet.

the

to

runs

or a

whose best notes

Cornet,

high

bleness, and

We

8.

which

ought

sound
tube

allow

to
its

of

the

what

but

of

Contra- bass

lips

from

the

size

and

shape

less

easy emission

more

or

when the diameter

Coll's

law),

and

point

in

of

Has

colorless?

it

timbre^y

especially

saane power, no-

tke

the

tube

its

Horn

the

has

lowest

mouthpiece, which
of

length

special

the
in

The

the
of

mouthpiece

tube

slim

and

register.

not

is

required,

J.

W. 145J67.

of

the

instruments

case

Horn

contrast with the

In

elegant

of

the

the Contrabass -Tuba,

the

figure

Besides, there

which

Is

cannot
bellying

prevents

the question of

merely the timbre, but also the

bear a suitable

also

in

of

that

is

narrow.

too

instruments.

that

to

answer

The fundamental

notes.

the

equal

is

affects

the category

in

comprehensible

is

length,

low?

as

quite

Tuba,

efficiently

and

Horn, whose

the

Horns

This

tone.

tone, because

the

of

Trumpets and

classed

descending

acting

Trumpet

the

with

becomes poor and

fundamental

about

fundamental

the

it

intensity?

have just (6)

emit

compare

it

where

dramatic

cannot

Trumpet,

hand, can

register,

tone
ratio

varying

can only
to

be

sounded

each other (Cavaille-

according to the family of

55

THE NATURAL HORN.

Corno.

(ital.,

1:

adajrs

only

is

It

almost

Without

between

Horn in

from

universally
aid,

artificial

2 and 16

Bl>

basso.

Sounding:

the

historical

point

Waldhorn.

of

view

Fr.,

that

Cor simple.)

mention

the

Natural

Horn, now-

discarded.
the

inclusively.

^2

Get.,

Waldhorn

can

hardly

sound

any

notes

but

the harmonics

56

THE NATURAL HORN.

The

highest

the

is

Horn

the

of

(4)

A,

in

i.

e.

ear.

the

for

I*

Horn

in

A. -9^

-2

Sounding:

5o

--

J'

(o)

"

10

11

12

11

~n-o- ttE -O-

"

o ^
1^

2.

To get

the

cutting

bell,

intermediate
the

half

off

Good stopped

^
The

they

true

to

dealing

The

thus

overblown

impart

notes

the

the

with

produced

inequalities

monic
plest

to

the

are

be

come across

means the most

resources

semitone:

M=F^
M.

12

13

14

of tune in our Scale,

out

16

15

the player, in

or-

we

Weber has

each

will

open notes are

the

of

account

valuable, on

ver^

speak

of

them

greater

at

Muted

excellent.

the

of

variety

length

in

color

of

the

following

Valve -Horn.

by

cutting

met
two

_[

which

with

at

conjunct

powerful

created

than

i>

'

J.

tj

the

classic

every

step,

degrees

effects

are

masterpieces.

in D:

the

half

column

are

air

of

dull, not quite

production:

i^

for

more

off

of

difficult

instrument
to

also

are

Very bad

is

below

obtained
notes

stopped notes:

Such

the

in

11

are

bjf

hand

right

'

and 14th partials

orchestra;

intonation, and

of

notes

his

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

semitones

and

section

7th, nth,13U},

inserts

i-

'

10

to utilize

notes

i :JS

open

the

flattening

y^^

Remark: As the
der

and

air,

notes:

horn -placer

intervals, the

masters

and

of

is

it

Three

14267.

breaks,

notes

timbre.

the

Tib

and

har-

True, with the sim-

and

suffice

deficiencies,

below

impossible

obtained,

frequently

^
W.

wrote;

the same

rs

^
J.

for

with

such

limited

Oberon's magic Horn:

57

THE VALVE -HORN.

(ital.,

1.

Valve -Horns

used:

is

The
in

indications

G)

in

F,

than

He

are

Get., Venttlhorn.

made

ke^s: E, Eb,

nowadays

but

D, etc.,

only one kind

F.

be met

to

several

in

Cor a pistons^

Fr.,

with

there

so

not

sudden

is

page

every

at

convenience

the

modern compositions (Muta

in

much

of

the

of

key)

to

change

D,

in

in

E,

performer as

of

the composer, who

make use

the

natural notes ra-

of

numerous accidentals.

of

as

writes

The

in

for

(supposing

prefers

ther

are

Horn

the

Corno cromatico.

as possible, and

simply

the

is

it

chromatic scale of the Valve -Horn

part

player's

understand him aright.

to

extends from:
to

V--

(actual sounds)

'

38 notes are perfectly homogeneous, and its compass, as will be observed, is much
same as that of the Bassoon, which, -although it can descend a semitone lower, los-

Its

the

es

comparison with

by

Bassoon. */

We

upper register:

the

in

H""- V'

"'

1^

r"'""j^f

'^
2:

Horn

the

may

Thin

Good

between

appreciable difference

^f

'l^

notes.

an

notice

here

"

j"

"f^

the

"

notes.

capabilities

of

two

the

instruments.

While the
compass of
on

pianist
register,

can

bassoon-player

instrument, and

his

keyboard,

his

cannot

as he

assume a particular

the

play

shape

perform
can

kinds

all

from

pass

has

horn -player

both

satisfactorily

at

according

the

to

to

throughout

acrobatic feats

of

one register
choose

between

extremities

register

other

the

to

entire

and

as

the

low

scale, because the

lips

high

the

the

of

which the

the

as easily

horn -player chiefly

prac-

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

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

cation

scend

in

the

3^

sufficing

piston

enable

to

one

kind

to rise

easily

and the other to de-

easily.

N. B.

The

3?!^

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

scale of the descending

The

compass,

Ascending Horn:

in

Horns

actual

to

sounds, of

.y

")'

an equal extent.
our two chromatic

"

Horns

in

as follows:

Usual orchestral- compass.

-'

'

Concert Solo compass.

^^9^

1^

"^-^^

Notes obtainable
in case of need.
N. B.

is

..'

*/
fl

vf

Descending Horn:

The Gf marked with

a cross

is

XT
^

Complete chromatic
scale, including GK.

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

cending Horn.
J.

W. 14267.

58

THE HORN.

Notation.

4.

Octave that can

be--.

Valve -Horn.

Sounding:

As we have already observed

in

Suppose,

low.

too

the

octave
ation

wanting

make

are

of

the

the

clef

and, with

defective,

j{

ti

It"-

|S

"

"* **^

"

*^''

'^

*^

|S

the

Ht.

in

the

continu-

exception

of

Register

i^ "

..

of

the

o Ho

..

"

jto

'>

ff"

tie

1^

Second

the

" #

of

BTI^

)|..

Horn.

(descending)

an octave
be

will

Register

o "
o tt"

1^
ti

is

one be written

the natural

First (ascending") Horn.

kj:

if

are no breaks:

there

^J
^'

clef

ear

for

the

US
Sounding:

43 notes none
ascending Horn,

scale

on

Horn.

unison

in

not

F
Y Z;

the

in

octave

the

in

clef?

chromatic

(Dj|+)

GjJ

the

of

Wh^

absurdity!

of

the Horn

of

Horns placing
F clef, what is

two
the

in

Triumph

notation

(P. 55)) the

instance,

other

the

e^e.

the

this

In

and

clef

for

for

^>

^^

=^

o H"

'E

j|

Three Varieties of Tone -Color.

Besides

5.

ther kinds

of

the

and pontic

rich

quality

of

and charactieristic

very special

the

open notes,

tone -color,

viz.

the

Horn possesses two

o-

"stopped notes" and "overblown

notes'.'

Stored

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

notes are obtained

the hand

in

the

by

bell.

SE

Moderato.

>

cJ

i'/' (Sordini.)

ff-

^
!^Qj ai

1^ iiJ

Moderato.

^V
mf

rFfj

i*s:
^EqE

(Sordini.)

^Lv rjif
i

W.

14JJ67.

r\

^^
Rit.

^
rpuwiruii^-Ln^-

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

(Popular Theme.)

59

THE HORN.
Andante.

&

Flutes

Clar.

Horns in

F.

Violins.
Sclmberth

&

Though barely audible beneath the undulating figure

Horns is, in this case, extremely gratifying to the ear.

of

(By kind ppermission

Overblown

notes,

whose production

of

J.

the Violins, the velvety tone of

considerable

involves

the tube with the right hand: the lips

the
and the insertion of the hand lowers the note to an equal

time

lowering
simply

by

a cross

placed

obtained by closing

El^,

If,

his

the

required,

note

the

for instance,

hand

same

the

at

^m
^

the word

cuivre

these overblown

notes:

above the note to be overblown:

^
by

he attacks

note,

column of air by a semitone.

has several ways of indicating

Horns in

(2)- or

extent.

the

the

The composer
(1)

D as an overblown

wishes to sound

player

are

effort,

semitone above

attack

half

(LiSZt, FaUst.)

C9, Publishers-Proprietors.)

(in

German scores gestopft

(Wagner, Tristan^

/)-.

(Gestopft.)

Horns in
*)

(3) or by a

cross and

i-S-

the word

-d

-d -d

d-

y=

-# -#

(Wagner, Rheing-old)

cuivre {gestopft f):

+(Gestopft.)

Horns in

E
{Meistersing^er,
p. 225.)

It

that

sonvetimes
case,

attack, the

happens that the word cuivre

the note
tone

can be overblown

becomes

very

at

the

accompanied by the

is

moment

of

attack

indication

subdued, like that of the muted

piano.

immediately

only;

after

In

the

Horn.

-n~
Horns in

/'(Gestopft.)

^(Gestopft.)

The

Horn can

duced with

the

be played
aid

of

the

con sordino throughout

hand

can hardly

* Gestopft means simply "stoppedj' but

undetrstood in the sense of overblown.

be

its

obtained

entire

accompanied by an accent
J.

W. 14267.

compass.

below the

>-,

Stopped notes pro-

3[^ upper partial:

or by the indication

or

sf,

it is

60

THE HORN.

In

Requiem,

his

unison

in

the effect

When Valve-Horns were

horn -players,

of

When

the

being

still

beginning to

subordinated

being

Fjt

first

a note

but

who

pair,

for

the

extreme

is

retained Natural

still

belonging

not

this

two Horns

lower)

limit.

were assigned to the second pair

vogue, they

into

the

(a semitone

good,

tolerably

come
to

pair was assigned

first

an overblown

has written

Berlioz

Horns.

scale, accompanied

the natural

to

sforzando, as no mistake was possible, the composer had no

need to give any special directions; these stopped noies forte were necessarily overblown,
as, for instance, in Faust:
by the

forte

indication

in

or

Et>.

^^

-Tf

Natural Horns

l^^

in C.

^
_a^2.

-^=.

-r

Mephisto.

'>H

=^

<^

nr

dieu

d'amour

les nuits

Strings.

'(Gounod.)

Sometimes, as
fect

he desired

Damnation de Faust,

in

the

in

parentheses,

although

the composer thought

was needless;

this

in F.

Mephisto.

3E

M M

order to avoid

in

the

future

confine

Rieii

up,

the ef-

3E

-^-4.

to

specify

s/P~

Natural Horns

ourselves

to

{Sons bouches.)

Q
in C.

To sum

fit

two following

all

qu'u-ne

chance

gna . tu

si _

. re

(Berlioz.)

misunderstanding, we must

of

in

formulae

Con Sordini

for all

Cuivre' (with a +)

for

pianissimo

effects.

stopped effects

^rfg.

sometimes necessary, after these special effects, to indicate the precise moment when
is to come back to natural
sounds.
The word "open" (in French "ouvert,"
in
German "often") is used for this purpose. (See Rheingold, Page 181).
It

is

the Horn

Speed of Articulation.

Despite the great

use
compass,
sive

employed,

length of its tube, the Horn can articulate rapidly,

making exclusingle -articulation in the lower register, but towards the higher part of its
from the 311^ partial upwards, double and even triple articulation may be

of

so

The opening

that
of

the

the

Horn

can

the

Flute

would

act

with

of

articulation, considering
The maximum speed attainable
(J z

bear comparison

Jhnnhduser, for instance,

the quick rate of movement.

20^

in

the

low

register

104)

J.

W.

l-iijfi?.

is:

in

point

of

execution.

be impossible with sin^e-

61

THE HORN
medium

the

in

(.single -articulation):

register

(J = 120)

Register of

almost

double and triple articulation, where

unlimited:

speed that can be

the

attained

is

.....lo

-,

3
However, the strain on the lips involved in the production of high notes is hardly com patible with great speed of emission.
It is prudent not to go beyond the 9tl} or loU?
.harmonic,
when making use of double and trifle articulation.

Remark:

Length of Breath.

The following are the results

Pe'nable, Concert -Colonne soloist:
7.

(J

>

=120)

made

experiments

of

5_

of

Mf

5 bars
forte.

(J = 120)

assistance

with the kind

7 bars
mezzo forte.

mf
medium

the

In

register,

from the

to the

4ti}

partial

8t!}

keeping the same

metronomic rate of movement (J - 120), the human lungs allow of sustaining eleven \af%fyrte,
14 mezzo -forte, and 25 piano.
We must add that this can onl^ be accomplished with the utmost effort, and would be
a

dangerous experiment in the orchestra.

The production of the high notes, inasmuch as

the lungs, so that such long holding-notes can

great air-pressure, severely tasks

involves

it

be expected above the

hardly

and

Sti?

9l!*

harmon-

ics.

Shakes.

The

8.

great

pistons

length,

are

never used

the air

cannot

players

Consequently, horn

come out

Major shakes

shakes;

for

travel

fast

make use

their

of

part of

register

this

upper partials

are better avoided

the

Minor shakes
and are really

majority

of

very

doubtful

object

the

..::..!..

to the 12t!!,

Sti*

its

IStb,

^^\

15

12

and

Shakes between the

in

considering

view.

in

orchestral

they are

writing;

suitable

and

12t!!

15tb

for virtuosi, but

players.

do not come out

of

the

only.

is:

dangerous

for

lips

so very narrow

tube,

(they are only possible from

well;

and iStb harmonics).

Register in which shakes are practicable:

the best

this

in

enough to attain

they are only

so well;

possible

with

the

hand

in

the

bell,

quality.

Crooks.

The Valve -Horn can change key as

Each key has a special crook, a hollow
body of the Horn.
The shorter the tube,
sound seems to come to the lips; in the
tween his teeth, so that it cannot escape.
9.

his

pencil,

which

he

holds

near the point

J.

easily

ring

the

as the

for

when needful.

between the

higher

scale

rises

and the

feels

as

he

end, the

He

Horn,

Natural

interposed

is

very

W. 14267.

the

player

as sure
minute

of

it

work.

if

mouthpiece and

as the

held

nearer
it

the

the

tight be-

draughtsman

of

62

THE HORN.

So,

performer has to play

ihe

if

crooks:

makes use

high, he

the

of

G,

Fjt,

Al],

Al,

and

Bt

Presto

Horn in

A\>

PP
Horn

very

(Berlioz,

Very difficult

La

reine Mab.)

^m.

in All

(Beethoven, 7th Symphony)

The crook
crook

corresponding

single

coil

F has two

the key of

to

diameter,

inferior

slightly

of

8 inches

coils

and the

in

crook

Al|

Ab

the

diameter,

a coil

only 5lfe inches

diameter.

in

How

Schumann venture

could

harmonics, for

the

^ Allegro.

Horn in

up to such giddy

write

to

the

of

first

4 Horns

his

in

heights,

very

interesting

.^m.

between the

8ti!

and

20t!!

Concerto?
Allegro.

F
(Concerto for

Virtuosi
rehearse

are
in

it

so much

afraid

of

never venture

they will

the orchestra,

Concerto that,

this

"

4 Horns)

(d9 Finale)

although they are willing enough to

to

play

in

it

public:

the danger

is real-

too great!

ly

Siegfried's horn, which reaches the IGlb upper partial, goes straight ahead, without any
kind of hesitation or fear, because it moves forward by regular degrees, and because it feels
that it is getting gradually nearer to the goal, where it expends its full force:

ZlfZlntl^t
sempre accel. e

cresc.

(By kind permission

Schumann's

But

Concerto

is

of Schott

&

jsr

V )

(p.

221)

C9, Publishers- Proprietors.)

more dangerous;

far

there

not a page without a stumb-

is

ling-block.

10.
D, E,

F,

In

paragraph

G, etc.),

we spoke

rather

who usually

performer,
Indeed, he

plays

the

for

of

transposes

everything

in

indications

the

to

be found

in

convenience of the composer than

F^

key of

the

into

save

the

in

modern scores (Muta

in

of

the

cases which we have Just

no-

in

the

interest

F.

exceptional

ticed (9).

composer thinks it necessary, for the sake of achange the key of the Horns, he may do so without
troubling himself about the means by which the change can be effected.
Take, for instance, this passage beginning in F and finishing in E.
If

then,

voiding

in

too

the

many

course

flats

of

a piece,

the

sharps, to

or

fSiUjJ^,JJJ

^"^

tl

Here are two modern ways

of

writing

4J

it:

in

Horns in

JJ

The result is the same; it is only a matter of determining the most favorable place for
change of key; it is a mere question of neat appearance for the eye. Performers are
The composer may
accustomed to this sort of exercise, and are never taken by surprise.

the

implicitly trust

to

them.
J.

W. 14267.

63

THE HORN IN THE ORCHESTRA.

11.

Four

When

the

Horns make an admirable quartet.

Horn-quartet is added to the Woodwind,

the volume

sound

of

is

more than

doubled.

A
is

Solo

one

of

Horn

moving

Wagner's

When blended
trating

quality

with

the

and

Celli

tone, which

of

through t^e Strings

softly

blends

them most harmoniously.

with

It

favorite devices.

Double-basses,

one might

fancy

to

if f

be

the

Horn

that

of

singulary pene-

acquires

a soft

Trombone:

Moderato.

Violoncellos

Double-bass.

^^-

it

(Liszt.)

The four Horns playing piano or forte can be heard through the whole mass of the orAdagio.
> .. ifcr:
4 Horns
in E.
_
__
(Widor, itj* Symphony):

chestra:

l^

(j. Hamelle, Gditeur-Proprietaire.)

The

Horn and

Clarinet

in

unison

are exquisite:

Allegretto.

.,

fcantabtle.

'

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

In

very

the

following

choral

efficiently:

given

Hamelle, Edlteur-Froprietaire.)

to the

Brass, the

Solo

Horn

doubles

the

first

^^^^^.^
sostenuto.

15t

Horn in

F.

Trombones.

Tuba.
(Ganaye, Ouverture dramatique)
J.

W. 14267.

Trombone

64

THE HORN.

The following combination

but

so

used since,

often

two

of

ver^

is

and

Clarinets

even

in

quality,

two Horns,

little

before Mozart,

known

blending

the two kinds of tone -color

admirably:

j.

Andantino.
Clarinets in

Horns in

Bl>.

El>.

Strings.

(Flauto Mag-ico)

The

next

behind

leave

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

morn to the

eye:

AUe^retu.

Et
Horns {
.

in Bl>

Strings.

'^^

^^

Note

also

the

of

this

charming

Strings

and

% i

of Heugel et CIS, Editeurs

effect

of

[L/m;CLLf

tf

j'V)

accompanied by the

Flutes,

recurring

^^

(MaSSenet, Le Rot de Lahore^

Proprirtaires)

Horns and

the

rhythmically

the

^^
r

?=)=

''l^f

LUiLI

n^-j^y

notes

(By kind permission

vii

i=F

'

figure

of

holding-

the Harp:

Flutes.

Horn

in

Harp.

Strings.

(By kind

In

Horns

chord
at

the

played

extreme

permission of A. Durand

by

all

end

wind

the
of

et

FUs, Editears-Proprietaires.)

instruments

diminuendo,

J.

together,

to

W. 14267.

give

the

(Saint-SaenS, DanSC MaCabre)

nothing

can equal

impression

of

the

stopped

dying

echo:

THE HORN.

65

Flutes.

Oboes.

3 Clar. in

h\>.

Horns in F.

3 Bassoons.

3 Truiiq>ets in

F.

3 Trombones.

(Wagner, Siegfried^
By

kind: permission of

Schott

&

C?, Puttllshers- Proprietors.)

Remark: When the Horns are written in four parts, the bass is naturally obliged to expend
wind than the other parts,and to take breath oftener, being at the same time less sonorous.
It is better, when sustained notes are needed, to make use of the Bassoon, which
is
less fatiguing for the player and forms a more solid basis to the harmonic group:
l?i

more

TratiQu tllo.

Horns

in F.

Bassoons.

(By kind permission

of Schott

&

C9, Publishers-Proprietors.)

(Humpefdinck, Hansel Und Gretel.)

2nd Remark:

As we have usually four Horns in the orchestra, it must be remembered that

Horn of each pair is an ascending Horn, and the second a descending Horn; consequently, the high register must be confined to the llJ and 3td Horns^ and the low register to
the 2Gd and 4th.
the first

Authors

12.

Quintet, Sextet
Saint

and works to be studied:

and

Septet);

-Saens {Romance);

fiir Horn), etc.

Bach,
Read Handel,
phon^),

all

Weber,

all

Oauprat,

Mozart,

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

Schubert {Octet);
Gallay,

Beethoven

Wagner, and

all

the
J.

(who writes down

modern

authors,

W. 14267.

to

double

Bl>

in

the

9tl]

S^m-

66

THE NATURAL TRUMPET.

(Ital.,

We

have

1.

the

allow
with

low

seen

already

Trumpet
E (actual

sound

to

Tromba.

(P. 51,
its

Get., Trompete.

2)

pitch):

transfer

this

ventured
note

from

narrow

the

diameter of
in

its

practice

tube
only

would

not

beginning

^g

^^^

as

the

inferior

limit

semitone

lower,

intimidated

Trumpet

to

write

to

Trompette.)

scale

its

E has nearly always been regarded

This

Manfred, Schumann

the
tone,

_^

Average compass:

ually

that

fundamental

Ft.,

Et,

the

of

but
1!

the

instrument.

In

prudent conductors us-

Trombone:

HI

Allegro.
Flute.

Oboe.
Clarinet.

Trumpet in

EI>.

PP

S
PPyt
+

Violins.

PP

Like

2.

less,

and

in

Bk

in

the Horn, the Natural Trumpet has crooks, which lengthen

transpose the harmonic series into nearly all keys:
()

Trumpet

S ^^

fTflf

the tube more

or

67

THE NATURAL TRUMPET

Trumpet

in Gb.

\=i

XT
in Ab.

3i:

~n~

''"

"

Sounding:

TV
2

"

l>o

-vr6
Z: TV

Sounding:

N. B. The llth partial is always given in parentheses;

exactly coincide with the 4th degree of our scale.

(*)

not

This
very

the

of

list

indifferent

keys of

the

Trumpet

on

the

Trumpet, and

quality

Symphony,
Symphony,

Beethoven

Mendelssohn

uses

writes

ought

Trumpets

his

we have already seen

very

but

A,

a key of

In

the 7th
Italian

the

in

does

it

is

it

used.

little

Mendelssohn

likewise

D;

In

with

begin

to

really

consequently

that

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

3.

so

The

on.

in C alto
and the Trumpet
same actual sounds.

Horn

producing
Their

he

but

the

however,

quality,

quite

is

mouthpiece greatly influences

the

C are two non - transposing \niirumexA%

in

We

different.

the quality of

have
tone,

observed

already

and

shape of

the

that

mouthpiece of

the

that

Horn

the

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

twice

is

as that

the

of

We

generated.

mouthpieces

as

It

could
the

for

necessary

nothing

to

instrument- makers to

which

the

exclusively

such

ones suited

only

mouthpieces are constructed."

said

the

employ

be

They had

but

point

natural

the

out,

as

Trumpet,

Natural

the

of

stopped

even

not

two

to

harmonics,

we

did

for

which

conjunct

case

the

in

the

the Horn, how limit-

of

composers

degrees

being

of

former

times

available only

from

upwards.

partial

the

instrument

the

resources

write

7tb

that

hardly

is

are the

ed

has shown

Elements d' Acoustique.)

(Mahiilon,

Ar

of

experience

performers

advise

strongly

too

therefore

long

timbre

the

to

cannot

three

or

notes

instances

of

at

their

their

disposal,

employment

for

their

resulted

quality

in

was

miserable

so

execrable

failures.

THE VALVE -TRUMPET.

5.

the

As

the

in

Trumpet,

out

monics
plete;

all

case

allowing
of

the

tune

of
of

in

the

our

Horns,

the

invention

of

valves

regular

chromatic

succession, and

scale.

From

E to high

degrees are very

even

piano:

low

and true;

all

the

-^
^

Excellent

J.

W. 14267.

Bl,

notes

3t\,^

~W

remedied
bringing

the
are

all

into

chromatic

the

defects

tune
scale

excellent forte,

of

the

har-

is

com-

nearly

all

68

THE TRUMPET.

^
PP

^^

''"w'^xcellent
register.

Emission difficult.

*k

i
Good.

Difficult.

6.

Like the

of

D,

able

for

its

been discarded,
this

ing

performers
is

It

to

Trumpet

the

the

but

seek

to

use,

no

longer

the

Cornet

an

and

more

as they

have

4 ft. Trumpet
same dimensions:

Length: 7

bound

that

is

used

basso.

and

higher,

it

is

IZ

11

8 in.

TT
2

3
t.

Modern Trumpet
in

Length: 3

The

7.

modern

The following

alto.
ft.

Trumpet

il\

is

show

figures

in

"
.

played

the

length

Trumpet

Their

chromatic

in

A.

scale

starts

the

in

of
Dl]

in

..

D|>

.,

..

Bli

.1

Bb

)i

from

Fjt

and

keys

tube

=
=
=
=
=
=

of

of

3
3
3

4
4
4

5^

ft.

8*4

ft.

11\

ft.
ft.

2
5

ft.

reaches

Sounding:

Sounding:

in Bt.

in

Bl).

in C.

Dk

in

i
m

Bt,

Bl;,

various

C,

and D^.

alt.

i-

rt

,^^

,=&-

>-.
5Ai.

Sounding:

r;^

?^^
,-^Sounding:

^:^
,^=Sounding:

^:^

i :Hi^
^
TT

,-^

I^'-#

D|>,

Trumpets.

C in

.-

,.=^

^^^

the

ft.

,^2=^

A,

Sounding:

1^

^P^
J.

W. 14267.

old keys

oblig-

register.

high

=^
10

ft.

the

an octave higher;

present;

at

time

tone incompar-

have the

only

higher
the

in

long

of

skipped

writing

playing

of

but a

ft.

has the

single

kept on

means

pratical

Old Trumpet
in

For

quality

ten years, not

last

at

having

last

the

has

series

when necessary.

ke^

two

the

but, within

harmonic
for

change

can

in

El^,

composers are responsible,

for

ion

Horn,

and F were
beauty and energy;

Et,

kejfs

a compan-

69

THE TRUMPET.
Remark:

The Trumpet

in

erally speaking, notes above

required for Bach's works;

(*) is

sensation

cannot be attacked piano,

high a key?

and

less

still

The true compass of the Trumpet

and within these limits nothing
E, according to tonal

in

B and C

so fine and so powerful

is

what need

so

two octaves, from

is

is not used otherwise, for, genof the Trumpet, and produce^the

"" ^
Besides, G| and A

it

(actual pitch) lose the timbre

of a large Flute rather than of a brass instrument.
B\>

to

as the

is

for

there

(actual sounds.)

Trumpet

old

in

(in

or

necessities).

Compared with

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

sounds

Trumpet

in

f^i

//p

{March for

(By kind permission

However, the
high

the
F|t

basso;

Et

oi

it

when

Manfred,
play

to

Et

2^

the

C,

performers

in

but
B!>,

all

for

instance

even

(actual

have

the

have

have a

necessary

is

it

^or

to-day

of

Nearly

register.

of Snhott

which

allows

C,

in

of

easy

play

to

in

one tone below

falling

the

so

the

that

enormous

2 Trumpets

of

pair,

the 1?1

in

compass:
Natural Scale.

_^Q.

""":S

ijQ.

i
(Actual

Trumpets:

Bl..

The tuning- slide

is

1>TT

Sounds.)

'Natural Scale.

Tuning-Slide.

Remark:

Projirietors.)

Second Trumpet to descend still lower to the

Bt crook, and its tuning -slide not only allows

the

Tuning-Slide.
in C.

adopted the Trumpet

all

pitch),

following

Publishers

C?,

tuning- slide

takes

it

&

T^^^T
American Independence)

the Centenary of

->*

i]TT

jl-"-"'^'^

not used for keys lower than

Bk

Articulation
8.

and

Like the Flute,

triple

the

Trumpet

articulation,

so that

makes use
it

is

of

three

capable of

kinds of

great

tonguing:

rapidity

of

single, double,

emission:

Allef^ro.

Trumpet

in E.

(By

Itind

permission of Heugel

et Cif,

Editeurs-Proprietaires.)

(DelibeS, Syltiu.)

88)

Trumpets in D.

Flutes.

Oboes.
Clarinets.

Bassoons.
(Berlioz,

Menuet des
p.

.1.

W. 14267.

259.

Follets.)

THE TRUMPET.

70
Presto. (J

Trumpets

in E.

<|!

160)

[I

tff

(By kind permission of Heugel

et ClS,

\iff

|l

[J

Editeurs-Proprietalres.)

(Lalo,

/.

Le Rot d'YsJ

Andantino.
Solo.

Trumpet

in G.

Violins.

Basses.
(Mej^erbeer,

Marche aux Flambeaux.)

Allegro.

Trumpet

in Bt.

a Z.

m
J

ff
a g.

^
^

J _ p

^^

^^ ^^

Trombones.

ff

Violins.

Basses.
1

(By kind permission

The

the

F.

Peters,

Editeur

maximum speeds

Pi^opri^taire.)

attainable

low and medium registers:

the

In

Katser-Marsch.)

120)

(J

about

are

following

of G,

(Wag-fler,

144)

However, the passage

consequent

heaviness

must

of

be ver^

not

long, on

account

the

of

fatigue

of emission and

articulation.

Length of Breath.
9.

bars

Piano,
the

in

_^
=

can,

in

tempo, sound a

moderate

holding

120)

and

with

^_a

the

same

rate

fi

can

it

hold

note

in

Is

the

or

needless

the

medium

f
register for 12

_^
eto.

-T*r-

It

of

2_

xs

movement,

of

14 bars:

then

note

\l*
TS

or

low register:

(J

Trumpet

the

to

expenditure

observe
of

that

breath

is

numbers

these

doubled.

J.

W. 14267.

are

halved

in

forte passages,

because

71

THE TRUMPET.

Shakes.
10. We have seen
the

Trumpet, it
The following

are

the

that

just

is

the

those

Horn

which

make use of the pistons

only use its pistons.

does not

reverse:

it

can

ma^ be used:

for shakes.

With

(the cross means bad; the double cross im-

possible).

13

II

^ ^^>

14

II

^
^M

,h

b^

15
possible.

16
tolerably good.

17

i>^^

II

heavy.

Cj somewhat sharp.

possible.

>

+
18
difficult.

+_

19

difficult.

possible.

V/

heavy.

20

21
diiiicult.

very

difficult.

10
difficult and
unsatisfactory.
11

4.y

12

^Zy^

difficult.

II

Impossible

beyond

Muted Trumpets.
11.

them
thej^

Neither

fashion b^

into

are

constantly
Allegro.
_Jk

h\>.

Violins.

Basses.

to

(mit
Mini.

be

nor

met

with

P'^^i

^^ m^
^

(And Wagner

modern scores:

Xs=t
V d '7

J'W'vJ'

directs

in

Dampfer.)
UAl

ye; e^

Trumpet
in

Weber made use of muted Trumpets. Wagner has brought

employing them in Siegfried and in Meistersinger.
Since then,

Beethoven

^^^=i^

vvy\

^=^

'7

^p
S3 $
^ ^5

m
y
dn

the performer to blow very hard).

T

-14287

^^^

'''"'*

permission of Schotl

1^

V-

{Meistersivg-er, p. ^60.)

&

G9, Publishers- Proprietors.)

72

THE TRUMPET.

There

Richard
composer who does not use the Trumpet con sordino-.
the
quote
Vincent d' Ind^, Bruneau,
will onlj^
Debussy.
Examples abound:
exquisite use of muted Trumpets:

is

Strauss,

no modern

following

(i>= 108)

<"/'
Clarinets in A.

Jzi

^P

Flutes.

im

'f

(stopped.)

Horn

fe

in F.

Trumpets

in

(muted)

~p~

Triangle

"^m

PPP

Celesta

^e.

KF:

K^LQik^LliMi

Harp.

t^\rTrfr^'cLd M'M'C^r
'

I5t

Violins.

2iid Violins.

PPP
The
an

articulations

experienced

silvery

notes

of

ear
the

of

can

(By kind permission of Heugelet

the

Trumpets loom through the

only just

detect

them

under

Harps.

J.

(Charpentier, Loutse)

C!, Editeurs-Proprietaires.)

W. 14267.

surrounding
the

tremolo

veil

of

of

the

orchestral
Violins

and

haze;'

the

ns

THE
12.

The

quality

tone

of

Its

tube

Wagner

is

ft.

writes

8^

in.

&

C:

~7

=2t

in

when

whatever

but,

..

the

key

necessary))

indicated

Bass

k> ^

"

k^

<

la

''g

li

IS

IB

TT

IS

19

17

18

"

17

18

13

12

11

10

11

t"

"

1>

14

15

k>

tjo

12

13

13

14

16

"'

by

the

k> ^

"

10

11

12

13

14

16

composer,

in

El>

it

and

Sounding:

Sounding:

is

not

15

II

though

W
,19

19

"

" H"

"

17

18

20

always played
being

in

19

(trans-

made.

m w^
V"

m
mm

(7

Bass Trumpet

Avoid

16

15

Bass Trumpet

in

"^r

!>>

in El>

ll^

U>

Trumpets

Bass Trumpet

in

10

-TJ

posing

M ^^
iZ

off'

V'
3

inC

ID

"S

Sounding:

3j

Im

V-|,^^

and even, from:

rich,

full,

^h^

to

*o

iJ

in El>

admirably

is

long.

i ^

Written:

TRUMPET.

Trumpet

Bass

=?^

Et, D,

in

it

the

of

BASS

Sounding an

octave lower.

falling
F,

as

low

semitone

as the
above,

3!!^
is

partial, or

possible

J.

and

rising

higher

tolerably

W. 14267.

than

sonorous.

E,

the

20tb

partial,

74

THE BASS TRUMPET.

Authors and Works to bb consulted:

13.

Handel.
as

These

fering

an

Lateljr,

to

the

assembly
an

octave

Where

How

is

that

it

have

preserved

time

of

specialists

The

been

Soprano

of

of

his

the

lips,

have

been

it

held

would

one

Was

Trumpet.

it

think from a pass-

by

means

formerly

of

in

have

should

kinds

all

an

sounding

notes

of

can

before

it

Trumpets!'

ordinary

specimen

tuning - slide,

played

emission

pro-

the

solves

of

Rosleck

Berlin,

in

instrument

the

Heidelberg, which

at

and agreeable

easy

the

single

the

of

able

made

mistake

was due

Trumpets

ployment

manner dif-

their

prehistoric

So

found, which, by

meeting

specimens of

a question

radical

almost

C?

in

mouthpiece

{Die Trompete in alter und neuer Zeit,

the

far

been

Trumpets

use?

current

discovered,

Trombones

and

we

although

from

the

V onwards?

merely

it

Is

this

numerous

Charles

Was

only

(as

curiosity

of

them,

imitating

of

their

made

been

produced

Trumpet?

this

has

admired

those

than

higher
is

about

Trumpet

little

At

D.

of

out

and

st^le.

Bb, has

long, in

key

idea

the

with

more

read

be

Bach

since

musicales:

discovery

unanimously

that

our

to

Curiosites

ft.

should

information

little

important

tube

raised

than

modern

our

analogous

Deldevez's

in

blem;
be

from

we have

instrument

age

masters

Illustrious

concerned)

is

altogether

Technicalljr,

an

two

Trumpet

the

published

Everything

to

consult?

by

scientific

to

their

mouthpieces, whose

various

Soprano

Trumpet

&

Breitkopf

supposed

is

Hartel)

tube

and the majority

No,

narrow

it

in

thinking

of

the high tone

that

was due

exclusively

obliged

player

bore

the

much smaller mouthpiece than

Eichborn

by

men consists

very

having

employed, as

to

to

the

the

em"-

contract
ordinary

Trumpet'.'

The

truth

practised

is

for

own special
The

real

Beethoven,

playing

to

This

is

Trumpet
Weber,

the

part

we must note

begins

with

a very narrow
the

of

that

ancient

Haydn

Wagner, and

Consonances,
to

limited

of

scale

Bach's

mouthpiece enables
to

lips

specially

reach heights generally

Soprano

hardly

ever

plays

deemed

outside

of

octave.

G:

Perfect

ought

in

Besides,

inaccessible.
its

the employment

that

Trumpet,
the

Fifth

Berlioz,

and

neither

the oldest

and

Mozart,
too

It

write.

W, 14267.

imperious

high nor

instrument

the Octave.

^.

the

is

in

the

for

too

and manly Trumpet

two octaves

lo\^:

world, unchangeable

this

kind

of

of

from

like

the

Trumpet that we

75

THE CORNET A PISTONS.

Ger., Kornett.

(ital., Cornetto.

For nearly
took

Pistons

Cornet was

that the

virtuosi

pet

half

the place

century,

fact

and artistic intelligence. Trumwere to be met with every-

talent

less

the

to

cornet -players

while

rarer,

was due

This

it.

Cornet

the

orchestras,

Italian

ousting

gradually

requiring

easier to play,

became rarer and

Belgian, and

French,

in

the Trumpet,

of

Cornet a pistons)

Ft.,

where.

timbre

Although the

one

the

being

compass,

two

instruments could
of

tone

the

little

quality

in

compared,

be

as they had

brilliant,

was ignored;

moment

for one

not

and

other noble

the

vulgar,

difference

the

the

of

and

thick

the

same

for

sensi-

much the worse

so

ears!

tive

However, since the

emission,

Cornet

the

2: Cornets

in

same C in

the

of

retreated

has gradually

Bt and A:

in

and

Bl>

A,

modern Trumpet, which can rise as easily as

series, and is not much more risky in its

same harmonic

the

of

tuned

are

Trumpeis

little

invention

makes use

Cornet,

the

and

the

the

before

length

their

of

scale, which

their

Trumpet.

reinstated

tube

starts

same as

the

is

from the same

F)|,

that

of

rises

to

alt.-

Cornet

Bt

in

length of tube

ft.

in.

ft.

in.

-dfr

Compass:
t^

Need we again
highest

quality

ful

lowest

the

or

call

the

of

to

notes

brass

of

5 or 6

first

weakness and

creasing

the danger

attention

degrees

thinness

in

the

low

frequently

by too

We

must ever

F||

using either the

in

mind the doubt-

and the
upwards.

C,

to

partial (G)

sixth

the

bear

from

register,

timbre from

the

of

incurred

instruments?

in-

High register where

I

good register.

the tone gradually

becomes thinner.

S:

4
.#

bad.

The

relatively

is
is

It

and

notes

highest

which

can

only be produced

with

dangerous to attack these extreme

notes precede them the danger

surer

cadence

the

like

following, for

Cornet in

Cornets

3;

arid

gle,

double, and

mouthpiece,

it

and

except

difficulty,

B\>

degrees
is

without

but when easier

more frequent than a

preparation,

Nothing

obviated.

is

instance:

Bl>

and the Bl> thus prepared is excellent.

So we see that the best notes of the
and G
(6tl! upper partial).

same possible

some

easy.

Valve -Trumpets

impossible

triple tonguing.

have

shakes.
Still

can perform the wildest

instrument

the

same

Like

the

lie

between

mechanism,
Trumpet,

the
the

C (20^ upper

same
Cornet

more easily than the Trumpet, thanks

acrobatic feats:
J.

W.

14^67.

partial)

the

capabilities,

makes use

to the

shape

of sinof

its

runs, iterated notes, chromatic scales, etc.

76

THE CORNET.

"But
ondary

technical

its

forms of art

See

instrument."

However, we must

and

pets
into

within

and

the

not

last

military

Luigini's

contemporaries

their

Till

Alex.

forget

used

Gevaert,

says

resources,"

and

brass

interesting

instead

few years, composers

Cornets, and

it

is

only

bands

quite

to

best

the

where

it

is

advantage
treated

in

the

sec-

as a bravura

Caprice.

rendered;

services

Cornets

"show

in

of

the

recently

Meyerbeer,

Berlioz,

Trumpets

West
that

in

of

the

Europe

Gounod,

Bizet,

orchestra.

wrote

4 Trumpets have

2 Trumagain
come
for

vogue.
Alleg^ro.

Trumpets in

Bk

Cornets in

Bl>.

Trombones.
(Berlioz,

L'Enfance du Christ)

Andante.
Orchestra

Trombones
Ophicleide

(Meyerbeer,

Le Prophete)

Allegretto.
Flutes.
(Orchestra).

Cornets in

Bl>.

Bassoons.

Triangle.

(Gounod, Faust)

3.

W.

14267.

77

THE CORNET.

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

Trumpets

in

A.

Cornets in A.

'

Trombones.

r'*
Orchestra.

^"""^j^

'

"

^^^

i:"^-i'"^

^fe
^^^

^
i.

U^rrOj

^^^

^^
(Bizet,
I'Arlestenne.)

(Choudens, Editeur* Proprietalre.)

^^
rt
Vivo.

Flutes.

(Orchestra)

Trumpets in E.

Cornets in A.

Orchestra.

^^
^^
^^

i^

iJ:

^
Pizz

'1

Trombones

At

present, Cornets
their

place,

thus

are

gradually

resuming

et ci, Editeurs-Proprietaires.)

disappearing

their

(Widor, Ouverture Espagnole)

(By kind permission of Heugel

ing

.i^

legitimate

J.

W.

from

the

position.

14267.

orchestra, and

Trumpets are tak-

78

THE TROMBONES.
(ital.,
1.

Bach,

bones
Despite

Tenop, and

section,

the

necessary
so

Trombone

orchestras

the

now that

indispensable

2rwith

the

In

Bach's

vented

it

played

the

Trumpet.

soprano

Trom-

for

part

in

in

Alto Trombone

the

F,

compass being much the same,

.-

l?

each other,

*"

has
al -

is

it

section

never

we have

three

or

conjunct

the

quartet

any

the

Trumpets,

brass

started

theories

notes

polyphony.
of

Alto Trombone was

the

two

than

higher

the

not

is

it

Trumpets.

four

produce

to

in

were,

it

If

more

had

mentioned

as

being,

keyboard.

single

of

which

"^^

("

former

the

of yore,

part

Trumpet

the

of
its

"r
.--^^'-^'^

| |5

inability

Its

taking

wrote

alwa;ys

instrument.

chapter (P. 74, 13)

last

from

to that

Tin

complete
lower

the

latter

in

Trombones^

his ^outh)

(in

because

magnificent

that

Alto Trombone:

Trumpet and

Fr.,

Bass.

more or less obsolete,

a duplicate of

Posaunen.

Get.,

Beethoven

timbre, akin

admipable

its

now become
most

Mozart, and

Gluck,

Alto,

Tromboni.

the

but

was

It

natural harmonics pre-

never

instruments,

connection

in

the

Trumpet
Cornetto,

the

but

that

or

nowadays almost unknown.

"It was a characterison Sundays and Church holidays, to have the Choral
for the day played by a band of Cornet and Trombone players, standing
in the tower of the Principal church.
Bach introduced this effect into
his Cantatas, the brass instrument group playing alone or doubling
in
unison each of the vocal parts'.' {Cantata N9 25).
else

a kind

tic

German custom,

So, the

an

Cornetto

indispensable

The

old

minor.
on one

and

voice

Then,

followed

his

confined

adopted
the

grouped

together,

became

and

the

the

Symphony

Alto

remained

in

system

of

the

limits

of

force

Tenor

the

till

writing

two

the

Trombones,

and

first

in

Trombones

Weber

and

his

Trombones being

ever

example.

came

lower

the

to

were

quartet.

Bass

Tenor,

exceeding

4 Trumpets

when

robust

this

Beethoven

Afterwards,
never

Trombones

the

in

Alto,

formula

staff,

successors

more

Trombone

high

of

to

parts

used

be
of

the

the

in

harmony,

orchestra, the

the

Alto

became

more and more ob-

solete.

THE TENOR TROMBONE.

( Ital.,

3.

Compass:

Its

mechanism

displaces

the

Trombone tenore.

35

is

Ger.,

notes,

from

V'

simple;

the

slide,

harmonic

series

each

Tenorposaune.

Fr.,

Trombone tenor^

to

which

time

J.

by

can
a

be

drawn out

semitone.

W. 14^67.

to

seven different

lengths,

THE TROMBONES

^ ^

fundamental tone, termed ^(/a/-ne/,

10

k5

is

practicable.

II

79

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

^ #S;

3^
2

Z=.

2^

Position.

lengthening of the slide.

fundamental tone is practicable.
lit

10

The

HI

3^

'-"

I...

ko ^^

>- ''^

10

10

3ld lengthening of the slide.

The
fundamental is still less practicable.

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

(t^)

IV

4th Position.

=nzi

(Y)

1.^

3^ dn^

:=
(l-Y)

b^

1.^

I'rg:

5th Position.

10

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

10

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

4th

VI

>

5tt

(f)

VII

rr

-<M^

7th Position.
6th

lengthening of the slide.

The
fundamental tone cannot be sounded.

10

Here

is

complete scale, with

the

allows of soundiniQ the

even

to

three

said

note.

indications

above each note showing the position

As

seen,

be

will

some degrees are common

VII VI

VII VI

VII VI

V IV

III II

o^o o[^

VII VI

AU^o i
{*)

This

but good

When
and

is

above,

possible, avoid

therefore

which

to two

or

positions:

VII VI

vri VI

which

the

can onl^

the

most
be

7il!

IV

"
fill

III II

'"
'i

is

IV

III II

VII VI

IV

V IV lU

II

III II

IV

V IV
III

II

" *" """

^''''
l

"

"<>

"

Va.\si!!^

of indifferent quality in a rapid passage,

when held

some time.

for

position, which

difficult

of

all,

produced

in

this

J.

requires the

the

two

position,

W. 14267.

notes

are

maximum
Double
the

worst

extension of the slide,

E+

and

on the

B+

a fifth

instrument.

80

THE TROMBONES.

4. The remark made

Trombone:
and

low

the

performer

that,
find

will

notes: G,

F,

As a matter
Bl>

the

in

the

play

sounded
descend

to

have

S%

the

registers

both

in

and

Q\h,

mistake

without

choose

to

degrees
to

need

not

The

sonorous

reall_y

fn-

register

comprised

is

low

Gamut 6 and

between

but

attack;

be taken

must

low notes

account

b_y

be too

not

who has

much

Pedal -notes:

5:

Theoretically,

ones

practicable

This

is

seven

all

are

the

be

first

two:

out

name

the

should

soon

is

upon, for the^ are

relied

them

^^

talent

should

correct,

in

strength,

composer.

the

pla^

to

player's

the

somewhat

are

which

imperfection, which

slight

this

into

register.

save two

are good,

register

this

in

Moderato.

onl^

the

to

the

Sonorous register.

register.

and the performer

sition.

ease.

equal

upper partials,

Clef:

?Low
difficult

the

between the high

hesitation

or

High

All

with

lOlb

to

equalljf

fact, the

of

cannot

lips

difficult

Horn, applies

the

instruments, performers

having

after

it

y-

E:

57 (2), concerning

P.

both

as

register,

evident

is

It

case of

the

in

on

given

"v

to

the

fundamental

Double

practicable, including
Bl>

lacking

breath:

of

and A,

Al>

being

risky,

tone
E;

of
in

each

po-

realitjr,

the

and 6 very danger-

ous.

manner

However, the
says

Berlioz, "is

to

in

which

proceed

by

Bl^

or A

skip

of

is

attacked
or an

fifth

is

not

octave:"

Moderato.
Orchestra:

")

^t^-

* m

'^w^FH^^frf
Andante.

Tenor
Trombone.

""
J

Ji>J

J-i^

A very correct remark:

notes,

being

emitted

neither

^m
^w
b

the other

The best way"

indifferent.

thus, these

slower

of

pedal -notes

speech nor

Moderato.

weaker

do not seem
in

^^

^
J.

W. 14267.

to

tone:

differ

from

81

THE TROMBONES.

Length of Breath.
6.

The

amount

performer

the

wind

of

obliged

is

required

to

Trombone

the

play

breath

take

to

almost

at

ever^

so great

is

that

forte

in

note:

Andante maestoso.
a 3.

Wagner,

case, does

this

in

knows that the performers

take

not

trouble

the

take

will

fulljf

marks the

each

legato group, he places an accent over every

for my money',' Gounod used to say,

legato

passages, and,

mark the

to

everywhere;

breath

preclude

to

"Give me change
twelve
In

pence back;

if

theme

the

the

Indicate

and

meaning

of

the

crotchet

is

curtailed

This system

Trombone)

the

he asks

for

linking

of

The

of

it

a bow

the

slide,

notes;

can
to

and

play

each

and

note.
"if

give you

shilling,

want

a quaver."

play

Violin

note;

he

the

marks

on

the

to

length

such

second

the

of

the

is

(a

method peculiar

to the

Violin.

have the

no slurs,

which

same

legato

as

so

the

note,

the

but

means:

let

full

to

tone-power of the instrument,

any

prevent

there

be no

mistake,

he

intermittence

in

the

legato be uninterrupted!'

the

that, too,

while

beat,

simultaneously

breath

wishes

sostenuto,

in

second

same time,

the

at

the

after

bowing

the

let

taken

taking

detached

Trombone proceeds

passages),
gives

the

note

to

passage:

the

of

as possible.

for

bow per

one

above

writes

the

little

articulating

composer

be

to

is

over

as

corresponds

When

note

the notes marked legato in bar Y do not

my timesostenuto of the phrase; "don't cut down
me have them complete'.'
On the other hand, the slurs in bars

breath

accent

of

don't

last

but

Wagner, "let

show that

crotchet,

the

of

care-

'Pilgrims' Chorus',

punctuation,

says

values','

of

write a

hand, he

other

shortening

the

he

breathing- places, for

the

on

way;

well

as

when

able

any other

to

economize

instrument;

trombone- player gives

an

breath

Just

as

articulation

(in

the

to

each

piano
violinist

motion

sostenuto assai.

Tenor
Trombones,

ir^

1^

"r

LT

Tromb.

^jjs;

Bass
Trombone,

'

"

II

Tromb.

Tromb.

l'|>

<*'

W. 14267.

'^

pp.
V^^i-iJi

J.

^1

h*

82

THE TROMBONES.

Have
of

we not always heard

the

following

Larghetto, "hermetically"

his

IK

slurred

ii
;f'

Trombones.

PP

Schumann

b^

^T-^rrrn

Bassoons.

ppV

(Sympkony in

Remark:
Schumann sometimes uses the Alto Clef for his two first
writes like Alto Trombones, as in the following extract from the 31^
preceding illustration from the Symphony in Bl>.

B\t)

Trombones,

Symphony

which he
and in the

?^^r^|rr^rv7f^ ^
^ ^^ffl fe^^^^

Et

.,

Horns i

Et

<^>

4ri-

jt'^j

end

the

at

performers?

the

placed

transition,
by

^^^
Trombones.

Bassoons.

'J

yi,S.<t

iJ

^W-^ ^^
^ M^ ^tTt
^
TYU^r^TT

^^t

f=

ppT^f^f
Note the extreme

lip

-tension

required

to

sound

the

high

E!>

b:

the Horn

of

and

Trom-

bone.

This

certainly

is

a striking

orchestras,

we have players

Trombone,

the

ware

breathe
Let

7.

ferent

ist

danger,

us

be

In

the

careful

it

is

Trombone

the

one single

Position:

not

preceding

positions;

ll

feel

suspense

of

thrill

has

to write

so high.

paragraph,

can

sound

been

the

at

composition.
El?

the

Yet,

harmoniously

beginning

of

the

piece,

referred

to

only

succession

of

between

slurs

that, like

the

harmonics

notes

Horn,

^
^
1

i*,

r * p r

having

6th Positiot
ition:

J.

W.

Tenor

and

only

14267.

I Id

ti

belonging to

dif-

the Trumpet, the Cor-

common

articulation.

our modern

their

professionals, a-

but

difficulty,

in

on

overcome.

necessary to add

emit

this

much as suspecting

so

difficulty

hardly

dangerous

very

of

enough to

skilful

even

not

when the

freely

net, etc.,

with

the

of

public

example

fundamental

83

THE TROMBONES.

This

8.

breath

at

instrument,

everjf

note,

which
Is

short-winded

so

is

remarkable,

in

piano

in

forte

passages,

and obliged to

passages,

for

its

astonishing

taite

sustaining

power:

Moderate
Violins.

Violas.

Trombones.

Violoncello

Double-bass.

fP'i brf

(Parsifal)

poco marcato.
(By kind permission

Through eight long bars, the Trombones hold

any sign

giving
ing

then the sound

fatigue;

of

their

respective

of Schott

& G9,

Poblisbers-Proprietors.)

and

notes quietly,

without

vanishes like mist, without our so much as notic-

slow tip -toe exit.

its

Articulation.

9.

goes without saying that the lower the Trombone descends, the heavier the emission

It

becomes.

It

is

evidently

to

difficult

that of the Tenor Trombone

like

(Bl>),

sound

the fundamental

or 12

ft.

in.

Not only did the classic masters dispense with these

voided

anything

that

looked

like

bravura

effect.

tone of a tube

long, like

ft.

10

in. long,

that of the Bass Trombone (Fi

low notes, but tbey

carefully

Nowadays, thanks to the

skill

of

ain-

many things formerly forbidden have become possible.

While Beethoven
Berlioz
Weber always wrote in semibreves, minims, and crotchets,
and the modern
school are not afraid of much livelier rates of movement, or even of prolonged florid passages, which come out very well,
on condition they are written in the sonorous medium restrument-makers,
and

gister;

Allegro.

^^
(88

J)

*^-"^'

^cxijr

m
^\,^_^

^j^

^^

^E

Mephistopheles suddenly
appearing.

iL^

icjr ^r

(Marche Hongroise.)
a 3.
J.

W.

14267.

84

THE TROMBONES.

No one would

formerly

have thought

of

using

the

articulations, from Gotter-

following

dammerung:

^^^
^
3

I^^^fnfflf-ffl
Tromb.

PP
V-<^>

l>o

of Schott

&

Jry

U-

^ a.

(By kind permission

C9, Publisliers -Proprietors.)

Or these, from Parsifal:

G+

(The low
(By kind permission

(By kind permission

Violins.

^^

3.

(By kind permission of Heugel

tained

tones;

strength,

of

and

you

will

indeed

Trombones.

Violoncellos.

Double-basses.

..

the

them shake

see

have

they

need

Andante.
Violins.

of

7j

^^^^
^^

their
of

it

heads

and

'^^'^'^''

mere

for

Komgane)
play.

child's

them

ask
beg

^"^

Mozart's long sus-

for

time

to

their

collect

all:

^
^j

^j

z
'^\'*'

Commander

rrcj g

f'rr

et Ci, Editeuri-Proprietaires.)

to-day look upon these passages as

them to play the Scene

set

Sti Sympk.)

m^

irf

But

(Saint -Saens,

Tromb.

The performers

difficult to repeat.)

is

& C?, Publishers -Proprietors.)

of Heugel et Cl, Editeurs-Proprietaires.)

(J. 126)^

of Schott

J-

^
;)j-

i^

;i

^m

^
^

f^

fp

-J^

E^i5

J.

//
J.

W. 14267.

JiJ.

Ji-U^^

85

THE TROMBONES.

assa^ LJiff^^aerrar^M^^Etfrrjg
cresc.

cresc.

I'r

'r

rr

pr

(Z'ow Giovanni.)

The whole
matic

than

or anything

scene
the

more

be studied,

should

Trombones
impressive

rising

note

octaves

in

than the

b^

Can there be

note.

under

crescendo

the
of

chromatic

these

anything

more

dra-

harmonjr of the orchestra,

sounds of brass?

Allegro
Orchestra

Trombones

Violoncellos.

Double-basses

Remark:

The low Et

(*)

is

possible

on the Bass

the part.
J.

W. 1426'?.

Trombonie, for which instrument Mozart wrote

86

THE TROMBONES.

Shakes.
10.
onl^

Shakes

are

harmonic

the

impossible

with

practicable ones are between

series,

when the

e.

i.

ir=,

the

the^ can

onl^

scale

which

the

of

and

7l!], StJ!,

produced

be

can

b^

one

stand

partials

9ii!

the

the

lips:

apart

tone

in

be employed.

"

"

m>

slide;

degrees

(lit Position.)
10

the oni^

reality,

In

possible

shakes are as follows '(the positions

being

indicated):

was passing near a public ball-room,

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

Lately,

caping

Tempo di marcia.
Trombones.

Side Drum.
Kettle-drum.

and

to

wind up:

3 Tromb

Astounding
cracker
is

It

This

not

and

shake,

its

only

fantastic

execute, and

howl

written

produced

is

by the

for

all

nigger

will

is

instruments,

in

with

Revelations,

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

on

account

by

the

finger

of

than

the

rarity.

its

combined

on

action

stringed

of

the

slide

instrument.

It

and

the

lips,

as

js very

easy

to

dance.

scores published

the

Trombone

the

for both

here

was the Beast

it

through a

and works to be consulted:

read

of

"Fire!"

effect
it

performed

is

11r Authors
literature

this

mention

suitable

Trumpet;

roaring

tail,

that

likely
I

glissando

the

One would have thought

effect!

to

tied

must repeat the advice given

since

as poor as that

each one

of the

treating

time of

the

them

Trumpet,
in

his

in

connection with

Bach and Handel; the

but

all

the

masters

own personal manner, and

special

have
it

is

manners which must be studied.

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

various

pets,

tendency

We must

read,

to

be

regretted,

compare,

and

for

it

is

anti- instrumental.

take advantage of

ors.
J.

W.

14267.

the

experience acquired

by our predecess-

87

THE BASS TROMBONE

Trombone

(ital.,

12.

It

')

"

III

IV

^
^

VI

(T>

i^

2rf Position.

>o

I'"-

^^
SZd

4th Position.
Fundamental tone impracticable.

"

<>"

Position.

5th-

Fundamental tone impossible.

4~

Position.

Fundamental tone impracticable.

-U

^ ^

l>Ty

lower.

Fundamental tone theoretically practicable.

"

basse.)

Fundamental tone theoretically practicable.

^
Tr34S678

')

!-

18

(Y)

a fourth

Trombone

r.,

l?t Position.

^
4

Bassposaune.

Get.,

transposed

.^

(f)

II

Trombone

Tenor

the

is

basso.

i"

tui

::

gth Position.

Fundamental tone impossible.

4

4>

VII

~=^

special

in^

as

is

^^

other

the

;-^^

has

that

admirable

as

u^ u^

been

to

tone,

but

to

difficult

requiring robust lungs

pla^,

referring

to

about

the

first

the

difficulty

7'^'''f .k'f

Tenor Trombone

concerning

the

"^

*'!:.--.

said

two restrictions,

with

jz

All

is

follows:

^
')--j

7tb Position.

Fundamental tone impossible.

--

lips.

compass

Its

Fr-t^-^

Trombone

The Bass
and

"

experienced

equally

applies

slowness

the

of

speech

producing

in

the

to the
of

k'f
Bass

a tube 12

pedal- notes

Trombone,
ft.

long,

(fundamental

tones).
If

the

only

indulge

than

can
E,

Bass

the

Not

Trombone

Double
of

Tenor

in

barely

the

sound

lower

as pedal -notes anything

notes

coming out,

not

still

but

Double

and

B[>

less can the pedal-notes

Trombone be obtained;

have
too

great

the

free

use

masters
of

the

never employed

lowest

notes

them,
of

Eb
J.

W.

14267.

the

but
real

they
scale.

are very

careful

They rarely write

not

to

lower

88

THE TROMBONES.

Take,
dulges

Once

for
In

instance,

the

score of

Tristan; do you

know how

many times Wagner

in-

a Bt;?

only

(P.

76), and

just

see

whether

he

tires the

note:

Oboes

Clarinets in Bt.

Cor Anglais.

Violas

Basses.

f
J.

w.

i^kzem.

performer by the length of the

89

THE TROMBONES.
He does
lowing

not

exquisite

make

Bass Trombone descend

the

holding- note

+ pianissimo

(P.

to

El>

250)

is

more than 8 or 9 times;

one of the

cases

in

the

fol-

question:

dolce.

Z
Flntes.

Oboe.

Clarinets in

Bk

Bassoons.

(By kind

permission of Breitkopf

&

HSrtsl, Editenre-Proprietains.)

Twice he writes D:

Andante.
Tromb.

V"

PP

|j

PP

w
(p.

242)

PPP
Ten.

Vnh>^

B?T

1 [^

Trombones.

Bass

^^

PP

'

'

f
PPP

PP
J.

W. 14267.

(P. 319.)

THE TROMBONES.
So

that

than

whole

the

And when

E\>'s.

of

rare

the

Parsifal;

act of

doubled

a question

Double Bii, two Dh, and a few

Wagner never employs anything lower

the most one

contains at

holding -notes,

of

and always piano.

El>,

One

score

this

of
is

it

by a

examples

of

admire

but

Tuba, and

only

^r/&

a holding -note

to

is

asks

Trombone

the

play

to

be

seen at the

end of the 20^

who has

his

Bass

fortissimo

for

prudence of the musician

the

Trombone

bars, while the

Tuba continues for 8 more:

Orchestra.

Ten.
Trombones.
Bass.

Tuba.

(By kind permission

of Schott

&

G?, Publishers -Proprietors.)

THE CONTRABASS TROMBONE.

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

l^e

Ml

^ ^ = 5:
=
el's:)

12

10

Wagner makes use

It

hardly

is

mouthpiece
about

the

still

latter

Trombones.

of

necessary

more

to

instrument
add that it

special

instrument

than

apply

in
is

the

even

Tetralogy.
more difficult

Bass Trombone,
still
more force

the

with

^
m^

S ^^m

ff

Bass Trombone.

this

ff

Contrabass
Trombone.

ff

of Schott

&

in

to

play,

that

this

^
^w

all

and

requires

the remarks

made

case.

^m
(By kind permission

and

*-i^

-dimr

dim

^^

C9, Pulilishers-Proprletors.)

dim.

{Rheinffold)

As

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

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

Bach.

J.

W. 14867.

91

THE SAXHORNS.
This

1.

is

struments,

the

Trumpets

separate

tube

family

The

absolutely

of

Saxhorns

being

timbre

different

instead

conical,

from

the other brass in-

cylindrical

of

that

like

of

and Trombones.

we enquire

If

gotten

group

the

of

group

the

into

Keyed

of

consists

Sopranino

origin

seven

of

we can trace

Saxhorns,

the

of

Horns and

it

back to the almost

for-

Ophicleides.

instruments:

Saxhorn, or

Small

Bugle
in

in

El>

Soprano

or

Bugle

Alto

or

Alto

Barytone

or

Barytone

Bass

or

Tuba

Deep Bass

or

Bombardon

Double Bass

or

Contrabass -Tuba

Bl>

El>

in

in

Bl>

This is the instrument used in

the orchestra as a bass to the Trombones,
(v. 8, P. 94

(*)

Except

(*)...

Tuba, which has

the

analogous

are

to

mechanism and

2tupon

of

or

to

repeat

to

be

expected.

3.

notes

such

depths,

be well

mellow

for

the

serve as a

foil

background

would

what

is

spectively

The

total

El>

total

Bugle

members

the

all

of

family

this

making use

pistons,

of

Saxhorn

the

compass

rather

of

are

the group

is

group

of the

same

as

an

nothing

as

into

of

compared
in

of

is

bravura

serve

and

and

Alto

ft.

in. long,

as

This

not

perfectly

firm

and

Trombones.

combination

and

increas-

the

17

effects are

our orchestra.

would

Tenor -Tuben
modified

but

with

Bb, which

the Trumpets

element

his

dimensions of the tubes,

the

in

long,

octaves,

five

flourishes

than

in.

becomes slow and

speech

brilliant

3%

Contrabass -Tuba

the

of

which

of

B!*

differences
ft.

and

compass

in

F)

pistons,

five

when he conceived

Bb),

(or in

same number

the

intended

Wagner
in

of

admit

to

with

It

lowest

homogeneous mass,

Eb

upon the

enlarge

to

the
at

in

fingering.

emission

that,

would

It

same

having

of

facility

heaviness

ing

the

unnecessary

is

It

the

Cornet,

C)

(or in

four or even

the

of

Bt

in

with them.

This

Bass-Tuben

(fe-

Bass

Saxhorns.

follows:

(Little Bugle.)

S.

(Contrabass -Tuba.)

The
for

Saxhorns

they

are

make use

made
of

of

neither

brass;

length

their

tuning -slides

J.

W,

nor

is

invariable,

crooks.

1426-7.

i.

e.

their key never changes,

92

THE SAXHORNS.

SOPRANINO SAXHORN.
(little bugle in at)

4.

FlUgelhorn piccolo in Es:

German:

In

'"U

*'<*-

Compass:

This
ful

a very

is

the

in

where
ters:

some special

for

Sopranino

the

capable

instrument,

shrill

unless

the

following

Good

register.

part;

great

of

execution;
suitable

but

effect,

the

are

it

of

limits

not very

is

usebands,

military

for

various regis-

its

:
:

Low

#
The notes
are

high,

orchestra,

plays

it

sounding: ^S e

the

of

paration;

high

and

has to be

it

#S

dangerous

very

register.

Even

difficult.

led

up to

high

by

three

the

especially

register,

scale

^^.:'^^^':..

semitones

last

cannot

some kind

or

of

be

attacked without pre-

figure:

sounding:

played

is

It

mission, and

like

but a Cornet

Cornet a Pistons;
by

higher

points

the

to

bravura

has the same

it

mechanism,
articulation.

fact

same easy

the

is

It

e-

Cornet,

a fourth.

most characteristic name

its
ly

same single, double-, and triple

the

that

is

German

the

the

is

it

Piccolo

FlUgelhorn Piccolo,

one:

family;

the

of

is

it

not a

which

melodic

clearbut

instrument.

SOPRANO SAXHORN.
(buole in

5.

Compass:

This

is

Cornet, to

once

an

in

the
last

As

its

with

instrument
it

corresponds

orchestra, and
act);

sounding:

y^^

which

DiaMe,
nothing

FlUgelhorn in B:

German:

In

it

is

to

note

mellow,

soft,
in

even then

about

is

being

exactly

the

It

part

its

Bugle,

timbre, and

poetic

compass.

true, Meyerbeer,

compass and mechanism

special

bI>)

has

hardly

played

usually

dead,

by

unable to

is

correspond
the

been

to

those

capabilities

of

of

less

is

employed
the

i
XT

(Hardly practicable.)

Excellent
register.

J.

W:

14367.

the

both

more

than

Cornet {Robert le

protest.

Cornet,

there

is

instruments being

i-

dentical.

vulgar than the

^f

High register.

93

THE SAXHORNS.
dangerous,

is

Fjl

not

inferior

Remark:
the

but

the

two

of

the

Cornet,

that

to

Except

octaves

following

are

which latter instrument

Fjt^

the low notes are of

"

much

and

excellent,

the high register

frequently

is

to C.

rises

better quality and purer of intonation than on

Cornet.

Bugles in Bt.

Although capable
strument, and

great

of

ought

Bugle

the

execution,

used

be

to

Jjjplj. i

^'"'^

sounding:

JJ

J 4

melodic

for

chiefly

Is

more especially

an

in -

expressive

purposes.

ALTO SAXHORN.
(alto in

6:

Althorn in Es:

German:

In

Compass:

eI)

fc

-(h4-

sounding:

It^

This

forms

part

of

articulates

with

which

instrument,

inferior

between

link

ease

considerable

Low

and

can

or

the

in

octave

It

descend

to

are

Alto in Et.

<'

hand

at

soloist,

Barytone

and

a note

hold

Register of
best quality.

lower than

make up

to

^Lci/

a background

is

but

usually

Saxhorns.

However,

it

some time.

for

-(-#

imprudent

Soprano

the

r<

is

as

plajr

register.

i
It

does not

background to the polyphonic instruments.

the

connecting

the

is

It

a rather

is

instrument,

a kind

its

register.

other instruments

unless

=,

for

defective

in

unison

quality

sounding: q

High

of

orchestral

padding

BARYTONE SAXHORN.
(barytone in
7.

Tenorhorn in B,

German:

In

or

bI.)

Bass-FlUgelhorn:

()

Compass:

sounding:

^^"

V"

^r)

t^

This
the

is

great

emitting
stop,

ft.
It

is

a much more pleasing

advantage
without

being

of

while

the

Bugle

written

like

the

Barytone in Bt.

'-

able

some

difficulty

and

attractive

descend

to

high

pretty

corresponds

Cornet, but

LT rrr~r

to

rr
J.

with

notes.

an 8

sounds an

'

instrument

ft.

relative

the

ease,

reality

In

it

Alto, and
at

the

sounding:.

lower.

j:^.rtfrrfr

possesses

same

corresponds

stop.

octave

W. 14267.

than

to

time
a

16

94

95

THE SAXHORNS.
The Tuba, which has with great advantage
factory

blend

substitute

well;

the

bones, and

But
hoven

tone

thick

comparison

the

the

use

Tuba.

Ophicleide,

two kinds

disadvantage

the

to

of

satis-

so

not

is

tone -color

of

timbre

do

not

of the

Trom-

the Tuba.

them:

of

Vi*,

=..126)

^
i

(By kind permission

(J

made

can be

that

3d Trombone.

3d

the

the

for

Tuba jars with the metallic

the

of

altogether

is

replaced

Trombone,

us try to be content with what we have got, and remember that neither BeetWeber had these deep bass notes at their disposal. We give some examples

let

nor

showing

soft

Bass

the

for

of A.

Darand

J j

(Saint-SaenS, Suite Alg'erietine.)

et Fils, Editeurs-Proprietaires.)

Trombone

h}

^'

J'l
i

i J j

nh J^

HiT'^nJi

atS

Tuba.

(Br kind permission

Bass Trombone.

of Heugel et ci$,

Editeurs-Proprietalres.)

(MaSSenet, Scenes AlsactentieS.)

^m

^^

M P

mf

mf

w mrm

Tuba.

--/'

mf

(Glazounow, 6th Symphony)

Despite

9:

extreme

its

(J

Tuba

not

is

incapable

of

some execution.

Here

is

well:

104)

some octave -skips which come out

and
(J

the

comes out very

which

for instance,

scale,

depth,

equally

well:

=84)
;'

'>--yi

Results of experiments made with the kind

assistance of Captain Soyer, Bandmaster of

the 24tfe Infantry Regiment, Paris.

Of

10.

and

the

all

Tuba, having

Such

is,

instruments;

Saxhorn group,

While

fingering.

five
till

so

Doubtless, the

pistons,

some
far

is

better
it

future

the

Tuba

other Saxhorns

the

is

has

necessarily

instrument

the most

member
on

played

has

currently

something

the only

modelled

Is

are

better

J.

in

been

a different
invented,

employed
in

store

W. 14267.

the

and
for

having

Cornet

special

manner.

the usual

bass of

most practical.
us.

mechanism

with 3 pistons, the

the

brass

96

THE SAXHORNS.

THE DEEP BASS SAXHORN.

(bombardon)

11.
It

In

tuned

is

Tuba in

German:
either

F or

in

Es.

F, in

Ek

in

F.

r-U

Compass: ^4^

This

Ek^
is

not

used

in

between

the

Tuba

and

link

usually

doubles.

sounding:

instrument

necting

a.

orchestra, but

the

Double

the

onl^

military

in

Saxhorn

bass

in

as

bands,

which

Bl*,

con-

latter

it

THE DOUBLE-BASS SAXHORN.

(contrabass - tuba)
12.
It

in

German:

tuned

is

Bk

in

=^

Compass:

It

is

written

Kontrabass-Tuba.

like

sounding:

a 16

stop,

ft.

e. g.

Double - bass
Saxhorn in Bk

As

sounding:

be seen,

will

compass,
scale

come
of

out

the

this

hand,

down

well,

whole

the

of

is,

other

the

but, on

depth

^^

to

is

it

6,

and

family,

the

member

the

perhaps the

*J'- ^\'

most

execution

is

that

^Pf
has the most

sonorous.

limited

the notes of the

All

satisfactory, despite

great

the

notes.

Wagner had

Contrabass -Tuba

16 ft. Ek These
when played forte

extremely

to

Contrabass -Tuba.

'

*)'

C constructed

in

low

are not

notes

Their effect

(V. P. 186).

is

for

as

Rheingold, which

satisfactory

better

i^H,i

could

wished,

be

mezzo -forte:

^' V <c

4^i,t

as

descend

could

Uri

^
^

Lento.

Bass -Tubas.

Contrabass -Tuba
in C.

^^^^^g
V^^S><^

f
I

1^

(By
(5: kind permission of Schott

It

is

mf

also

that

he

gives

this

"'r*r

r<i

wm ^^

=^

ti

sfe

low
J.

to

the

W. 14267.

&

Contrabass -Tuba:

0 Publishers>Proprietors.)

97

THE SAXHORNS.

Bass Trumpet
in C.

Tenor -Tuben Et.

^'

>r

^JK

PP

^^

fiii

;i=eb

Bass -Tuben Bk.

f=i^

/?P

piu p

Contrabass -Tuba.

piit

(By kind permission of Schott

Contrabass -Tuba.

V'

[,

^^

i*

'^

following

/oco cresc.
liind

permission of Schott

compass

the

is

(.Gotterdammerutlg'^

C9, Publishers-Proprietors.)

{By

The

&

^^

of

piii cresc.

&

Contrabass -Tuba

this

{.GotterdSmmerung^

Pablishers -Proprietors.)

G?,

C:

in

Less sonorous.

1^

Remark:
the

gva bassa

\loco.

Excellent register.

Instruments of French construction, whether tuned in

notes (X T.)

or in C,

Bi>

cannot

produce

4 lowest

13;

To

sum

The

Bass

The

Tuba

we have two

up,

Trombone

Bass

and

the

Trombone

can

Double

to

kinds

descend

rather

is

produced

Tuba

on

unwise

the

exclusively.

6:

Exceptionally,

may
about

be

required

the

for
in

4 lowest

write

and

C,

in

(Low

among the

brass

instruments:

the

Bl|:

(Admirable tone.)

(Inferior quality.)

to

Tuba

basses

Double

to

^
It

deep

of

Tuba.

can

special

the

notes

for

a
be

effects,

orchestra,
of

its

(J)

the

Tuba,

considerable

produced

by

Wagner's
but

then

for

number
a

J.

W.

Tuba

Contrabass

we must

compass.

14267.

note

this

practically

of

performers

in

Bl?).

Tuba

(which

remember

what

cannot

employ

this

descends to

was

be

said

El>)

above

98

Chapter III.
I-

Percussion Instruments.

THE KETTLE-DRUMS.
Timpani.

(ital.,

1.

The

^"The Kettle-drum

be

should

shell

made

usually

consists

good

of

ass's

of

uniform

of

contracting

loosen

or

This

2. Nowadays,
from

lected

No precise
deep

the

proposition

last

kind

the

the

can

better

of

homogeneous,

skin.

"head"

the

dint;

without

cracks,

screws; an iron

of

is

dog-skin,

goat- skin,

means

by

shell

action

dimensions

employ

stretched

is

or

flaw

of

makers
curried,

well

to

to

which

over

of

these

screws, serves to

be

given

for

ring,

tighten

Kettle-drums,

but

on

(Kastner)

qualit_y!'

self-evident.

is

back,

animal's

an^

be

are

notes

heads are made

Kettle-drum

all

the

obedience

in

membrane.

the

Kettle-drums

large

must

attached

is

It

expanding

from

Timbales^

Fr.,

shell,

some instrument

The skin

thickness.

and

hemispherical

brass, free

but

skin,

sheep-skin, or calf- skin.

and

of

Pauken.

Ger.,

considered

uniform

thickness,

curried

well

of

being

that

most

the

calf -skin, usually

part

serviceable

of

sethe

hide.

As the
the

skin

is

sometimes

constructs

we

the

out

beating

sometimes

on

performer

seen

be

drummer's

the

the

experience comes to

Before

ones.

thick

hammering

this

it,

gives

as

the
the

long

out

parts

Kettle-drum.

The

touches, which

Drum.
time. "On the

long

as

finishing

the

Colonne

the

in

it

of

lasts

about

instrument

"mellow" a

to

making

the

Kettle-drum

happen to

performer

or 5 years

than

seen,

made

well

accident

may

takes

but

it,

have just

parts, and

thin

head, very

the

of

rehearsal,

a gold-beater.

like

It

the

drummer

conscientious

much

absolutely

not of

sparing

rescue,

drummer,"

average,

says

and

Orchestra;

instrument - maker

take more time, as

and

if

MP Henri
accidents

no

untimely

Vizentini,

are

rare

in

the

the

orchestra.

Kettle

3.

The
ed

in

drums are made

largest

the

can at

will

in

three

made

to

sizes.

sound

any

one of

smallest

size

gives

^
the

following

!>!

the

chromatic

degrees compris-

medium -sized
:,

according

ones play
to

the

H^

notes:

^
and

the

fifth:

^
The

be

either

custom
J.

in

of

the
the

W. 14267.

^m
or

fifth

various

countries.

in

the

fifth

99

THE KETTLE-DRUMS.
For the sake

two

though

degrees, F| and

Beethoven

weakness

uses

G, being

he

it

*^
4.

So,

sometimes required

moj

am

them

ask

aware

that

you

5.

France,

In

means

ened

by

and

from

with

which

wise

there

depend

part

of

number

than a major

carefully

take

to

turns

to

five

avoid

the

to

require

to

and

the

F.

value except in a pianissiDrum.

and Wagner the low E, but only

Bass

high

F||,

from

borrow anything

to

Drum played
been

in

one.

the

of

requires

third,

(Sth Symphony.)

F or low

high

them,

head

deeper than

roll

number

from

Taking

into

cracking.

membrane

the

retained;

9 to
account

the

Kettle-

Kettle - drum,

large

inequalities

screws

several

the

of

tightened and loos-

is

for a

11

the

of

skin

other-

accordingly;

and correct intonation

Besides, quality

if

change the tuning

be given to
extent

such

relatively

the

exceeding

great
this

of

the

the

of

screws.

fifth,

but

it

Drums depends
The head is
would

Mazeppa

inter-

sufficiently

be very unskilful on the

time to

masters' works

change the pitch

be

examined,

it

of a

Drum

will

be

limit.

Festklange... i Kettle -^mms tuned in: G, A, Bl>, C.

Changing to:
$, A, Bb, Bl).
(Maximum skip: a semitone^

Hungaria.

on the

skips.

long

Kettle-drums tuned
Changing to:
Then to:

in:

A, Bt, D.
F(t,

Bl|, DJ|.

Bt,

Bl|,

And finally to:

A, C,
{Maximum skip: a major third ^

to

sticks.

scores at random:

Liszt:

better

is

it

that

Kettle-drum

with

drummer adjusts the

required
of

composer

the

its

tension.

bear tightening

The performer

they

risk

of time

lower,

F:

has no tonal

producing

of

varying

a small

for

but

wrote

has

familiar, the

some

is

the

to

is

system

old

well-balanced

on

on

val,

to

either

cracked

Bass

screws,

of

he

The length
strong

the

beyond

inclined

means

using

in

low

else.

another

is

consists

it

F an octave

the

the

of

this

sonorous, and al-

not

Is

with

practice, the

in

(9th Symphony.)

of

Berlioz

ever used

Fl)

with

it

quality

^f=\

effect,

idea

feel

something

for

Besides, there

drum:

if

contrast
rich

special

the

and

fully

exceptionally,

for a

suggests

tone

its

and

full

to go

not advisable

is

it

to

fails

the

Kettle-drum

little

Even

poor quality.

of

never

by

for

museums, but hardly

in

^ ^m

atoned

being

mention

also

will

found

be

to

highest

we

completeness,

of

compass

2 Kettle-drums tuned
Changing to:

Then

in:

to:

And finally to:

{Maximum skip: a minor

J.

W. 14267.

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

D|.

Dl|.

by more

seen

that

100

THE KETTLE-DRUMS.
Marche Nocturne

Berlioz:

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

in:

G, C.
G, Bk

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

in:

Al>,C.

(ij'Enfauce du Christ.)

Changing

(Lelio.)

Then

And

of

fifth,

if

one

ear;

the

screws.

such

small

onljr

the

one tone.

bj^

indeed

When

bar of quadruple time,

Drum

know

the^

when

fact,

In

be

skip

required

is

required

is

raise or

to

a third,

for

drummers manage

question,

a quarter,

thus that

onl^

is

it

in

give

to

tempo,

more time

one, by seconds.)

lower

the

fourth,

risked.

are

intervals

moderate

in

Naturally,

C, F.

a fourth, but

skip:

a gradual
About

Al,E.

to:

finally to:

{Maximum

pitch

At, D.

to;

tune

to

three-quarters,

half,

the^

can tune

the^

no

without consulting

or a whole

a forte, amid

in

turn

to

din

of

the

tutti.

when wide

However,

mxj be seen

they

ience;

whether

6r

instrument

the

Germany,

In

Two
ened

kinds

as

levers

acting

latter

kind

The great

tempo,

upon

is

and

such

of

this

Italy,

skin

a drum-

with

system

Drums mounted

(1)

a number

advantage

the

to their manual exper-

longer trust

stick, endeavoring to Judge

discarded, and

been

has

mechanically

adopted.

is

on

turned to

notches

of

more general

in

figures

touching

Instrument

the

for,

tune.

in

exclusively

made:

are

according

called

gently

is

Russia,

Kettle-drums

tuned

are

skips

right

corresponding

head

the

pivots,

the

being tightened or

loos-

Drums

with

or to

the

the

series

to

left:

of

(2)

semitones.

This

use.

mechanical

tuning

as the following

can

lies

be

in

instantaneousness.

its

executed

on a

single

In

moderate

Drum.

AW moderate.
J

"^M*,

^^

(The sudden motion of the lever coincides with the stroke

of

Curious glissando
like

the

violinist's

the stick, so as to avoid blurring.)

effects

finger

on

can
a

obtained

be

by

handling

the

lever

very

slowly,

much

string:

Andante.

^^
The

Paris

alleging

the
plain

that

their

temperature
that

had

Ope'ra

they

Sub judice

intonation

and

the

have

not

lis

adopted
is

these

or

sufficiently

^r'

Kettle-drums, but

inaccurate.

dampness

''

The

dryness
direct

control

est!

J.

skins

of

W. 14267.

the

has just

contract
air,

over

the

or

so they
tuning

them again,

discarded
distend
say,
of

according

and
the

they

Drum.

to

com-

101

THE KETTLE-DRUMS.

As

7.

composers,

for

without

fit,

an^

the^

need

take

not

than

other preoccupation

sides

that

the

in

quarrel,

write as the^ think

but

instrument

the

confining

of

to

its

true

of-

or

sud-

fice.

What do we require of the Kettle-drum?

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

the

With

in

Drums

three

without

having

drummer's
such

case

unable

sometimes,

change

follows:

and

then

he needs

that

to

J,

Orchestra

J''

'

on

off

that

he

he

naVve,

neighbors

his

own

C, to

two

give

will

one
of

screws

his

troubles to the

on the

If,

his

of

in

half -turn

the

next rehearsal,

performer

single

in

absolutely

is

Drums are tuned as

his

^
he

T==^

m^

conductor,

the

w^

contrary,

companions

the

as follows:

his

tell

assistance.

for

accord, request

the

is

be

will

it

the

for

Suppose

Kettle -Drum.

If

obtained,

embarrassed by the

is

beforehand;

changes

tuning.

Bi>,

tuned

easily

be

can

blame.

to

finish

Vivo.

the

in

key

of

a piece,

of

scale

performer

the

proper

the

somewhat

is

course

the

in

make the necessary

to

arrange

composer

the

really

it

third.

changes

the

chromatic

the

of

Drum can be

As each

possible.

rehearsal,

first

Is

scales?

minor

indicate

and

study

to

think

at

to

are

than

greater

neglected

business

happens

It

skip

rapid

degrees

the

all

happens that,

frequently

It

involving

composer

combinations

all

semitones,

successive

down

and

up

run

to

short

is

who

necessary

to

direct

will

man,

bright

orchestra, while
raise

;] J

he

him to

he

will,

himself

is

ask

of

his

playing

Drum

the

by

semitone.

Nowadays, anything
thing

ought

to

can

be

written

be

technical

written,

which

is

not

keeping

in

The

There

8.

Sticks
for

are

with

particulary

two

soft

very

The
nasal,

head,

hard

and

has very

drummer avoids
dry

and

tone, without

prefers

the

nature

the

of

but

no-

instrument.

Sticks.

use

ordinary

forte

piano, and

or

sticks with sponge knobs,

effects.

Formerly, wooden- headed

is

with

diminishing,

kinds:

knobs, for

skin

constantly

difficulties

sticks
little

playing

playing

timbre,

on the

vibrating

sometimes used,

were

power.

mid -way

recalling

extreme edge

He also

between

J.

that
of

W. 14267.

of

the

carefully

edge and

the quality of tone produced

but

the

Side

head,
avoids

centre.

Drum.

as this only produces a

the

centre

of

the

102

THE KETTLE-DRUMS.

Mode

9.

as that of any other

Beethoven, fearing
the

duration

definite

anjf

If

written

beginning

sound

Drum

required, the

is

must be as carefully

part

instrument.

the vibration
overture

the

of

of

of writing.

to

Kettle-drums.

whereas, for the remainder of

the

E would

the

of

Fidelio,
V-

<|i

orchestra, the

beyond

last

separates

i'

is

attack

the

of

the

the

two notes by a rest +:

B^,

in

dotted:

Orchestra.

^g^
course

the

In

ed beat of a bar

as well

just

the

work,

means

of

of

by

have

it

it

having

any
of

Alleffro.

Kettle-drums.

^
t

Orchestra.
'''-'I

such

In

cases, Mozart

"J

10.

When

Some
others

and

write

like

roll

the

the

same

the

Remark:
specify

It

is

is

roll

tremolo

master

usually

writes:

required,

like

of

the

^^

the Strings

uses

*/

o ^

V?

both

systems

Vivo.

fe

iJ' iM\
(Quartet)

etc.

of

two kinds

in

system

seem

system

it

becomes indispensable

roll.

Moderate.

preferable, precisely

on account

J.W. f42?.

notation.

succession.

Adagio.

^
The

of

hardly necessary to add that with the

time -values sufficiently rapid to produce a

make use

masters

great

shake

frequently

intention, he might

habit:

^ ^^^M

cJ/"^

special

mere question

is

Beethoven frequently marks the accent-

observed,

when, not

crotchet,

minims;

written

be

will

i^^

of

its

uniformity.

to

103

THE KETTLE-DRUMS.
11.

When

~~~

*.--_-

it

precisely

is

Likewise, at

the

beat

^^

cases

end of a

the

*"

seems preferable,

system

for

is

absurd

not

it

notes?

articulated

necessary

is

it

simply

to

as

intended

whether the

specify

last note is to be

dying- away of

unnoticed

the

V,

Allegro.

tied; otherwise, the

each bar to be marked:

of

roll,

is

it

as

must be

notes

(Inaccurate mode of writing.)

that

written

are

whether

articulated, or

molo.

the

first

-;;->_

such

in

notes which

tie

bars,

mode of writing.)

(Correct

to

or more

composer intends the

the

think

two

through

lasts

roll

ma^

performer

tre-

the

Allegro.

^E r

dSE

p^

r
(Clear notation.)

(inaccurate mode of writing

if the final D is to be articulated.)

SS

(inaccurate mode of writing

if the final D is not to be

(Clear notation.)

articulated.)

12.a

is

It

necessary

hardly

roll:

ir

enlarge

or to
effect

to recall

be

to

is

Need we add

upon

However,

it

is

of

that

from

perhaps

correct

quite

is

it

not

the

last

to

end a

same
to

the

crescendo D

instance, the
continuity

other

swell

of

being

as

so rapid

the
that

^^
Here

is

directions

to the

drummer

if

this

curious

to

mention

not

having reached an accented

that

even

coming

to

will

reach
"

the

J.

crescendo

dash, whether

crescendo D

JT P
crescendo

without

roll

example?

superfluous

fortissimo terminus with the same energy and

Drum throughout, or whether the Drum changes.
For

in

^
accurate

giving

and diminishing the tone

swelling

of

effect

emphasized:

may be seen

beat, as

propriety

the

the

most

W. 14367.

D;

practised

climax

its

reaches

roll

executed

on

its

single

culminating point with

the

the change from one Drum

ear could

=S2=

=S=

detect

it:

before the accented beat, singulary

104

THE KETTLE-DRUMS.

dramatic

its

in

energy:

Kettle-drums

Orchestra.

(By kind peTmission

We

must also mention

on the

Double-basses;

(Gemsheim^ 3t^ Symfhony.)

of Rieter-Biedermann, Editeur-Proprlatalre.)

the

possibility

two qualities

the

continuing

of

of

tone

roll

follow

on the

each other

Drums

tremolo

by a

without the least jar-

ring:

'/

Kettle-drutns.

(1

Double-bass.

Here

is

rhythm

characteristic

from
m.d.

t
dimin.

^^

PP

Les Erynnies:
T

<

Kettle-drums,

Orchestra

(By kind permission

Here

are

some other formulae

of Hengel et

(Massenet.)

C^, Editeurs -Proprietaires.)

current use:

in

Allegro.

And:

to

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

us be content

notes of
sight

ing

The
is

the
of

Drum

possible;

bar

by

the

vvith

harmony,
the

the

practical

by

itself

see

the

orchestra,

best

introducing

can

means

of

only

serve

following
its

obtainable

them

into

of

Drum notes with

the

polyphonic

the

weft, without

ever

the
los-

execution.

as a true

example,

effect

coincidences

freely

in

which

lingering

still

the
in

ters:

J.

W.

bass

14267.

in

true

the

ear

cases
bass

when

where
is

no

sounded
the

tonal
in

the

Kettle-drum

doubt
first

en-

105

THE KETTLE-DRUMS.
Allegro.
Kettle drums

aE

'

Orchestra.

Here

the

and

confusion

14.

The

treated
being

given

to

bars

of

din

There

15.

harmonic

the

orchestra,

in

the

case

of

sometimes

Drums,

the

significance

in

first

bar, the E\}

wholly

different;

tlie

be

the

that

not

notes

when

with the

Side

the

new

the

be

harmony

Drum,

the

or

to avoid a sud-

wishing

thus,

it

may sometimes

it

coinciding

Triangle,

treated

especially

excusable

only

orchestra,
be

retains

note would be of use

rhythmic

its

when the

a forte,

in

value

Drum, drowned

only.

done

never

is

It

the

by
in

inadmissible.

quite

why

reason

no

is

little

have

of

is

would

it

if

would

case

the

(say),

Bl>

But

clear.

only.

licence

whole

the

of

piano, where

of

in

so

done

is

tuning

the

However, this

has

Massenet

and

in

couple

as

it,

J'3r

arise.

element

neutral

Verdi

change

den

would

uncertainty

chord

and

pure

quite

is

the

b^

Kettle - drum

as

Cymbals.

for

replaced

impression

tonal

were

chord

Drums

two

should

be

not

together:

struck

Kettle-drums.

A
16:

It

heaviest,

With
have

two

for

roll

length

of

rhythm,

light

tendency

to

necessary

be

hardly

will

their

simultaneously

attacked

notes

it

would

out

point

to

being

vibration

in

be

not

two

requires

the

that

proportion

advisable

deepest
their

to

write

to

drummers,

F,

of

course.

notes are always the

depth.
F#,

G, as

these

notes

"boom":

^
The
the

notes

Finally,

large

we

the

of

pizzicato

of

will

medium, on

the

Cello.

(D

point

out

that

the
is

other

hand, have

very

pleasing

tone,

resembling

exquisite).
is

an

equally

good

note

on

either the small or the

Kettle- drum.

Large Drum:

^E
J nj

J ^J

Small

J.

W.

14267.

Drtttn:

y bJ

l|J

it

^J

'i

''P

106

THE SIDE DRUM.

Tamhuro

(ital.,

We

case

The sticks are

As no

to

material,

and

Remak:

depend

The 2

detain us,

not

Drum

Side

the

tone

the

to

Whether the piece

being

suited

calf- skin;

of

the

in

as they are not

to

because

ke^s,

all

in

Bl,

in

Drum,

Side

the

of

be

Alj,
it

or

has

in

no

it

would be more
is

F)|

of

kejf

quite

im-

own

its

rhythm.

on

solely

3 examples that

or

made

is

used.

is

assigned

be

noise.

it

effects

its

can

pitch

call

Kettle-drums

of

Tambour^

Fr.,

wood.

of

definite

correct

Kleine Trommel.

Ger.,

head

the

that

Drum sheepskin

Side

the

of

seen

have

1.

piccolo.

of the tuning of the

could be quoted

Drum need

Side

sufficiently conclusive.

Various Strokes.
2; The

stroke

single

one

of

stick

^^"'^

^
but, in

two

stead, the

its

sticks

Written:

as
first

is

also

short

"coup de

the

produced

double -stroke,

membrane,

on the

(Xla) Sounding:
from

differing

charge','

almost

the

by

simultaneous attack

of the

employed:

usually

is

used:

rarely

is

the

*^

above

by

the

accentuation

of

the

note:

Rolls.
3:

Rolls

They

There
a

are

consist

is

shake, or

called:
of

also

3,

the

tremolo

^
care
values

being

taken, as

sufficiently

in

rapid
Vivo.

the
to

10

8,

4, 5, 6, 7,

continuous

the

like

ra.

similar

roll,

of

strokes, and

the

to

the

so on:

Kettle-drum

roll;

it

is

written

like

Strings:

*"

case

the

of

produce

true

Kettle-drum

(P.102,10),

roll:

Moderato.

Adagio.

^
J.

W. 14 267.

to

write

time-

107

THE SIDE DRUM.

Rhythmic Combinations.

Some

4.

summarize

Aux

Pas

the

of

rolls

the

all

use

in

capabilities

in

of

French arm^

the

the

(J

n^

(J

76)

(J

110)

are given

the^

below:

wel

prettjf

Instrument:

Champs:

'
accelerer-

ff'i^

i'^

mr

UAJii

iN'

i'

li^-

^'1^

i'^

/V

^V

/'i^

Mtfi^

f^V

(J= 100)

ia

i^

i?e^ratte:

pp[|i

pppppp

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

V^|^

|J

pi

j|

Notation.
5.

The

Drum

Side

the

idea

of

high

line

without

any

clef

written

usually

is

However,

notes.

given

is

to

The same practice prevails as regards

them

of

instruments

being

without

6.

do

not

frequently

is

used

Kettle-drums, for
the

ever

dramatic

single

arrangement economizes space.

this

Drum,

Bass

evoking

Triangle,

Castanets,

all

pitch.

Drum

in the orchestra.

employed

been

as

timbre

published nowadays, a

purposes.

in

the

association

effect

famous

crescendo

roll

own words,

expressing

of

other

the

hand,

of

the

Side

Drum

with

the

Benediction des Poignards

the

it

Gevaert, "has known how to

"Meyerbeer," says

from

terrible

On

symphony.

(in

Huguenots)"

These
vice,

are,

in

then

quite

to

quote

fluous

At

the

has

it

for

peculiar and

derive

think

Drum,

clear acute

its

scores

of

Cymbals,

definite

Use of the Side

clef,

majority

Side

the

the

in

the

in

random,

account

fact,

Berlioz's

Since

novel.

examples.
quote

this

Allegro.

Horns &
Wood -wind

PP

Everyone

theme

of

has

it

can

been

call

his

so

them

admiration

used

often

to

for

that

Meyerbeer's
it

de-

seems super-

mind.

"Marche de Turenne"

the

^fe^
^^

which

Bizet has turned to

m^

Basses.
.

seen

ere

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

^^ ^m
J

Violins.

time,

L'Arlesienne:

in

Side-Drttm

his

pp

ere

do.

j^

H m ^ ^ - ^Sl

Pj>V^.lf*>JJ.

m
W^ m

seen

(Choudens, Editeur-Proprietaire.)

J.

~n[^.
do.

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

*if

~_

seen

W. 14267.

'

jj. .jj-.j],

^^
-t

-Xnj! V
i

do.

THE SIDE DRUM.

108
And

other

this

yet

delicate

incisive

from

effect,

Scenes Pittoresques:

the

(J=108)

Solo.

Drum.

Side

Orchestra

(MaSSenCt, Fete Boheme.)

(Joseph Williums, Limited. Publishers -Proprietors.)

7.

with
of

the

terior

cloth,

a very

parchment
the

of

diminishing, on

and

striking

more

being

Drum.

mournful

Sometimes

means

by

loosening

of

the

execution

the

of

obtained,
driven

Drum

be covered

the

vibrations

back

into

the

gradually swelling

roll,

in-

and

use

as

required

effect

the

described

above;

the

is

choice

obtained
of

the

performer.

the

to

-PJ*

met with;

is

snares, or by muffling
left

:/?=

The following passage illustrates the

^

is

less

sans timbre

usually

is

tone

of

Drum:

indication:

the

head

the

If

quality

damped and, so to speak,

can be more dismal than a long

or

Nothing

a muffled

funerals.

military

at

J'P^

either

Drums.

Muffled
may be heard

They

Maestoso.

Side Drum:

muffled

the

of

-gc::s- a 2.

Clarinets

KettleDrufflS.

Side Drum.

Bass Drum
(Mackenzie, Solemn
(By kind permission

of

Novello

&

C9, L4.,

March from

the "Story of Say id")

Publishers- Proprietors.)

THE TENOR DRUM.

(WIBBELTROMMEL, HOLLTROMMEL, RUHRTROMMEL.)
8.

The

brass.

Its

Tenor

sound

Drum
is

is

longer

duller,

and

than

the

Side

Drum, and

might

be

that

of

in

is

made

small-sized

of

Bass

wood, instead

of

Drum.

serves the same purposes and has the same mechanism

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

It

in

.1

14 267.

109

THE TAMBOURINE.
Tamburino.

(ital.,

There

are

\:

(1)

wa^s

three

striking

Bjf

using

of

parchment

the

Schellentrommel.

Ger.,

with

Tambour de Basque.)

Fr.,

it:

back of the

the

hand:

Tambourine.

Carmen.

m n^

>>;;

Orchestra.

n r^ n n

sv r^

F,'!'?'

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

(2)

shaking

B'j

thus

is

the

which are,

plates

instrunfient, in

so

obtained:
n

Tambourine.
\

order

to

embedded

speak,

to

call

in

'i

hoop;

tr

the

pp-r

''^i
As

in

case

the

Kettle-drum

the

of

shake, or like

tremolo

i
as

Note,

before,

rapid

iently

that

ensure

to

and

the

for

when

the

mode

latter

^m

of

tr-

The

2.

Military

either

employed, time-values

suffic-

rustle

is

writing

be

is

indicated

(P.

106, 3).

clef

in

which

Ir

Drum,

p. 183.)

written

this

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

{Carmen,

(3)

(J = 104)

p
p

II

must

sound

of

"

roll

Strings:
.r,

continuity

Drum,

Military

"

ProprleUire.)

^^

Ij'

Ij

the small metal

e.

i.

18
p. 182.)

rustle rather than

K MH

(Choudens, Edlteur

like

"jingles','

metallic

Orchestra.

Carmen,

(BizCt,

Proprie'tslre.)

pla^

into

its

4r~~

has

no

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

more value
A

the Triangle, etc.

in

line

is

i^ V J^

-y
I

Tambourine than

the notation of the

single

usually

employed, as

that

in
in

"^

the

i' 7

of

the

above

ex-

ample.

THE TABOR.
(Fr.,

1.

blows
his

This
into

left

he

is

very

three -hole

beats

time

long

drum-,

pipe, or

with

without

Tambouring
timbre,

Galoubet, which
single

used
he

in

holds

The

Provence,
in

his

right

tabor -player

hand, while

with

stick:

Allegro.^
Piccolo.

Tabor.
(Choudens, Editeur

J.

W. 14267.

Proprietaire.)

Bizet, L' Arlesienne.)

110

THE TRIANGLE.
(ital., Triangolo.

1.

The

suitable

may

Triangle

for

kinds

all

be

written

rhythmic

of

Triangel.

Ger.,

on

either

single

combinations,

Triangle.)

Ft.,

or

line,

the

in

clef.

It

is

group

of

double, triple strokes, etc.

single,

Allegro.

tremolo

The

t^
2.

The

2, 3, 4, or

5 notes,

the

seems
have

alone

last

nz

sometimes

stroke

single

Drums:

as for the

written

is

simple, and

too

time

appreciable

any

replaced

is

by

value.

j^
'''^

^m
f
HI
I.

The

II.

This

short

group

direction,

trary

reason

3.

the

notes

note

true

excellent,

is

gives

the

and

first

4 notes

so

not

is

sprightliness.

struck

being

third

first

and

groups

(7,

the

natural,

If

the

notes, as

above

given

pianissimo
has

rod

performer

in

the

same

last

being

in

con-

struck

odd -numbered

all

Always

wanted,

an

is

it

or

inch

know

to

effective,

his

the Triangle

sometimes entrusted

alone

is

heard

through

whole

the

..

(J

--

are

9, etc.),

good,

very

for

II).

is

only

likely

is

well

(See

so

the

top

business,

it

of

the
the

absolutely

is

duty

is

mass,

polyphonic

needless
to

must

that

Triangle

move

to

be

touched,

backwards and forwards

note

to

this

in

the

in.

As

score.

the fact that some Triangles pfoduce

stroke of the rod ought always to

the

indispensable

marking

of

the

of

space

of

Remark: I think it may be as well to call attentioa

a double sound; they may be said to be out of tune;
produce a single sound.

4.

more

it

to. left.

right
of

the

directions.

IV. Groups of

where

of

from

group

III. This

preceding

note

IV

the

even

in

the

orchestra, for to

rhythm of the

piece.

It

can

it

be

when struck pianissimo.

88)

Triangle.

PP'
Tempo di Minuetto.

iH\

Iff

^f

^=^

Orchestra.
'>--h

1^

f^

T
J.

W. 14267.

muii

iBH}

(Berlioz,

Damnation de

Faust.)

Ill

THE TRIANGLE.
(J. 112)
Piccolo

Flutes.

(By kind permission

(J

--

of A.

Durand

et Fils, Editeurs-ProprUlaires.)

(Saint- SaunS,

La

Jeunesse d'HerCUle^

120)

Flutes.

Triangle.

Violins.

Violas.

Violoncellos.

(Schumann,

1^ Symphony)

Allegretto.

Horns in E.

Triangle.

Violins.

Violas

Violoncellos.

Double -basses.
(Joseph Williams, Limited,

J.

Publishers-Proprietors.)

W. 14267.

(Paladilhe, OuVerture de

Suzanne)

112

THE TRIANGLE.

Here
the

for

is

ver^

delicate

effect

of

tremolo, with

Triangle

the

pianissimo

holding-notes

Strings.
r\

C^
_

Triangle.

(sordini)

Violins.

(sordini)

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

(sordini)

PP
(By kind permission

The

Bacchanal

Meistersinger
point

this

At

scores,

upon

most

March

and

Introduction

the

onwards),

intensity,

observed

nois^

Tetralogy,

the

suffices

it

that

etc.

Corporations

the

of

should

be

studied

in

from

to

stroke

or

when the orchestra

add

tremolo

on the

Triangle stands

background.

orchestral

crescendo,

of

be

will

it

the

climax

the

maximum

453

P.

view.

of

these

In

out, even

Tannhauser,

of

(from

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

the

Triangle,

in

would

seem

order

to

have reached

to

convert

red -heat

its

into

white -heat.

THE CASTANETS.
(ital., Castagnette.

The^

1.

each

in

tions

For
tle

made

are

hand.

Like

Fr.,

of

the

Castagnettes.

wood

or of iron,

Triangle

and

Gar.,

and

Drum,

Kastagnetten.

are

used

the^

in

can

Span., Castanuelas.)

one

pairs,

execute

an^

a Triangle

pair

being

rhythmic

held

combina-

imaginable.
instance,

used

they

can

mark the

accented

beat

like

a charming and

lit-

effect:

^jJ
Castanets.

72)

jj

Orchestra.

(By kind permission of A. Durand

et Pils, Editeurs-Proprietsires.)

J.

W. 14267.

(Saint

- Safe'nS,

La Lyre

et la Ilarpe)

113

THE CASTANETS.
Usuallj^,

tain

this

formulae

instrument,
current

so

characteristic

of

tras los monies, which

popular

Spanish

are

very

(Jz76)
Treble.

Castanets.
Bass.

^
Treble.

Castanets.

Bass.

(J - 160)

-/L *i

ppTT

m m m m

not

music,

varied,

is

confined to cer-

as may

be

seen:

114

THE

Even
the

the

if

so

be

bind

leads

onl^

must

vibrations

a rest,

to

stopped.

be

not

CYMBALS.

two

surer, the

value as a bind,

its

I.e.

examples ma^

preceding

al-

written:

i^
There

forte passage,

the^

as

the

an

axis

brass

for

(2)

piano

in

pended

b^

ma^ be clashed
to

an

uneven, but

drumsticks;

to

each

these

ver^

and

forte, the

with

continuous

sound

serving

wrist

of the

ma^

C_ymbals

performed on

roll

with

swells

two

metallic jingle;

two

the

In

(1)

as possible,

rapid

sonorous
of

Cymbals:

the

performer's

the

other,

and

violent

even

shocks, as

crescendo, one

TI~

or tremolo,

roll,

against

perfectly

piano

from

for

motion;

left

passages, or
strap, and

its

producing

of

right

produce

discs

two wa^s

are

2:

of

retains

nevertheless

it

make

To

regularity

great

sus-

be

b^ means

it

and

versa.

vice

As

example

an

oration

the

of

kind

first

Tannhduser

the

of

*'

of

tutti

the

roll,

passage

Overture ma^ be mentioned: eight

<n*

announces the perfor

the

OM

i^t

dti*

which

bars fortissimo

Allegro

etc.

ff
and

specimen

as a

of

the

other

kind:

Vivo
^^

Cymbal.

Orchestra.

(By kind permission

Curious
Leroux).

^r^e
See

When

3.

must

be

the

in

crescendo

rolls,

Durand

et Fils,

are

etc.

L'Apprenti Sorcier

also

thrown

conspicuously

Remark:

effects,

of A.

(Saint -Saens.)

Editeurs-Proprietaires.)

to

found

be

in

Les Perses

(Xavier

Dukas).

(P.

Cymbals and Bass Drum are used together,

this
latter
instrument
somewhat into the background, and the Cymbals alone must stand out
the foreground, because it is to them that brilliancy is due.

perchance, the composer wished to produce the contrary effect, he would need
it.
In the Sanctus of his Requiem, Berlioz writes the
Cymbals
and
Bass Drum on two separate lines, and the traditional manner of performance, considering the
character of the piece, is to bring the Bass Drum rather more to the front than the Cymbals.
"The Bass Drum and Cymbals strokes" (says Berlioz in a note) "should be as weak as possible, the Cymbals being gently clashed against each other in the usual manner, and
the instrument being allowed to vibrate"
to

See

the
In

in

indicate

the

Massenet

that
in

If,

expressly

Overture,
obtains

Sacrifice

the

Entr'actes,

from

the

scene, and

Overture,

in

the

and

Bass

finally

music to Phedre,

Stage

Drunj

from

Imploration

in

the
to

two

first

piece,

combined

in

then

the

the

curious

from
last

the

W. 14267.

effects

Cymbals'

piece.

Neptune, the Bass Drum always

lone.
J.

the

stands a-

115

THE CYMBALS.
Every

4.

one

sponge -tipped
angle.

Nothing

gold-dust

has noticed

drumstick, so
could

seems

to

the

as to

effect

equal

even

up out

or

more

rhythm

color a
rise

charming

the

of

Cymbal

of

pianissimo

surpass the
with

delightfully;

each

with

struck

gently

stroke

of

Tri-

the
cloud

of

orchestra:

Andantino.
Poco

Cymbal

rit.

rt

...

Flute.
(Solo.)

#^

Violins.

^^

yiola.

'ns.ii

^^

Violoncello.

Double

IB

^^

bass.

J a

Tempo

( J.

The
in

two

Suite

the

them

Cymbal

during

characteristic,
of

the

theme,

from
the

strokes

which

Namouna

rehearsals

of

so unexpectedly

that

it

still

are
(P.

indicated

74);

Lalo's

in

my

was
ear,

above

the

was Vaucorbeil

posthumous

picturesque

rings

it

in

this

work

J.W. 14267.

the

at

the

example are not to be found

who very

metallic

despite

elapsed.

(Lalo.)

Hamelle^ Editeur-Proprietaire.)

Paris

quiver,

many

ingeniously

Opera-house.

added
So

upon the reappearance

years

which

have

?ince

116

THE CYMBALS.

We now
midst

give

the

of

example

another

of

the

use

skilful

of

Cymbal

struck

piano

the

in

Strings:

Allegretto
a 2.
Clar. in

Bk

Bassoon.

Violins.

^
^

^Tprri]

^^\Km^^^^j^

Violas.

Violoncellos.

I II)

'^^'-i,

I r
mf caniando.

ilJ

Double-basses. 't

'iW'

^^

w/pizz.

^,

^ ^^

-h

i)

'^"

'

'^

e^

>i

>

^^ ^^

M, tjjrf^

^J'

(By kind permission

>^

^
f^^^^^

# ^ #

of Heugel et CIS, Editeurs

Proprie'taires.)

J.W. 14267.

^^

(Th. Dubois^ Suite miniature.)

THE CYMBALS.

ANCIENT CYMBALS.

5.

Caesars:

have

Since

much

smaller

more

a
their

The

composer

which
are

adoption

would

not

by

writes

be

impossible,

Cymbals,

timbre.

Berlioz

and

as

preserved

in

the time of the

in

etc.

and

from

to

inches

Les Troyens,

in

Cymbals, avoiding

ordinary

for

such

on

some

perhaps

employed

kinds

all

varying

Romeo

in

production

of

of

Pompeii, and

at

diameter,

in

Gounod,

St Saens,

and

tremolos,

them.

them

for

difficult

discovered

Citharae,

our

employed

have

others

Pipes,

acute

than

and

silvery

those

of

instruments

with

Pandean

Organs,

many

and

Naples, along

of

model

the

after

Flutes,

are

Thejf

and

made

are

Thejf

Museum

the

special

small

effect

rolls

However, such

surface.

will

rolls

some

day

be

produced

step

with

the

assistance of

by

means.

their

On

the

figurantes

and

dancers

stage,

Cymbals

Ancient

keep

frequently

hand.

the

held

in

Ital.,

Gra Cassa.

THE BASS DRUM.

f

This

the

another

is

angle,

Castanets,

is

Bass Drum

The

ment

required

ought

to

act

is

without

(Tuning

etc.

obtained

result

What

instrument

Crt'x..

not

of

ought

the

Bass

Drum

to

equally

precise

the

worth

the

be

Grossc Trommel.

Drum

trouble

that

the

rods

whole

of

the

handle,

wise

the

have

cannon
already

sticks

been

for

used.

distant

said

this

We

(P.

With
thunder

braces

with

quality

which

stretch

provided

double

by

may be produced.

one at

the

Bass

The

parch-

on In-

either with

knob,

held

tone.

of

the

Treatise

(Pares,

mailloche

the

attempted, but

middle

sin-

each

end

of

Drum can

its

like-

Marche Hongroise).

(Berlioz,

Kettle-drums, the

tle-drum
rarely

resembling

roll

imitate

We
of

{mailloche double).

stick

heavy

rather

large drumstick

or

been

Tri-

involves).

it

or

Drum,

Military

sometimes

circumference','

strumention for Military Bands).

The Bass Drum is played by means of a
knob {mailloche simple),
gle felt or cork

the

like

has

and

full

the

large:

upon

intonation,

Bass

is

Fr.,Grossc Caisse.'

99, 4)

Bass

Drum

purpose.
give one

that, in

might

The

roll

order

be

thus

example:

J.

W. 14267.

to

obtain

employed,

produced

the
is

roll

deeper

than

that

player making use of Ket-

very

effective,

but

has

118

THE BASS -DRUM.

Allegro. (Jzl38)
a Z.

Trumpets

in C.

Kettle-drums

<6

E.

PP

Bass Drum.

I5t

Violins.

2Sd Violins.

Violas.

Violoncellos.

Double

basses.

PP

(Busser, Hercule
(By kind permission

Who

has

not

accentuating

bals,

moved

bjr

phrase,

to

been
a

the

of

Henry Lemoine

pianissimo

which

it

lends

au Jardin des Hesperides.)

et Ci?> Gditeurs-Propriet&ires.)

attack of the united

mysterious

solemnity

Bass Drum and Cymand impressive

gran-

deur?

a-

Bassoons.

Horns in E.

Kettle-drums.
Bass Drum
& Cymbals.

Marguerite.

Basses.

fVizz.

The
with

following

view

to

bars illustrate

produce

very

skilful

arrangement

an overpowering fortissimo:

J.

W. 14267.

(Gounod, Faust)

of

the

percussion

instruments,

119

THE BASS -DRUM.

t*

jti

\\f.

I. II

3 Flutes

Oboe.
^1

Cor Anglais.

I.

3 Clarinets in

>f

^f

ttJ

hJ

-^-^

^f

W^:
.

ii

fff

II

A
III

2 Bassoons.

I.

II in

4 Horns
in

2 Trumpets in

III.

IV

^__

=^SF
0^

qjt

"W
^
^^

2 Trombones.

,/

'T

i:

i.iJ..

\>^

J^J

^^

^^

iiJ

Bass Trombone
& Tuba.

Kettle-drum.

=^^^

^^

Triangle.

-r-"

-:f

r r-

Tambourin.

=7^
Side Drum.

=7^

Cymbals.

=^

Bass Drum.

=^^=

zW

Gong.

Violins.

^
f"

Div.

=5^

:r r

Violoncellos.

Double

basses.

e ^^
Div.

Violas.

-;
J.

W.

1/4

267.

rf'

^^=*^

^^.

'T

"l^

tl_

^^ ^

igE

ia

IffT

-K

^
:

120

THE BASS -DRUM.

I
f:

tE

"^E

I^

*f 'f

^r

^t
1g

^t

ffg

ii
=^

^
C

i i

f"

=5?

fct

ifi

^^
T*f

^f

ft

ttJ

iJ J

^
i

ff"

^f-r-fg

^^
^
,^^

^f-f^-f

^J

i-U-

^j

i::^

^
j

E^

I*
e^:
^^

'-

i*r

^
=3^

kv.

'f

r^..

iJ

-^

-i

i^J

iz^

^^ ^j

ti

^
:i)

(Kalakirew, Thamtir.)
J.

W. 14267.

121

THE GONG.
Tam-tam.

(ital.,

The

Gong

The composer
not

able

kejf,

yet

that

to

must
a

give

seems

it

change

anjf

continues

to

when struck forte, and

teppifjfing

is

beware
tone

of

the

harmony

vibrate.

tonal it_y

chord

the

of

must

it

Gong

the

use

for

in

is

anjr

so

struck,

is

avoided

as long as the Gong

(X)

the above example, but

'

'y-i^

adapted
which

in

be

Andante.
Gong-.

Although

vibrations.

consequently^

is

when struck piano.

even

threatening

modulation

any

or

and

pitch,

Tam-tam.)

Fr.,

long -sustained

its

definite

of

borrow

to
of

Tam-tam.

Ger.,

XT
Orchestra.

^^

\,-^

XT ^f-The

Gong

seems

appears

to

suddenly

second

(Y

bar

the first

of

chord,

Z).

its

such

In

otherwise,

bar;

like

lose

Pianoforte

tune

in

be quite

to

a case,

bar

first

when

necessary

is

it

seem, during

will

it

the

in

of intonation

truth

the

the

damp

to

second

of

harmony changes
vibrations

its

to

bar,

the

end

preceding

the

hold

in

at the

dampers.

without

Different Altitudes of Percussion Instruments

of Indeterminate Pitch and Long Vibration.
Let

and
If

us
that

three

cataclysm,

suppose

we

need

such
I

we
to

are
give

shocks

think

the

at

required

the

to

depict

impression

different

percussion

of

Titans

the

being

shocks

violent

sonorous

altitudes

instruments

would

in

might
need

to

hurled down from Heaven,

quick succession.

suffice

be

to

indicate

disposed

the

as follows:

/
and

we should

get the

very

^
^

distinct

each:

impression

of

two

successive

skips

Presto.

So we have,

and

in

the

high

register:

the Cymbals,

in

the

medium

register:

the Gong,

in

the

lowest

register:

the Bass Drum.

J.

W. 14267.

of

fifteenth

122
Exceptional
1.

Percussion

Instruments.

123

THE CELESTA.
2. This
placed

hand,

other

strument,

was

which

somewhat

it

wind
a

may

Celesta

instrument,

delightful

On
had

P.

72

The

Celesta

same

the

over

an

time, the

the

steel

bars,

but,

inventor of the

the

Opera,

the

at

it,

in-

ft.

almost

percussion

and

of

ft.

those

like

the

organ-stops,

attack

of

throws

Celesta.

the

in

like

sustained

crystalline
of

Louise,

from

illustration
of

tone

be

can

vibrations

come ever more

will

the

of

rather

Piano, or

the

like
Its

mystery

gave

that

Mustel,

Celesta.

of

sounding;

resembles.

made use

already

than

poetical.

name

the

it

to

be treated

of

weaker

and

octaves:

and, at

veil

giving

in

much

is

ethereal

the bars being re-

Glockenspiel,

the

like

Ice^board,

tone

more

^m

from

The

Their

justified

four

is

with

infinitely

fully

compass

Its

instrument

tuning-forks.

hy

the

on

an

is

which

in

the

Celesta

is

employed.

Korrigane.

the

vogue.

into

THE XYLOPHONE.
(Ger.,

This

3.

disposed

length,

instrument

an

is

like

consisting

organ- pipes,

Holzharmonika.)
a

of

which

series

are

wooden

of

struck

by

bars, or

means

of

two

rollers, of
little

varying

wooden mal-

lets.

Compass: three octaves:

i
Saint
inent

-Saens has used

composer

writes

the

it

in

the

notes

an

Danse Macabre,
octave

below

Alleg-ro.

^'^:t

and

their

Gevaert

true

pitch:

^^m

rm\i

Sounding:

J.

W. 14267.

remarks that the em-

134

BELLS.
4.
of

and

tin

diameter
To

that

the

than

195

So,

idea

say

the

of

composed

are

should

height

of

be to

the

in

7-

18

tons, and

the

category

weighs

(Paris)

Tenor

sounding

bell

them

employing

of

difficulty

-Dame

Notre

of

bell

practical

weight

the

that

may

an

is

allojr

greatest

their

orchestra,

Kremlin

the

22

over

is

will

it

tons,

more

bell

classed

be

Organs

church

with

in

instruments

musical

of

manipulate.

to

writing

for

must

care

bells,

be

taken

the

actual

deep or acute

whether

indicate

to

sounds

required.

remarks

Gevaert

"

(I

been

tocsin

in

on

to

considered

as

composer

Large

bells

the

in

the

act

411!

sound

only

used

bells
of

Les Huguenots,

upper

the

octave

the

of

in

alt

Paris Opera-house,

the

at

than

lower

rarely

is

large

bells

practical, "attempts

very

being

alarum -bells

are

Day,

they

yet

two

the

that

pitch

have always

notes

written

"

>'

much deeper notes

These

say

rarities:

not

hemispherical

theatres

Bartholomew's

St

of

the

ing

that

He goes

the

for

by

dimensions, their

their

they

which

of

tons.

bells

difficult

are

an

great

When

for

metal

12 to 15.

as

to

The

ke^s.

all

in

As

copper.

give

suffice

made

are

Bells

cast

with
to

be

bronze;

in

smaller

far

their

as

of

made

been

relatively

weight

arranged

heard,

have

thin

to

sides

them

replace
allow

of

by

attain-

metal."

follows,

the end

at

of

the

act

11

of

Parsifal:
'y
the

(on

Stage)

Do they
Besides,

and
deal

satisfy
I

truer.

case,

Bells

are

i*.

all

once
It

^ i^^

^
desiderata?

which

written

Hardly;

Moscow

at

obtained

system

usually

^
etc.

heard

was

Bells

in

means

by

has long
the

better

will

much more successful

simply

something

been

in

of

use

clef.

J.

W. 14267.

deep
for

surely

bell

be

-effect"

piano -string

some

kinds

of

found.

much

stretched
clocks.

deeper
in

125

Chapter IV.

4.

THE SAXOPHONES.
1.

This

family

was invented
The
the

produced

is

Of

wind

all

Oboe

instruments

can

they

means

French

in

and

rich

bands than

military

the

some

is

mouthpiece

made

orchestras,

in

and

expressive;

losing

tone

the

to

of

the

like

timbre, which

their

the

of

al-

Cor

the

Cello,

much the same

are

fingering

similar to that

metal.

of

most

ever

without

analogy

mechanism

The

Clarinet).

tube

perhaps the

are

tone

their

(bearing

the

into

fitted

and

Saxophones

diminish

full

reed

of

conical,

is

the

and

swell

ways remains
Anglais, and

by

air- column

the

Clarinet;

used

Sax.

by

tone

instruments, more

of

as

for

Oboe.

the

The

are

following

four

the

members

They

Tenor

can

about

have

all

Soprano

to

rise

in

Alto

II

in

E!?

11

in

Bl>

Barytone

in

Et

stop

compass as the
at

the

in

El?

Officially

is

composed:

6I>

Tenor

same

the

Barytone

and

family

the

Saxophone

Soprano

the

which

of

Oboe, including

highest

low

the

whereas

register,

however,

81?;

Alto

and

better to avoid

writ-

the

F.

"

Compass

*b

fi.

& Barytone.

of Soprano

Compass of Alto & Tenor,

2. The Soprano and

the

ing
in

their

As
it

ful

is

for

lowest

the

usually

Tenor

low notes

very

for

the

very

and

Alto

easily,

Barytone,

so

it

on

the

is

contrary,

are excellent

register.

Bass

Saxophone,

replaced

the

by

to

the

extreme

Proceeding

by

analogy

ease

descend

cannot

them;

it

not

is

used

Sarrusophone, which

depths

of

the

practice, on

can

skip

account

down

of

with

its

the

great weight;

most

grace-

orchestra.

tone- color and

of

in

of

pitch,

the

comparison

following

may

be

established:

Soprano

The
4^

Saxophone

Alto

II

Tenor

Barytone

Saxophones are

written

in

the

8
_ 12
_ 16
_ 24
G

ft.

stop

ft.

II

ft.

ft.

11

clef,

=
=
=
=

whatever

Oboe, Clarinet.

Cor Anglais.
Cello.

Bass Clarinet.
their

actual

Avoid attacking pianissimo the notes comprised in the lowest sixth:

members of the Saxophone family.

applies equally to all the

J.

W. 14267.

pitch

may
: ;

^\>t.

be.

this restriction

i26

THE SAXOPHONES.

SOPRANO SAXOPHONE

Compass:

office

Its

need.

is

It

bands

military

in

rather

shrill

I
ti^
i

the

reinforce

to

is

-toned

Clarinets, or to

instrument, and

best

the

is

It

tone

Its

is

It

By

Remark:

Saxophone

in

them

the

case

in

of

orchestra.

Ek

heard

in

Hamlet, L'Arlesienne,

rise

easily,

at

the

it

can rise easily,

same time possessing good bass

notes.

Clarinets.

do not mean that the highest notes are as pracwritten

of the medium register. The 5 or 6 highest notes can only be

naturally become thinner and thinner.

They

virtuosi.

can

it

saying that

ticable as the notes

for

V'

be

to

enough to be a match for 4 or 5

powerful

in

replace

etc.

even, and

is

instrument

the

family,

used

not

is

sounding:

the

of

Herodiade, Werther,

Bk

sounding:

ALTO SAXOPHONE
Compass

in

l>:

sounding:

(Choudens, Editeur
is

It

to the

peggios are

Alto

given

Saxophone

that

military

bands'.'

in

Avoid, however, the

following

figures,

florid

quick

scale

It

is

an

Compass

dapted
It

is

as

is

full,

as

the

Alto,

for

the

execution

of

avoid

giving

better

to

the

even,

and

in

Saxophone

Tenor

bravura
it

the

every
is

and

ar-

.J.

or

W.

respect

with the

of

as

Alto

satisfactory

great

execution,

chromatic figures,

highest

14267.

Bk
Clarinet.

^2

capable

passages,

in

unison

in

so unding:

Like

shakes

^_-^

^^-^

Soprano, nearly

the

$P

timbre

Its

Alto.

below

octave

passages,

(Pares).

shakes:

TENOR SAXOPHONE
5.

(G. Bizet, ArlesiennC^

Proprietaire.)

notes

to

play.

etc.

as that

and

of

the

well

a-

12T

THE SAXOPHONES.

BARYTONE SAXOPHONE

Compass:

Bass

the

Such,

7.

the

of

carr^;

As

family

mention

following

Bass

the

for

part

Saxophones

the

of

Saxophones.

of

sake

There

higher

of

another

is

pitch.

group,

but

it

completeness.

of

varieties:

Saxophone

in

Soprano

in

Alto

in

Tenor

>(

in

C
F
C

Barytone

t>

in

Saxophone

C,

in

any more than

used

not

is

it

C2),

account

on

of

Bass Saxophone

the

weight,

great

its

is

replaced by

Sarrusophone.

the

8.

as

for,

figures

possible

have

The quartet
However,

the

quadruple

them

suit

must not be

the

medium

expected

in

What

9.

the case of a

be

with

40

be

may venture

not

exhaust

to

the

writing

holding-

players.

more than 10 bars,

for

Time
to

Saxophones,

the

soloist

moderate

in

an opinion,

express

loud

quoted

to

harmonize so well with the surrounding

proportion

which

is

with

that

seen

at

means are good, provided

they

are

because

it

is

the orchestra?

in

individual

confess
of

its

pleasing.

perfectly

then

be

only

will

rather

out

instrument
only be

members be

Will

invited, as

the

has

show.

will

Bizet,

above,

that each

maximum which can

is

Saxophones

the

of

by

and

be found

will

piano.

playing

or

it

However, this

me

must

Organ,

the

of

and the composer, when

of,

careful

seconds.

some day admitted,

done so far?
I

illusion

sight

lost

may be the future destiny

whole family

If

"All

suitable for the Saxophones,

time.

comparing the Clarinet

Upon

Sax-

mechanism.

(Gevaert").

cannot be held

register

can sustain a note for about

been

best"

Saxophones produces the

legato passages, must

long
in

Bassoon are equally

Oboe, Clarinet, and

breathing

notes and

A note

of

two instruments have the same

already said, the

on the

legato passages

but

and tremolos possible on the Oboe can be performed on the

shakes

the

Ail

ophone,

it

that

the

for

it

we have just seen

which, as

Bi>,

much the same

plays

it

orchestra.

Sopranino

in

=^

bands

military

in

so simple as

official

only

sounding:

to

quite

the

^^

"

the

in

not

then, is

consists

It

heav^

is

is

neglected, and

is

^^

Clarinet

mechanism

Its

instrument

This

as

Ek

in

the tone of the

seems to

neighbors, excepting, however, the example

But

instruments,

instrument

since
if

the

Saxophone here

elsewhere

disadvantage, and

is

it

seems

consequently

seems

out of place,

not

to

be

criticized.
Ail

J.

properly

W. 14267.

used,

each

in

its

own time and place.

128

THE HARP.
Arpa.

(ital.,

The

1.

following

Ger., Harfe.

shows the compass

figure

of

Harpe.)

Fr.,

the

Harp, which comprises 47 diatonic de'",

grees:

#
This

octaves
pitch

of

diatonic
at

the

becomes chromatic hy means

scale

According

once.
string

as a pedal

raised

is

b^

is

of

hitched

seven

one

into

V*

or other

semitone or b^ two semitones.

of

two

all

the

notches, the

Example:

ani

'

ist notch.

One and the same string:

pedals which act on

notch/

i
becomes:

^
s

The various octaves of

one and the same string:

2r-When

the pedals are

For the

scale

of

C|

into

the

the scale of

al Scale:

not

Ctj

if

become:

!.

above.

or:

used,

the scale naturally

other set.

pedals

'

If

the seven

SQd notch.

Ist notch.'

produced

are hitched

into

is

that of

Cl>,

as shown

one set of notches, and

for

129

THE HARP.
This

and

passage,

(and

Fjl

ble-action

So

so

Gevaert

as

glissandos,
whole

system

remarks,

century

allowing

has been

easjr,

adapting

both

of

Ft;

nowadays, for dou-

kind

mani-

the

to

itself

poetic

of

Erard,

Sebastien

and

passages

chromatic

throw

to

verj^

was invented by

It

it

is

presence

the

of

string.

executing

of

seem

or otherwise, which

diatonic

Harps),

the

ingenious.

a whole

music,

on

Eft

very

is

for

modern

of

as

played

account

on

impossible,

as

Berlioz

being

Fii

double -action

conditions

fold

b^

was, formerljr, for single-action

it

Harps,

this

and,

quoted

haze

those

over

the

orchestra.

The

3:

following

shows the various registers

figure

Register of

of

the

Harp:

full tone-power.

Catgut strings.
Covered strings.

The
tone

three

first

rich

is

and

B in altissimo,
notes

alone

is

low

are

notes

whether

full,

rather

sonorous, "but

less

are

rather

first

eleven

excellent

still

poor

and

thin

low

notes

are

piano.

or

in

quality,

in

From the lowest

hollow.

used forte

The next

Bq jn alt

to

pianissimo passages.

the

strings

the

B in

octave, from

The

aU

to

highest

becoming shorter and short-

er.

The

4.

wards the strings are

shall

5.

see

As

semitone
ber

of

+,

has already
or

seen

two

chromatic

and
from

by

are

covered strings; from

only

possible

on

Gamut

catgut

strings,

up-

as we

later).

24, which

produced

(Harmonics

catgut.

of

would

+,

the

been

said

semitones;

give

have

us

consequently,

are

degrees)

(2', each string

available

two strings

no enharmonics,

following

in

the

notes

each octave.

How

synonymic

diagram:

Cb

c^..

J.

W.

Harp can be raised

twenty -one

each semrtone?

for

no

of

14267.

or

It

(nearly
is
is

homophonic

it

double

either

the

num-

that we have not got

because three notes: D

equivalents,

as may

+,

be

130

THE HARP.

What

6.

What

wa^s!

ful

E. g.

others

even

nor or

'1^

^i

can be found, or the

major

get, b^

we can

scales

extraordinary

i iJ J

Man^

we can

combinations

curious

"
J

V
B#

>i'-"

oi
11

ot

as the

<=^

can

following

i^tJui

''^

In

i i
Cf

\
At

pl|

->

j"V

also

"^

'^

f',
^^

'

obtained:

be

4j^";'^'''

i/ui

ii

fjfj^-

't

i^jli

j"^^'t

J^

(Gevaert, Traite d'Instrumentation,

combinations

the

All

comprised
four

note

to

is

slide

prepared

the

three

notes,

fourth
only

in

mentioned

octave.
of

the

produced
his

mi-

of

i*f"'i

''f
'^

''^

iii''*^*i*^

succession

into

K^

C|

such

^L
ct

Chords

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

Bt

Major and Minor thirds:

A
^

fanci-

of

thirds:

may be transformed

scale

sorts

all

in

imagine!

JdJitJu^tt^

^.

the strings

tuning

fingers

When
notes
by

in

these
are

paragraph

this

strings

sounded

each

the

strings,

grouped
by

two

gently

or

homophonic

violently,

I"

p. 86.)

complete series of strings

the

so as to produce a

Once the pedals

a single string.

over

are

employ

are

fixed,

order

in

to

chord with

whereas

the

the harpist

has

strings,

produce

the

harmonic effect.

Presto.

(Rimsky-Korsakow, Skeherazade.)

Allegro.

By kind permission

of A.

Durand

et Fils, Editeurs-Proprietaires.)

J.

W.

14267.

(Saint

SaenS, Oratorio de Noel.)

131

THE KARP.

(By kind permission

of E. Fromont,

(Debussy, Pelleas et Melisande.)

Editeur-Proprietaire.)

Moderate.

By

kind permission of Schott

&

Publii^hers

C?,

(Wagner, Gotterddmmerung)

Proprietors.)

8-

^^^

(Liszt,

Dante -Symphonie^

(Hasselmans.)

Sometimes, for a particularjr

of

indicating

needless

to

tuning

the

the

write

of

complicated

Harp

the

each

of Heugel et

Ci?,

composer takes the precaution

prudent

When

himself.

before

accidentals

figure,

has once been done,

this

it

becomes

note:

Accrochez

(By kind permission

7.

The

easily

nately

pla^

harpist,

iterated

plucked,

having

two

notes,

without

the

strings

even

ear

in

in

the

at

his

disposal

quickest

the

least

J.

(MaSSenet, Esclarmonde.)

Editeurs -Proprietsires.)

for

each

tempo, each
detecting

W. 14267.

the

of

degree
the

ingenious

of

the

strings

scale,

being

subterfuge.

can

alter-

132

THE HARP.

Vivo.

(By kind permission

of

A.Durand

Saint -Saens, Ascanio.)

et Fils,

Kditeurs -Proprietaires.)

(J =116)

(Wagner, Lohengrin^

^^

Vivace.

i
Fi^

(Oberthiir.)

would

It

thanks
cording

two

have

to

ihvention,

our fanc^,

to

always

ly

impossible

be

Erard's

to

perform

the

preceding

possess

the

means

making

strings

imaginable

all

our

at

passages (6 and 7)

kinds

disposal

we

if

did

instantaneously

not,

ac-

combinations, as we near-

harmonic

of

each

for

Harp

the

tuning

of

note.

Harmonics.

Harpists

8:

division

of

damental

We

When

ics.

metry's

use any

the

string

into

the

open

string.

of

have

never

seen

already
Verdi

sake;

it

other

two

(4)

writes

this

cannot

be

harmonic

than

and

equal parts,

that

the

catgut

consequently

is

alone

strings

arpeggio,

descending

second, which

the

low

the

produced

is

an

the

above the fun-

octave

produce

satisfactory

E +

added

is

by

only

harmonfor

sym-

heard:

^^

^^^ _ L
.

..0

0^

r+
{Falstaff.)

9.

Harmonics

It

ity

be produced

the

within

following

limits:

-^

Register in which harmonics can be produced, o

S
not

can

sounding:

is

to
is

possible
rise
limited

to

go

so high,
to

two

still

as

higher,

the

octaves

but

the

at

tone

becomes

from

Gamut

expense

thinner

6 upwards:

sounding:

Register of best quality.

J.

and

W. 14267.

of

quality.

thinner;

In

the

reality,

it

is

better

register of good qual-

133

THE HARP.
10.

Double -action
the

with

ics

Harps allow

hand, on

left

The right hand can

fingers.

y
j?

/^

<^

T~

e-

4^

]
_flO

J.

^^

^
-e-

(R.Martenot.)

harmonics

Of course,
poetic

They
ed

dew-drops

like

sounds

recall

and

silence

in

Nowadays,
placed

over

cannot

echoing

written

the time

by

the

of

indication:

of

dream;

always

written

an

Berlioz,

the

note

harmonic.

Does the composer

wish

There remains a doubt.

lusion

of

brief

can

they

octave

be heard when

only

below the actual

frequent

H armonics

these

was sometimes

Hence

..

two

bars

to

vibrations

written

be sounded
well

all

sound, with

the

string

pizzicato, very analogous

are
to

true pitch,

its

is

hush-

a zero

of

this

tone

at

stopped as soon as
that

of

the

Violas

mode
its

accompanied

e. g.

as written, or an

to give up

Harp has yet another color

of

at

mistakes were possible;

So composers have done

harmonics, the

e/tn^;^' sounds: the

they are mysterious and

sounding':

^
Besides

forte passages:

in

the moonlight.

through

f\

11.

(Parish Alvars.)

notes:

Written:

In

in

^
^

sleep.

harmonics are
the

made use

be

glistening

the

time.

(Reinecke.)

-^-^

of

(The low C + is not

-played as a harmonic.)

'^

ij:

^^l
( Humperdinck.)

harmon-

simultaneous

require no extension

harmonic at

than one

^^

<>

*{

never play more

even

are small, and

intervals

the

^^
^^

sounding 2,3, sometimes

of

condition

octave

higher?

of writing.

disposal,

produced,

giving the

viz.
il-

or Violins.

Andantino

Harp.

Violins.

i=T

Violas.

^W^

Pizz

Violoncellos.

J'-'^
(By kind permission

[i>

of Heui^el et CiS, Editeurs-Proprletalres.)

.r.

W. 14267.

[ip^

(Widor, Choral et Variations^

134

THE HARP.
whole

the

In

arpeggio

rich

extremity,

the

resembles

the

the

The

12.

that

written

sic
sion,

empty

As
than
the
all

to

those

sorts

span

considered

be

between

as

a kind

tempo

in

observe

Pianoforte,

absolute

may

contrast to the

full

lower

mistaken

be

easily

for

Harp.

magnificent

of

further

hands,

as

that,

than
prevent

not

is

it
it

all

treated

are

of

confu-

an

Organ

diatonically.

closer to each other

inadvisable

to

importance

to

octave and of

use of the

the

first

kind
like

octave that corresponds

the

only

the

of

is

prevent

be

strings

not

and disappear. Mu-

travel

harmony and

the

rather

does

that

to

dam-

without

Pianoforte

to

must

consonant

in

that

but

enough

slow

tenth

fact

time

instrument

first

the

which

observe
the

is

it

hand,

the

of

plucks the strings at their

produced

tone

short, the

in

technique,

intervals;

of

distance

intervals

the

of

natural

harpist

the

the

as far as possible

cathedral,

an

sound-waves must be allowed

incoherence;

special

its

sound

the

finger,

forming

of writing for the

Harp must

the

for

be

say, the

to

harmonic

all

an

in

Harp should
is

single

Guitar.

Mode
pers:

the Strings,

of

with

phrase.

sounding-board,

of

staccato

played

is

sul ponticello,

playing

the

to

timbre

metallic

that

concludes

violinist

close

passage, which

this

which

like

If,

of

Harp closely

the

of

leave
to

too

great

balance

the

skilfully.

Example

sonorous

very

of

writing

slow

in

tempo.-

Andante.

l^'h^

3t

ita

^m ^ *^
JO.

=zt

Note also
fy

the

that

if

octaves

of

thick,

the

rate

of

movement

giving octaves only

bass parts,

comes heavy,

the

and

is

accelerated,

to the left

incomprehensible, like

that

octaves

or

treated

the

exception

in

immediately
single

notes,

instrument
his

after

the accented beat,

because
as

well

he

needs

as he.

clearness

Oversights

^i

^
J.W. 14267.

otherwise

chords played

the
in

simpli-

music
the

be-

lowest

Meyerbeer assigns to the bass nothing

works:

of

to

Pianoforte:

Quasi Allegretto.

Note

becomes necessary

hand;

buzzing

the

it

and
such

rhythm.
as

the

Few
following

composers
are

quite

but

have
the

135

THE HARP.
Here

seems

he

unable

being

other

this

to

forget

to

which

figure,

that

more than

pla^

have

useless

quite

is

it

four,

since

often

heard

of

the

account

of

its

character:

^^

Moderato^fi.

d-*^^^

^.

^^

notes,

five

weak and

Take

confused

harpists

finger.

little

^^^

^^^

rrrprrrjrFf^&^

rrnrrrn

of

make use
on

criticized

chords

write

to

never

they

^
^E^

^f^

Harp.

Basses.

written

is

It

being

not

built

The most

why

too

low

upon

its

powerful

we should

virtuosi, "and

say

down','

bass;

true

produced

are

effects

always follow

by

has the

it

be

means.

simplest

the

track, and

beaten

the

besides

arpeggio would

simpf*

confine

defect

serious

infinitely

more

of

sonorous'.'

True. But is that a reason

ourselves to

one and the same

arpeggio?

Shakes.
13:

The

tipsy

shake

With

two

performed

attempt

hands, and

piano,

It

at

14.
to

better

is

the

fingers

All

had

However,
choose
Avoid

the

and

scales,

it

all

is

keys

the

always
of

repetitions

Cl>,

of

on

contrary,

the

nearly

first

as

string

the

the key,
of

white

attempt

not

the

D?,

rather

same chord

to

spaces

of, the

a forte,

if

the

shake

one

Violin.

is

to

re-

executed

with equal ease; thanks

number
of

of

double

flats

Bq, Fu, C)J.

same hand:

Much

g^ood.

between

the

hands:

(Poor and thin quality.)

J.

as

if

the

upon.

those
the

be

always remains the same, just

play

great

than
in

can

minor,

or

fingering

keys

unless

better,
Gl,

Not
great

as the

^acceleran
accelerani/o.

J^r^'ini
Avoid

bad

excellent:

arpeggios, major

keyboard

on

is

delicate.

whatever

pedals,

is,

hand

single

pizzicato

play

to

of

keep to this piano, and

to

airy

all

the aid

it

main

with

might

violinist

W. 14267.

better.

are

involved,

to

136

THE HARP.

Let

the

ing

by

the

between the hands

distance

which

string

other

has just

hand.

Give

been plucked

sound-waves

the

hand

one

b^

nor too small,

too great

be neither

time

to

immediately

travel;

let

set

in

and avoid havagain

motion

vibrations die out of

the

themselves.

What can be
each

bar,

and

bass -notes

than the following

finer

orchestra

the

filling

with

of

Harp, marking

the

the beginning of

deep tones?

long

their

Lento.
Flutes.
Clarinets.

Harp.

Violas.

Violoncellos.

Double-basses

La

(Massenet,
(By kind permission

deep register of the instrument

This

rather

called

hollow,

when considered

admirable;

is

bjr

themselves

^^

Here

follow

some

practised

figures

Animato.

tig
I

by

harpists, sonorous

notes, which

we

had

octaves:

in

because they are easy

ma
^^

r r r

Orchestra.

lowest

admirable

^^TT^rr^

the

(3)i are

bS

V<

15.

even

Navarraise.)

of Beugal et C'J, Editeurs-Propriet&ires.)

ere

seen

By kind permission

of Heugel et Ci?, Editeurs-Proprletaires.)

J.

W. 14267.

(Th. DuboiS, Fantaisie,

Harpe

et Orehestre.)

137

THE HARP.

Rapide.

fe
gfe

^^

^tV'^

y^

^ ^

g^
(By kind permissioa

of A.Leduc, Editeur-Proprietaire.)

(HaSSelmanS, Ballade)

Alleg-ro.

^^
(By kind permission

of A.

Durand

et Fils, Editeurs-Proprie'taires.)

(HaSSelmanS, Gttana.)
8-

Tres vite

^m
^^

^'>^ W

^^

>. ,r^-^ r
^
""UJ

u^"

(By kind permission

of

'-^ ,rr^

J.

Geo. Morley, Publisher- Proprietor.)

J.

W. 14267.

(HaSSelmanS, Conte de Noel.)

138

THE HARP.
r^zpfcr
Andante.

139

THE ORGAN.
Speaking

Orchestra

are

same;

the

Organ used

the

of

"a secret

sajfs:

seems

antipathjf

both

their

combination

in

to

are

interests

too

and too

vast

Berlioz

other Pope;

the

diverse

allow

to

Treatise

his

in

The Organ and

two powers.

these

Emperor,

is

Orchestra,

the

between

exist

or rather, one

kings,

with

mission

their

the
not

is

amalgamation'.'

of

I.

Whom
have

consult on this

Berlioz

did

never

been

vaille-Coll,

able

sometimes

On what

subject?

ascertain,

to

although,

went so far as

charge

to

organist
to jog

order

in

him

with

he

did

stumble?

unluckily

memory

the

indifference

Ca-

Aristide

of

Master's

the

to

fame.

And

indeed, what

whom

had

he

else

to

stops

him

give

Although

more

Reed-stops,

and

from

ing

our

to

Berlioz

if

time

the

down

hand

organ-stops are

that

Mixture - stops

and

failed

suffice

Guide

to

however

sonance;

would

'it

d'Arezzo,

understand the

to

it

an

qualified

one

any

than

the

sanctioned

by

Foundation-stops, Mixture-

kinds:

indisputable

constitute

function

that

fact

the

old,

Foundation-stops

the

Organ, dat-

the genuine

true,

whose traditions we

Bach, and

Mixture-stops

these

of

how a good

When

they

wrote

composition

produced

these

lines,

appreciate

the

after another,

value

with

beginning

If,

the

simultaneously,

the

of

sounds

most

the volume of this

speak simultaneously, a single

of

We

should

was the

it

fault

of

them'.

ear

what

by

and

importance

partials

manifold

re-

singled

they

out, but

remains to be explained

the

of

by

32
ft.

tones

partial

pipes, can

our

A,

in

the

with

Cavaille'-Coll

tone

the instrument

of

A increases

deepest -toned

fundamental

simultaneously.

sound,

in

his

suc-

ear not being able

32!!^ harmonic.

the

notes, the pipes

synthetic

of

an

this

heard!'

not

function

of

be

then

It

instrument, consisting

32 upper

could

is

of

heard

be

to

demonstrated

been

effect

proportionally, until

pipe

is

itself.

If

the

made

are

32

it

to

speak

one

becomes 32 times

pipes are allowed to

heard, of incomparable

power and

absolute

intonation.

are

ear.

drowning

the

beyond

acute

the

keys

different

not yet

This
first

as powerful as the A sounded by the

truth

the

had

Enregistreur Harmonique.
cession, or

tone

on

praising

in

two upper notes

the

'if

be

fundamental

the

of

say,

several

fundamental

the

can

effect

Berlioz

writes, "agree

causes

decidedly

be insufferable',

are never heard,

troubled

On the

by no manifold

contrary,

the great

masters of the

expression

of

Besides, this

the

than Cavaille-Coll, with

found
better

successors.

"Organ -builders and organists" he

the

been

informant.

his

to

have

three

of

nevertheless

is

it

alone

of

have

Berlioz

who would

information?

correct
true

is

it

could

authority

reliable

intercourse, and

frequent

we
ISli!

get

resonance, no divergency of key, no doubt or uncertainty for

a sound so crystalline and clear, so

century

made

it

their

Organo Plena,

full

and powerful

the richest

that

means

of

polyphony.
is

phenomenon

merely the repetition of what takes place

that

we might ask

Voltaire's

nature for any sound whatsoever,

mechanician to explain:

L'Vhiziers m'embarrasse et je ne

Que

in

puis songer

cette horloge existe et n'att point d'horlog'er.

J.

W. 14267.

of

140

THE ORGAN.
Just

as a pebble

ceding

obedience

in

separated

produce a good

grading

at

his

In

timbre
recent

chestra,

from the Mixture-stops.

neglect

as

the

Mixture- stops

the

speaks

Berlioz

only

Adagio

who

music for

for pieces

an orgy

consumption

Berlioz's

quick

in

must

track

with

less

af-

the

or-

with

have

feeling

be

to

ob-

composed

is

contemporaries

his

of their

composi-

Andante

and nobody, consequently,

it),

a mistake

as

to

for pieces of a

the

serious

of disorder, of hideous pasquinades

been

because the wretched

is

it

habit of serving up Bach's

the

in

Bombardes and Trumpets, an

of

effect

doubled by Trumpets and Trombones.

parts

all

in

tempo.

dressing

a spicy

comparable to that of a String quartet

of

more

the

always the same.

savages or a dance of demons"

of

him on the wrong

set

Bach and

If

they mark

"a medley and tangle of sounds,

of

depicting

for

organist

Strings

have already said,

tempo of the piece, nobody should make

Foundation- stops being always reserved

the

orchestration,

character,

fit

to mistake

able

if

to the

stops that produce

these

and the registering, at the beginning

and Allegro (when perchance they want an

being

altered, having

corresponding

is

it

two rates of movement

of

groups,

in

completely

Organo Plena,

Bach's

making use

because, only

is

suitable

a time, or

becomes more or

has made an ingenious application

be

to

Organ music;

movement

the rates of

indicating
it

other

Saint -Saens

two groups, without any Reed-stops on the manual.

of these

tions,

the

not

seems

Foundation- stops,
of

one at

either
or

calm and sweetness. Quick rates of movement and powerful effects are

of infinite

tained

one

the

waves

circular

orchestra has

the

Erard.

the

with

foot

backbone

are the

that

Pianoforte

than

Organ

the

as

tone, these

changes.

Concerto,

the

of

Xylophone

the

blend,

to

nevertheless

which

but

which

harmonics

these

by

according

instrument

the

of

employed

fundamental

the

by

disappeared,

are

Pianoforte

the whole mass of

is

It

generated

them;

of

The quality

with

finity

one

the

theory.

this

any

most

intense,

centre, are

seem

finally

ear does not hear,

the

common

their

they

distances, until

diminishing

are

reproducing,

in

will

that

tones

where the pebble

spot

succeeded

yet

ever

sounds, which

from

law

mathematical

re-

waves, which, while

circular

effect.

These secondary
the

by

other

produces

inevitably

a well ascertained

to

originates

a pond

into

from one another

so a sound

around

falling

and
ignorant of the most intense
This anonymous organist seems to have been totally
most profound work of Bach, which is, at the same time, the one most characteristic of the
instrument: his three books of Chorals. He gave his illustrious visitor insight into the mechanical

side

of the question

as a manufacturer
the illustrious

could

visitor

Here a curious remark

opposed

diametrically

these

Yet

painters;

both

musicians,

When
text

there
of

spring

green
It

travellers

is

all

out

the

When

the

needless

in

of

same

there are

two

Bach and

Berlioz.

of

planets

far distant

techniques

from each o-

have the same tendencies,

directions,

the

course,

show him.

to

ideal.

They are both

are

landscape

the picturesque;

suggest

composer

of

point

out

sings

the

anything

Aria

celebrated

the

wishes to insert this air

as his music
to

those

are

they

inhabitants

road -surveyor,

of

what appeals to them, although they are

impression a picture.
the series of Little Chorals for each Sunday, it Is because
by

these chorals did not

festival,

failed

history of art,

opposite

in

only as a kind

many notes per second. Of

a pictorial

a break

one of

background,
is

in

these two

setting

are fascinated

above

is

imagination.
at

If,

towards the same horizon, are pursuing

attracted

the

may be made.

each other, certainly

to

so

of

what his guide

discover

not

Berlioz

to

exercises at the rate

two antipodic minds,

these two

ther,

Bach appeared

only:

velocity

of

May,

of

he

same tendency

proof,

jif

*
3.

W. 14267.

to

to

the

musician's

be sung out of

doors

Church cantatas, as he needs a

instinctively ohooses Whitsuntide.

one

in

picturesoue

destined

in

of

his

Berlioz;

all

his

works

afford

ample

*^*

THE ORGAN.
II.
Bach's time,

In

the

general

Bach was

were

they

were not

they

were rare

reed-stops

manuals, and

appointed,

introduced

24

out of

stops

play

to

was

there

onl^

were to be found

Solo theme

the

of the Choral.

In

the

Arnstadt

Organ, the

only

one

Trumpet.

At

polyphony.

into

One or two

Organ.

the

in

destined

exclusively

In

which

first to

Weimar Ihe

on

proportion

were three manuals, 38 stops, and

one poor Chalumeau!
At the church of St Thomas in Leipzig there were 31 stops, one Cremona,
and one Trumpet. On the other hand, several reed-stops were always grouped on the pedal;
usually a 16 ft. Trombone, an 8 ft. Trumpet, and often a 4 ft. Clarion, forming an excellent
bass to the mass of the foundation -stops and mixture - stops on the manuals.
For the last century, organ -builders in France, England, and America have gradually been increasing the number of reed-stops at the expense of the mixture -stops, whose number they
have proportionally reduced.
Many Organs with 30 or 40 stops have only one or two mixturestops, as compared with seven, eight or ten reed-stops.
Hence results a modification in the
quality and character of the instrument.
tone
of
the whole mass of stops becomes
The

was the same.

heavy;

no

is

it

parts, as

ious

background.
are

longer

the

church of Leipzig University

the

possible, as

with

white

lace

designs

of

the

there

Organs, to

old

can

be

The strata of air set in motion

medley and tangle of sounds,
in

the

in

At

follow

the progression of the var-

when thrown into relief by a dark

seem to be thick and viscous, and here we
the savage and fiendish disorder of which
traced

speaks.

Berlioz

we must add

the necessity
that this modern Organ meets a new requirement:
masses of sound to the size of our cathedrals or concert - rooms.
Formerly, music was performed in churches of relatively small dimensions; the instruments
Palestrina's choir
were not very powerful, and the choir was composed of very few singers.
consisted of 32 voices, Bach's of 16 only.
Even when, by way of exception, an Organ with
100 stops was built, no one ever dreamt of using more than 30 (say) of these stops simultaneously,
for it was impossible, on account of the material weight of the mechanism,to couA hundred stops meant 100 varieties of timple together more than two manuals at once.
bre, but nowise the whole mass of such a number of stops.
So that our Pull Organ has had to submit to playing a more decorative than polyphonic
Nowadays, some care has to be taken with the enormous volume of sound produced
part.

However,

adapting

of

together

by coupling
under

the

roofs

can

style

his

the

no

the

all

be

longer

so

time

and

keyboards,

in

search

breathable

of

air,

in

for

the

sound

to

travel to and
liberty

fro

him;

left

has to be punctuated, measured, minutely

reed-stops cannot possibly be written
for

Everything

close.

masses of 16 ft., 8 ft., and 4

four parts in the medium, where they are
These

dosed.

allowed

composer no longer has the same

The

our cathedrals.

of

ft,

stifled.

It

suffocation

order to avoid

indispensable

is

and

absorption

higher

to rise

in

by the formidable bass-

stops.
It

is

needless to try to

ther too
ing

akin

nearly

the sunny

chords, and
Luckily, a

conceal

that

the fact

Brass

of

land of Counterpoint,

harmonies
reaction

against

testing

to

this

those

mixture -stops

teem.

Besides, did

advice,

inconsiderate

according

has set
artistic

to

in:

of

that

Bands.

the

ideal

Forgetful

of

this

of the

modern Full
traditions

of

Organ

is

ra-

the past, abandon-

it
remains cooped up within the narrow limits of struck
a few set formulae.
late, works have been specially written with a view to pro-

decadence,

and

French

organ -builders are now coming

back
to
had always held in esalway turn a deaf ear to
unwise

which the Germans, with their native good sense,

not

the genius of

criticism,

Aristide

and momentary

Cavaille-Coll

impulses?

Notre-Dame {Paris), St Ouen {Rouen), were not great masses

of reed-stops always balanced by equally large masses of mixture- stops? One of Cavaille- Coil's
chief claims to celebrity is based upon his having given us these means of unveiling, of contemIn

the

Organs

St Sulpice,

of

plating in all its brilliancy, and

in

its

true light, the colossal work of the master of Eisenach,

of

hearing Bach as he wished to be heard. Cavaille-Coli's instruments, with their admirable tones and
their incomparable

mechanism, have attracted and passionately interested a number of composers,

varied, supple, and powerful, respectful of tradition, yet

who have found in them a genuine orchestra,

ready to welcome a new ideal.

**

J.

W. 14267.

148

THE

OJtOAN.

III.
The

solidity

and

tition,

surpass

held

organ -builders,
the

last

all

but

this

50

invention

nor surprise;

instantaneous;

is

hand

his

is

keyboard,

more distant

piece

not

communication

in

circulate

with a soul:

does

quently

following

Recently

suppleness

put

idea

the

before

but

better,

by nature,

cannot

tice

of

side

the

It

The virtuoso

through which

consumed that the Full

is

treat

am
of

some modern
ordinary

may be

laid

liberty, whilst

action

is

has

it

Organ

fre-

be

sure

this

attempt

of,

is

that

days

playing

It;

for

the

was

rapid

consequently

was impossible

sound

could

when

it

had reached a

shut or open with

only

When

lazy.

he was

of

inventors

a
the

he

needed,

when the storm was

such

it:

over.

should

be

shakes,

or

being

qualities.
iterated

notes

and shakes

come

Impulsive, "uncanny" and change-

for

if

energetically

requiring

that

W. 14367.

protesting

combination -pedals

the
to

an

both hands are always occupied.

J.

course, neither

It

we trust to its tender mercies.

equals a well-made mechanical action.

without

principle

who

Of

successions of chords,
its

Perhaps

surprises

who substitute

inventor,

prison.

electricity

nothing

till

and this was not the worst

as to

superior.

question

down as a general

in

Swiss

Swell.

began to blow

an opinion

trifle

prepared

special

stops, and

stop

to

mechanism

of

of

contrivance.

this

the automaton

their

finish

vouch for

builders,

from

or

invention

to the

action

wait

key, to

finger.

a term under the circumstances;

is

not

bit

The wind

soon form

will

we must

the

of

a thunderstorm,

in

late.

system Just

would

pneumatic
be expected

crescendo,

time

to

bars

too mild

and you

notes,

However, what
I

another

to

He can never be sure

speak.

of tubing

length

the wonderful

before

to

banging

assizes, and

the

Perhaps the electric

able

he strikes

an automaton.

with

action

the

The barbarous

two

With the pneumatic

iterated

will,

not.

was necessary, before releasing one

to

the

was

progressive

shutter

Barbarous seems

out

adapting

of

and

slow

an appearance

brought

key a pipe will

of

much wind

It

respond

response

degree of strength.
like

tempo!
to

mechanism was never up

in

Certainly

and the sound;

mechanism, which seems to transmit

owing to the great

dumbfounded

stood

nor quick

sudden Jerk,
said

consented

too,

execute

certain

systems?
organist

the

has to deal

he

the pipes, so

moderate

in

key

had conceived

to

material, which he moulds at

sonorous

seem very full, not to speak of the slowness of speech of the reed-stops.
an Oboe so slow of speech that it did not admit of playing a scale in

not

quavers legato
the

as that of an Erard

observed

lately

reaching

before

between

depression

Nor are these the only defects:

to

of coupling together any

light

motions of only approximate precision.

the

after

as

virtuoso encounters neither resistance

of the

will

with the

piece of

mechanism

of

now allows

remains

pneumatic or electric

coming

bodies

an unconscious

what precise moment

at

within

servant.

the

for

insulating

like

the

contact

direct

in

as much be said

wooden

Nothing can

improved

has been greatly

application

its

the touch, which

affecting

and which becomes his obedient

They are

that

electric.

has always been religiously respected by the great

principle

Barker, an English watchmaker,

of

without

The sound

Pianoforte.

Could

modern systems, whether pneumatic or

true

compe-

century Organs has, so far, defied

ISlh

years.

keyboards

of

if

nevertheless

is

it

The ingenious

number

own against

its

principle,

in

it

the simple mechanism of the

of

be drawn out
organist

by

against the pracstops

placed

be-

hand.

always has one foot at

143

THE ORGAN.
When
at

writing

the

stops prepared
the

train

The system
reason
seize

of

his

combination -pedal

which

the

changing

thus

the

orchestration

music that the foot ma^ be able

upon a whole category of

acts

without

the piece

of

interrupting

thought.

other

this

and artistic
the

composer so contrives

the

depress

to

beforehand,

musical

of

Organ,

for the

moment

right

variety

combination -stop

hands

obliged

is

afterwards

required,

keeps one foot

barbarians

of

one of the

feeling,

returning

keyboard,

keyboard as

the

to

while, contrary to

idle,

the

to quit

if

all

order

in

to

nothing

had

Solo

and

happened.

What would a conductor say

turn

instrument

his

fingers

his

meant

the

somewhat

vigorous

mortified,

We must
great

masters.

the

Now and

ivory;

in

against

abuse

the

may

there

of

with the outlines

the

of

the piece,

poor weak

heads with the

the middle of the Subject,

towards

a Cornet

my

in

introduced

and

ends?"

finger

open

mechanically

into

the

mechanical

the

development of a

fu-

contrivance, without at
other, running

making

suddenly

Answer,

end of the

the

all

of

one after the

forth

if

bearing

of

astonishment,

performance of the works

a Piccolo

the

incapable

great

in

keys as

the liberty of draw-

took

which

the

in

They burst

composer's idea,

is

pianissimo

In

struck the

Flute,

me

rollers

them

heard,

piece.

what

observe

flute -stop.

single

looked at

those
of

be

strength enough

not

of

conductors

forte passages he

the

he

choir,

have

so much

not

support

the middle

in

Tru,

own playing.

which enter according to the rules of, the

bumping

its

appearance

Trumpet

all

the
in

some-

Stretto.

the

in

"So

said:

then, unfortunately,

gue, tone-colors

coinciding

he

to

out?

it

with

singers

the

the

of

Organ as against

of

where

their

order

in

singing

also protest

stops

of

to

listen

Horn stop

When, towards the end

to

up against

risk

drain

touched

barely

smash them.
out an Open Diapason,

ing

1?1

order to

saw an organist accompanying

once

passages
he

he saw his
in

whereas organists never

happening,
I

if

down,

upside

And here we are come back again

who gave Berlioz

wretched man with the diseased brain

time of the

the

to

information, and

such unreliable

him

played

music

Bach's

tricked

with

out

Bombardes and Clarions.

Is

a fugue

not

by

of

little

it

would

Fife

seem

a simple

reality

in

quartet?

bedizening a fugue

little

masquerading

be

to

what

In

about

the guise

in

cracked

brain

spangles and

instrumental

with

of

could the idea crop up

bangles,

till

the

in

Symphonic Piece, accompanied

end
by

Drum Band?

and

IV.
In
It

the time of Berlioz, the Swell was known, but was

we know

(1712), and
invention
to

in

tion.

we know

builders,

intensity

of

that Handel

London;

German organ-

ification

of

England

would be hard to say.

an

in

but

sudden

consequently
tones

of

almost

all

very

organ -pipe

contrasts,

of

was

still

of

possibility

blending

the

Organ and the

the

former

being

incompatible
this

the

means

What

changing

creating

the

into

\q
at

has

use

of

applica-

forte, or
will,

and

the

cold

the latter.

"On

harmonious whole,

sensitiveness

combination

W. 14267.

piano

one

its

new

impression of a mod-

the

from

Jordan

the

of

volume of sound

suddenly

the nervous

singular

J.

specimens

its origin?

to

a mere curiosity without practical

Orchestra

with

first

is
it

Abbe Vogler recommended

of

and diminishing

swelling

he says,"when

1780

ingenious

of

occasions"

admire one of the

to

also that about

So that Berlioz denies the

creating

imperfect.

claims the invention of the Swell, attributing

was able

this

very

still

been attempted, either the

144***

THE ORGAN.

Organ ver^ much "overcpows" the Orchestra, or else the Orchestra, having been raised to undue preeminence, well-nigh drowns its adversary."
is
It
How times have changed! Nowadays, no concert- room is built without its Organ.
now possible to graduate the sound mass, to pass suddenly from an imposing fortissimo to
an

almost

pianissimo,

Imperceptible

am

aware that this "expression"

as the Strings and the Wind instruments
full^

are captivating

voice,

wrapped

in

only on account

conception
there

of

nothing

is

least

The

any and

body

Organ,

tic

feeling.

convert

every

it

Modern

musical

enclose

then

suites,

their

to

of suppleness,

be as straight and pre-

should

the wild

instrument of Majes-

zigzags

of

weather-

passed along a dust^ wall.

carelessly

facility, to

em-

the majesty of

skill,

etc.

the

we can

obtain, at

nothing

is

so obtain,

by adding

first

one after the other, the magnificent

immediately

Then,

Bourdon the

ft.

Swell -boxes, and

in

Swells

after

this

pianissimo
sudden

will,

of

exhibition of colossal strength,they

any orchestral

contrasts,

than to compete

easier

and to keep the Organ constantly

instrument.

instantaneous changes, crewith

balanced with

well

stop

crescendo

the orchestra

in

point

regard to the orchestra.

speaks.

us to doubt

whether

case too?

clusion?

Is

chestra?

it

And

not expressive?

have no

outlines, which

its

we are far from the supposed antipathy between "Emperor and Pope" of which
No such thing exists nowadays, and a minute examination of the case leads

here

So,

and generate the idea of Religion out of the

Organ is neither spontaneous nor impulsive;

His outlines are like

Organ

a whole

scendos and diminuendos;

Berlioz

Organ,

among the instruments

means enable us, with almost too ready

that we must avoid all disrespect towards

idea,

by opening

a simple 8

with

Thanks

to

in

human

the
the

spontaneitjr,

alone

our present

whole mass of sound.

the

a defect

Pianoforte and

Organ. Of a thoughtful and deliberate nature,

forte, following the straightest diagonal. The

the

by a feather- brush

left

marches,

builders

upon stop, and

challenge

the

of

it

subjective; where-

we must employ this "expression" with conscientious reserve and artisOtherwise we shall ignore the essential characteristics of the instrument, and
into a pseudo- orchestra, witness those heav^, clumsy arrangements of s_ymphonic

overtures,

pieces,

this

the

and that

the

of

all

plan.

a big accordion.

because

precisely

is

It

into

marks

chart, or the

engineer's

and

impulsiveness

a philosopher;

piano

from

the

who "sentimentalizes" on the Organ forthwith turns the

Philistine

and Dignity

the orchestra,

neuropathic about

is

would constitute

inflexion

of

like

expression

architecturally

as those of an

cise

ty

that

Organ rises

the

volume of sound,

No, the

Infinity!'

modern Organ can only be

of

their

of

majesty, speaks

primitive

its

can for ever furnish the same

the

follow

to

singer,

and shades of vocal expression.

lights
I

when accompanying a

and,

it

ever

really

existed.

Does not the whole mass

not entirely

was

not

Listen

Berlioz's

vocal

based upon the suitable

this

to

not

Bach's

Is

of

combination

satisfactory

the "arrangements" of

Organ, and compare

the

effect

guide
to

to

blame

the opposite

in

con-

Organ with the Ortime when the Organ was

combination of the
even

Bach's

produced

ignorant

work point

with

at

Cantatas
Bach's

for

original

concert

version.

rooms that
And what a-

and his Concertos?

were still alive he would forswear his views of yore, or rather the views that
were so unfairly instilled into his mind. Admirable new effects may yet be drawn from the
union of the two former rivals, "the Emperor and the Pope," who, converted into fast allies,
manifest ever growing mutual sympathy.
A number of recent compositions
could quote

bout

Handel

If

Berlioz

furnish

conclusive

evidence

on

this

point.

*
*

J.

W.

14267.

145

THE ORGAN.

V.

What was the Organ like in former times? When did the manuals become more numerWhen was the pedal invented? No one can sa^ for certain. Two or three broad facts
are known: Some 200 years before the Christian era, attempts were being made to improve
ous?

the

bellows;

was

to

Vitruvius

with

artist

ful

idea

The

with

ing

of

to

fingers

directs

vibrate

softly

head

Circus

not

very

The

Organ emigrated

came back

Guido d'Arezzo's

that

likely

fourths

and

fifths, first

choir-parts

hardly

only

gers of

the

great

The classical
or three

(54

have

begins

been

and

of

of

that the pedal was

keyboards?

several

idea

the

Italian

the

It

obeying

the

his

which

laws

later,

their

of

it

had
an-

places of worship.

their

in

it

attempts,

mixture -stops,

of

of

one

latter

history

attention

masters,

Organ sanctioned

the

the martyrdom

adopted

polyphonic

few centuries

The Christians, having

Charlemagne.

forthwith

of

harmonizations

in

simply reproduced the

of. sound, or

reinforcing

of

the
by

again

being

fore-runners

the

beginning

at

of

its

former extending
at

and

the great

determined

CC

#
^

German organists.

compass, consisted
from

and rising to

CC

(Bach's Organ.)

(30 notes)
Pedal.

f
J.

W. 14267.

of

two

in alt
F above middle C (30
to

(54 notes)

any

Scarlatti, under the fin-

notes).

Manual.

In

time almost exclusively chor-

that

Frescobaldi

with

Bach, who

pedal -board,
likewise

Organ during the Middle Ages.

the

much use, music

attract

to

manuals and

notes),

or

early

pretence

any

know anything

cannot

it
It

mel-

fundamental tone?

the

of

suggested

making

without

harmonics

case

had they

large;

Byzantium, whence

Pepin

of

a new instrument, and

for

it

not

al.

a sweet

forth

which proves

attitude

to the pipes,

show the organist stand-

times

whose tones had accompanied

instrument

the

reign

the

in

Emperors to

the

with

West,

the

to

it

We

Julian says: "a skil-

adapted

valves

breathe

keys,

those

to us.

likely.

took

cestors,

the

of

an

must have been pretty

instruments

forget

to

Is

the

of

terra-cottas

above the pipes

projecting

The

time

action

the

touch

his

Organ
is

and complete to fur-

clear

Emperor

the

Pianoforte

known.

not yet

is

by

mosaics, and

of

Hydraulic

the

much what the

pretty

Vitruvius, the

means

by

water, and

of

instrument, sufficiently

And after

construction.

bas-reliefs,

his

the

of

means

Caesars,

the

of

description

its

swift

made

which, being
ody."

the time

in

us

gives

a fair

nish

was then obtained hy

pressure

Romans,

the

146

THE ORGAN.
On the manuals
while

retaining

German,

pedal -board

the

American

and

English,

30

of

(Modern German, English,

and American Organ.)

f
(30 notes)

Pedal.

notes

had

theory

notes

able

induce

to

from

CO

CC

from

to

in

The following

G.

to

F above Middle

to

0,

as usu-

altissimo.
successor,

intelligent

his

somewhat

instruments another

French

large

his

which requires the adoption

Bach,

as for the hands:

feet

for

pedal -board,

the

on

been

from

derived

adopted

manuals, from

on the

we have

Fortunately,

the

30

system:

Cavaille-Coll

56

but

al,

C in altissimo,

(61 notes)

illogical

to

notes:

Manual.

Aristide

now go up

builders

are

same

the

of

MT Mutin,

applj^

for

the

recognised

divi-

limits

henceforth

the

to

sions:

t
W

Manual.

(56- notes)

would be highly

point.

No harm

danger

lies

an

organist

should

be

desirable

comes

compass

should

never

invariable,

So, let

us

request

al-board

of

32

gan may

be

said

to

dominant

as

the

last

Concave

in

upper limit

precise

pedal -board

the

of

down

to

look

treads on the

German,

be

in

0,

note

to

are

of

his

most
the

possible

when playing:

builders

for

the

them as being

practical.

performer

from one Organ

feet

on

this

manuals being undetermined;

the

American

strike

an agreement

to

another,

to

the
for

guiding-marks

his

wrong key.

pedal -board, the

the

the

enable

stretch
not

will

it

at

English, and

maximum

the

notes,

of

varying

he

come

should

organ -builders

that

need

the

order

otherwise

pedal -boards

and polished,

Mutin, successor.)

(32 notes)

the

of

the

in

Pedal.

It

(Organ of Cavaille-Coll,

to

to

adopt

organist's

very

the French
legs.

illogical

ped-

As the

Or-

take

the

to

hands, continuing up to the tonic.

Pedal -keys

ought

execute

the

ail

to

be

requisite

narrow,

rounded

legates

and

glissandos.
I

the

say

narrow, because

width

ularly

of

or from

the

the

keys, in
side,

it

is

necessary to leave between

order to allow

according

to

of

depressing

circumstances.

*
J.

W: 14267.

the

keys intervals about equal to

them with the foot either

perpendic-

147
**

THE ORGAN.

VI.
To form an idea of the amount

The mere

ers' catalogues.
In

ing

Paris, the

production of

a great

virtuoso and a

of

Lemmens,
to

his plans

Organ music was formerly

of

set

builder

skilful

the

when,

nil,

stone

all

publish-

a large volume.

fill

a sudden, the meet-

rolling.

was coming back from Bresiau, where he had gone piously

Hesse the traditions of Bach in all their purity. Cavaille-Coll was preparing
the Organs of St? Glotiide, St Sulpice, Notre-Dame, etc.... The advice of the
Belgian organist,

for

came

in

far

been

thus

rise to, consult

from

collect

one

of music modern Organs have given

composers inspired b^ the Organ would

list of

nick of time

the very
groping

alone

to guide

the

in

the

footsteps

tottering

To these

dark.

who had

the other,

of

circumstances we owe our

magnificent

instruments.

Thanks to them, a few years have given birth to more works than all the hoary past. And
movement has not been confined to one centre only; it has spread from country to country,
making its influence felt pretty well everywhere.

this

there

Is

ed on the

time one single

present

the

at

Organ played by

an

musician?

excellent

imagination

of

country
there

Is

that

is

any fine

not justifiably

proud

of

fine

which has not spurr-

instrument

organist?

its

When, by the mere depression of a finger, the organist obtains a note of unlimited duration, and that too without the slightest strain on poor human lungs
when he feels that
he is, so to speak, master of Time and Power
then he appreciates the true character of
the instrument he plays, comprehends the language it behoves it to speak,
and realizes

the

that

style

And

the

if

music

gan

befits

exactly
essential

it.

qualities

good style

of

them

possesses

certainly

in

are:

the highest

purity, clearness and precision, Ordegree,

not

to

mention

minor

other

excellencies.

Organ should reflect the calm of the Absolute; it is made to be

While orchestral instruments
is based
on natural harmonies.
Organ attains the
strive after effects obtained by more or less diseased virtuosity, the
maximum of strength by means of the common chord of 0, by sustaining tones which seem

The great

This great

come and
the

ever

of

and precipitation.

end.
sing

admire

and

time;

in

it

the text,

of

needs rhythm, punctuation, and

cadences which here

in

order

to

give

definite

and

works those

Bach's

in

continuo

the

interrupt

rate

nor

requires to

voice

Let us remark

plan.

and

roofs

beginning

have neither

to

of the

voice

under stone

heard

there

us a minute's repose. What-

movement, the great master thus avoids any impression of anxious hurry
He never loses his self-possession, never troubles the serenity of his

audience.

And

this great

places, and

proper place,

When
is

It

the

Moscow,

or of

its

organist

he

what
presence

bow down
or

the

like

fully

a stupendous

expressing
in

voice

fillings- up.

in

is

Organ does not admit of the use of set formulae, commonnote is meant to carry, and should, consequently, be in its
Stringed Quartet, which eschews superfluous ornament.

of

the

Every

has

before

realizes

him
that

the
the

or

Organ

key -boards

is

drawing-room
the most powerful

mass, a monument of granite,

great, unchangeable, eternal.

let

us

call

reverence, and

to

monumental
that we are going

mind

imagine

the

Roman Coliseum.

J.

14267.

of

St

no

constructions
to

move

Sulpice,

Sheffield,

of

toy or fancy instrument.

means on
of

earth

the past;

to song Egyptian

let

of

us

Pyramid

148

Chapter V.

The

Strings.

THE
1.

a minute

needless to give

is

It

has not

changed

time of

since the

maximum compass may

Its

be

tained

almost

and

find

And

if

case with

N. B.

ner and

B\f

Bl|,

However,

if

Here

2.

the instrument, which

Beethoven.

as 3 octaves and a

attack

BI>

long

without

in altisswto
rest

allowed

be

(at

fifth:

preparation

t; unless

notes

the

led

is

it

up to by

con-

conjunct

one bar of moderate quadruple

least

sufficient

impossible

time

to

I'un

up to the top

time),

the scale

of

play

to

BI>

may be said

becoming

a number of

sonorous;

follows

without

preparation,

still

more

this

the

160).

Wag-

is

above.

is

excellent

others do not hesitate to write

above

tolerably

still

must

c|, and

C,

in altissimo

semitones

to

in altisstmo, however,

many

of

by a fairly

nearly

is

it

mechanism

the

narrow resting-place.

very

its

Vtolon.)

third:

finger

player's

of

Fr.,

dangerous to employ

is

it

impossible

or preceded

rees,

for the

highest

the

in

is

It

orchestra,

the

account

stated

f
But, in

VIOLIN.

Ger., Violine.

Violino.

(ital.,

^-^-

hence

the table

highest

sonorous

move upwards by conjunct

their

of

as a harmonic (V. List,

P.

on

note

the Violin;

the four

and thinner.

thinner
Violins

be the

to

when played
it.

the

occasional

seven

J.

use

positions

W. 14267.

degrees,

by the great

of

the

these

classic

Violin:

notes

masters.

are

149

THE VIOLIN.
3rd String.

4ti String.
lt

^E

position.

2nd

position.

3!;^ position.

i3

i
2

12

1^

4th position.

i12

r^

^^

^=4=^4^

6t^ position.

Diatonic
nearly

uut

note

true

so

the

to

are

scales
well,

excellent

because

altered

the^

note,

and

"T

on

can

tempo

b^

this

2~

4i4J
^-^^
T

4~

obtained

be

rapid

^^^

4"

chromatic scales do not come

instruments;

stringed
onl^

in

^^

7th position.

3.

Eg^

#-

5t^ position.
2

^e^eI

E^
3

2"

12

fei

^^
^
String.

ist String.

2S^

the

sliding

sliding

is

finger

from

the

inevitably of but ap-

proximate accuracjr.
However, the
scale

ing

that

The

real

maximum

4:

minished

ascending

chromatic

difficulties

stretch

of

on

scale

quite

is

execution

practicable;

is

it

onl^

in

the descend-

one string

arise.

cannot

exceed

an

augmented

fourth

or

di-

fifth:

In any tempo.

Impossible.

From
the

the

perfect

execution

fifth

becomes

upwards, inclusively, two

heav^,

the

bow

having

to

strings
oscillate

have

from

to

be

one

employed, and then

string

to

the other.

Impossible in
quick tempo.

Remark:

The utmost

Stretch possible

the minor ninth, and even this interval

for the

hand on two strings

diminished fifth: it corresponds

diminished fifth on a single string).
opposite

(in orchestral playing)

without care. (The minor ninth
on two strings to the stretch required for

should not

to the

J.

W. 14267.

be used

is
is

150

THE VIOLIN.

5.

Is

liant

necessary

it

mirable

string,

4i!!

speak

to

of the

of the

different

rather subdued

qualities

timbre

of

of

the

tone on the Violin:

and 20^

3!!^

of

the ad-

strings, of the

bril-

string?

1J

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

the

loudest,

limit

unwise

is

it

exceed.

to

Moderato.

am aware

that

in

higher notes can

solo

be reached:

Moderato.

(Widor, Concerto^
but

writing for

in

the orchestra

it

would

be very imprudent

go beyond C.

to

Double Stops.
6.

is,

It

of

course, easy

to play

double stops that

all

an open

include

string.

LIST OF DOUBLE STOPS IN THE ORDER OF INCREASING DIFFICULTY.

EASY:

major and minor

all

from

EASY:

m,ajor

to:

and diminished sevenths:

u
EASY:

^4=

-:

from

up
\c

major, minor,

all

sixths:

up

to:

tninor thirds
and minor

from

POSSIBLE:

all

perfect and augmented fourths:

from

POSSIBLE:

all

diminished and augmented fifths.

from

POSSIBLE:

octaves:

up

...^M

from

From

this

POSSIBLE:

RISKY:

up

upwards they become more and more

to:

difficult.

major seconds.

minor seconds,

which

should

J.

only

be used

W. 14a67.

with great

care.

THE
8.

for the

consider

to
in

As

perfect

fifth,

a chord, carefully avoid going

may be as

It

stretch

possible

well

to

the

for

repeat

hand

Impossible to reach the

It is

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

orchestral

in

work;

If

F C on the

beyond

ever

the minor

It

becomes necessary

it

is

better

to

use

it

string:

first

remark already made at the end of 4:

the
Is

perfect on stringed Instruments.

hardly

is

it

as very tlangerous

it

151

VIOLIN.

maximum

the

ninth:

major ninth.
sevenths

of

In

keys,

all

and

the various positions of

of

much assistance In this matter

Lamoureux Concerts).

resolve. (For

the

of

am

the com-

indebted

to

Chords of the Dominant Seventh.

The crosses + show the
tions

that

are

Resolutions

impossible
not

the

specially

unsonorous

or

difficult
in

chords;

the

asterisks

* show the

resolu-

minor mode.

marked

are

possible

in

either

mode.

DOMINANT Seventh Chords.

In

C.

-H9-

In 3 parts.
x:

f^

1:

-.

iliiliUi

Resolutions.

n
p

2p
-+9^

;=

*l

2-#-

*B
In

4 parts.

4' s g

3fi

-11

.0

Resolutions.

*
+

*
+

8i

-^:

Jo

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

W.

14267.

"^

152

THE VIOLIN.
In

Dk

In 3 parts

Resolutions

Resoltttions.

In

CH.

In 3 parts

Resolutions.

mode

possible in the minor

Resolutions.

In

^^^^^^^i
i

in.

parts,

imt
^mww^

Dl;.

X kv D

hi

m ^
b!
rf-iTzf-rfi^irf

ak

'

iU

2.

t:

it

OV

i-r.

V ov

d^
*

p
possible
oss

si:

^=
-^

*aiz=3

2:';

F'ron the 4thstriiig;i

iJL.

3j#^

the
only.

* "^F^

Resolutions.

Z g

^itff

# tjtf;
;_jL_L_!

minor mode

44

In 3 parts.

only.

It

f
J.

W. 14267.

^y

j^

4Jt

gfr

153

THE VIOLIN.
+

^^^^^p:
S 3

In 4 parts,

9-

Resolutions.

QV oS

Off

S^=*

"Tim
a. ffi ff"rr^^r
i7 7 -# 9 7 7

In

Ek

^^^^^

In 3 parts.

4 bo

,b,l

t+

lU

tbg4%i>^

Lkf

it.fe

Resolutions.

In

Ei|.

In 3 parts.

He

raz

--

f?^

^0

Hh

^0 1^ 2^ Hfi *^
* yj 8 9ff=i^S,) t 9r

f^

!i

^-U^^:^A^ i
ifyy^

Resolutions.

ll*ltl^t*

4Jt*'

In

4 parts.

r^

4i

'iifiif

,-<

,.

ST

*g
"

f
J.

"p
W.

'

pf
i'

14267.

possible in the

minor mode

*^l |i|
3"
S^ S 8^J 8 ^^^^^
2^ F^ B^^ JSt^ 7
9^

only.

154

THE

VIOLIN.

+
Resolutions
ions.

4 J

z^:
=5==i

^^

e^

^^

H-j
-*-

0ti

i-H^^

:.S=.fe

-tt^

possible in the minor

In

iH^

ijl*

i|ti

-*-<

^ il

mode

2| -

F.

In 3 parts.

4*[, g

^^-*

g::2-E :

OS"

4,\?a.

3l>o.

ll>o
a.

iva.
4l>fl|

3t>

s:

i- v

"!>--s^

only.

at
1

oz'

Resolutions.

a.

In

4 parts.
7

i>o

l|>^
2 4|>o|
4ta|

l>/i

g4*l>gP4*l>S

=^^^

sl>
31

4ff

is
tpy

05'

3:z

?4^?^

:3:9^

0?

&

i--

#:

9-

Z\>fi

91-

9-1

In

Fjl.
fl

JC

i^c

"^i

|'';i

...

.f

It'^

..f

9-

J *''f

-49

9-

+#+

c=:2
*-^^
:S=2

3d. 3 E
Lie ..f \'
i

^^^^^

mJ
=fl =^ti ^^
I

;4il,"a^4'^sr^PZi^

^^
a

In 3 parts.

4,

r-^

Resolutions.

\>fL

'^

4*^^

it'^

It^

Resolutions.
2

"fit

^i

"If^

|)*^

''f*-*

.^r 't^ >ih ,^^ ^^t ,^t lit ^^f

iU

ff*^

l^

M 4 l^
.

possible in

tlie

minor mode only.

In 4 parts

Resolutions.

J.

W.

14267.

possible in the

minor mode only.

155

THE VIOLIN.
In

G.

In 3 parts.

Resolutions.

0<

**^

fj

2^

4**
r#!

4"

-sP l<'-P40-#

ri
^'t:

^z

or

^#

^ 3

70-

"T!7

'9-

y^

zJEB

*^

:_

l>

i
rat

fea=^

^f

^
r^^
[;1>

gl-

Li-

al^

r~Tr^"' ^'o ^'

"^

Jt)

,!>J'>

9-^r-

'

|o

F^^=i^

I'i

"^

4l>3

1^

fez

:*
^

l>

!*

!*

\>(i

';
!>

[>?

gl/M

i--^^p r

j d d
!>

ir;_

-n-r.

"i"

IT

In 3 parts,

JL

Ak

In

4^

3^

ai'"
^0

4*

zjt-

2f.

2dm

dm

f=r

3 1^

ra:

Resolutions
'-

# 1#

mm DTS^^
g

?z=zt:xt

1*

**

oJi :r

t
w-

TTS

t=f

Resolutions.

"TT

m
In 4 parts

1~

'

'j

''j

''i

'''i

i^''

<i

ti

li

^
\>t

^3
lE

l>^

1^

^
+

In 4 parts.

M
^5

3^ ^ ^^^
.

k,

!>.

^f:

iK,

8^f:

tbfl.

*^^:

^fe ^fe ^^ $
5

0*

oz^

'^

1^

_a_ai

+*
M

1>

^^1
Resolutions.

In

A^

In 3 parts

=fcB:

TTT!^

=^

-J^

r^:

T^

^DT7

1^

M.

,|^

S: ^=1
"Tr?^

-ffy

^W=

^^^

jig

f^t

-^

4' s

4^

i=ii
s

J.

W. 14267.

sw

156

THE VIOLIN.
+

-^^f^

Resolutions

8*

+,

ijtv^-ri).

ijTjtj^

In

'

"r"

jt].^

r"n^
te tg

Bt.

In 3 parts.

1Z2S

'/

ize

r.

^^^^^^^^

=ftC3t

-;

''

=Ktt

*
Resolutions. -^-^

'

\,4
IJ l>#
i>J

*
*

ni
M

1 * x^i

If

\>7 \,7 i\,7

^^s

* tl

b*

S^
lU

i hi

iV^

3t- b*

lA

l^^

::t

4A
:^!C
=fp10

JEZ

In 4 parts.

ibi ^
^p ap

*^

^ i bt b
*r'r*-

2b.

g^^
^^^^
I

ibi

4. -^

^^
J

ft

L*

4* k-

'T

''

*T-*-

t^

^~I*^ "

li-(*

13:1
zzii

=5=2

*b||abjb| >^ >#b;.bi *bjt.?2b|*|?b|*|

ft

_*l4tb|tbi

+
In

8:

Bl|.

In 3 parts.

2ji

^%

^H

h^'^'

^^

iVi-

<

>"['

.i=M

3:z

=Ja:

Resolutions.

Ai

*M

^
p^

^^
1

4J

=*:

=IM=

zz^:
t

^tf

IH*

^*ii* ..^Jft *{^ t.i ?ie :!l

-+*

U^} \H} '4

Pff

2frfc

IjW.

J.

W.

^^

14267.

cool

J> aJw
2W zzJ
I'm

possible in the minor

"^ff

mode

hi

only,

In 4 parts

AijlttjJ
I'

THE VIOLIN.

'

ffl'iifJ l^

r.

-1

J i 9^#rf##^^
^&^

t*?
.,t
1-*

Srjp
=

'SiiW'jy
+

157

rJ

Zg^

P rJ

vrrHs^iJlap

iro^.tifi.it

p m1^

rm *4

Resolutions.

j
I

possible in the

minor mode only.

Chords of the Diminished Seventh*

In 3 parts.

On the three
lower strings.

m
*

On the

\>f

three

tjf

H*

^=^

It'

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

tt^

higher strings.:

In

parts.

^i

I'f

ilt

''ft

1^

T T

^*

# f^?
tr;:

i#

^i^

''f^

ilfi

gS^

^r i|r=^

Chords of the Major and Minor Ninth.

In 3 parts.
the three
lower strings

jg

l,J

On

^^-

Chords of the Augmented Fifth

are easy

in

four parts within

the following

limits

Rising chromatically up to

* All

the Chords of the Diminished Seventh

may

be written enharmonically.

J.W. 14267.

''f

!? 3f

^^^

THE

VIOLIN.

Harmonics.

10.
3!!9,

lightly
If

Taking

4^,

as a fundamental

and

Stb;

touching

we take

tone

the

upper partials

6tl!

b^ each

note produced

can be

obtained

the

with

of

the open strings, the 20^^

single

help of

finger

the string.

6 as

Fiddle

a fundamental

we get the

tone,

following

monics:

series

har-

natural

of

^
1

The 20^ partial

i.

e.

at the

obtained

Is

where

point

touching

by

depressed

the

the

mid- way

string

between

produce the

would

finger

and

nut

the

same

bridge,

note.

fiL

Written:

The

I.e.

at the

can be obtained

partial

3!!^

either (1)

the

by touching
point

where

string

the

at

touching

by

point

the

two different ways:

a distance

depressed

the

i
or (2)

in

at

at

from

distance

Sul G.
%
[

(jk

at the

can also be obtained

partial

4li!

by touching

point

the

string

at

where the depressed

or (2)

by

touching

the string

where the depressed

the point

touching

where

the

the

finger

or (2)

by touching

point

the

nut

equivalent

the

string

where the depressed

to

of its

length,

i.

e.

note:

two different ways:

from the nut equivalent to

would produce the

in

at a

finger

at

of its length, i.e.

would produce

J.

the nut
the

Written:

_^
~"

from

the

would

of

equivalent

to

at

of

its

length, at

major third:

nut

equivalent

sound the major sixth:

W. 14267.

length,

its

note:

ways:

distance from

a distance

finger

to

equivalent

same

four different

t
the

^^

a distance from the nut

at

string

depressed

length,

Written:

The 5tb partial can be obtained

by

its

would produce the perfect fourth:

finger

Written:

either (1)

in

a distance

i
the point

of

fifth:

It is necessary to indicate the

stringy
for this 35^ partial is also the asd partial
of the D string.

The

equivalent to

nut

where the depressed finger would produce the same

Written:

either (1)

the

produce the perfect

W.e.,

string

from

would

finger

to

of

its

length, at

159

THE VIOLIN.

Written:

OP (3)

the

touching

bj^

the

string

a distance from the nut

at

where the depressed

point

would

finger

produce

equivalent

major

the

to

of

its

length, at

of

its

length, at

tenth:

Written:

or (4)

the

touching

by

the

distance from

at a

string

where the depressed

point

Written

Remark:

The

the

equivalent to

nut

produce the same note:

would

finger

-t

two ways of obtaining the 5th partial are the

onlj' ones used in

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

first

the others being rather

chestra,

risk^';

larger dimensions.

its

The

6th partial

can be obtained

touching

either (1)

by

the point

where the depressed

the

string

two

in

at

ways:

distance from

the nut

equivalent to

would produce the minor

finger

of its length, at

third:

i
or (2)

the

by

touching

where

point

the

the

Written:

Tx

string

distance

at a

depressed

Written

this

the

It

indication

fourth

is

If

stain

the

vague, for

partial

of

this

^i

6tl?

from the nut

produce

the

equivalent to

same

of

its

length, at

note:

upper partial

of

the fundamental

also

is

(open string)

necessary

therefore

on the

out

is

would

finger

to

indicate

whether the harmonic

is

be played

to

on the

or

string.

the

first

beauty

from

way

of

or charm;

using

the

neighboring string,

producing
the
6t!!

it

is

employed,

second

wa^

partial,

the

fifth

involves

the

harmonic

painful

same note coming

above.

J.

W. 14^67.

comes out

stretch,

out

so

better

it

as

with
is

the

difficulty,

with-

advisable to

4\h partial

abof

160

THE VIOLIN.

List of Natural Harmonics

practicable in the Orchestra.

4ti string.

rf

3d String.

p^

,4

i%

j*

A Ci

^i

Sa

*a

^a

*a

sa

2ad String.

MM

ist

String.

11.

This

gers, the

this

class

as an

serving

harmonics

of

above

the

the

whose

harmonics
artificial

1.

e.

the

only

fundamental;
touches

finger

little

fundamental,

ial

sounds

to

artificial

fundamental
can

only

the

nut,

tone

not

is

produced

be

other

finger

by

sounded

note

means

of

two

fin-

lightly touching the string

point.

two octaves
followed;

given

These

string.

fore-finger

at a given

Of

name

the

is

open

an

^f

Harmonics.

Artificial
by

ti

a quarter

of

one

the

employed

system

in

orchestra

the

explained on

distance

P.

158

the

string

the

way between the depressed

at

.the

of

is

the

4th

partial,

(fourth partial

(1))

is

a fourth from the artificfore -finger

and

the

bridge.

Written:

These

12: Other
can
ger,

artificial

be obtained
i.

e.

harmonics

artificial

a point

are

third

from the lowest

*
possible

harmonics are made use

by touching

all

of

with

the

the

way

little

of

finger

Ai/

up

to:

by virtuosij e.g. the third partial, which

the

fifth

above the depressed

between the fore-finger and the

bridge.

'^^

Written:

p*

It is

possible to rise chromatically

J.

W. 14867.

up

to:

fore - fin-

161

THE VIOLIN.
13.

bove

The

can be produced

partial

SlJ!

the depressed

fore-finger,

touching

by

a point

i.e.

the bridge:

ring-finger the major third a-

with the

way between the fore-finger and

of the

fifth

J
Written:

V
but

this

not

is

done, for the quality

often

so obtained

tone

of

is

poor.

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

Remark:
may know

From:

^}

f"'^-

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

the

notes

Bowing.
14. When the bow
said

drawn over the string from

widely,

accented

beat,

to

heel

Down -bow u

Fr.

Tire.

Up- bow

Fr.

Pousse.

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

varying

the

the

point, the

to

is

be used,

it

is

and

is

the

not easy to decide, cases

may be stated in a general fashion that a down -bow

and an up-bow for an unaccented beat or an unaccented part
but

violinist

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

when needful:

are used

indications

following

is

down-bow, when

to be playing

it

is

used for an

of

a beat.

Varieties of Bowing.
15. The
length,

Grand Detache

from

the

no slur being

heel

written

to

the

produced

is

point,

by using

^m

powerful
If

the

tone

effect

made use

of,

note

requires

with

the

is

but
the

is

to

bow throughout the whole

of

string,

its

and

over the notes.

V

the

and vice versa, the bow never quitting the

^^
u

In any
tempo.

thus obtained.
be not

then

there

repetition

of

only
is

powerful,

but

the heel

even violent,

some intermittence between each

the

same

motion, and

stroke

uuuuuuuu
J.

w. I4a67.

of

becomes impossible

it

Grand Detache.
Moderato.

the

of

bow

alone

is

the bow, for each

to play as fast as

162

THE VIOLIN.
Detache Moyen

The
and a

The Petit

Detache, which

tempo and for

The Martele
as

soft

The

of

Sautille

tip

the

of

the

of

in

tempOj

rapid

bow,

is

used

very

in

rapid

each note being attacked

bow,

'<^^:ttliJUs
by making

passages

to

as forte.

well

obtained

is

suited

drily,

middle of the bow

the
great

requiring

m"^

lightness

of

rebound after each note;

execution, and

it

is

the quicker the rate

movement, the better the effect.

notes suit

Iterated

ji*^

Some composers
a mistake,

the

bow, and

very

absolutely

is

it

improperly

the

indicate

Staccato being obtained

the

devoid

f r r
JJ fsasBs

J J J J J J

-^

quite

but

capitally,

it

Presto.

of

extreme

the

with

may be used piano, as

especially

used

it is

effects.

played

is

Vivace.

It

the point

with

bow;

the

of

by this means.

be produced

produced

is

a third

by using

can

hammer.

with a

if

obtained

is

intense tone

sufficiently

still

by detaching

each

Sautille

of

r r r

by the word

an upbow

by

strength.

Staccato.

from the point

to

This

is

middle

the

written:

note;

C:s^
used

Frequently
ficulty

of

ver used

in

-the

the

solos,

in

executing

it

with

Staccato

Are

16:

all

possible, whatever

weaker the tone;

ate quadruple time

figure

for

in

the

the orchestra,

Staccato

with

on account of

the

down-bow,

the

dif-

is

it

ne-

orchestra.

and Legates.

Slurs
bow, the

rare

is

As

regularity.

if

even

the number of articulations.

ppp

well not to

is

it

holding notes are to be

The longer the stroke

more than

require

played, or

4 bars

of

the

in moder-

two bars in like tempo

if

has to be performed:

Allegro moderato.

Notes

17.

are said to be played

ber are played

der-

the

with

the

same bow.

Loure
This

when each one

indicated

is

by

is

little

articulated, although

num-

dashes over each note

un-

cantabile passages,

and

slur':

Andq^ti-no

This
is

is

a very good means of expression, very much used

one of the favorite

devices of modern

J.

art.

w:

14267.

in

163

THE VIOLIN.

The
18r-lt
wa^

in

will

the two following

to quote

suffice

which the Pizzicato

Pizzicato.

used

is

examples, which give a better notion of the

than any description could:

Tempo of the Jota Aragonesa.

Piccolos.

Oboes.
Clarinets.

ist

Violins.

2?id Violins.

Violas.

Violoncellos,

:;.^^

yt

Double-basses

;p

v/pv

pizz.

animando sino

Allegro.

(Gevaert.)

al fine.

Violins.

Violas.

Violoncellos.

Double-basses,
(By kind permission

It

than

is

impossible

that

of

to

the two

change from
preceding

Remark: More time is required

Arco to a Pizzicato passage.

of Heugel et Ci5, Editeurs-Proprie'tiires.)

Pizzicato

to

Arco^ and

vice

(DelibeS, Sylvia)

versa,

in

quicker

tempo

examples.

to take the

J.

bow again

W. 14ba67.

after a

Pizzicato than to pass

from

an

164

THE VIOLIN.

19: The

quality

of

the

Pizzicato

is

from

uniform

fairly

Fiddle

to

alt:

#f
but

from this E upwards,

proportion

in

as the string becomes shorter, so the

becomes

tone

poorer.

However, here
ly

Pizzicato
pianissimo:

is

good forte or

up to C in altissimq, of which the effect

rising

poco a poco

m
Vivo.

Violins.

'^^=^

^^

S
^
j=^ ^^

ft
IK

H J ^j
ff

Violoncellos.

^
I

^s^^^^

Wf

pp

^Si

^i^

2=^5

^gp^
:3==* #=i#

I ^::

j 7

^
7

^^
^ 7I

i?p
:

'

MJ

'^M

(By kind permission

of Heugei et c!f, Editeurs-Proprietairea.)

^* Ei^

^^

rv i t^

'<

y?^
t

PP

71*

* **"

j7

^3

7="=^

;5^^

i ^

=^^=t=^

*~1^

^f^=^

i 7j
'

" ^""^^

PP

^
V-

^S

ff
a tempo

J V

^rit.
rtY.

E^

Double-basses.

^
^

a tempo
7

i
Violas.'

rit.

equal-

is

fe

^
j5^

fe
^E^^^iS

v|p vj s
(Philipp, Serenade,

:;r
Orchestrated by Malherbe.)

Remark:
This final C in altissimo * would be impossible if it were not reinforced by the full
tone of the chord given to the 2S^ Violins. Thus placed, it comes out with a tone
nearly
as
clear as on the Pianoforte.
The
panied

last

b^

high notes, vsed

an open string,

alone,

become thinner and

they are admirable:

Excellent:

J.

W. 14267.

thinner,

but

when doubled

or

accom-

*^**

THE VIOLIN.
20.

The

maximum speed

then the passage must

104)

(J

not

possible

Pizzicati placed

for

semiquavers

in

pizz
slur is necessary,

merely a question of

it is

e. g.

-*

J>resto.

^^^= Excellent:

Struck Chord:

^^w

this effect corresponding to the glissando on the Harp.

r% %

Impossible:

This descending arpeggio would be possible

N. B.

J:104, and even

(V

Remark: The speed of Pizzicati may be considered as unlimited when

plucking the notes of a chord which could be played as a struck chord,

* The

is

be long.

instrument were held the other end up,

if the

like a Violoncello.

21:

All

we mentioned

the chords that

9 can be arpeggioed:

in

Vivo.

^^^

e.g.

The^ ma^ also be subdivided

:=

into

thus:

two

more groups:

or

Vivo.

The

Tl:

crossed

tremolo of our ancestors

old

tremolos of the 111 and 20^

passing out of

is

<

replaced

bjf

Violas, etc.

Violins,

Instead of writing:

and being

fashion

It

/'
nowadays this

better

tremolo figure

minating

preferred:

former tremolo (X)

However, the

when nothing

is

could
majr

be

is

used

finish

off

more sonorous
in

order

to

j^'

than the

reach a

on an unaccented

of

23.

When

leg-no

are

the

written

back of the bow

above

the

is

to

of Schott

&

the

bar, without reaching

J.

a cul-

{Parsifal)
I

C9, Publishers -Proprietors.)

be

employed

14267.

passage.

cases

(By kind permission

there are

fortissimo.

part

point:
uini:

latter (Y),and

for

special

effect,

the

words

col

166

THE VIOLA.
Ger., Bratsche.

(Ital., Viola.

1.

thing
Its

been

has

that

All

but a

about

said

tuned

Violin

compass may be said

the

the

to

consequently

of

Viola,

rather

which

larger

is

reality

in

no-

dimensions.

3 octaves:

comprise

to

applies

Violin

and

lower,

fifth

Fr, Alto.)

m
By

transposing

We

2:

fifth,

lies

Violin

a fifth

same

for

in

the

slightly

of the

capabilities

noted

dimensions of the Viola, which

larger

obtained;

instruments.
diminish

the

fingers.

a single

that, on

are

those of the Viola

lower,

both

hand of a

string, the

violinist

could

reach

the

diminished

two strings, the minor ninth.

and, on

On the

the
the

fingering

The only difference

stretching

of

are

the positions

mechanism and

the

perfect

Viola, the

and

fifth

octave

the

are

respective

the

limits.

Viola.

Violin.

^
On two

On one and
the same

Here

J:

performers

Conscientious

ers

touching

In

either

3. As
ones,
fear

the
of

it

out

case, they

will

play

altogether,

bow not

think

will

on the Violin,

touching

the

and

venturing

unskilful

strings.

composer

JL
|

ninth

hand

sounding
very

an

bass note, as a small

the

leave

will

| |g

by

On two

On one and
the same string.

an impossible passage written

is

Allegro.

Just

strings.

string.

the

little

of

all

four-stringed

to

bring

marked

with

an asterisk

as

follows:

would do on the Pianoforte; unscrupulous playhigher

the

said

only.

composer.

instruments, the

much stress

to

two best strings are the outer

bear on the two

middle

strings,

one of the neighboring strings.

Viola.

Violin.

Very sonorous

Very sonorous,

Less sonorous.

strings.

J.

W. 14267.

ij

Less sonorous.

for

167

THE VIOLA.

Double Stops.

Are

4.

excellent

or possible:

all

minor and major

from

All

up

sixths.

to:

%^

diminishedj minor; and major sevenths

from

up

to:

up

to:

^p

up

to:

l>p

l^^h
All

minor and major

from:
I

thirds.

S
l

All

|,j

lj

HJ

and augmented fourths.

perfect

from:

All

up

to:

^f=f

l>B

zz::z:r

|[g

We

remarlced

approximately

true,

extreme

of

In

er

in

^^

up

to:

up

tO:

minor and major seconds.

from:

5.^

octaves.

from:

All

i|

diminished and augmented fifths.

from:

Ail

lip

the

limit

case

orchestral

on

P.

the

8, that

151,

and we repeat

the

remark

perfect fifths on the

of

the

Viola,

it

is

B F#

perfect fifth on stringed instruments was

Violin

in

connection.

this

We

but

observed that the

was F C

writing.

J.W. 14267.

It

would

be

very

dangerous

to go high-

168

THE VIOLA.

Dominant Sevenths and their resolutions.

The

6.

resolutions

crosses

+ mark

impossible

in

the minor

Resolutions not specially

In 3 parts.

Resolutions

Resolutions. Tl

*^

the difficult

or unsonorous

chords.

mode.

marked are possible

in

either

mode.

The asterisks

show

the

THE VIOLA.
^-sa

6"

..4p.,.^^
i#^

*|t^

169
a"

-^^

s'

rJ

*ll^

of?
T ,^=:^
i^p

20

ol

Resolutions.

j
"
.
l

,g

tig

4*;^,

ip

if

II

ip

up

tt

o|

fi

"r

i^

\\

Resolutions

g 8|,^=fc: z

In 4 parts.

^ ,U

Il

b
k

1^

^^^^^

Resolutions.

ii'^-

In

Easier lin
lir the

minor mode.

^^^
H^

El;.

In 3 parts.

,i

hi

li

li

f]f

Resolutions.

T^

40

80

20

possible in the
minor mode only.

In

parts.

|^^2=3P

fi

^K~1^

,f tff

{j

+
Resolutions.

i'if

rPK

2,-^

't.UIi:

possible in the minor

Resolutions.

J.

4 4

W. 14267.

mode

only,

To

170

THE VIOLA.
difficult.

In

4 parts.

Resolutions

In

Gk

In 3 parts.

Resolutions

US

w^

Ill

THE VIOLA.

It
:

In

1^
1

parts.

Kt'solutions

In

A!>,

In 3 parts

Resolutions.

In

...

parts.

L*

L*

L^

L*

U-

8l>f:

Resolutions.

Resolutions

+0
8^^
-^5

In 3 parts,
pousibio in
the minor mode.

r-r

possible in the

minor mode
J.

W. 14267.

only.

^
-F-

172

THE VIOLA.

Resolutions.

poss: in the minor

Bk

In

mode

only.

In 3 parts,

il j)

4'l>i^

lU

ib

^B

it

Resolutions

In

4 parts

Resolutions

In

|[g

kb

/J

Bl|.

^crA

in 3 parts.
|B;

{^^j

^S

^j|^

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

minor mode only.

.<tg

In 4 parts

ip

^^
aitit

Resolutions.

If

Jf

"If

possible in the

minor mode only.

Chords of the Diminished Seventh.

In 3 parts.

On the

.three

lower strings.

J.

W. 14267.

173

THE VIOLA.

On the three

\>
ffc

hig^her strings. JW

In 4 parts.

Chords of the Major and Minor Ninth.

In 3 parts.

On the three
lower strings

r^

#^

On the three IB
higher strings.

In

4 parts.
r

Chords of the Augmented Fifth.

In 3 parts.
three

On the

lower strings.

In 3 parts.

On the three
higher strings,

In 4 parts.

Easy up

J.

W. 14267.

to:

IJr

|r

174
* *

THE VIOLA.

As

7.

on the Violin,

and subdivided

these chords can be arpeggioed

all

into

an^

kind

of

groups.

List of Natural Harmonics

practicable in the Orchestra.

^
^
2
a

4th string.

3rd String.

2nd

J^

d- 3
J

II

String.

2
1

ist

N. B.

The

Remark:

#^
G

^-

clef, to facilitate reading.

harmonics can be obtained on the Viola from:

ail

As

three upper strings are written in the

a word,

In

String.

(V. P. 161, 13) a negligent composer may write any note,

partial upwards), and leave the choice of the means of execution

in the case of the Violin

with a zero above

it

(from

th(! 4tJ?

to the performers:

'

'f

up

from:

to:

Below Treble C,he has at his disposal none but natural harmonics, which are limited
common major chord on each string (V. List above).

to the notes

of the

BoA^ings.

All that was said about Violin

bowing applies to Viola bowing. All the varieties: Grand
DetachCj Detache moyerij Petit Detache, Martele, Sautille^ Staccato, etc., all slurred, legatOj and loure passages are equally practicable on either instrument.

8:

Likewise

for

on the first

the

string,

Pizzicato-,
let

Pizz.

the

groups, etc.

it

seems prudent on the

with the

Violin.

As on

as

us also be content

not

to go beyond the octave

the first string of the Viola.

Viola.

Violin, all

Violin

same octave on

f^
Pizz.

chords ma^

be

converted

into

(See above 7).

.r

w wnM

arpeggios, or subdivided

into

or

175

THE VIOLONCELLO.
{lial., Violoncello.

1.

compass

Its

about

is

three

Get., Violoncell.

and a

octaves

Fr.,Vtoloncelle.)

from

third,

Double

to

above

Tre-

at

once

C:

ble

This
the

here given

is

harmonics

on

depressing

bjf

Above

the

the

this

speaking
go an

as

sonorous note

last

obtainable

instrument,

instrument

orchestral

an

even

the

performers

that

become harsh and

notes

orchestral

in

depressing

b^

so

limit

eleventh

onl^,

writing,

string,

can

as a harmonic, according

string, or

the

the

of

octave,

extreme

the

pla^

because

and also

is

it

one

best

the

of

either as an ordinary

it

note,

circumstances.

to

Of course,

am now

painful

to

the

ear.

and not

of

the

Solo Violoncello, which

can

higher:

Allegro.

HsmelU

(J.

27 The

fingering

the

essential

the

this
of

to

avoid

on

all

in

the

register

b^

that

the

the

Violin.

but

"a

Such

is

neighbor

And

fully

and

alike,

after

suits

this

each
that

owing
the

an^

scale
series

the

to

the

fingering

ear

^i

six

of

^^

far

The chromatic

to

but

all

in

from

scale, so difficult

considered, becomes quite eas^

(in

^i

degrees

Violoncello;

chromatic

the

throughout

Double

above

m
i

Viola

From

finger

we have so

Cello,

and

Violin

register.

different

same as on the

of

the

of

lower

CotlCertO.)

the

clef)

it

is

better

orchestra.

the

for

in

instruments

stringed

lower

e.

i.

the

is

from

differs

produced

is

fingering

the

when writing

it,

Cello

compass,

its

semitone

A upwards, the

natural

the

of
of

each

clef,

execution

and

part

(Widor,

Editeur-Proprietaire.)

=#p

elo.

separate

each open

which

fingering

this

Is

the

same

for

string
all

from

its

the s;rings

ke^.

can
of

be placed
four

verj*

easiljf,

semitones.

never perceives

the

In

despite
fact,

change

J.

W.

of

the

inevitable

"shifting"

of

virtuosi manage the "shifting"

position.

14267.

the

hand

so

skil-

176

THE VIOLONCELLO.

Thumb

The

3.

Above

highest
note,

this

fingering

note obtainable with

being

the ordinary

becomes necessary

it

same as

the

Positions.
nnethod

fingering is this

of

employ the thumb as a kind of

to

Bl|

the

artificial "nut"

on the Violin.

Some
"Thumb-positions" are sometimes used in the medium, or even in the low register.
passages can only be executed in this manner
e. g. octaves, which are always played with
one single kind of fingering, viz. thumb and ring-finger.

'

(The sig-n 9 indicates the thumb.)

*
The very

without

the employment

4:

en

very risky,

is

the

if

should,

position

the

by

the

to

P.

289)

strings as

execution

of

as

are quite
they

with

are

adopted,

is

it

is

finger

not

is

note

Skipping

that

involves the use of the

happens to be the

first

harmonic of an

because

minimized,

is

considerable care.

with

to a note

fingering

usual

unless, indeed, this

of

287

(P.

G, D, and

be employed

general, only

in

which case the danger

in

Rheingold

in

thumb on the

intonation.

of

from a note produced

string,

the

of

thumb -positions, and whatever means

truth

Thumb-positions

suddenly

thumb

the use

the

of

secure

to

difficult

be found

figures to

difficult

impracticable

mathematically

this

harmonic

first

come

will

open
out, ev-

accurate.

Quality of the Strings.

5.

As

may

to

On each

play,

whole

that

ing

passages

sake of preserving

The

6.

on

following

Instrumentation,

If

C,

the most

is

bril-

but

useful.
The third string even,
more frequently has the bass of the

it

tone

quiet

is

able

sustain

to

the

weight

of

be reached.

the

of

are

the

even

Violoncello.

played

on a

However, the

It

single

admirable

effect obtainable on the

may be reached

eleventh

usually

is

order

in

(P- 150, 5),

to

sometimes, too, this

string;

must not

simplify the
is

finger-

done for the

tone- color.

fact

any

is

mentioned,

not

as

far as

am

aware,

in

any Treatise

School.

Violoncello

3t^

four bad notes make their appeary Iw f ^? - ; their tone is rough, harsh, incongruous, and uncertainequally true of all Violoncellos used for orchestral purposes,
whoever
can

this

be due

Ct on the second,

7. As

in

the

most sonorous;

when playing
boring

Cello

string,

be the maker.

What
Bl),

the

ii

this is

may

can

the fifth be exceeded on the

ance:

full

of

very

also

is

effect,

string

first

and which creates the most intense impres-

given,

string

good

whose

where

curious
in

the

Viola,

usually

second

very

fourth,

uniform

or

is

mass.

Violin,

case

the

in

the

octave

the

of

and

Violin

of

the

like

orchestral

string, the

string

expected

be

the

solo with

in

considerable

fourth

quality

veiled

used

be

harmony
a

of

one to which the melody

The

sion.

the case

in

the

liant,

case

of

to?

are

not

Who

bad?

the Violin

the attack can

on the

Why

equally

Al|,

Bt,

it

constantly

strings.

J.

W. 14267.

on the fourth string,

this

and

Bt,

mystery?

outer strings, the 1! and 4tb, are the

vigorous, because

where

Blj

can explain

and Viola, the two

be more

middle strings,

Al>,

the

bow

is

not

runs the risk of

hampered as

grazing

it

is

the neigh-

177

THE VIOLONCELLO.

We

8.

have noticed

the case

in

Viola.

the

but, for

possible

for a

hand, on

violinist's

a single

^^^^^^=

j{

stretch

impossible.)

Perfect fifth

^^^'^

hand cannot stretch

player's

cello -player, the greatest

Violoncello.

"

^^T\

the Viola, the

of

stretch

fourth:

Violin.

and,

maximum

the

that

augmented

an

string, is

beyond a perfect fourth:

(The Auf^mented fourth impossible.)

possible

=S3

a major third:

is

(The Perfect fourth impossible.)

Pizzicato.
9.

The shorter the string

somewhat;
write

to

No

on the Cello?

ing

the

however,

pizzicato.
duller

is

think
G||

haze hovering

bluish

ening effect

of

the

A,

still

over

what

the tone;

drier

answer can

G||,

is

is

may be considered

Bl>

landscape

on a

it

is

hot
still

limit

pizzicato

play-

instruments

vary

notes which

highest

behind

for

and

performers

the

enough to leave

sonorous
distant

the upper

as both

be given,

when used as follows

tone, but

in

the

definite

a vibration

it

it

that

is

safe

recalls

summer's day.
satisfactory, thanks to the strength-

open string:
Allegro.

^
Fizz.

semitone

Bl>

tainly

higher

is

somewhat

dry;

in

case of need

it

may be

written, but

should

cer-

be exceeded.

not

As

we are dealing with pizzicati,

wish to call attention to the fact that some conabout the way in which the players execute pizzicato passages,
and hardly seem to suspect of what an amount of variety and manifold shading this style of
playing is capable.
Truth to say, many teachers deserve equally severe criticism, for if you
10.

question
point,

do not trouble much

ductors

their pupils,

they

We
Viola,

any

special

you that, their attention

tell

the

intent.

matter over,

This

is

and

having

consequently

play

been directed
in

to

this

a happy-go-lucky

a mistake.

and

in

seen (P. 165, 20) that the maximum speed attainable in a pizziThis speed is common to the Violin,
semi -quavers cannot exceed J = 104.

the

Violoncello.

Likewise, the

chords

mentioned

same paragraph, which can be arpeggioed in any tempo,

Harp glissandos.
We also remarked that this Pizzicato was very good
QPresto.
Violin.

Pizz.

but

not

have already

cato passage
the

will

have never thought

fashion, without

11.

they

impossible

falling:

Presto.

Pizz.

3-^

J.

W. 14267.

in

in

rising:

the

fashion

final

remark

of

analogous to that

the
of

178

THE VIOLONCELLO.
the

In

arpeggios may

two following

the

of

case of the Cello, this figure

be written;

both

sound

will

Presto.

^^qp

Violoncello,

whether rising or

practicable

equally

is

Struck chord:

equally well:

V^

^^-v

V'

excellent:

Either

falling.

Pizz.

These descending arpeg-gios * are very

N. B.

used, but might sometimes prove very useful.

little

Double Stops.
12.
tral

Seconds
writing,

octaves, which

and

one

unless

or other

the

the

notes

of

Excellent:

Thirds

may be

>>:

v^

^j

nj

jtp

jtllp

ij

tt

-eJB-

an open

is

in

orches-

string:

=ee:

as follows:

classified

use of the thumb, are to be avoided

involve

rl

"p

^*^f

difficult

for

orchestral

''g

^^9

fi

^f

Ij^

Strings
^"'^
(the higher the notes the harsher the tone.)

^^

t]ffq

The following thirds are

/B

t^

2Sd and 3?4 strings

(possible but not of good quality.)

ist

f
players, and

and

and

(best

strings

register.)

only be used

could

in

a for-

tissimo:

m
^):

^p

^p

gj

ji^d

l<

v^i

iij

nj

Y^

I'?!

liJ

tt'

^^

itii^i

^ ^

wi

itj

<^H

"^'^^

1^

^'"^

ji^^

From this point onwards, they become more

and more difficult and much harsher in tone]

Perfect and

^
'>

^y.

i.j

i|j

^e

up

Augmented

i
n^

A
^-;j

^i
k^j

Fourths:

^'i

^-J

j^ttp

<l

^f

harsh

<>p

tf-J

v^i

^'p

f f

iti

^'p

^f

^^

^i

^p

^f

^^f

-i

tfj

"p

R
ll

it<>^

^'^p

If

tp

ip:

lip

**p

*p

(Avoid writing higher for the orchestra)

.1.

W. 14?7.

179

THE VIOLONCELLO.
Perfect fifths are more

than on the

satisfactory

the^

Violin;

able:

ma^ be considered

practic-

/.;--.\

,.,

;-

MM^

^-f

I-

to:

major and minor sixths

All

are excellent:

-9

Minor sevenths
are

assigned

to

are more

and

difficult,

orchestral

up

:.

truth

their

W *^

j|3

All

major and minor chords

Quite

eas^

too

are

g^
#
i

g,

Chords.
up to

easjf,

E!>:

dean

r<

etc.^r^

up

to:

are their yi'rs^ inoersions:

Major:

V=

|l;B

^=zipi

Minor:

V=

3 ^<c.-

up

}f

likewise their

to:

zfez
;j

bzr eic.^r"^

And

more doubtful,

possi ble np to:

Common

intonation

of

plajfers:

13.

to:

up

to:

up

to:

second inversions:

^^^

I]

fl

#*

If*

e<c.

Chords of the augmented fifth:

4=^
From:

")'

U:
Major chords with

to:

diminished fifths:

From:

.it

"^
.1

v\

to:

'<

-^'H?

when

the^

180

THE VIOLONCELLO.

First

inversions of chords of the

Chords of the

diminished
From:

augmented fifth:

fifth:

V-

ft

up

i^

to:

Their first inversions:

*/

From:

Chords of the

^1

1^1

?^

up

to:

up

to:

dominant seventh:
From

Chords of the leading seventh:

From:

V--

And
'^&
'X

^B

i^is

M*

up

From:

* l!

From:

t-9-

W^

to:

Chords of the diminished

their second inversions:

up

to:

seventh

j^j

1,^5

#^

up

tO:

Quadruple Stops.

The

following

Common

chords:

14.

From:

are practicable:

From:

V=

>r.

to:

to:

Their first inversions:

-e^

From:

V=

jrr.

=^=:

PVom:
to:

V'

i.

to:

Their second inversions:

From:

^
t l:

From:
to:

^^
to:

J.

W. 14267.

181

THE VIOLONCELLO.
Chords of the augmented fifth:

Their first inoersions:

From:

*/'

From:

/
n=^

V'

to:

UK

to:

Chords of the

....

dominant seventh:

From:

V-

'

to:

Chords of the seventh with minor thirds:

")'

From:

'

to:

^^=^

1*4

Chords of the ninth:

(Only ones possible.)

BoTTing.
15.

the

remarks made concerning

All

varieties, such

different

instruments

stringed

all

However, we
ner

which

holds

violinist

attacking a chord,
exceptional,

with

for

in

the

his

order to

appl^

detache,

equally

case

the

in

the

of

to

is

mention

held

This

fiddle.

produce an

maximum degree

an effect

the

by

special

effect

impression

of

peculiar

which

player,

on

strength

is

great

of

to

the

just

is

obtained

energy;

stringed

Cello,

due to the

by

using

this

instruments

is

is,

of course,

usually obtained

Harmonics.
follows a

list

of

natural

Harmonics:
-

^
^

i ^
4ti String.

f
2

Sd

String.

i ^

ii

^
i4

ist

.^

6
1^

String.

J.

W. 14267.

3S

J^J

^=g^

2
zed string.

44-^

in

an up-bow when

practice

down -bow.

Here

on

man-

reverse of the way

the

=/
16.

Cello;

sautille, staccato, are practicable

The same holds good of slurs.

omit

instrument

bowing

Violin

m.artele,

alike.

must not

which the

in

as

m
J 6

1^^
m
sa
J

1^2

THE VIOLONCELLO.

The

limits

which

within

As

are as follows:

practicable

.i

From:

Remark:

harmonics are

artificial

may write any

case of the Violin and the Viola, a careless composer

it,
(but only from the A^h partial upwards):

in the

placing- a zero above

note,

etc.

From:

-m

tt[^

If

up

Below Middle C, he will only have natural harmonics

to:

at his disposal (See the

List

of

natural

mode

of

writing

harmonics given on P. 181).

Notation.

As

17.

the

Cello

too

room

leaves

often

According to a long -established

introduced
notation
to

retain

in

the

altitude

of

scale of

the

in

of

always employed the G

Second Concerto, in which
one with a G clef), as if it

the

and

from the outset, or

onl^

same light as a 16 ft. organ -stop,

sounds.
When the composer wishes the G
sounds, he is compelled to employ the
C

clef

clef

whether used

clef,

the

the

in

clef

second place only.

the

in

been numerous protests against this absurd custom.

Hans Huber, Luzatto, N. von Wilm, Ph. Wolfrum,
who
I

with

clef

its

two

he uses

were

he

it

system.

definite

true

writing

not

signification,

staves
for

(the
the

lower

to

speak of
an

one with

Pianoforte.

system

His

Saint -Saens's

clef,
is,

upper

the

course,

of

safest.

We

must' nowadays combine to root

signs

musical

of

notation

us always use the

old-fashioned

all

their

true meaning

clefs

at

and

C,

F,

out

with

18.

need

polyphony.

not, in

this

Double-bass that

the

merely served
ver given

to

to

strengthen

the

first

it

is

the
let

varientur.

called

thorough- bass,

was

one part

only

Ne

use

devious practices,

all

in the Orchestra.

the

played

methods, and agree to

Disregarding

altitude:

upon the part

place, enlarge

Violoncello

Formerly, the

only.

true

their

Th6 Violoncello
with

traditional

composer's intention,

the

have

Beinecke,

Grieg,

have

the

actual

there

late years,

mention

only

the

making use

place,

However,
need

usual

its

first

above

an octave

being

custom, the

regarded

the

Clarinet,

regarding

doubt

is

later on,

incidentally

Bass

the
for

agree to adopt some

time that musicians should

high

is

case of the Horn and

the

in

parts

written

the

for

upon to play

being so

inseparably

two instruments;

harmonic of the Double-bass.

modern

in

connected
the

Cello

A melodic part was

ne-

the Cello alone.

The two instruments are written on separate staves,

the
become a Tenor, the most intense means of expression of the String Quintet,
not even excepting the fourth string of the Violin, and the Double-bass is usually left to bear
unsupported the enormous weight of the harmonic mass.
Nowadays, things have changed.

Violoncello

All

musicians have noticed

stitutes
is

has

a rather weak

the following

bass to

calm and peaceful, as

in

the

the

curious

harmony

21^ act

of

musical

phenomenon:

some
Meistersinger,
(save

in

special

the

cases, when

for example);

con-

Cello alone

the

music

on the other

hand,

Double-bass seems dull and devoid of tonal precision. Yet, when used in combination, the
Violoncello and Double-bass constitute the most admirable fundamental tone that
could
be

the

wished

As an

for;

it

is

clear,

illustration

of

bright,

full,

the use of

rich,

and extremely

Violoncellos without

flexible.

Double-basses, we give a few bars

Hans Sachs scene; it will be observed that, in

though divisi, amply suffice to sustain the harmony of the Violins,
from the exquisite

J.

W.

14267.

this

case,

Violas,

and

the

taken

Celli,

Horns:

al-

183

THE VIOLONCELLO.
Moderato assai.
Horns in E.

Violins.

Violas.

Hans

Sachs.

Violoncellos.

{By kind permission

Here
with

is

another

nothing

example

of

more than a high

of Sohott

&

C9, Publishers-Proprietors.)

Violoncellos

A sounded

b^

(Wagner, Metstersinffer.)

themselves constituting a very satisfactory bass,

as a harmonic:

Flutes.

Clarinets in A.

Violins.

Violas.

Violoncellos.

Double-basses.
(Borodine,
N. H.
Thp composer in this case writes the real note,
former to choose the means of execution.

i.

W.

14267.

3ni Symph.,y.ih)

with a zero above, leaving

it

to the per-

184

THE DOUBLE - BASS

compass

Its

Get., Kontrahass.

Contrabasso.

(ital.,

Contrebasse.)

Ft.,

from:

is

written: ^^^^^

to

J>^

_k

XT

Virtuosi

can play some

two notes above

although

ing,

Bl>),

Verdi,

higher

still

however

h>
Mr Ed. Nanny,
instrument

this

which

fects
ison

Double-bass

might

be Obtained

by

*\

El>

Opera-Comique,

high

notes

means

of

the

use

to

(the

writ-

orchestral

in

(Actual sounds.)

the

at

soloist

practice

should

extreme notes

these

avoid

scrupule

not

did

Falstqff",

in

They are quite accustomed to C and

notes.

better to

is

it

considers

and he

up to 6,

the admirable ef-

Double-basses doubling

the

performers on

that

of

tells

Celli

tlie

un-

in

cantabile passages:

in

Violoncellos

(Actual
sounds.)

Double-basses.
cresc.

2:
ten

The

Double-bass, corresponding

to

notes.

The part

Written:

present

the

time,

smaller number

"Without

of

greater

or

and

which

for

three

strings

This

had
is

the

sake

low

into

the question

of

the

their

part

instrument

its

of

was perhaps

tone

instrument

for

and

advantages

Even

better.

solos, because the

the

of

discussing

Double-bass,

true

easy

of

disadvantages

"without

Bottesini;

as

well

fourths.

sounding-board.

says

by treating

tone, as

of

and
type

respective

the

in

^^

resonance of the

of

tuned

is

of

their

the

kind

furnished

fingering, is

with

only."

of

5tlL

was the one used

Double-bass

our modern

whenever they

Finale of the

only,

classical

begin

will

sounds an octave below the writ-

pipe,

ft.

This

Double-basses','

quality

instruments

at

instruments

latter

came

Symphony

to

his

were

difficult
in

his

and

disposal,
to

playing

passage.

time played

best

The low
in

and

the

they
C's

the 16

less

still

one

write

as

Beethoven, who

time of

the

in

He used

Double-basses.

Double-basses, the

and

strings

this

the

increases

now obtainable on some

Celli

three

four -stringed

three -stringed

the

had

virtuosi prefer

depth of tone,

less

16

clef.

Sounding:

strings

entering

three -stringed

the

in

^J
Double-bass

Formerly, the
at

written

is

the

same

could, and
at

octave

the

ft.

never

which

part

for

simplifying

beginning of the

above, just

as

they

are nowadays.

There
capable

has
of

been no end

sounding

16

ft.

of

discussion

on this

C was supposed

J.

to

subject.

have

W. 14267.

For a

existed.

(ong
If

it

time,

this

really ever

fourth string

had existed we

185

THE DOUBLE-BASS.
should

find

in

fabulous

museums

our

will-o'-the-wisps

cross

numbers

bass dating

By

from

XIII

and

1815

or

manner

their

and

contempt

deserve

not

3:

were

the

Conservatory,

These

used

other

of

all

Double-bass players

the

descend

might

done

has been

which are

to

me

to

with

furnished

yore a

the size

the

of

Double-basses used
tuned as follows:

strings,

five

of

lately, "did

of water"

provided

C,

case of the

the

in

in

a single Double-

not

anywhere?
for

expression,

whereas instruments used

hands,

all

of

a-

I
I

coming

into

Monte -Carlo

orchestra

instruments

descending

vogue

Germany and England;

in

(conducted

by

Jehin), not

to

they

mention many

places.

Even
low

the

in

that,

were no better than drawers

which

string,

Double-basses are

five- string

likewise

credible

manifested

they

j
are

it

this

neither

a chemical

to use

they,

stead

with

we come

reality,

in

their

in

"Those men" said a musicographer

increased, as

slightly

Were

discovered

composers

musicians

we have

ts

1820 can be

fully justified.

of

but

collection,

XIV are to be seen on

Louis

writing,

name

the

Brussels

the

of

disdain

Nowadays,

instrument
at

one and the same time?

time of Louis

the

Trumpet, whereas,

little

an^

in

Double-basses.

three -stringed

of

at

volatilized

all

be seen

to

is

specimens of Double-basses

thirty

ay,

Bach's

with

b^ side

side

string,

these

twenty,

ten,

the

with

ordinary

complicating

note, without

However,

we must

diminished, so

the

it

would

Our orchestras
five- string

ought

Double-basses

Solo Double-bass:

D can

low

be

not
really

be

E,

to

obtain

one

extra

extent.

the

of

satisfactory

really

possible

is

it

great

string

41!!

piano

in

proportionally

is

passages

only;

in

to

besides

of

descending Horns

Double

ordinary

the

those

C, like

the

Brussels
so

57, 3)

(P.

- basses,

two or three

Conservatory.

Just

we should have

as

Solo

Double-basses.

^ ^^

V'

to

any

tension

of

possess,

to

to

good.

very

Horns and

Tutti

and

degree

descending

instruments

we have ascending

fingering

the

that

note

that

forte passage

the

^^

T^tti Double-bass:

Fingering.

4.

In

case

between

possible

semitone.

The

the

It

the
is

the

of

20^ and
shows

and

3!!^

between

only

figure

following

Double-bass,

the

between the

1i and

the

strings

the

fingering

20^
of

are so
3!!^

and 4ib
that

fingers

the

diatonic

maximum

long that the

fingers

this

is

interval

less

stretch

than

can be reached.

scale:
3

1
I*

-I

I
I
'

'

-I

I'

1 1 *
^ f

f e
I

^=
3

Open String;
4 3: Harmonic.)

(0--

(+ =

Depressed

String, or Harmonic.)

Dr Biemann calls

my

attention to the fact that N. W.

Koch (Musikalisches Lexikon, ISOs) not

known at that time, but

ly speaks of the four- stringed Double-bass (B, A, D, o), as being already

en mentions the possibility of descending a tone lower, to D.

J.W.

14JJ67.

onev-

186

THE DOUBLE-BASS.

5.

It

is

placed

is

ver^

change

not

to

lose

short;

in

the

well

from

down -bow

a forte each attack

in

which

change

the

of

bow

piano

at

is

to

liberty

undue, notice,

attracting

is

but

audible.

intention

his

the Double-bass

which

with

and

clearly,

determine the exact points at

take place.

to

is

bow

the

that

holding- notes, the performer

distinctly

is

mark

therefore

bow

fact

up -bow, or vice-versa, without

an

the

the

of

case of

to

of

The composer should

sight

Quality of the Strings.

6.

The

Double-bass

so much

strings

of

four

Its

may be considered as

brass wire)
ter

not

is

orchestra leans.

the

of

being

which

two

the

although

good,

equally

all

whole

as a prop on which the

instrument
(of

are covered with

lowest

the

most

sonorous

regis-

between:

lies

and

The great virtuosi

as a

expressive

Beethoven

If

melodic
catgut

players,

for

Cello

were

present

the

of

^4^

sounding:

can succeed

day

rendering the l^l string as

in

intense'y

string.

write a

certainly

"drawers

longer

they are no

would

he

alive

still

but

water,"

of

Concerto

first-rate

Double

please

to

bass

musicians.

Shakes and Tremolos.

7.

and

major

All

minor shakes

are

currently

used, and

up

possible

to

Bi>:

n>

m^
The minor
the
i.

string,

3!!!^

e.

third

the

only

the reason

is

from

practicable

only
Fj?

(extreni'.' limit.)

from

upwards on the

Gff

being

that
of

it

is

only at

minor

this

4il!

string,

and

Bi;

upwards on the

2!!^ string,

upper notes can be used, to the

enough to allow

upwards on the

distance from

"stretch" between

third

from
the

two

first

the nut

that

the

exclusion

of

the

and

1l

4th

from

Cjj

upwards on
1^

string,

tones on each

string,

intervals

become small

fingers.

Tpemolos practicable on one and the same string

and that may be w^ritten without danger.
On

the

4tl3

String.

On

the grf String.

On

the 2nd string.

On the

ist String.

")
_^

(^)

i^m)

">'

^^

")

Jtg'

^
i.

W.

[gf

\^
14267.

'
|

ff

'^^
\

jd

^ ^
I

187

THE DOUBLE-BASS.
Staccato passages
")

Allegro.

I*

in

octaves are

ver_y

Legato, these octave

good, whatever

cUd

skips are

impossible

the rate

quick

in

movement

of

ILLCJ

tempo.

Pizzicato.

The

8.

sonorous

Pizzicato can be used

register

between:

lies

")

Pizzicati are

up to A

written

frequently

an^ part

in

the instrument's

of

compass, but

the

most

and

and

even

B'?:

V
Pizz.

")

f;

:=

but

at

such

heights

the

tone

becomes dry and unattractive,

losing all

charm.

Remark:
Pizzicato playing^ should be avoided in very quick tempo, on account of the fatigue it
causes the performer, who is soon exhausted, and therefore plays without vigor. When obliged to
employ the Pizzicato in rapid tetnpo, the composer will do well to write for the Double-basses
divisi, giving a few bars to each group alternately:

All? Vivace.

Double-basses.
(Divisi)

Pizz.

LL,U
Pizz.

^m

Double stops.
9.

The

All

following

double

minor and major

stops

are practicable:

thirds:

from:

"W

All

Perfect fourths-.

....

from:

|t

J-T^

j|

^^
to:

All

perfect fifths-.

from:

")'
,.

to:

J.

'')'

W. 14267.

up

to:

188

THE DOUBLE-BASS.

10. Sixths

are

impossible, except

tuosi, but are impracticable

taves

(unless

the

in

orchestra;

iij

*j

'"I

"'i

f^r

register,

open

iff

Octaves possible

the use of

illustrates

UuuVl-l^i

sevenths and oc-

-tr

Sevenths possible

to

string);

\) t.

'I,

where the^ can be played by vir-

same remark applies

the

Sixths possible

The following perfectly sonorous passage

Moderato.

high

lower note happens to be an

the

'

"

the

in

fr-r ffff r ff
i

f
|

fp

^.r
i

double

stops:

rf ffp ^i^
i

(E.Nanny.)
(E.Nann^

Harmonics.

On

11:

the

know,

artificial

harmonics are alone practicable,

Double-bass, natural

Double-bass players cannot reach this

the

natural

which onl^

interval

means

on

one and the same string.

harmonics some are hardly practicable,

the

4tl!

and

5tll

upper partials can

because, as

b^

harmonics are usually obtained

of

a stretch

of

those of the ver^

viz.

we

already

fourth,

Even

thick

and

among

string,

on

be produced:

(Actual sounds.)

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

fundamentaL

(others
impossible)

Srf String.

10

It

would

above;

be
is

it

dangerous,

better

to

3rd String.

orchestral

writing, to

make use

on the side of over-caution

and String,
<t^

in

err

J.

fr

W. 14 267.

the

12

harmonics

tabulated

and only employ the following:

OOP

-o-^

of all

11

^5E

ist string.

189

THE DOUBLE-BASS.
By writing harmonics
can

Double-basses

the

for

divisi,

chords of an admirable

tone

- color

be obtained:

Harmonics:

'Owing to the great

the production

employing

cessfulljf

length of

||

||

eic

lHj

||

sa^s Berlioz,

strings"

its

'the

||

Double-bass

Verdu has proved the correctness of

harmonics

the

||

harmonics!'

of

,'l|{

||

|tj]

Double-bass

the

of

3[^ act

the

in

is well

Berlioz's

adapted for

remark by

suc-

Aida.

of

Bowing.

12:

qually

All

the case

in

bow

short

We

remarks made

of

repeat

So much

(save

the

the

of

restriction

and Violoncello apply e-

Viola

mentioned

5 concerning

in

the

Double-bass).

the
that

passage he forte

accent,

strength,

case

the

this

is

Double-bass

the

of

connection with the bowing

in

the performer

Vmi

of

his

"

TJ

Moderato.
Double-bass.

and

M^

rhythm exclusively depend on the use

down-bows.

of

when a composer neglects to mark the bowing,

that

own accord
U

makes use

of

Moderato. V

the

TJ.J

Vm^

Great energ^y.

if

down- bows:

JJ

Less sonorous

Runs.
13.

Rapid

runs

are

very

Andante.
Anaanie.

^
^^

frequently

written

for

Double-bass, and

the

are extremely ef-

and powerful:

fective

"

"

^-

'i

(Mozart,

Symphony^

(Berlioz, Invocation

a la Nature^

Moderato.

(Gluck, Armide.)

Allegro.

u_,

(J=U6)^^
(Widor, Les Picheurs de
(By kind permission

In

with

all

the examples

which

they

By themselves

blend

the

given

above, the

as perfectly
Violoncellos

Celli

play

the

seem

weak, especially

J.

W. 14267.

St. Jean.)
Heugel et Cl5, Editeurs-Proprietaires.)

same notes as the

as does a fundamental

strings.

of

tone

with

when playing

its

on

Double

first

the

basses,

harmonic.

two

middle

THE DOUBLE-BASS.
On the other hand, passages placed b^ the Double-basses
the deep

clearly,

used
the

in

same phenomenon as

the

16

Bourdon

ft.

lower

the

thicker

are

they

most supple, and most powerful bass

brightest,

the

observable

that

any one of the

stops

ft.

and tonally precise quality

robust

ingly

form

instruments

out

written. Yet when

orchestra.

is

It

ing

heavier and

becoming

notes

these two

together,

come

alone do not

quite

when

the Organ:

on

the weakest

even

to a dull, slow-speak-

added, an astonish-

is

obtained.

is

The Mute.
(sordino)

So

we have

far,

cause

seemed needless

it

Mute

The

Violas, and
(It

the

is

is

Due

is

employed

not

balanced

assigning

by

seem that

not

charactenstic;

very

the quality

rendering

brations,

or

case.

Ti^mpora mutantur:

strings

of

on the

be played

Violins,

penetrating.
string

4t!!

of

In

the

strength

Double-basses

two

manner, the parts

this

bass part may be

the

of

the

only,

will

Solo or

indication

be so well-balanced

all the Strings are not muted.

that

Mute was

the

be-

too effectually muffles the tone of the instrument.)

are muted,

one

to

that

to

the

of

timbre more

their

still

in

use

the time

in

Double-bass, Just as on the other bowed

employed on the
is

in

ever perceive

will

it

Mute,

Double-bass.

the

instruments

the other stringed

all

would

tained

on

somewhat

it

the vibrations

of

same time renders

passages intended

in

case,

this

in

strength

the

at

it

the

to

known accessory.

such a well

the

much

it

Soli being employed

It

are

to use

because,

no one

that

damp

instruments, referred

stringed

the

of

to describe
to

Violoncellos, while

The Mute

When

employed

better not

Violin,

suitably

when treating

not,

Mute only

the

darker and

nowadays the

of

who

Berlioz,

says:

"Mutes

instruments, but the effect ob-

somewhat diminishes the strength

the

of

vi-

duller."

Mute

is

longer employed by

no

Double-bass players.

The Bridge
(PONTICELLO)
"The tone of bowed
which

the

obtained,

When

bow

is

above
the

bow

the
is

to

the

quality

A similar change
ed

close

the

to. the

while incomparably

Hence

this

in

the

timbre

sounding-board:

sounding-board

is

weak and

used near the bridge the timbre

becomes sparkling and ethereal

or

of

peculiar

the
effect,

Harp
this

to the part

according

Whereas, close to the bridge

bear.

finger-board

speak, glittering-:

to

instruments varies considerably

brought

in

of

it

is

that

powerful

in

of

the

instrument

an impressive

characteristic

J.

bridge of

strings

can

quality.

W. 14^67.

the

is

brilliancy

is

bowed

and, so

metallic

ensemble,

pianissimo passages.
Harp may be observed when

near the

on

the string

dull!'

the

the

the

of

maximum

the

tone-col-

the strings are pluck-

instruments

bear the greatest

and

degree of

near

tension.

191

The Back

of the

Bow.

(legno)

Some composers,
Saens
b^

in

the

striking

Meyerbeer

e. g.

Danse Macabre,

the

recalls

the

nough,

this

Here

pattering
effect

follows

of

is

hail

should

list

the

with

strings

The tone thus obtained

of

very

be

French,

Strings.

French.

back

succeeded
of

curious,

-stones

not

L'Africaine,

in

have

on

used

Italian,

the

in

Wagner

in

Meistersinger,

Salnt-

making effective use of notes produced

bow.

resembling

plate-glass.

without

dry and short pizzicato, which

Although

very

and German

verjr

marked

strange and

characteristic

e-

intention.

expressions used

in

connection

with the

192

TABLE
showing the compass of the various Instruments.
Actual Sounds:

S-

Notation.

Piccolo.

Flute.

Written:

Some

Flutes can descend a semitone lower.

All French Oboes now descend a semitone low

Oboe.

er and rise a tone higher.

Cor Anglais.

Clarinet.

AR

Written:

.-^"^^^T.^

Written:

Bass Clarinet.

Bassoon.

^:^

^^

.^"^

fCTiia^d^
Bl,

Of

^
w
^

Double -Bassoon.

^^^^"

^ j^

^F

^^.^^^^^

Wagner

Written:

Written:

requires the Bassoons to play

e(|.tesj.

Sarrusophone.

^
2
zr

V"

to A.

1
i

down

.g

.f=-

!^

Ascending Horn. */
\

^^ -^ "^ ^ f

^Yn'l^ I

J.

Written:

W. 14267.

V'

^^-^^ r

(v.

Page

58, 4.)

193
Actual Sounds:
Descending Horn.

Trumpet.

Cornet a

pistons.

^^

^ ^^

Kass Trombone. ^^^^

Tuba

>^.r-^.ri

# 1^

Tenor Trombone. ^9^

Kettle-drums.

^^^

Harp.

^E

Viola.

..- ^' ^

Vrf 111

V^

^^^

Double -bass.

*X'

Page

58, 4.)

Written:

in

(written as

ii

sounds.)

j^^^^^"^^

is

very

little

^^

used at present,

(v. P. 78.)

y
3

Wanting

Tuned

7=

in

many

C and

in

orchestras.

K!..

(V. P.

94.)

Only sections of this scale can be played on one Drum.

To obtain a complete octave several (2 or 3) Drums
are employed.

D and C

i
^"-'V

below this

are possible, but not so

rich.

Maximum

stretch possible.

{Tremolos on one and the same string):

do.
II

5i

Violoncello.

(V.

y^^'

The Alto Trombone

if
m

written:

Nowadays tuned

!^
Violin.

Written:

do.

1
Written:

")'
i

_>

S-(V.

!>^
J.

W. 14267.

do.

Page 185.)

full

and

194

List of

FLUTE:

Shakes practicable on Woodwind Instruments.

_^

Excellent; 52e

very

On

old-fashioned Flutes the following

trr

OBOE:
Excellent:

somewhat

heavy

very difficult.

difficult.

Remark:

All major and

minor shakes

flat.

impossible.

shakes must be avoided:

Remark:
lowing

On old-fashioned Oboes the

shakes are unsatisfactory.

to:

from

CLARINET:
All shakes are
possible:

However, the following

are not very good:

BASSOON:
Possible:

N. B. All the shakes of the low register not given above are impracticable.

All good:

^E

except the following

which are bad:

J.

W. 14267.

fol-

195

List

of Harmonics.
More Risky Notation.

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

(The manner of production being

From

to:

the

N. B. The actual sound is written, and a zero

placed above the note shows that it is to be soundS"-.
ed as a harmonic.

(i

VIOLIN

left to

player.)

From:

to:

J
VIOLA
From:

$m

to:

From:

to:

VIOLONCELLOJ.From:

From

:S
to:

Double-bass.
As a fourth on
players

this

instrument

do not make use cf

constitutes

artificial

too

harmonics;

them are the natural ones between the

20^ and

great
the

a
onlj^

stretch

for

harmonics

6tb, Ttb, or St!)

the
that

fingers,

ma^ be

upper partials

Double-bass
written

(See

list

for

on

Page 188.)

The only harmonics lower than those given above which the composer has at his disposal
are the natural ones, i. e. the 25^ and 3?!^ upper partials.
for the Dou(V. for the Violin P. 160; for the Viola P. 174; for the Violoncello R 181;
ble-bass P. 188.)
Remark:

The 20^ upper partials of two neighboring strings

on any one of the instruments of the String Quartet.

'""

Violin

may be

<*

Viola.

iX

3r

Violoncello. ^^^

a.

Double-bass.

^^

J.

W. 14267.

safely used as double-stops

196

Double -Stops in Orchestral writing.

An

interval

as a double-stop on two

played

and not so pure and

ier,

when played

as

flexible

strings

and the- same instrument

one

of

two different

by

heav-

is

instruments.

Divisi.

Heavy:

piano

In

ly

given to

the

their

Violas,

truth
in

intonation

of

the heart

Two parts are also

compass.

E=f=

Light:

passages, double-stops are not very

purposes, and

ing

-Ar

of

is

the

quire

this

mark.

if

are properly

they

knowledge there

Supposing

is

the student

only

Germany:

In

Hofman,

In

Austria:

In

Italy:

Ferrari,

In

Humperdinck,

d' Albert,

read and

musicians

To ac-

hear

then

let

him

study

as the following:

Max Bruch, Richard Strauss, Weingartner,

Gernsheim,

and

Schil-

Goldmark,

Giordano,

Bruckner,

G. Malher,

Martucci,

Bossi,

Mancinelli,

Dvoi^ak,

Smetana, Fibich.

Leoncavallo,

Mascagni, Wolff-

Cilea.

Russia:

Zolotarew,

Rimsky-Korsakow,

Balakirew,

Glazounow,

Liadow,

Borodine,

Cui,

TaneVew,

Sibelius.

In

Norway

In

Belgium:

In

Holland:

In

Denmark:

Asger-Hamerick.

In

England:

Mackenzie,

In

America:

Mac Dowell, Chadwick, Van der Stucken,

Sweden:
Gevaert,

Richard

and many others; nothing

ious

to

classic masters well e-

page of Beethoven,

given

the works of such

the

of

listen,

Wolfrum.

Hugo Wolff,

Puccini,

memory a

knowing how to

in

secondary importance.

of

is

to

is

knows the standard compositions

modern compositions, and consult

lings,

composer consists

the rest

one way, and that

from

nough to be able to write out

playing double-stops.

symphonic

treated

best part of the instrument's

the

in

Violas, each

tp

The paramount qualification necessary to a

write for the Strings;

and

the

for

modulat-

for

Double-stops are most frequent-

doubtful.

orchestra,

written

frequently

very well adapted

not

flexible,

very

composers,

art

being

Grieg,

Tinel,

Sinding,

Radoux,

Svendsen.

Blockx,

Gilson,

Mathieu.

Hoi.

is

Parry,

Villiers-Stanford,

Cowen,

Elgar.

R. de Koven.

more instructive than studying and comparing the methods

based upon observation rather than upon set formulae.

J.

W.

14267.

of var-

197

Conclusion.

The primarj^ object of this work having

composing a modern

instruments

And
Is

indeed, would

from

it

method

Never a day

ver

passes

capabilities

a book,

in

Singing

must

be

know

nothing

do not so much

contrast,
but

simply

making

"Write

me

manual

us,

of

let

within

Let

(1.)

for

the

voice.

craft?

his

necessary

and

the

of

it

would

be

go to the "shop o-

to

of

Clarinet

can, at

the

Many composers perfectly

writing

a Soprano

for

must

G, A, and

worst, be studied up

complex instrument.

a far more

on

unable to sing

if

was no part

It

enunciate

to

with

deal

to

treatment of such a subject?

the

the

voice.

be

treated

You

well

will

differently

in alt, and the

acquainted with the

meet composers

who

from a Tenor,

re-

latter to sing

as low as

Soprano.

for a

A composer

that

able

the technique of the

singers!

is

art

for

describe

composer consulting a professional on a Cor Anglais

experience.

by

the

of

suspect

former

the

possible

is

voice

learned

as

the

of

been

not

suffice

How much more

Cor Anglais

human

the

but

the

learns

and

analyze

have

description

a musical

without

of

or

singer

shake.

orchestra,

quiring

the

that

Clarinet

orchestra,

analysis

way" and ask advice

the

The

on

note, or

an

been to

the

my program

to

repeat

the present

that

intended

last

however,

should

himself,

to

treat

at

the

of

book

some account

give

least

know how others

grouping of
is

no

of

instruments,

complete

the

sing.

treatise on

progress

made

balance and

of

orchestration,

instrument-

in

years.

fifty

summarize the

most essential

principles

of

our

art:

your orchestral music so that each group can be heard without

the

others.
as an

Just

chestra
Just

last.

of

other

at

the

two,

so must

first

rehearsal

three

arms,

Woodwind,

Strings,

as each of the three

of the

that

army comprises

consists

it

Infantry,

viz.

and

arms must be capable

of

action

be with the three groups of a

the

Woodwind

will

be read

Each group apart must give the sensation

a fairly

Cavalry, and

of

precise idea of the total effect.

J.

Artillery, so

the

Or-

Brass.

W. 14267.

first,

and self-defence independently

symphonic orchestra.

Imagine

the Brass next, and the Strings

complete harmony, with

it

true

bass, and

198

plays in the

judge at

main

may

the work

difficult

rendering

in

will

the

of

them

conductor

will

fall

evident

is

It

that

When,

trasted.

neither

it

made?

might

would

This question

Music

in

nor

common sense

only

is

stand

to

out

import-

However
themselves

do

will

his

to

the

on

attention

performers, dominated by the

sound.

of

intensity

sentimental

forbids us even

Modulating
behold

Now,

novel

that

change our

to

leaving

like

the

Avoid

lip

piece

a piece

length

at

The ^reat

means

modulation

point

of

view.

to

make

be said."

we may yet be allowed

out

China, or Japan, there

India,

for

hue.

prompts

which

instinct

each

all

long, hardly

If,

we

one,

for a

of

us to

modulate

should

likewise

are immediately

tempted to accept the other,

special

the

long.

their tone is of best quality.

you are obliged to make

abates

volume

in

to

be blowing

proportion
of

sound
and

to
is

the Horn and

W. 14267.

from a

harder than

Trumpet

use

of

is

so great

Brass Band: at the

his

their diminishing

left

clearly;

execution.

J.

of

us take a lesson

Let

masters always wrote logically

of

effect,

high notes

performer seems

any

where

time.

to produce

their enthusiasm

a while
is

any other possible?

Is

rule,

setting

in the register

notes.

high

-pressure required

of

home and

we take

if

no player can bear the strain

beginning
after

extremely

the

do not do so for any

The
that

same

Keep your instruments

them,

for

to

technical

the

Strings?

the

for

when should

analogy.

by

one's

substituted

con-

be

Art admits of no hard-and-fast rules.

of course.

(4:.)

from

can be given as to

rules

and shade should

tone -color.

The two things go together;

but,

be

order.

landscapes, under a sky of a different

logical

is

it

us

is

search

to

definite
light

other query:

this

unanswerable

be

any

"when nothing remains

of

a comparison and draw a conclusion

tical

the

degrees of

the Woodwind

should

always

will

Painting

in

different

same order as

would doubtless reply:

However, this answer

If

be asked,

be of the

These enquiries

Satirists

tell

themselves,

spontaneously produce the necessary

will

when and how the various colors and

to

concentrate

to

able

tolerably

background.

the

in

be

Change your orchestration when you change key.

(3.)

be

able

of

line

entirely

nevertheless

dawn on them, and they

be

will

into

keep

but

should

ideas

instruments

respective

their

to

immediately

The

composer,

your musical

or to play a secondary

will

it

intended

meant

have

be,

it.

movements, details

firm

have

_you

fore -ground,

the

in

or whether you

part,

Justice

whether

sight

first

conspicuously

he

the part

orchestra.

The performers who are called upon to interpret

ant

may understand

Write in such a fashion that each musician

(2.)

neighbor,

strength, and;

but
if

the

towards the end.

they never

lost

sight of the prac-

199

Appendix to Chapter

IV.

Further remarks concerning the employment of homophonic strings on the harp.

homophonic strings are employed, either with a view to increasing the

Frequently, two
tensity

of

sound,

the

or

one and the same hand

is

tuned

setting

in

vibration

to Bb, and the other to

This device

waving effect of a

only

is

the semiquavers

applicable

whose time-value

is

R.H.

Here

is

hardly

be

the follow-

the case of the quavers, not

R.H.

R.H.

R.H.

L.H.

that

L.H.L.H.

L.H.

R.H.

have

^
J

P^

only be

weak, and unable to make themselves

the

case

left

hand producing the harmonic,

sounds as written:

plucks the string that

can, of course,

in

no homophones.

sounds for one note, the

.^

I-'^.H

impossible to make use of this device

is

it

scale which

another instance of two

This effect

in

^*

added

degrees of the

while the right

in

too short;

r*

L.H.

need

not

as follows:

^e

those

strings, of which

A||.

to notes

performer would play

i^

It

in-

organ-

(++):

This passage the

of

Yoix celeste

two neighboring

simultaneously

example, for instance, homophones could only be employed

ing

of

order to obtain the

thus we write:

stop;

one

in

utilized

heard

in

soft

passages, as harmonics are always very

unless the

J.W. 14267.

orchestra

is

playing

pianissimo.

200

The Origin

of the Swell, Pedal -board, Manuals,

and Stops of the Organ.

The Swell was for the

gan of the
provided

seded

Church

and

Groningen,

at

ten

built

stops, but

One

first

chromatic

plete

Manuals.

who

is

in

1479

specimens of

27

In

the

manual

Stops can
merely

laths

1673

tenth

-l<eys.

later

was added

And

lastly,

Or-

to the

Organ

the

F,

use.

into

C and possessed

from

starting

From

(Nieuwe-Kerk, Amsterdam).
analogous to

pedals

of

G, A).
In

About

1361, an

of

the

15 keys

clenched

And while the

fist.

pedal -board

had

only

back to the end of the

wood (separating the rows

of

first

and

built

IStl!

embracing

pipes from

at

that

each other);

each

was the mechanism

in

all

with

Ulh

be

and

time

two

oc-

manuals,
depressed
keys,

the

were

they
organist,

sus-

draw them out or push

was a hole through which passed a piece

primitive

Century, semi-

three

only

of

string;

simplicity!

and stop-handles did not come into use before the end

beginning of the

lit!)

manuals had 22

second

century;

go to one side of the instrument

its

with

14.

of

lath

time on-

that

to F.

it

middle of the

Organ was

com-

of a

French ones, but

was Bach who extended

It

to

levers,

pedal

1471. The

in

was already provided with a pedal -board

had

at

was

German, an

the
pedal

the

1450.

than

manual consisted

century, the

G. A, B, C, D, E,

and the

his playing,

Sliders,

the

Agricola,

not

to Bernhard

introduced

first

the end

pending

them back:
such

F,

be traced
of

Swell

horizontal, and later with

with

The keys were nearly three inches broad, and could

manuals!

a blow of the
third

Utrecht

(from C to D).

were beginning to come

the

to have

said

Organs have had

notes

tones

what

erroneously attributed

pedal -boards

from

dates

(A, B, C, D, E,

with

at

by R.

taves

but

was furnished

was provided with pedal

Nicholas

and Dutch

only

of

is

(1361)

scale

wards, German

compass

Or-

other, a system soon super-

one over the

slid

first

form of

This primitive

the

in

a peculiar arrangement.

of

the

of

invention

Venice

Church of St

the

in

Its

builder at

Organ at Halberstadt
gan

were

which at

Jordan the Elder,

by

louvres.

or

The Pedal-board.
organist

which

shutters

Venetian Swell,

shades

1712

in

Magnus the Martyr (London).

St

movable

with

by the

vertical

of

introduced

time

first

of

the

16th

or

century.

J.

W. 14)367.

WHSMnH.C?

FNCa,ll1HO.. LON DON.