Widor-Technique of Modern Orchestration

THE
TGCHDJQUe
OF THE
MODERN 0PGHESTRfl
A
-OF
Ô-4-JJ
Practical Instru
TRANSLATED BY
6dward Suddard
'iNET
Copyright 1906
tiy
Jnspph
Vi/illiama.Ltd.
ON DON.
JOSEPH
WILLIAMS.I.IMITE.O,
32.GREAT PORTLAND STREET.
HENRY LEMOINE&C'"
ED.
NtW VORK SCHUBERTHiCO
Mr
70
Ill
DEDICATED TO
SIR
ALEXANDER
C.
MACKENZIE,
Mus.
D.,
LL.
D.,
D. C. L.
Principal of the Royal
Academy of
Music.
J.
W. Iii>fi7.
IV
Any
reader coming- across
a.
mistake, either in Hit tfxt or in the musical examples, will

tm'ih
greatly oblige by communicating
the translnin-r:
E. Suddard, 32, Great Portland St.
London H
r
.
Preface.
years the mechanism of most instruments has been materially improved, and, concurrently, the orchestral palette has been enriched with a variety of tone -color formerly unknown. Hence the necessi-
Within the
last fifty
ty for a
ments:
new manual
setting forth the present

1
state of orchestral
instru-
their
compass and
capabilities.
Characteristic features of the present book are the
Complete Lists of
Shakes and Tremolos

Quadruple Stops
for the
Woodwind, and
It
for the
Strings.
of Double. and Triple, has always seemed to us that

in most
these matters are dealt with in
somewhat too summary a manner

venture to think the
works on Instrumentation.
manual will fully meet the
We
lists contained in this
requirements of the student, and
may
even oc-
casionally be of service to the accomplished
composer.
To
tion
the
Organ
a special section has been devoted, in which, not to men-
a few hints that
may prove
useful
to
organ -builders, we have

be of assistance to
en-
deavored to give such information as will
musicians
wishing to write for the Organ and Orchestra combined.
CH-M. WIDOR.
J. VT.
14267.
VII
Contents.
PAGES.
PAGES.
CHAPTER i. THE WOODWIND The FLUTE

List of Shakes and Tremolos
The
11
The
NATURAL TRUMPET. ... VALVE -TRUMPET
66 67
71
...
15
List of Shakes
Transposing Flutes
18 19
Muted Trumpets
The BASS
The
71
The The
PICCOLO
OBOE
. .
20
List of Shakes and Tremolos
.23
26 26 27
29
The
The OBOE
D'AMORE
The The
The
The
The
The
COR ANGLAIS
The
BARYTONE OBOE CLARINET
List of Shakes and Tremolos.
...
34
The The The
The
The
ALTO CLARINET SMALL CLARINET

CLARINET BASSOON
37
37
37
The BASS The
The The
39
The
TRUMPET CORNET A PISTONS .... TROMBONES TENOR TROMBONE BASS TROMBONE CONTRABASS TROMBONE SAXHORNS SOPRANINO SAXHORN ... SOPRANO SAXHORN .... ALTO SAXHORN BARYTONE SAXHORN. ... BASS - TUBA BOMBARDON
.
73
75
78 78
87
90
91
92 92
93
93
94
96 96
List of Shakes
45
The
CONTRABASS -TUBA
....
The
The
BASSON-QUINTE
......
47
The
DOUBLE -BASSOON. SARRUSOPHONE
47
49
50
CHAPTER m. THE PERCUSSION INSTRU-
MENTS
The
The
Shakes
KETTLE-DRUMS SIDE DRUM
98
106
CHAPTER
-tion
The
n.
THE BRASS INSTRUMENTS
Muffled Drums
The
108
The Theory of their Tone-Produc 51
The
NATURAL HORN VALVE -HORN. .......
55
57
Muted and Overblown Notes .... 58

Shakes.
61
The Horn in the Orchestra
63
TENOR DRUM 108 The TAMBOURINE 109 The TABOR 109 The TRIANGLE no CASTANETS The CYMBALS ......... 113 ANCIENT CYMBALS 117
.
J.
W. 14267.
vm
PAGES.
PAGES.
The BASS
The
The
The
DRUM
117
The VIOLONCELLO.
175 176
GONG
GLOCKENSPIEL
CELESTA
121
Thumb
Positions
122
123
123
Pizzicato
Double Stops
Triple Stops
177
178
The
XYLOPHONE
179
BELLS
124
Quadruple Stops
Bowing's
180
181
CHAPTER
The The
iv.
Harmonics
125
.
181
in the Orchestra
. .
The
The
The
SAXOPHONES SOPRANO SAXOPHONE ALTO SAXOPHONE TENOR SAXOPHONE BARYTONE SAXOPHONE

.
.
The Violoncello
182
.126
126
The
DOUBLE-BASS
184
186
Tremolos
Pizzicato
126
187 187
188
189
189
127
128 129
132 139
Double Stops
The
HARP
Harmonics
Glissandos
Bowings
Harmonics
Runs
The
The ORGAN.
MUTE
BRIDGE BACK OF THE BOW.
.
.
190
The
190
. .
CHAPTER
The
v.
THE STRINGS
148
150
The
191
VIOLIN
List of French^ Italian, and
German
Double Stops
Triple and Quadruple Stops
expressions used in connection with

the Strings
191
...
151
Harmonics
Bowings
Pizzicato
158
161
Compass of
the various instruments. 192 In-
Shakes possible on Woodwind

-struments.
163
194
In-
The
VIOLA
Stops.
166
Harmonics possible on Stringed

-struments
Double
167
195
.
Triple and Quadruple Stops.
...
168 174
174
Use of Double Stops in the Orchestra

List of
196
Harmonics
Bowings
Modern Composers
.
.
196
CONCLUSION
197
APPENDIX TO CHAPTER
iv.
Further remarks concerning the employment of homophonio

strings on the
Harp
199
Note on the origin of the Swell, Pedal -board, Manuals, and

Stops of the
Organ
J.
200
w. 14*67.
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

acute -toned:
most
FLUTES,
OBOES,
(Piccolo)
(Cor Anglais)
(CHAPTER
/)
CLARINETS, (Bass clarinet) (Double -Bassoon) BASSOONS, SARRUSOPHONE,
Then, after
a-
short Theory of the tone-production of Brass Instruments,
the following are dealt with:
(CHAPTER
77)
HORNS, \ TRUMPETS, \
/
^^^
TUBAS,
(Cornets a Pistons)
(Saxhorns)
Next come
(CHAPTER in)
Then,
The PERCUSSION
INSTRUMENTS,
so to speak, in parentheses,
The
(
(CHAPTER IV)
The
j
The
SAXOPHONES, HARP, ORGAN,
And
lastly,
(CHAPTER v)
The
STRINGS.
J.
W. 14267.
Memento.
The velocity of sound is about 1100 f* per second. The deepest tone we are able to perceive is produced by a 64 ft pipe (Organs of St Louis, U. S. A., and Sydney, Australia, in which the low C=8 vibrations per second).
64
32
16
fl
pipe corresponds to 8 vibrations per second.
_ _
An
8 4 2
1
A _
_ _ _ _ _ _
_ _ _ _ _ _
16
32
64
129
258
517
_ _ _ _ _ _
to produce
The low C which the Double-bass ought to be able

obtained on some recently constructed
(and which can be
instruments)
is
is
is
equivalent to a 16 ft pipe.
Double C on the Violoncello
equivalent to an 8 equivalent to
fl
pipe.
Tenor
C on
the
Viola
\_Diapason
a 4
ft
pipe.
(Standard French Pitch
Normal]
=435
vibrations).
The most acute tones perceptible to the ear are produced by 15,000, vibrations, and even more.
20,000,
30,000
Timbre (Quality or Color of Tone Klangfarbe) depends on the manner in which the column of air is set in motion, rather than on the material of which the instrument is
made.
In the case of the
in
brass
instruments, the
is
mouthpiece, to a great extent, deter-
mines the mode

the mouthpiece
which, the air
set
in
motion.
Compare
these
the little cup which forms
of the Trumpet
with that of the Horn;
two cups
are, in respect of
depth, as
1:2, and the shallower the cup of the Trumpet, the shriller
the tone,
as
may
its
It
be seen by the
timbre.
is
Cavalry Trumpet;
the deeper the cup of the
Horn, the mellower
only possible to sound the various harmonics

is
high and low
on brass instruof
the
ments, provided there

tube.
the
a suitable
ratio
between the diameter and the length
If
the diameter is too small
the tube too
narrow
it
is
impossibe
to
obtain
fundamental tone.
The subdivision of the column of

fifths,
air contained in a pipe
into halves, thirds, fourths,
sixths,
etc...
(harmonics), corresponds to the subdivision of a string into the same
aliquot parts.
J.
w. 14267.
11
Chapter
*
I.
The Woodwind.
THE FLUTE*
(Ital.,
Flauto.
of the
Ger, Flute.
Flute,
Fr, Flute)
1.
The three- octave chromatic scale

players are able to sound a few
embracing 37 degrees, extends from

El>; this,
Some
still
higher notes, even reaching
however,
is
quite
ex-
ceptional,
and music should be written not
for a
few out
of the
way virtuosi, but
for the ordinary
run of performers.
The scale
of the
Flute
is
fairly even;
the first 35 notes can be attacked and sustained./brfe or
Piano
at will, without requiring
the player to take any special care:
J?
The 36th and 37\h degrees can only be produced
PP
with some difficulty, and are inevitably harsh:
8
Impossible piano
A
'
*L
l^^l
excellent forte.
36 37
1st
Remark.is
In case of need, the 36tl? degree can be played piano by some performers, but this
too
exceptional.
As
for the
37t2?
degree,
it
is
perfectly impossible to obtain
it
piano.
2nd Remark:
All intervals can be played leg-ato on the Flute, save two:
Dangerous; piano e legato

2-
impossible.
Jfci
"'
The E
I
,
is
harsh.
*~y *)
"-~
By saying that
this
scale
is
fairly
even,
mean
that the composer
may consider each

to
of
its
degrees as being sufficiently in tune with the others, and defects of a few of the notes.
need
not
trouble
think
about
the
*
L
3.
These defective
notes are eight
in
number:
(fo
The three Cs
flat. D!>
(NJ 2,6,8)
are somewhat too

in
sharp,
El>
(N?
1),
on the other hand,
rather
(N9 3) requires special care
emission,
and
Ns
4,5,7
are difficult to attack.

talent to a
However, these defects

tent
hardly concern
anyone but the performer, whose
great ex-
corrects them.
4.
Although the
Flute
excels
in
the execution of florid passages,

flats
and
yet
its favorite
keys are
eorsi.vuently
those
whose signatures contain few sharps or
*,
when called upon to

is
*The Boehm Flute with
cylindrical bore, adopted nowadays by most performers,
alone referred to here.
Avoid, however, the tonics D,E[>,Es aspiyots of ra-pid arpeggios,

~
the following intervals being difficult,
*
: ' '
especially
descending:
l>y
Copyright 19O6
Joseph Williams, Ltd.
J.
\v.
14267.
THE FLUTE.
breathe forth a sweet, loving melody, no key suits
ern compositions afford sufficient proof.
A!? is
Of this several charming modlikewise an excellent key, as may be seen by the

it
better than
Dk
for following example, which also illustrates another point calling
comment.
We
here
to
see
an
of
Andan-te
finishing on a
the best notes of the
C pianissimo, so sweet and pure that it would seem Flute, despite the remark made above (3):
be
one
Andante.
(By kind permission
-/>/> (Widor, Conte d'Avril)

of Heugel et CSS, Editeurs-Proprietaires).
The reason
is
that this final
is
not obtained
in
the usual manner.
The performer
in
this
case makes use of the
F fingering
(inferior twelfth), the pressure of the lips producing the third
upper partial, like the finger on a violin-string.

5.
The only harmonics
employed
are
the
following:
-'
1
of
the
fundamentals
being
the
first
14 degrees
the
soale:
It
is
impossible
to
obtain
any
higher notes.
6:
As Gevaert very judiciously remarks
in
his
Treatise on Instrumentation:"W\\en a Flute

instrument of
like -pitch,
its
doubles a melody assigned to a Soprano, or to a wind is an octave above the voice."
natural position
When an
organist
wishes to brighten the tone of a group of

of the 8ft. stops,
8ft. stops,
all
he adds a 4ft. flute-stop,
which merely strengthens the harmonics a transposition in the octave.

Likewise, the office of the Flute
in
without at
creating the impression of
the orchestra frequently consists

If,
in
reinforcing the first har-
monic
of the
in
Oboe or the Clarinet.

the octave
in
a group of wind
instruments, the Flutes doubling the up-
be suddenly suppressed, everything will immediately become dull and gloom); and weak; yet on reading the score, the Flutes would seem to be perfectly needless desperately poor
per parts
luxury,
mere
filling-up.
Articulation.
7.
Tonguing" is to wind instruments what bowing is to stringed instruments. Flute-players make use of three kinds of tonguing, which they call single, double, znA triple
articulation.
Single -articulation
tained;
c
,
.
is
this species of tonguing that the

it
obtained by pronouncing the consonant t (as in "tut!"). It is with maximum strength of tone and greatest intensity of color are ob-
corresponds to detached bowing on the Violin:

f,
Andantino.
{t
single -articulation:
^*^T^==="
"
*
l
^j
=
J-W. 145J67.
THE FLUTE.
However, great speed cannot be attained
to
13
make use
of other, so to speak,
in this manner. In florid passages the performer has mechanical means, allowing of neither the same intensity of
tone, nor liberty of expression.

In
such cases
he resorts to
double -tonguing,
alternately articulating the consonants t and

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

t(ut),
i.
t,
as
in
t(ut),
c(ut\
e.
and k are pronounced according to the phonetic system.
8.
As an instance
of
double -tonguing, let
us take the Scherzo of
Mendelssohn's
Midsumthe
mer
Night's
Dream;
not, considering the
Single -articulation would
rate of movement, allow of producing
lower notes; so they are played as follows:

Vivace.
Double - tonguing:
-gr
"
<u *
*
i?
i>~
'
etc.
The same remark applies to the
solo
in
Namouna
(Lalo):
Double - tonguing:
"cf
1
=*
H
'
k t k
k etc.
.
(j.
Hamelle, Editeur-Hroprie'taire.)
Remark: Flute-players look upon both these examples with great apprehension, staccato passages being difficult to execute in the low register, but as they are possible and their effect delightful, what does it matter?
Double -tonguing
also allows of easy and rapid iteration:

Presto.
Andantino
B^^^
(By kind permission of A. Durand
9.
et
Fils,
Kditeurs- 1'roprietaires.)
(Saint -Saens, Ascanio)
rapid
of
as
When ternary groups are in question, triple-tonguing is adopted, being double -tonguing, but with this kind of articulation there is always a
of
nearly
slight
as
risk
inequality
tone, on account of the natural
tendency to accent the last of the three con-
sonants.
Passages such as the following are quite easy, owing to the uniformity of the the absence of any kind of melodic feeling; they are played quite mechanically:
Vivo.
figure
and
etc.
J.W. 14267.
14
But here
is
THE FLUTE.
a much more difficult figure,
the execution of which calls for the utmost care
on the part of the performer:
(Gounod,
Ballet in Faust)
(Choudens, Editeur-Proprletaire).
Speed of Articulation.
stated
With single-articulation the maximum speed attainable in the low register be may J = 112, and even then the passage must not be too long, on account of the fatigue experienced by the player, and the consequent heaviness of emission:
10:
Allegro. (Jr
Single - articula tion

In
A.
u
in al-
the high register, the
speed of articulation
in
tissimo can hardly be articulated
may, of course, increase; quicker tempo than J = 120:
however,
Bl?
)=iao)
Single -articulation:
fffffffffffffffM
J
=
Double -tonguing
of
allows of easily attaining intensity and clearness:
144, at the expense,
it
must be confessed,
Allegro.
Single- articulation:
(Difficult
beyond
.1
116)
With double -tonguing J = 160 could easily be reached.
11.
In
the
in
medium
register,
with
Strings
point of speed,
thanks to double -tonguing, Flutes can manage to compete being able to produce a true tremolo, as may be seen by
Rimsky- Korsakow's
(J = 138)
r.
Grande Paque Russe:
~ ~
Simile.
Piccolo.
violinist's
wrist could
not act
more
swiftly,
or produce a closer tremolo.
J.
W. 14267.
THE FLUTE.
15
Length of Breath.
12.
The
mouthpiece
of
the Flute making
greater demands on the performer's
breath than
that of the Clarinet or the Oboe, the composer must beware of requiring tones to be sustained certain limits, in slow tempo. beyond
Easy breathing has not always been carefully attended

brated
to
in
by composers, even
in
some
cele-
works,
e. g.
the
Trio of the
"Young
Ishmaelites"
it
Berlioz's
Enfance du
Christ,
where the
Andante
requires such long wind that
is
the terror of performers.
Shakes.
13.
All
shakes are good from the lowest D to E in alt.
EXCELLENT:
(the last one possible forte.*)
A 11
major and minor very good.
impossible.
not easy.
somewhat
flat.
very difficult,
very difficult.
heavy
somewhat
flat.
impossible.
-;
N. B.
This shake
LBJ
is
a very
it
awkward
one;
if
it
Wagner did
not scruple to use
it
in the
Ride of the
Valkyries' (page 284),
was because he had
doubled by the Piccolo.
Complete List of Shakes and Tremolos

(
The cross means: bad, the double
cross:
impossible^)
not quite in tune, but possible.
possible,
heavy.
possible.
heavy,
f*-7
good.
not quite in tune.
I
ff
i
very good..
heavy.
good,
heavy..
good.
rather
flat.
.good.
good
heavy
possible.
heavy.
possible, very heavy.
J.
W.
14267.
16
THE FLUTE.
.good
not in tune.
possible.
heavy.
good..
difficult.
fcMl
good
I
All others difficult.
not in tune.
possible.
difficult,
possible.
JJ
fa,J
Jj>'-^g
formerly almost impossible, can now be performed, thanks to the new key.
good
Others impossible.
Others very heavy.
Others very heavy.
Others very heavy.

-good.
''
f
.good..
heavy.
Others difficult.
Others bad.
.good.
j
bad tone, possible.
i
Others difficult.
Others impossible.
.good.
J.
W, 14267.
THE FLUTE.
Others impossible.
.good.
j
17
bad.
possible.
Others impossible.
Others impossible.
.good.
Others impossible.
.good..
Others impossible.
heavy, difficult, possible.
X. B.
In the
March of the Corporations (Meis-
tersinger, p. 460) Wagner has written this tremolo, not much noticed in the orchestral en-
The 1 s.1 Flute makes use of its upper partials and not of the ordinary fingering; as everything gravitating around E
semble.
is
difficult, the 21* Flute does the best
it
can.
Others impossible.
Others impossible.
.goo
easy with cross

fingering.
Others impossible.
good
impossible.
Others impossible.
fairly easy, but not

in tune (Fjt rather flat).
I)
|-sp
E|
Others impossible.
good.
rather
1
possible.
lat
Others impossible.
Others impossible.
good
Others impossible
very
difficult.
If
.
'()
impossible.
(*)
This
is
Wagner wrote
Rlde
the shake in the

Valkyries.
good,
very difficult.
good. difficult,heavy.
f the
Others impossible.
rather flat.
this section has
possible (f).
N.B. All
been verified by
Mr
J.
Barrere, Solo
flute-player of the
Concerts
Colonne.
W. 14267.
18
15
THE FLUTE.
AUTHORS AND WORKS TO BE STUDIED: Bach (Sonatas), Handel (Sonatas, Trios), Reinecke's Sonata, Langer's Mozart, Schubert, even Kuhlau, and a whole modern repertory: Andersen's Concertos and Fantasias, Peter Benoit's Symphonic Poem, Concerto, Faure's Fantasia, Godard's and Widor's Suites, Pieces Saint-Saens's Romance, by
Pratten,
Briccialdi,
Clarke, etc.
Transposing Flutes.
16
Flutes
are
made
in
several
keys.
At the
Paris Exhibition (1900) was to be seen a
Bass Flute, tuned an octave
below the standard instrument, but, unfortunately, it was almost There are also Flutes tuned in G, A, for the lips to bring out the lower notes. impossible and likely to first of the three (in G) is excellent, and Bt (below the normal pitch); the
figure
in
the orchestras of the future.

pitch,
Among Flutes tuned above the normal

in
El?,
the only one
we now have
left is
the Flute
still
in
in
use,
still
it
Flute
F was
In the time of Mozart hard to see why, in military bands. the for this instrument he wrote the Entfiihrung aus dem Sera il, used:
is
played
nowadays on the Piccolo.
Remark:
The Flute
is
so weak-toned in its
medium
it
register,
as compared with other wind

tell
in-
struments, that, when used in combination with them,
only begins to
from
is
or
3fc|:
upwards.
otherwise.
Written lower,
it
cannot be heard, and what cannot be heard
harmful rather than
The only question we should venture to ask Weber would be about his Second Flutes, often an octave below his First Flutes, and consequently not sonorous, whereas the other
instruments are always so admirably treated
in
his
incomparable
orchestra:
Presto con fuoco.

Flutes
Strings.
iaCrmS
(Oberrni,
Rezia's Air.)
and again:
Allegro.
Flutes.
Clarinets,
Bassoons, Horns, Strings.
could give numberless
instances;
ing wonder.
_
at every step
./.
(Oberon)
we are
filled
with the
same question-
W. 14267.
19
THE PICCOLO.
(Ital.,
1.
Flauto piccolo.
written
like
Ger.,
Kleine Flote.
but
Fr.,
Petite Flute.)
The Piccolo
it
is
the Flute,
sounds an octave higher.

Bl;
Note,
however,
that
has neither the lowest
C nor the highest
of
the
Flute.
Compass: from
(fo
;
|
to
'
(Sounding an octave higher.)
Remark:
Bij
is
impossible for most performers,
but in case of need the
C above may be
written,
being easier to produce:
(Sounding an octave higher.)

impossible,
possible ff
ZT~ The
opera
in
defect
of
the
Piccolo
is
that
it
is
not
quite
in
tune.
remember a short-lived
which the composer had given it an important and ultra-sentimental part to play. with its swooning tones, having a tendency to flatness, evoked the idea of some unfortunate .wretch beginning to feel sea-sick.
This
Piccolo
3.
It
is
a mistake
to
write a melodic part
for the Piccolo,

its
or even to use
is,
it
as a first
Flute,
as a soprano to the other two Flutes, unless
part
so to speak,
mechanical,
as
the example already quoted (V. P. 14) from the Paque Russe. Berlioz always employed the Piccolo most effectively. See the Damnation
in
it
de
Faust,
where
usually has staccato passages or rapid runs to play:
Valse des Sylphes,
Evo-
cation, Course a lAbime,
All the
remarks made
in
the preceding section, concerning the fingering and articulation
of the Flute, apply

All that
equally to the
Piccolo.
in
was said about shakes and tremolos holds good also

$
the case of the
Piccolo, the
with two exceptions, however. other only just possible,

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

^
very difficult.
possille ff
are absolutely impracticable on the Piccolo, If the first of these two shakes were written, such is the practice of orchestral performers when it would be played in the lower octave as for the second shake, the Blq not existing, there is a composer has been too daring;
less
risk of its being written.
5.
The Piccolo
is
usually
made
most virtuosi having come to for producing contrasts of tone-color, changes of temperature, more sonorous, better adapted besides being truer of intonation. A skilful performer on the metal Flute preserves all the
best characteristics of the Flutes of yore, at the
wood; the modern Flute, on the other hand, of metal; the conclusion that metal is more practical, less sensitive to
of
same time imparting
to the instrument
discarded.
richness of tone formerly unknown. In some a great rarity. In a few years, suppose, a wooden Flute will be
parts of
I
Europe wooden Flutes have already been

etc., in
Authors
scores.
to be consulted: Berlioz, Wagner, Liszt, Meyerbeer, Rimsky-Korsakow, No special works have been written for the Piccolo.
J.W. 14267.
their
THE OBOE.
(Ital.,
In
Oboe.
Ger.,
of the
Oboe.
Fr, Hautbois.)
1.
the time of
Bach the scale
Oboe extended from

one
f
to
The Oboe used by the symphonists of last century, the the man, Russian, Italian, Dutch, and other orchestras mann, and
still
be found
In
most Ger-
Oboe
of
Beethoven,
Weber,
Schu-
Wagner
has the following
compass:
(Sometimes Bl> was written quires G in altissimo).

This
for the
Oboe, and,
in
Siegfried, Wagner quite

others
exceptionally
re-
instrument
is
not
perfect;
some shakes are
difficult,
impossible:
2.
The compass
of the
modern
French Oboe
is
from
to
comprising
tense,
their
34 notes
whole
of
of
tolerably
the
the
homogeneous timbre, the lower ones being admirably medium register capable of expressing the human feelings in
from tragedy to
their
of
inall
varying
shades
thin
from joy to sorrow,
idyllthe two highest degrees a-
lone
becoming
and losing something
timbre:
Upper.
Highest.
ft
Low.
Registers of the Oboe:
'
Medium. m
-
#fi
J-
rwell
,=
tune,
flexible,
clear,
All
the
to
degrees
attack
(save two:
Ctf
and
D in alt} are
in
and
as easy
*.
as to
sustain, either
piano
or
forte.
Remark:
point
ly
The two notes

but
referred to above
to
(CK and D)
attack
are not inferior to the

as, for
others
in
of quality,
they are difficult
suddenly,
instance, in these two real-
very difficult tremolos:
i
(to be avoided)
J.
W. 14267.
THE OBOE.
21
Articulation.
3.
is
The
Oboe
differs
from the
the reed
Flute
in
a melodic
V.
in
Flute.
ly
rising,
being "Tristesse de Rome'o" the very characteristic, pathetic wail, which, slowreaches its maximum intensity on the vibrating sonorous E in alt:
the
Larg/ietto espressiro.
instrument,
not being capable of any great execution; it slower of speech than the mouthpiece of the
Rome'o et Juliette,
t
p.
36)
4.
The
Oboe exclusively employs single -articulation,

of.
the
letter
(as
in
"tut")
being
made use
Double -tonguing
any
rapid
is
impossible
of
for the
Oboe;
note
is
likewise
triplepower.
tonguing, and
5.
in
It
consequently
not
it
iteration
the
same
in
beyond
its
!s
advisable
to require the
Oboe
to articulate
quicker
tempo
than
J:120,
whichever register
may
(J
=
be playing:
120)
We now
give a
few examples from
W. Ferling's Etudes, with metronomic rates fixed by

of his pupils
Professor Georges Gillet for the use
at the
Conservatoire:
*--
^_^
(By kind permission
of Costallat ft ClS, Editeurs-Proprietsires.)
And here follow three examples of speeds exceeding to their alternately legato and staccato character, the
pensated for by the easy nature of the following bar:
J.
120, which are possible, thanks difficulties of one bar being com-
W. 14267.
THE OBOE.
(J
140)
(J
156)
-if
I_L_J_
P-|
_J
(very difficult.)
The
last
bar, with
its
wide skips,
is
extremely
difficult
to play.
Slurred
6.
Notes.
more easily slurred
than
Ascending
the
lips
intervals
are,
generally
speaking,
descending
ones,
All
more easily contracted than distended. octave skips can thus be slurred, from middle C to E, a tenth above.
being
Vivo.
The same slurs would be much more awkard descending, as which is dangerous beyond 120:
in
the following
passage,
Or this one,
impossible
beyond 112:
(very difficult.)
On the other hand, here

cluding
not
cadence.
great,
Despite
passage, with a very expressive conthe quick rate of movement, the difficulty of execution is here
is
a perfectly
practicable
very
because this cadence
allows the lips time to prepare for the wide skip:
Vivo.
J.
W, 14267.
THE OBOE.
Length of Breath.
instruments, possessed of such carrying -power that it formerly constituted the main element in military bands, while if we once fix our attention on it in a modern orchestra we can finally hear nothing else, unrivalled as regards the ease with which it can swell and diminish its tone, the Oboe more7.
Superior
in
intensity and
timbre
to all the other
woodwind
over
excels
all
it
comsumes
oboists
far
less
congeners in sustaining-power. Despite the strength of its vibrations, it wind than the Flute, for example. If a competition were started between
these latter players
and
flautists,
would soon
selves
defeated,
their
wind -supply being exhausted
be compelled to acknowledge long before that of their rivals.

connection,
of
themHanper-
There are few

del's
examples
of
more convincing,
the
in
this
than
the
Largo
of
Second Concerto, and

the
alone,
Prelude
to
the
3C^ act
Tannhauser,
the task.
so difficult of
formance, on account
length of the
phrase
is
and the impossibility of taking breath. The

equal
to
Oboe
among the woodwind
instruments,
Shakes and Tremolos.

8.
Nowadays
all
major and minor shakes can be executed on the French Oboe, from:
to
Every
modern French Oboe allows
of
finishing
off
a shake
on the lowest
Bt|,
or on
.
(a
semitone above) with a turn, but this was formerly impossible! ^fc_ 1g
^^
nowadays quite easy
Complete List of Shakes and Tremolos.

+ +
etc...
All tremolos possible up to the octave.
etc...
etc...
J.
W. 14267.
THE OBOE.
etc...
All tremolos possible up to the octave, except:

diffcult.
etc...
etc...
etc...
an excellent shake.
c fc
All tremolos possible exce pt:
up
to the. octave,
risky.
possible in moderate
tempo.
etc...
All tremolos possible up
to the octave.
(Y) Nowadays an excellent shake.
\a
etc...
c-- -
etc...
All tremolos possible except: up to the octave,
~
difficult.
very
difficult.
etc...
This tremolo can

etc...
All tremolos possible up
to
the octave,
be executed by means
of cross -fingering.
...
Nowadays an excellent shake.

(#)
All tremolos possible

*
L
except:
^-^--(^ Risky
note.
it.,,
excellent on
and
difficult.
modern French Oboe.

jf)
etc...
rather heavy,
(*)
(*) Risky notes.
up
to:
very
difficult,
as well as all above.
very
difficult, as well as all above.
;...
up
to:
(y) Nowadays excellent shake. very difficulties well as all above.
an
df
etc...
up
to:
very difficult^ as well as
all
above
J.W. 14267.
THE OBOE.
Very
difficult, as
25
well as all above.
difficult,
very
difficult, as well as all above.
Very difficult beyond, but
is
possible with special fingering.
Very difficult beyond, but shake is executed by (*)This
is
possible with special fingering.
means of
a special key.
~
difficult.
Impossible beyond,
?_
^
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
9.
Some
sixty years
ago, the Oboe

of
working
all
upon the
suggestions
was ingeniously perfected by Triebert (of Paris \ a soloist in the Covent Garden orchestra; despite Barret,
these improvements, however, true of intonation. Our modern
many shakes were

instrument,
still
impossible, and others

in
not
quite
of
constructed
accordance
with
the
views
Georges Gillet, is perfect as regards truth of intonation, and allows of executing all shakes, major and minor, throughout its entire compass, up to F, either piano or forte.
10r
AUTHORS AND WORKS TO BE CONSULTED:
(Concertos, Trios, Sonata); Theodore Dubois (Pieces en canon, Hautbois, Violoncelle); Pieces by Paladilhe, Busser,
Ferling, Vogt
etc.
Bach (Cantatas)-, Mozart (Quartet); Handel Beethoven (Trio, Quintet); Schumann, Dvorak (Pieces);
Transposing Oboes.
11.
To
the Oboe
family belong
three transposing
instruments:
the
Oboe d'amore, the Cor
Anglais, and
the Barytone Oboe.
J.
W.
14267.
26
THE
OBOE.
The Oboe d'amore.

12
This instrument
is
is
a minor third
lower
in
pitch than the standard instrument,
its
compass
from
w
Remarkable as
it
to
sounding:
(The low
is
Bt> is
wanting).
r-
homogeneous quality, why is it not habitually used in our orchestras? To the Oboe d'amore Bach assigns his most pathetic cantilenas; for mezzoforte effects nothing can equal the charm of the upper register:
for its
(Actual sounds)
sedes.Afass in
minor.)
Each time the

the
instrument
skips by
sixth
to
the accented beat,
in
the last three
bars
of
the
See also, in the same example quoted above, the effect is truly exquisite. Mass, Bass air: Et in spirit um sanctum, accompanied by two Oboi d'amore. In this
too,
connection
the
Passion according
etc.
to St.
Matthew,
be studied.
the
Christmas
Oratorio,
the Cantatas,
13.
the Magnificat,
should
The
Oboe d'amore
and
can
same mechanism
is played in the same manner as the ordinary Oboe; execute the same shakes, save two:
'
it
has
the
_(*)
00 +
good.
impossible,
very
difficult.
All major and minor shakes excellent, up to D in

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

used
the old Oboe da caccia, so much simply the Alto of the Oboe a fifth lower in pitch than the standard instrument, with the same relative compass as the Oboe d'amore (the B!> being wanting as in the case of this latter instruis in
Mr
The Cor Anglais

former times
ment).
_*
Compass:
Sounding:
Lacking
lais
both the strength and the
exhibits
register
three
distinct
homogeneous quality of the Oboe d'amore, the Cor Angvarieties of timbre. The lower register is very powerful, the
The
best
register lies
upper
weak and
sickly.
between
and
sounding:
J.W. 14267.
THE COR ANGLAIS.

All
figures
gravitating
this being
around the highest C#

one of the worst
are very troublesome
for
the
performer,
notes on the instrument.
15:
Formerly
to
this
shake
key,
all
-A-
~j
was impossible on the Cor Anglais; nowadays,

low
thanks
special
shakes from
B^
to
high
Dq can be executed:
(All possible, both major and minor)
Remark:
The two shakes x and
y,
paragraph 13), are quite easy on the Cor Anglais, sesses the special key of which I spoke.
mentioned as being impracticable on the Oboe d'atnore (see because this latter instrument actually pos-
Les Huguenots, Guillaume Tell, Lohengrin, TrisTannhauser, Manfred, Le Carnaval Romain, La Prise de Troie, Henry VIII, Samson et Dalila, Sigurd, Salammbo, Le Cid, Beethoven (Trio for two Oboes and Cor Anglais). Thais, etc.
WORKS TO BE STUDIED: tan und Isolde, Siegfried,
16.
The Barytone Oboe.

17.
An
octave
below the standard
instrument, with the following compass:
sounding:
is
(Bt
wanting)
The fingering and mechanism are those of the ordinary Oboe. The Barytone Oboe will form an admirable bass when all the instruments of the same family are concentrated inat the heart of the orchestra, in the imto a focus of intense, almost bellicose quality,
mediate
18
neighborhood
of
the Horns.
need
of
hardly
the
refer
either to the
of
I
Musette
only
or to the
differing
in
Pastoral Oboe
the reed,
in
(in
is
At),
two varieties
mitted
with
into
same
kind
instrument,
for neither
ad-
the
orchestra.
But
El>,
must
men'tion
the
Soprano Oboe
this
is
Et,
used,
together
with
of
the Small
Clarinet
in
in
military bands;
a very sonorous instrument

if
an extremely piercing upper register,
Oboes were
at
any time required.
Its
and would prove very useful compass is from
a complete
family
to
sounding:
The fingering and mechanism are the same as for the other instruments of the Oboe family. So far, the Soprano has only been used once in the orchestra: by Vidal in La Burgonde.
J.
W. 14267.
28
THE BARYTONE OBOE.

and predominating that, when uscare must be taken to employ the
19.
Remark:
The timbre
of the Oboe
is
so characteristic
ing it for holding- notes, for chords, best register only, and to choose the most euphonic intervals, the very aggressive notes of the in a word, the Oboe must never be "lost sight of." lower register being scrupulously avoided
or for background effects,
If,
for
instance,
the
of
following
common chord has

is
to
be written
in
four parts,
the first
of
these
two
ways
scoring
it
preferable:
Oboes.
Clarinets.
29
THE CLARINET.
(Ital., Clarinetto.
1.
Ger., Klarinette.
Fr.,
Clarinette.)
f
' -
The compass
of the
Clarinet
is
42
notes, from
AT
to
and
is
con-
sequently more extensive than that of the Flute or the Oboe.
It
is
always difficult
to
fix
the extreme limit of any
instrument,
is
as some virtuosi can
reach
heights inaccessible to others.
A in altissimo
be
in
.
the scale,
players.
because such
In
it
proves to
the case
of
here given as the upper limit of the great majority of clarinet-
*p"j
any case, C in altissimo

in
is
beyond the most persevering efforts of

should be considered
the
most performers, and

limit.
piano passages G
'
extreme
Every degree of the Clarinet's extensive scale is excellent, but the timbre of the instrument varies considerably in the different registers, of which it may be said there are
three:
.
<
30
On perusing Die Walkiire,
sharps or flats,
ulation
not
I
THE CLARINET.
find
only two
instances of signatures
is
with three
or
four
and
allowing
of
then only for a few bars, but this a change of Clarinet just at that
solely
due to a sudden modBesides,
precise moment.
WagAt
ner very
ly
well
knew
part
that, in to
these
particular
involving
cases, he was giving the player an extremeof
simple,
first
slow
execute,
no kind
the
in
risk
or difficulty
of
of
fingering.
the
resting-place the composer indicates

begins playing
for
change
6.
Clarinet
necessary, and the
performer
again
in
C, or
in
F,
or
When
ilar
Mozart,
the first
time,
assigned
of
arpeggios to the Clarinet

C.
in
its
lower register
(Trio dei Mascheri),

effect
in
he
of
chose the key

the
Beethoven
used
the key of F for a
sim-
the Finale
Eroica.
C Clarinets have disappeared, and nowadays Clarinets in Bl> and A are alone emThe former are more brilliant in tone; virtuosi have adopted them for their ployed.
4:
concert- pieces.
noble
The
latter,
lower by a
to
semitone,
not
only possess
Cjl
an extremely rich and
timbre, but are also able as the B? Clarinet stops at D.

Clarinet
in B\>
descend as low as
(an inestimable advantage),where-
sounding:
Clarinet
in
sounding:
^
in
5. of
Clarinet -players
to
complain
of
composers who prefer involving them

It
a thorny
to
bush have
accidentals
changing
the instrument.
is
quite
true
that
in
it
is
annoying
to
replace an
instrument
which
has been gradually
warming up
in
the performer's hands by
another
instrument,
few
old
bars the
one,
new
colder, and therefore less accurately instrument will be found doing duty
tune.
But and
at
the
end
of
as properly
efficiently
as the
and the performer is satisfied. It seems to rest his lips and give him new life. Of course, am now speaking of the theatrical orchestra and of long musical performanin ces; symphonies, which are of relatively short duration, such substitutions are very selI
dom necessary. It and that Allegro,

in
is
true that the use of the
B!>
Clarinet
is
frequently prescribed
i.s
in
an
of
the A Clarinet
the
in
the
following
the course of a
movement;
same remark applies
to
Adagio, but no change bravura pieces.
ever
made
6.
with a
of
Among forte
latter:
the
in
such a
wood -wind instruments, the Clarinet alone is able to contrast a piano marked manner that the former would really seem to be the echo
the
Allegro.
Clarinet
in
Hi.
J.
r
.
14267
THE CLARINET.
81
The pianissimo of the Clarinets (in the low and medium registers) represents the minFlutes imum of sound obtainable from wind instruments. Compared with Clarinets, as Trumpets would be in a mezzoas intense and metallic in their lower register seem
forte.
but
It
is
hardly even a
air.
pianissimo; the instrument has almost
lost
its
timbre:
'tis
a whiff of
7.
Another characteristic
allows
of
for
its
of
the
Clarinet
is
its
neutral
in
tone-color
in
the medium register,
which
be
blending
with
almost
the
every
group
the
orchestra.
While the Oboe can

notice,
mistaken
of
no
other
Flute, or
instrument,
of
Clarinet
can,
without
attracting
its
take
the
place
of
a Second
a Second
Horn, or even of a
of
Bassoon,
full,
rich
quality
instrument. power blending In his Piano Mozart frequently wrote a single Flute part and two Clarinet Concertos, parts, treating all three instruments in the same manner, as if they were three Flutes. In the Overture to Egmont, Beethoven has ventured to assign the dissonant note of the
tone
possessing
an unrivalled
with that of any other
chord
of
to
single
in
Clarinet,
treated as
if
it
were a second
for
Horn,
the
only instance of want

E't>,
balance
the whole of his

is
orchestral
writing,
this one G\>
against one
four
C's
and
two A\>'s
really
very
weak:
Clarinets.
Bassoons.
fe
Actual sounds.
Horns
Egmont
All
a@
(Breitkopf
&
Hartel's edition)
must have noticed the "poetic Bassoon" effect produced by the Clarinet in the Ballet des Sylphes. A real Bassoon would have been ridiculously dry, and a Horn
musicians
too
The Clarinet thus marking the accented Harp, sounds truly exquisite; it would seem to leave
heavy.
of sound.
beats, beneath
in
the harmonics
it
of
little
the
spray
its
wake, as
were, a
And what
Note
tremolo
shall
we say
of
the
orchestral
by
peroration to the duet
in
Beatrice et Benedict!
Clarinets with
the admirable
of
effect produced
associating
the tremolo
of the
the
the
Violins:
Clarinet
THE CLARINET.
8_
ly
All
that has
been said about
the
articulation
of
the
Oboe (3,4, 5) applies equalnotes
to
the
in
Clarinet.
As
the
case of
the
Oboe,
the
maximum speed
in
for
articulated
and
staccato
passages
=
should
hardly
exceed
120,
any
one of the registers.

,, (J
,
(J
120)
120)
p
dfr
-. frf.fj /f ft *'>
'
ff
But, as
in
the
in
case
of the
Oboe,
numerous
examples
e.g.
of
passages exceeding this
speed
may
be
found
Etudes and
in
Concert- pieces,
Clarinet
B!.
(Widor, Introduction
t
(J
132)
Rondo)
(By kind permission of Heugel
C!, Editur-Proprie'tir.)
Many
rapidly
composers treat
as
Clarinets
as
in
if
they
were
Flutes,
obliging
them
to
articulate
of the
as
these
latter
instruments
very quick
vivace.
tempo, witness the opening
Italian
Symphony:
Flutes.
All
14 8
Clarinets
in
'i'"
fl
*
1
/P
&i
A.
-g-
Bassoons.
Horns in A.
THE CLARINET.
9:
In
33
can
rival
the matter of
sustaining -power, the
Clarinet
the the
Oboe;
in
fact the
Ai>,
two
the
instruments
may
by
be
considered
Horn,
in
phrase
played
the
on a par. the Adagio
Take,
of
for
instance,
return to
after
the
Septet:
Clarinet in
Bk
dolce.
(Beethoven.)
good clarinet player does not take breath after the crescendo (marked two bars later, after the A.
-
+),
but
only
Here
is
another example:
Moderate.^
Clarinet in
Bk
A
I
|^_
dimin.ed agitato poco a poco
cresc.
Professor
Turban
(of
the
in
Paris
the
Conservatoire)
and
for
myself
calculated
that a holding- note
could
be sustained piano,
medium
register,
40
or
45 seconds.

10.
Since
Boehm's
all
the
Clarinet,
system, perfected by Buffet, has been applied to the mechanism major and minor shakes have become possible, from:
of
to
A
heavy:
few
of
these
shakes
are
not
very
brilliant,
others
rather difficult, and
consequently
rather harsh. JJ?
* difficult.
The fingering of the Clarinet repeats itself in the twelfth, so that the special key which now allows of executing the shake B Cjt in the low register also renders the shake F| G(t practicable in the upper register.
N. B.
possible with a special key.
#(Djt somewhat
notvery good. (Gjt somewhat
flat.)
This shake occurs in Meistersinger.

flat.)
-heavy.
J.
W. 14267.
34
11
THE CLARINET.
As a matter
of
fact, all
these shakes
may be
less
written,
even the doubtful
ones
(es-
pecially
when other simultaneous
shakes more or
conceal their defects), up to:
*This
-
G)t is somewhat flat, but might be used to reinforce the Flutes, say.
dangerous.
12r
We
now give a complete
list
of
shakes and tremolos:
Complete List of Shakes and Tremolos.

N. B.
All tremolos become heavy bevond the fifth.
difficult.
etc...
etc...
etc...
rfC
All tremolos possible CXCept: p to the octave,
pg^
,
gpi
1
_M? Pf~ vv^ zL^

I
-" N.B. **> Bt,and A, oânu B * are alwavs &1 Bl? ?S -"
difficult to attack.
heavy
All tremolos possible up to the octave,
etc...
^=
y
=
e tc
A11 tremolos possible
up
to the octave,
J.
W: 14267.
THE CLARINET.
35
etc...
etc...
up
to the octave,
except:
etc...
||
ffÔtr
=J
|
etc...

heavy.
possible.
etc...
r-
b;
^ ffg=
=^<-
B
R
etc...
*^Ji?~ possible.
N. B.
Above
G $
f^l
^^
-^_^
tremolos
become
difficult.
possible.
+
;...
^
.,
,
possible.
up to the octave,
except:
==e
' '^fo p L-^d ""^g^ t>
\ I
90
which
ID Ulllll<Ulb is difficult
as
well as all above.
^---

etc...
up
to the octave,
except:
Difficult beyond,
heavy. .heavy..
--L
~fa
p
~f
pi
n
R
II
etc...
'
except:
up
to the octave,
H
II
Difficult beyond.
n-w
etc...
up
to the octave,
except:
M^l 3 ffp J
v y-
ttrgp :^p
difficul
good
which
...
it
is
All tremolos possible up to
in alt.
difficult to
attack piano.
etc...
I'M
W.
...
All tremolos possible up to C in alt.

W.
J.
14267.
36
etc...
THE CLARINET.
in alt.
etc...
in alt.
etc...
in alt.
etc...
in alt.
etc...
in alt.
etc...
difficult
above.
etc...
difficult
above.
Higher tremolos should be avoided.

good, but D\ is a trifle flat.
+,
D> somewhat
almost impossible,
possible,
difficult.
heavy
difficult.
It
is
dangerous to rise higher. (See

J.
11,
page 34).
W. 14267.
THE CLARINET.
87
Transposing.
13.
We
that
have already seen
(4)
in
that the
Bt>
C
in
Clarinet
is
no longer
in
use,
modern
composers
have
the
writing
All
exclusively
for Clarinets
and
A.
applies equally to both,
for
has been said about either instrument
they
The only difference same mechanism, the same qualities, and the same little imperfections. lies in the timbre, the richness of tone, the sweetness and fulness of the A Clarinet, not to which the B? Clarinet is unable to sound in the lowest register. mention the valuable C|
The Alto Clarinet.

14.
The Alto Clarinet
is
tuned
in
F,
a fourth below the standard instrument

of the Clarinet
(if
B!>
be conIts
sidered the normal key).
This
member
family
is
not
much
in
use nowadays.
compass
is
from
__^ sounding:
No higher notes can be obtained. Mendelssohn has written two Duets
for
Alto Clarinet
and
B.>
Clarinet.
The Small
15.
in
Clarinet.
in
This, also,
it
is
an instrument rarely used, save

in
military
bands, for which
it
is
tuned
E>;
sounds a minor third higher than written.

has employed
it
Berlioz
the
Nuit de Sabbat
In
of
his
Symphonic Fantastique,
the Small
Clarinet
is
and
in
Wagner
in
the Finale of the Walkiire.

frequently
this
latter
work,
tuned
in
D,
but the performer
transposes
his
part,
playing on the ordinary
instrument
Ek
J.I
(By kind permission of Schott
&
C9, Publishers-Proprietors.)
(WalkUre^
p. 442.)
The Bass
16.
its
Clarinet.
or
The Bass Clarinet

is
is
written
like
the Bl
Clarinet,
but sounds an octave

\>
lower;
compass
from
to
No higher notes can be obtained.

The
lower
register,
which
of
contains the richest

the
and
is
fullest
notes,
is,
of
course,
the
most
in-
valuable.
The mechanism
Bass
Clarinet
identical
with that of the standard
strument.
The
Bass Clarinet
it
is
an
admirable
to bring
into notice (in the
Huguenots
Bass Clarinet as an almost

the
constant
composer and the Prophete). Afterwards, Wagner used the bass to the other wind instruments, as. an auxiliary to
instrument;
melodic
Meyerbeer was the
first
Bassoons,
and now and then also for melodic purposes.
(See the 31^ act

the
of
Tannhiiuser,
the 20^ act of
Lohengrin,
etc.)
Liszt's
Dante -Symphony
(Purgatory),
2!
act of
Sam-
son et Dalila,
Note the effect
that
produced
by the holding -notes

to
for Clarinets,
Bass Clarinet, and
Bassoons,
form the accompaniment
Elizabeth's
J.
prayer.
W. 14267.
38
17.
THE BASS CLARINET.
The Bass Clarinet can pass from a forte to a pianissimo as easily as the standard If it were necessary to have a phrase instrument itself. repeated in slowly-dying echoes, the effect
be obtained required could probably
the three following by employing
Bassoon.
Horn.
wind instruments in succession: Bass Clarinet.
(Actual sounds).
*)
39
THE BASSOON.
(Ital.,
Fagotto.
of
Ger., Fagoit.
Fr.,
Basson)
to
1.
The
Bassoon has a compass
37
notes, from
In
writing
for
the
orchestra,
it
is
dangerous to exceed this upper

to play up to D, a third
limit, but in
4
bravura
piece the performer
may be required
to
higher
~|g~~
in
Wagner once even ventured

case,
with,
firstly
write
of
E,
but
he
was justified
that
because his theme was
such a nature
doing so in that special the high E could not be dispensed
and
secondly because the intensity of the Violoncellos and Violas, playing in unison doubling the Bassoon part, was likely to neutralize any mistake made at such a height.
Allegro.
and
(Tannhauser, Overture,
In
p. 25.)
former times, the Bassoon was seldom required to descend lower than Gamut G
Later
the
became possible to obtain Bl>, but neither Bq nor Cs could be produced, so that scale was diatonic for the first few notes, only becoming chromatic from E\> upwards:
it
TT
.diatonic..
0"
.chromatic..
Mozart,
who wrote so admirably

and
the
for
the
Bassoon,
usually kept
it
within
its
old
limits,
be-
tween
stance,
y
in
it
;
was only very
rarely
that
he
in
wrote
the
lower notes, as, for inof
Overture to
Don Giovanni
all
(Double D)
and
Andante
the
Concerto
in 2
C minor
In
(Double C).
the
forte passages
so
in
37 notes
the
of
the
Bassoon may be looked
upon as
attack,
good;
not
piano
passages,
lowest
Bq and
being
(El],
difficult
F,
Fij,
to
Ei>
equally in the
thin
medium
in
register
somewhat sharp, the four following degrees

the highest
register
and G) poor and

requiring
quality,
A?
in
unsatisfactory,
and the highest

l,^
some
pre-
paration:
it
i|TF
somewhat
sharp,
.poor and thin..
bad.
difficult to
attack piano.
3,
In
requires preparation.
fact, the
is
wind
ing
group, followed
Bassoon, although it usually constitutes the sole bass of the an instrument of very uneven quality, its admirable low fifth y
entire
Woodbe-
^=
p'vr^'
by a fairly good
medium
register
closely
i..4
(n^J-"
then, after four
weak
notes,
comes
an exquisite
finally, after
seventh,
with a
timbre
resembling that of the Horn

in
-^"^^^
=,
and
a bad
Ai>,a dull
fourth
produced by a tube constantly diminishing
diameter.
^
I>TT
fairly satisfactory.
admirable.
poor and thin.
m
exquisite.
bad.
J.
thin.
W. 14267.
requires preparation.
THE BASSOON.
The
bass of
duction
in
lowest
the
of
fifth
could
vie
with the Brass

in
Trombones.
intense
such
However, sounds would
that
Bt might even form the point of tone-power; involved in the prothe strain on the lungs case,
in
need to be taken exhaust

the
into
account, and
the part
written
such a manner as not to
completely
performer.
it could just often been required to play down to A; Wagner, the Bassoon has Doubtless in the length of the tube. as well be made to descend still lower by increasing a few years all Bassoons will be able to sound this A, but for the present it is well not to write lower than B!>, this being the last note on the great majority of instruments.
Since
Articulations.
5
the
Like
the
Oboe and the
Clarinet,
B!>,
the Bassoon employs only
single -articulation. From
lowest
B? to the highest
peated or detached, either forte For instance, in the low register:

(J
:
can be rethroughout a compass of three octaves, all notes or piano, almost as easily as on the Cello.
1526)
In
the
(J
-
medium and
138)
high registers:
r*^--7rpij-|
effects
of
f__j
^f^JT
must be
Of course,
when
this
kind are employed, all prolonging of the difficulties
avoided, as the tongue

into
soon falters,
and the instrument must not be brought too conspicuously
the
foreground.
lightness
in
6.
The
to
in
of
articulation
of
is
a mass
quired
abound
since
play very rapid tempo, the scores of Wagner, Berlioz,
reof wind instruments, even when they are a matter for both surprise and admiration; instances
Liszt,
Beethoven there has hardly

with
the
Strings,
in
Brahms, Tschaikowsky, Glazounow, Borodine: been a composer who has not thus contrasted the Wood-
wind
If
very quick
tempo.
each member of the group

the
were
of
course),
most astonishing
examined separately (with the exception of the Flutes, of some of timidity, heaviness, and even absolute inaccuracy
isolated
them would be discovered.

ing all together
7.
When
they
become nervous and frightened, but when

self-confidence.
doubtful
play-
they are the very image of assurance and
The
Bassoon, as we have already

it
seen (2), has several

skill
tune,
are doubled
requires conceal, performer's by the Violoncellos they seem excellent. Here are four bars whose bass had been given by an inexperienced composer to a solo soon:
whose defects
all
the
to
in notes, not quite but when these notes
Bas-
Andantino.
*- j-1
P
.
f-
?=*
m
medium
of
^
weak notes
Now, this bass, being (3), sounded feeble and

the
in
the register of
of
the
fairly good
and of the
out
tune,
in
not
itself
through any
fault
the performer's, but because
timbre
of
the
instrument
was
unsatisfactory.
J.
W. 14267.
THE BASSOON.
As soon as the composer had concealed these defective notes beneath the pizzicato
the
Celli,
41
of
the
passage
sounded
quite
different:
Bassoon.
mm
33 m
Pizzicato.
all
Cello.
^^^w~^m
in
The
instruments
blended
a pleasing
ensemble,
perfectly
satisfactory
as to truth
of
intonation.
7.
In
the matter
it
of
slurred
notes,
the
Bassoon
like
the
Oboe and Clarinet,
can
rise
more easily than
can
descend:
Allegro.
However, descending slurs are practicable the intervals are small:
in
slow tempo,
and even
in
quick
tempo
when
Staccato
on the
notes, skips of an octave, a tenth, a Bassoon with incredible ease and rapidity:
ft
twelfth,
fifteenth, etc.
can be played
fi>
* i
8.
Descending slurs
to be avoided:
as well as
lowest
all
slurred
intervals
starting
downwards from
G'b,
E>,
D,
Cjt,
and
Cq
in
the
register:
J.
W. 14267.
THE BAbSOON.
Rad:
Bad:
9.
In
slow
tempo, descending
provided
they
slurs
can
in
be an
tioned
above),
are
used
(always excepting the intervals ensemble, and not in a solo:

played
men-
Taking
any
one
but
of
its
is
notes
as a fulcrum,
the
Bassoon can thus descend speed

is,
the
scale
chromatically,
10.
Is
it
this
somewhat
that
dangerous, and
of
course, entirely precluded.
not
astonishing
an
instrument
able
to
sound
of
deep
its
notes
of
such
can
intensity,
descending lower even than the Horn, and should also be capable of acrobatic feats
it
which
It
none
neighbors
perform?
it
What services
with
renders
in
the
orchestra!
is
available
alike;
for
it
Strings
It
every combination; may be put to all kinds
blends
of
every
group
Woodwind, Brass, and

even
so
work.
its
can
reinforce
an
accent
of
the
Strings, without
presence
being
much
as
suspected:
Allegro
molto.
Bassoons.
lit Violins.
"d Violins.
Violas.
Celli.
Double-basses.
(j. Hamelle,
Editeur-Proprietaire.)
(
PP
Widor,
it
2 n Symphony, Ji
be
p.
130.;
It
may
complete
the
Horn
group,
blending
so
perfectly
that
cannot
distinguished
from
the Brass:
J.
W.
145J67.
THE BASSOON.
Clarinet in
43
A.
=M
tranquillo.
J J
Bassoons.
HM^-^^&H^
J9___ =3= f~ 9= A ÊEiEE
::
'
Horns
in E.
n~
Basses.
PP
Without
the
the
least
(Mendelssohn, Sommernachtstraum?)
its
weakness,
it
can
bear upon
Atlas shoulders the
whole weight
of
harmony:
Flutes.
Bassoons.
pp
(Wagner,
Meistersinger, p. 354.) Figures played by the Violoncellos and Double-basses, or even by the whole group of Strings, gain verj? much in^ energy and intensity when^ doubled^ by the Bassoon;
Flutes.
J.
W. 14267.
(Beethoven, 4th Symph.}
44
The staccato
Strings:
of
THE BASSOON.
the
Bassoon
can,
=
when necessary,
be as
light
as the pizzicato
of
the
Flutes and Oboes.
P
^qJz;
(J
69).
*
I I
_J
Bassoons.
???
feE5 E^
Pizz
Violins.
Basses.
Pizz.
(Meyerbeer, Struensce.)
Is
not
this
staccato
of
the
Bassoon,
in
the
Serenade
of
Mephistopheles, fully as
supple
as
a pizzicato?
Oboe.
Bassoon.
_.
i
_.
x'
r
.
^ r *
Violins.
Pizz.
Violas
Mt'phist.
Aiii.si
ton ga.lantt'ap
pel
lo.
Basses.
Pixz.
(Gounod, Faust.}
Mozart
even
obwrites
By
the
tained
combining the Bassoon with the Flute, at a distance of two octaves, the sweetest and richest timbre in the orchestra. Sometimes he Bassoon two octaves below the Violin:
Flute.
Bassoon
(//
Flauto Magico, Overture.)
Violins.
Bassoon.
di Figaro.)
Any
serve
score, opened
all
at
random,
with
will
afford
instances of
facility
the
Bassoon's
singular
ability
to
kinds
of
purposes
unrivalled
J.
and
efficiency.
W. 14267.
THE BASSOON.
45
Length of Breath.
11.
General
rule:
it.
The lower the pitch of the instrument,

of
the
more breath
is
required to
to
play
The sustaining -power

according the Conservatoire
experiment made
Bassoon, playing in the lower and upper registers,is limited with the assistance of Mf Eugene Bourdeau, Professor at as follows: respectively
a
(J
-.
80)
^^
2
4 4
bars.
p\>*
XTJ X
,Tf
7
9 bars.
(J
80)
the
still
it
-*
-v
Even
playing
in
higher register, this

is
maximum
the
is
forte,
to
considerably
diminished,
duration
seldom exceeded, and, of course, when of the sound in inverse being
proportion
its
intensity.

12.
From
Double
B't>
to
Double
F no shakes are possible, save the two following:
From
Double
F to B?
in
the Treble
staff
"
nearly all
are
possible, except:
.impossible..
.very bad.
not good..
Complete List of Shakes.

.
not good, but possible..
Possible.
Eg
Impossible.
good, but heavy.
somewhat sharp.
Possible.
Impossible,
^p
(impossible, as well as in the octave above.)
Good.
Bad.
(bad, as well as in the octave above.)
(possible, but not good.)

J.
(impossible, as well as in the octave below.)
V. 14267.
46
gp
Good.
THE BASSOON.
"iar?
&
P '(
Bad.
Good.
Bad.
(bad, as well as in
the octave below)

&--
(possible, but not in tune)
Good.
Higher shakes are hardly available

for
orchestral
purposes.
Bad.
***
Remark:
all
The major shake on E (E F)t) was formerly reckoned one of the most awkward, but the modern virtuosi, having carefully practised it since Bizet's time, caji now execute this "
brilliantly.
shake
Moderate.
<r^rr^r~~
'
Bassoon.
J^
Orchestra.
3EE
(Choudens, Editeur-Propriftaire.)
(Carmen,
p. 177.)
are hardly practicable on deep -toned instruments like the Bassoon and it would be difficult to quote an instance of their employment in any of the works Horn; of the great masters. Below Tenor C the effect produced would hardly be satisfactory; from this C upwards thirds, or even but the third greater intervals, are sometimes used,
itself
is
13.
Tremolos
often
impracticable,
if
not
rising,
at
least
falling.
'
ffP
Impossible bt\yor,d.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
# N.B.
Impossible beyond.
point, tremolos
Beyond this become
almost impossible.
J.
W. 14267.
THE BASSOON.
Impossible beyond.
47
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
No higher tremolos possible.
WORKS AND AUTHORS TO BE STUDIED: Mozart (Concerto, Serenades, Quintet); Weber (Concerto, Andante and Hungarian Rondo); Beethoven (Quintet, Octet, Trio for Flute,
Piano, Septet, etc.); Schubert (Octet); Thuille (Sextet); Raff (Sinfoniette); Suites by Ch.
Bassoon and
Rubinstein (Quintet); Reinecke (Octet);

Lefevre,
Pierne, etc.
Etudes
by d'Ozi,
Gambaro,
Neukirchener,
Milde, etc.
TRANSPOSING INSTRUMENTS.
The Basson - quinte
14:
It
.
The Basson-quinte has not yet been made, but bassoon-players are calling for it. a fifth below the standand instruform the true bass of the Woodwind group, a semitone lower than the Double-bass: ment, descending consequently to El?,
would
loco.
sounding:
The low A which Wagner wrote below Bi> is admirably rich and full; 'then' say professiondescend to El>, with the same fingering and the same capabilities as the ordinals, 'why not Bassoon?' We have already seen (3) that the low fifth, from Double B\> to Double F, is ary
sufficiently
robust
to
bear any weight

is
in
of
sound;
be
the
of
"new" low
construction;
fifth
would
look
be
to
still
more
-
robust.
The Basson-quinte
to
said
makers
tale
provide
us with
it
easy the near future.
to
we
instrument-
(See C. Pierre,
La facture
instrumen
l' Exposition
de 1889).
The Double -Bassoon.

15:
The
tha
Double- Bassoon
lowest
is
pitched
Its
an octave below the standard

is
instrument,-
and Bi.
Y.
compass
from
to
written:
It is the or of brass. decidedly inferior to Satisthe register common to both instruments. timbre, especially point factory in the first seventh, it begins to grow weaker from Double Bk| upwards, diminishes conall higher notes being obtained by siderably in intensity in the neighborhood of F#
The Double -Bassoon

in
is
made
either
of
wood
Bassoon
of
in
overblowing trumpet.
and
i
comes to a stop about

Satisfactory.
>'
^!
J
,
with
,
nasal
twang
like
that
of
toy
Altogether inferior to Ihe Bassoon.
Actual sounds: ^J
j
bassa
loco.
Timbre growing more and

J.
ike that of
a,
Toy Trumpet
W. 14267.
48
The
first
THE DOUBLE -BASSOON.

low
octave
is
alone
fairly
satisfactory,
or even
when used
Horns,
in
slow
tempo
to
play
deep
the
pedal-notes tirely eschewed.

case of
the
sustaining
Woodwind, The manner in which the tone

but the
reed, being
the
the
is
but
Bassoon,
larger,
is
produced is slower to vibrate, so that

rise
staccato notes are much the same as
to be enin
florid
and
staccato passages are very

Symphony,
it
ineffective
on
the
Double -Bassoon.
first
treats this
instrument
very
it
carelessly,
making
it
Beethoven, in the 9tb to A, and then giving
rapid
passages to play, which
sound
like
bravura
effects performed
cannot possibly execute in on a bad Harmonium:
satisfactory
manner;
they
(All? maestoso.)
Contrafagotto.
V'
L \\
(All? energico.)
Contrafagotto.
Contrafagotto.
These weak notes

even for an
ienced
upper register and these florid passages, which would be difficult ordinary Bassoon, are lost in a compact mass of sound, where the most experear can distinguish nothing. Beethoven cared very little about details; besides he
of
the
was deaf when he wrote

not
to
his
immortal
work.
mention
all
this
as a caution
to
young
composers venturesome, unless they happen to have Beethoven's genius. into Here, on the other hand, is a fine effect produced by a Double -Bassoon brought prominence; nothing can sound richer and deeper than its Double 6 beneath the low 6 of the Horns: Allegro.
Flutes.
be too
PPP
Piccolo.
Solo.
s
V J
H
PPP
/T
/TV
Oboe.
Cor Anglais.
Clarinets in
Bk
PP
Double - Bassoon.
m
~V5
(Saint
Horns
in F.
1
(By kind permission
of Messrs A. Durand et
fils,
3rd
Editeurs- ProprieUires.)
p. 124)
Robust
a deal
of
lungs
are
needed
to
play
the
breath.
The
maximum
duration
Double- Bassoon; the low notes, especially, consume of a low holding- note cannot exceed two bars
is
moderato.
write
in
So, care
must be
such a manner as to
taken, when this instrument allow it the requisite intervals
placed
rest.
in
the foreground, to
of
J.
W.
14267.
49
THE SARRUSOPHONE.
over which it possesses disSarrusophone is a rival of the Double -Bassoon, tinct advantages as regards both facility of emission and intensity in the low register. The column of air contained in its very wide tube is set in motion by means of a double- reed
1.
The
like
that
of
the
Bassoon,
is
which
instrument
the
Sarrusophone also closely
resembles
in
its
mechanism.
The
tone,
Sarrusophone
so
that
sometimes accused
sound
can
like
of
the vibrations
its
having a rather nasal and succession of little shocks.
reedy
quality
of
Each
a
separate
vibration,
pipe,
say
when the ear

criticism.
just
organdetractors, This is most unis in the immediate proximity of the striking reed. When the instrument is in the hands of a player accustomed to the basin
be perceived
as distinctly as those
of
32 -ft.
soon-reed, these defects forming an excellent bass

to the
extreme
It then a great measure disappear. produces a full rich tone, since it can descend without hesitation of the Wood -wind group, of the orchestra, an octave below the Bassoon: depths
Compass:
sounding:
f
fjta bassa....:
loco
2:
The
Sarrusophone
is
written
in
C,
and
corresponds
to
a 16-ft.
organ-pipe,
just as the
Bassoon
When used in conjunction effect of a Gamba-bass or

etrating
3.
corresponds to an 8 -ft. pipe. with the Celli

very sweet
and
Double
it
Bombarde;
Basses, the Sarrusophone produces the gives them a very characteristically pen-
tone.
The Sarrusophone
Compass:
family
is
complete:
Sounding':
Compass:
Contralto
in
Soprano
in
Bk
w
these
Ek
Tenor
in
}>,->.
Bass
in
Bk
of
A w
interesting
& p*
Barytone
in
Ek
t>
w
two really
full
Double -Bass
in
Ek
have yet been used in the orchestra, Saxophones being cannot de-toned instrument of the Saxophone group As, however, the deepest preferred. -Bass Saxophone making it the size of the Double scend lower than the ordinary Bassoon exthe Sarrusophone in C stands without a serious rival in the inconvenient practically treme depth of the orchestra.
None
varieties
4.
This
instrument
possesses
.
-toned and remarkably powerful octaves (XY):
excellent quality.
^?=
50
qua)
THE SARKUSOPHONE.
ease.
of
All
the
notes
can
the
bottom
the
scale
as
at
produced Even top.
be
with
in
same clearness and precision at like quick tempo, staccato passages,

the
the
the
following,
are
practicable:
(
Sounding an octave
lower.)
A
phone
Double- Bassoon
overcomes
the
in
such a
case almost
would
difficulty
have no tone-power whatever, while the as easily as an ordinary Bassoon.
Sarruso-
Articulation.
5.
The
maximum speed
attainable
is
about
as
follows:
(Actual sounds.)
(For 2 consecutive bars.)

bassa
(J =
116)
(Actual sounds.)
loco.
(Actual sounds.)
The breath can be held about as long for sustained as for detached notes. In moderate the lowest C can be sustained forte for or piano, for three bars: tempo, two,
(J =
88)
"}
<
The C an
octave
above
can
be
held
for
or 5
bars.
Shakes.
6.
All
the
shakes
of
the
Bassoon
the
two instruments
speed
being the
same.
are reproduced on the Sarrusophone, the fingering of Even in the lowest octave, shakes can be performed
with
and precision:
*)
^^^ ^^^L^h J
(Sounding an octave lower.)
In
short, the
bass to the Violoncello.
Sarrusophone stands in much the same relation to the Bassoon as the DoubleThe two pairs of instruments may be treated in a parallel manner.
Bassoon.
Sounding:
Sarrusophone
What
assigned
treated
the
to
like
Bassoon can
low
notes,
of
do, the
Sarrusophone
is
likewise
in
able to perform,
to
within
the limits
which
are, of course, heavy
proportion
their depth, and
must be
consequence. Saint -Saens and Massenet have employed the Sarrusophone in several important works. It is an instrument which will come more and more into use, especially now that it has been perfected and its low register extended downwards; (a few years ago it could not descend lower than 16-ft. C). In Paris, it has been adopted by the Opera, the Opera-Comique, and the Colonne and Lamoureux Concerts. It is now beginning to appear everywhere.
J.W. 14267.
people
51
Chapter II.
*
The Theory of
1.
the
Tone - production of Brass Instruments.

Trumpet that we see
of
in
liefs.
Let us take a tube; for instance, the long What are the sounds obtainable?
those
ancient
bas-reof
"Only
or
of
which
correspond
to
the
vibration
to
the
whole column
of
of
air,
or
half,
a third,
1
or of a quarter,
etc.,
according
the
amount
pressure
exercised
by
the
lips
.'
When
when
of
the
whole column
the
of
air
half
column
is
of
air
in
the
air- column
set
is to vibrate, the fundamental tone sounded; the second upper partial is obtained; when a third vibrates, motion, the third upper partial is produced, and so on. is
made
Let
the
us assume
the
fundamental
of
tone
following
series
harmonics
..
can
the lowest note of the Violoncello; be successively obtained:

is
8 -ft. C
..
..
2
Just
7
by
8 a
10
It
12
13
14
15
16
as the circular
closer
to
waves
each
produced
in
closer and
other
so these
then
thirds
sound-waves, first an and seconds apart,

eighths
of
mathematically body falling into water draw proportion as they get farther from the starting-point, octave apart (1-2), then a fifth (2-3), then a fourth (3-4),
finally
almost
Just
octave,
merge
attempt
the
into
each other,
thirds,
fourths, and
tone.
16-32
still
octave,
the
32
of
the
following
64
writing of the
down
next
the
separated only 16 sounds of
by the
octave, the
128
of
the
higher
octave!
of
all
1
2.
The theoretical
compass
the
to
brass
instruments
in
extends
it
throughout
the
limited.
whole
series
of natural harmonics Very 16, but, practice, wide tubes, like those of Tubas and Contrabass - Tubas, can alone sound the fundamental tone; the other brass instruments start from the second upper partial. Very narrow tubes, such as Horns and Trumpets, can alone reach and even go beyond the 12tb, 13*!), and 14
is
from
much more
upper partials. And yet these

have,
for
13 or 14 notes,
sufficed
to
unequally
scattered
throughout
to
two
and
half
octaves,
nor
able
Mozart,
to
centuries, nor Beethoven,

four
give power and brilliancy
the
orchestra.
nor
Weber
ever suspected
in
that
Trumpet
Neither Handel, would one day be

the scale with-
play
chromatic
semitones
succession, or a Horn
come down
out jolting.
Trumpet could (up to the 7th partial at least) only sparrow hopping from branch to branch. proceed by skips, like Writing a Horn quartet was like solving a puzzle, each of the parts neglecting all kind of logical progression, in order to give chase to the sonorous note.
Owing
to
the
breaks
in
the
scale, the
3.
The invention him very

series,
of
valves removed
diatonic
the
difficulty,
setting
the
giving
equal
and
chromatic
into
scales
monic
tonal
It
also
bringing
exactly
tune
the
degrees
of
throughout which
the
did
composer at whole of
not
liberty,
and
the
har-
coincide with our
system, e. g. the 7tb and 1ltl? partials. then became possible to constitute, in the heart
able
to
the
orchestra,
viz.
sound
compete Trumpet -Trombone -Tuba group. flung wide the dungeon gates.
with
the
others
In
point flexibility, short, the invention of valves
in
of
the
two new groups of Horn group and the

all
loosened
fetters
and
J.
W. 14267.
52
4.
BRASS
The valve
following
INSTRUMENTS.
lengthening it, in general use:
the
the pitch of the instrument by which refers to the 4 -piston Tuba table,
lowers
as may be seen from

12 13 14 15 16
234
10 11
None of the pistons depressed- *p

Actual sounds.
1
234
,,
10
11
12 13 14
|L
U -
li^-m.
15 16 t
II
2"d piston depressed. All notes lowered by

a semitone.
1
1st
Jo
2
3
rr~
6
10 11 12 13 14 15 16
III
piston depressed. All notes lowered by

a whole tone.
-yp-?î
1
1st
23
"
5
.
78
9
,,
10
11
12 13 14 15 16
IV
pistons depressed. All notes lowered by a tone and a half.
& 2nd
-_-.
/'
~~
*"
" H*
"
1234
3rd piston depressed. All notes lowered by
.
5
,
i
6
.
7
,
8
I
9
l>
10
h.. \J p
11
12 13 14 15 16
"'
|
..
i>
"
lo
l"
* ^*
^"
t> .
(jK
j,,
\m
8
1"
VI
VII
2nd 4 3rd or
(
1234
(better) 4th
10
11
12 13 14
15 16
piston depressed. All notes lowered by 2*^ tones.
~'J'
4 3 rd (or 1st 2 nd 4 3 rd) or 2nd & 4 th pistons depressed. All notes lowered by 3 tones.
1st
1234
10 11
12 13
14 15
16
:
3
I?*
t>
a >-fllt
" , jt0 f
it" #
1st
45
*
*
10
'
11
12 13 14 15
16
4l_h
VIII
\>m
hn
pistons depressed. All notes lowered by 3^ tones.

1
IX
15*
2d
& 4th
:
23 456
-*
10
11
12 13 14 15 16
pistons depressed. All notes lowered by 4 tones.

1
rr
23
3rd 4 4th
pistons depressed. All notes lowered by 4^ tones.
7
,
10 11
12 13 14 15 16
!>
L.
^"
'"'
XI
XII
2nd 3rd 4 4th

pistons depressed. All notes lowered by 5 tones.
""
123456 ~
1
.
10
11
12 13 14 15 16
1st
3rd
4 4th
2
,
4
l>o
10 11
12 13 14
15 16
AU
pistons depressed. notes lowered by 5^ tones.
ETw
^
1
**^..
U
11
l"
1>*
*" ^"
"
1st
XIII
2nd 3rd 4 4th
"
~
2
-
4
,,
6^
^
j?
9
*>
10
12 13 14 15
l~-
pistons depressed. All notes lowered by an octave.
.11^:
t~ r-
16
__
* tr~
J.
W. 14267.
BRASS INSTRUMENTS.
Such
is
53
the
theoretical
ed upwards. But we extensive ground; such

taves.
compass of five chromatic octaves, which might even be exceedmust add at once that no single performer is able to travel over
the
most
skilful
cannot
embrace more than three and a
half oc-
Excepting the Tuba, Contrabass -Tuba, Valve -Trombone, and a few Barytone Saxhorns, all the other instruments have only three valves, so that the number of combinations tabulated above is reduced, in their case, to seven VI. VII.), (I. II. III. IV. V.
5.
corresponding
binations
only concern mental.
to
the
possible
on the
seven positions of the Slide -Trombone. Such are the seven comContrabass -Tubas in E.> and Bi? of military bands. The others
little
instruments
used, and
which, besides, cannot
descend
to
the
funda-
6. into
Looking
three
at
the
natural
scale
of
harmonics, we see that
the
brass
instruments
fall
groups:
Horns and Trumpets.

(*)
'fro
or
10
11
12
13
14
15
16
TV
(#)
In the orchestra of
to
Cornets and Bugles.
day a small Trumpet is employed, whose har monies sound an octave with higher, in unison those of Cornets and High
Saxhorns. (See
P.
68,
6)
Tubas and Bombardons. -4^-
If
we now compare
the
the
B\>,
length
of to
the
all
tubes,
of
we get
the
following
figures,
taking
as
standard
key
of
common
them
Cornet
in
Bt
length of tube
4
8
17
ft.
in.
Trumpet *
Horn
(in
B!>
basso)
_ _
ft.
5%
7
in.
Trumpet
in Bl basso
an
octave below the

in.
modern
ft.
Trumpet.
C.-B Tuba
17
ft.
in.
So that Cornets correspond to 4 ft., Trumpets to 8 ft., and Horns and Contrabass -Tubas to 16 ft. Organ stops. However, in practice, things are somewhat different.
at pretty play Trumpets, enclosed within the same limits, much the same pitch, and in such a parallel fashion that, in many secondary orchestras, without regard for the composer's intentions or the difference of timbre, the Cornet rethe latter being much more risky and dangerous to play. places the trumpet,
In
reality,
Cornets
and
J.
W. 14267.
54
7.
BRASS INSTRUMENTS.
The
distance
between
the
harmonics diminishing as they

the
least
hesitation,
rise,
the subdivisions
in
of
the tube
of
become so minute that
the
least
mistake
the
pressure
the
lips
may cause
theme:
accidents.
Take
this
The old
Trumpet
will
play
it,
making use
of
the
harmonics 4 to 12:
The Cornet
and
6:
in
B?
will
sound the same
notes,
making use
of
the harmonics
between
(The notes marked with crosses could not be obtained but for the pistons.)
The
Cornet,
whose best notes

with
a
In
lie
between
of
the
2"d and 5* n or
an ease and
6^
harmonics,
will
re-
produce this
perior
to
theme
lightness
this
articulation,
rapidity
altogether
su-
the
Trumpet.
child's
medium
Cornet:
register, "diatonic
it
and
chromatic
scales, shakes
and
or a
runs
are
1
play
for
the
is
capable
of
as much execution as a Flute
Clarinet
.'
On the other hand, can

in
the
high
register,
compare with the Trumpet in point where it becomes poor and colorless? Has
it
of
it
timbre,
the
especially,
power, no-
same
bleness, and
dramatic
intensity?
8.
We
have just emit
(6)
the
which
cannot
but
classed Trumpets and Horns in the category of instruments fundamental tone. This is comprehensible in the case of the
the
Trumpet,
ought
to
its
what
of
about
Horn, whose
quite as
its
length,
equal
to
that
is
of
the Contrabass -Tuba,
allow
sound
tube
the the
of
descending fundamental tone, because
low?
tube
The
is
answer
that
In
the
Horn
cannot
too narrow.
contrast with the bellying

figure
is
the
Contra- bass
acting
Tuba,
the
in
Horn has
lowest
a slim
register.
and elegant
which
lips
from
efficiently
of
the
Besides, there
prevents the question of
size
and
less
shape
the
mouthpiece, which
of
affects
not
merely the timbre, but also the

tone
ratio
more or
easy emission
the
of
notes.
The fundamental
bear a suitable
required,
when the diameter and

Coll's law),
length
the tube
is
to
can only be sounded each other (Cavaille-
and
special
mouthpiece
also
varying
according to the family of
instruments.
J.
W. 14267.
55
THE NATURAL HORN.

(ital.,
Corno.
Ger.,
Waldhorn.
Fr.,
Cor simple?)
1:
It
is
only
from
the
historical
point
of
view
that
mention
the
Natural
Horn, now-
adays almost universally discarded. Without artificial aid, the Waldhorn
can
hardly
sound
any
notes
but
the harmonics
between
2 and
16
inclusively.
Horn
in Bl> basso.
*J
(*)
^
2
3
^
/?
li=
5 6
l>o
"
8
I"
^^
9
10
\
(
(-*)
^0-
^
15 16
11
12
13
14
_ Ut
Sounding:
Remark:
to use
Horn-players read the F clef an octave lower than they

clefs to write
ou.t^ht;
is
it
not ridiculous
two
these four notes of the harmonic series
<
=,
which
ought really to be written in the
clef alone
Thanks
the
supplementary fundamentals available
to
tubes, called
"crooks',"
in
the
harmonic
being as
series
may
be transposed,
(about
dozen
number)
follows:
Horn
in
Bt>
Si;
basso,
length
of
tube
17
16 16
ft.
7
10
1
in.
_ _ _ _ _ _ _ _ _ _ _ _
The
ear.
C
D!
Dl|
_ _
_ _ _ _
_ _ _ _
ft.
ft.
in.
in. in. in.
15
ft.
ft.
14
13
Et
El]
_
_
ft.
ft. ft.
3% 6% 7^
9
in.
in. in.
12
12
10 10
G
At
At)
_
_ _
alto
_ _ _ _
_
ft. ft.
ft. ft. ft.
9%
1%
in. in.
Bl>
9 9
8
7%
2
in.
in.
_
the
_
C
(*)
4%
in.
lowest
note
obtainable
is
of
the Horn
in
B\>
basso,
i.
e.
Bl
for
the
J.
W.
14267.
56
The
is
THE NATURAL HORN.

highest
the
(*1
of
the
Horn
in
A,
i.
e.
for
the
ear.
Horn
in
A.
=2E
2
3
(o)
10
11
12
*E:
in g=
^$*
intervals, the
2.
bell,
To
get
the
off
intermediate
half
horn -player
the
inserts
his
right
hand
in
the
cutting
the
air,
and
flattening
open
notes
by a
semitone:
Good stopped notes:
10
11
12
13
14
15
16
Remark: As
der
to
the 7th, Ilth,l3th
and 14th partials
are
out
of tune
in our
scale,
the player, in or-
utilize
them, has
to
flatten
them by "stopping."
The
notes
they
semitones
thus
obtained
notes
below
also
will
each
very
of
the
open
notes
are
of
excellent.
Muted
of
and
impart
overblown
to
are
valuable, on
of
account
at
the
length
variety
in
color
the
orchestra;
the
by
we
speak
them
greater
the
following
section
dealing notes
with
Valve-Horn.
cutting
of
off
The
true
of
produced
more
than
half
the
column
of
air
are
dull, not quite
intonation, and
difficult
production:
Very bad
stopped notes:
3p
/(.._, ~
I
,
Such
is
the
instrument
to
for
which
at
the every
classic
masters
it
wrote;
breaks,
deficiencies,
and
inequalities
are
be
met
two
with
step, and
of
is
impossible
below
the
7lb
har-
monic
plest
to
come across
conjunct
degrees
are
the
same
timbre.
and
True, with the sim-
means the most
powerful
effects
frequently
obtained,
with
such
limited
resources
Weber has created
masterpieces.
Three
notes
suffice for
Oberon's magic Horn:
/7s
in D:
"
r
J.
W.
14267.
THE VALVE -HORN.

(ital.,
57
Corno cromatico.
Ger.,Ventilhorn.
Fr.,
Cor a pistons)
1.
Valve -Horns
the
are
in
made
in
several
keys: E, Eb,
in
D, etc.,
but
nowadays
only one kind

in
is
used:
Horn
to
fop
F.
The
in
F,
indications
in
be
the
met with
at
G)
are
convenience
every page not so much
modern compositions (Muta

the
to
D, in
E,
of
prefers (supposing there is a sudden ther than of numerous accidentals.
change
it
of
key)
performer as of the composer, who make use of the natural notes rato
He writes
The
simply as possible, and chromatic scale of the Valve -Horn
as
is
the
player's
part
understand him aright.
extends
to
from:
-Kir-
"
(actual sounds)
Its
the
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, loscomparison
with the
es
by
Horn
in
the
upper register:
Bassoon.
~y
^
TJF^P
R.I*
i"
Horn.
3
1
Thin
notice
notes.
Good
the
notes.
of
2r
We may
here
an
appreciable difference
between
capabilities
the
two
instruments.
While the
bassoon-player
his
can
compass
pianist
of
instrument, and
on
his
register, as
he
the keyboard, cannot play satisfactorily
perform all kinds of acrobatic feats throughout the entire can pass from one register to the other as easily as a horn -player has to choose between the high and the low
at
both
extremities
of
the
scale, because the

to
lips
assume
tises.
particular
shape
according
to
the
The 111 horn-player is to the 2H^ Trombone. The First Horns (of the two or three the Second Horns the low notes. notes,
3.
register what the
which the
Tenor
in
horn -player chiefly

is
prac-
Trombone
our
the
Bass
pairs
orchestras)
play the high
To meet
the
the
requirements
kinds
piston
of
of
both
categories
of
horn -players,
instrument
makers
now construct
cation
in
two
3!^
Horns:
to
ascending
enable
Horns
kind
and
to
descending
easily
sufficing
one
rise
and
Horns, a modifithe other to de-
scend
easily.
N. B. The 3*4 piston raises the whole scale of the ascending- Horns by one tone, and lowers the scale of the descending- Horns to an equal extent.
The compass,
Ascending- Horn:
in
actual
sounds, of
our two chromatic
Horns
in
is
as follows:
*)'
-r*
.-''
Vff
r*^r
<j[''
/
~fl
^?r
XT
+'
Usual orchestral compass.

'
Concert Solo compass.
Descending- Horn:
*)'
..
>
"
Notes obtainable in case of need.

N. B.
Complete chromatic
scale, including Gtt.
s-
The
.
Gjt
marked with a
cross is
the only note wanting- in the chromatic scale of the
cending Horn
J.
w. 14^67.
58
4~
.-
THE HORN.
Notation.
Octave that can be
-.
<* o-
Valve -Horn.
Sounding:
\>*
As we have already observed (P. 55), the notation of the Horn in the F clef is an octave too low. Suppose, for instance, two Horns playing in the octave Y Z; if one be written what is in unison for the ear will be in the in the G clef and the other in the F clef, octave for the eye. Why not make the F clef the natural continuTriumph of absurdity!
ation
In
of
the
clef?
scale
on
of
this
chromatic
wanting
43
notes
none
Horn,
are
defective,
and, with
the
exception
of
of
the
G#
(DJt+)
the
i
ascending
there
are no
breaks:
Register
the
Horn.
-*jr.
Sounding:
THE HORN.
Andante.
Flutes
59
&
Clar.
Horns
in F.
Violins.
(By kind permission
of
J.
Sicbuberth
&
of
C?, Publishers-Proprietors.)
(Liszt, Faust.)
Though barely audible beneath Horns is, in this case, extremely
the undulating figure gratifying to the ear.
the
Violins, the velvety tone of
the
are obtained by closing Overblown notes, whose production involves considerable effort, the note required, the lips attack the semitone above half the tube with the right hand: the for instance, and the insertion of the hand lowers the note to an equal extent. If, same wishes to sound D as an overblown note, he attacks Ei>, his hand at the player
time
lowering
the
column
of
air
by
a
of
semitone.
indicating
The
(1)
composer
by
has
several
ways
these
overblown
notes:
simply
cross
placed
above the note to be overblown:
Horns
in
^
(in
v-
>
P
p
(Wagner, Tristan?)
(2)
or
by
the word
cuivre
German scores gestopft /):

(Gestopft.)
..
/i
Horns in E
/
(3) or by a
(Wagner, Rheingold)
f}-.
cross and
the word
cuivre' (gestopft
*
+(Gestopft.)
Horns in
1
(Me istersinger,
p. 225.)
In
sometimes happens that the word cuivre is accompanied by the indication piano. that case, the note can be overblown at the moment of attack only; immediately after Horn. attack, the tone becomes very subdued, like that of the muted
It
the
Horns in E
stopft.)
^=B=
AGestopft.)
-TT
The
duced
Horn can
with
the
be played aid of the
con sordino throughout

hand
can hardly
be
its
entire
compass.
SfJJ
Stopped notes pro-
obtained
below the
upper partial:
TT
Gestopft means simply "stopped;' but accompanied by an accent =-,or by the indication understood in the sense of overblown.
1.
or
sf,
it
is
W. 14267.
60
In
in
THE HORN.
his
Requiem,
)=_ gt^
Berlioz
t
has written
still
an overblown
tolerably
Fjf
(a semitone lower)
but
this
is
fop
two
Horns
unison
the effect
being
good,
the
extreme
limit.
When Valve-Horns were

of
beginning to
come
the
into
vogue, they
were
still
When
by
horn -players, being subordinated to pair, the first pair was assigned a note not belonging to the natural scale, accompanied had no the indication forte or sforzando, as no mistake was possible, the composer
to
first
who
assigned to the second pair retained Natural Horns.
need
give
any
in
special
directions;
these
stopped notes forte
were necessarily
a_
overblown,
as, for
instance,
in
Faust:
!:
Ek
Natural Horns
in C.
EE
Mcphisto.
a
_
dii-u
m
les nuits
d'amour
Strings.
Sometimes, as
fect
in in
the
Damnation de Faust,
this
^_
he desired
parentheses,
although (Sons bouchcs)
the composer thought was needless:
fit
to specify
the ef-
in C.
Natural Horns
in F.
~*J
Mephisto. Rien qu'u

.
ne
si .
gna .
tu _ re
(Berlioz.)
in
To sum
ourselves
up, to the
in
order
to
avoid
all
chance
:
of
misunderstanding, we must
future
confine
two following
formulae
Con Sordini
for
all
pianissimo
effects.
Cuivre' (with a
It
+) for
stopped effects forte.
the Horn
sometimes necessary, after these special effects, to indicate the precise moment when is to come back to natural sounds. The word "open" (in French "ouvert," in German "offen") is used for this purpose. (See Rheingold, Page 181).
is
Speed of Articulation.
6
sive
Despite the great length of use of single -articulation
its in
tube, the Horn can the lower register,
articulate
but
compass, from the 3C<i partial upwards, double and even employed, so that the Horn can bear comparison with the Flute The opening of the 2"<! act of Tannhduser, for instance, would articulation, considering the quick rate of movement. The maximum speed attainable in the low is:
register
(J = 104)
making exclurapidly, towards the higher part of its triple articulation may be
in
point of execution.
be impossible with single-
J.
W.
14267.
THE HORN.
in
61
the
medium
^s Lr
register
"
I
i
(single
'
articulation):
i
j = 12 )
"
i i
i 1
"I"
1
i
L
i
i-r-rrrf IT T
"'
_L-
.J
Register of double almost unlimited:
and triple articulation, where the speed that can be

...*
attained
is
TV
3 the Strain on the lips involved in the production of high notes is hardly comHowever, It is prudent not to go beyond the 9tb or lOti? harmonic, patible with great speed of emission. when making use of double and triple articulation.
Remark:
Length of Breath.
The following are the results soloist: Pe'nable, Concert- Colonne
7.
of
experiments made with the kind

3
assistance
of
Mr
5 5 bars
(J=120)
1
2
I
(J = 120)
*l :
'
'-"'
II
3
411}
4
I
7
t
F
I
3 mezzo J
"H
'
7 bars
forte.
mf
-.
In
the
medium
register,
from the
i
to
the
8tl?
partial
-A
*
..'
-*-
=
,
keeping the same
metronomic rate of movement (J = 120), the human lungs allow of sustaining eleven barsj&rfe, 14 mezzo -forte, and 25 piano. We must add that this can only be accomplished with the utmost effort, and would be a dangerous experiment in the orchestra. The production of the high notes, inasmuch as it involves great air-pressure, severely tasks the lungs, so that such long holding-notes can hardly be expected above the 8t!? and 9t!? harmonics.
Shakes.
8.
The pistons
length,
are
never used
travel
for
shakes;
in
this
great
the air
cannot
fast
of
enough
their
to
lips
tube, so very narrow considering attain the object in view.

only.
to the
12t!l,
its
Consequently, horn -players
make use
Major shakes come out well; (they are only possible from the 5th and 15tb harmonics). *% in which shakes are practicable: >r .-'"'' Register
...;:.';.'.'.'.'.
13tb, 14ib,
Ii
i
a "d
the
best
part of this register
is:
^--^^
in
==.
writing;
Shakes between the

they are
suitable
12t!l
and
15ti!
upper partials
are better
the
do
of
avoided
of
orchestral
for virtuosi, but
dangerous Minor shakes and are really
for
majority
not
players.
well;
come out so
doubtful
they are only
possible
with
the hand
in
the
bell,
very
quality.
Crooks.
The Valve -Horn can change key as Each key has a special crook, a hollow The shorter the tube, body of the Horn. sound seems to come to the lips; in the tween his teeth, so that it cannot escape.
9.
Horn, when, needful. between the mouthpiece and the ring interposed the higher the scale rises and the nearer the
easily
as the
Natural
end, the
player
feels
of
it
as
if
he
held
it
tight beof
He
for
is
as sure
as the draughtsman
his
pencil,
which
he
holds
near the point

3.
very
minute
work.
W. 14267.
O(*
THE HORN.
if
So,
the
performer has
Presto.
to
crooks:
Horn
in At>
PP
Horn
in
^
play
;
i
very
high,
he
makes use
of
the
F#,
G,
Al>,
Al),
and
B\>
fiHi
(Berlioz,
difficult.
La
reine Mab.)
AH
VK
<
'
^,
î.
to
ti
(Beethoven, 7th Symphony)
The
crook
in
crook
a
corresponding
coil
the
key
of
has two
coils
8 inches
At|
in
single
of
slightly
inferior
diameter,
and the
crook
the Al> diameter, a coil only Scinches
diameter.
How
could
Schumann venture
the
first of
to
write
up to such giddy
in
heights,
between the 8lD and 20
harmonics,
for
the
4 Horns
his
very
interesting
Concerto?
Horn
in
F
V4^
|
j
"~
(Concerto for
4 Horns.)
altho'ugh
to
it
(69 Finale)
Virtuosi
rehearse
!y
it
are
in
!
so much
afraid
of
this
will
Concerto that,
never venture
the
orchestra,
they
play
they are willing enough to in public: the danger isreal-
too
great
Siegfried's horn, which reaches the

kind
that
of
it
16*!)
upper partial, goes
straight
ahead,
without
it
any
feels
hesitation
is
or fear,
because
it
getting
gradually nearer to
moves forward by regular degrees, and because the goal, where it expends its full force:
Horn
in
F
sempre
accel. e cresc. (By kind permission of Schott
is
&
C9, Publishers
Proprietors.)
But
Schumann's
Concerto
far
more
dangerous;
there
is
not a page without a stumb-
ling-block.
10.
D, E,
F,
In
paragraph
we spoke
for
of
the indications
to
be
found
in
modern scores (Muta

in
in
G, etc.),
rather
the
convenience of the composer than

in
the
interest
of
the
performer, who usually transposes into Indeed, he plays everything in F, save

ticed
If
the key of F. the exceptional
cases which
we have just
no-
(9).
in
then, voiding too
the
course
flats
many
or
troubling himself about stance, this passage beginning
piece, the composer thinks it necessary, for the sake of asharps, to change the key of the Horns, he may do so without the means by which the change can be effected. Take, for inof
in
F and
finishing
in
E.
Here are two modern ways

/i
of
writing
i
i
it:
in
i
Horns
in
The result
the
is
change accustomed
of
to
the same; it is only a matter of determining the most favorable place for it is a mere question of neat key; appearance for the eye. Performers are this sort of The composer may and are never taken by surprise. exercise,
to
implicitly trust
them.
J.
w. 14267.
68
THE HORN IN THE ORCHESTRA.

11.
Four
the
Horns
make an admirable quartet.

is
When
doubled.
Horn-quartet
added to the Woodwind,
the volume
of
sound
is
more than
is
Solo Horn moving softly through the Strings blends with them most harmoniously. It one of Wagner's favorite devices. When blended with the Celli and Double-basses, the Horn acquires a singulary penetrating quality of tone, which one might fancy to be that of a soft Trombone:
Moderate.
Solo.
Horns.
Violoncellos
Double-bass.
_,
_
(Liszt.)
chestra:
The four Horns playing piano or forte can be heard through the whole mass of the orA Adagio. 4 Horns
in E.
(Widor, 3Td Symphony.)(J. Hamelle, Editeur- Proprietaire.)
The
Horn and
Clarinet
in
unison
are exquisite:
dim.
(
P^
Trombone
C. Franck , Symphonie.)
(i.
Hamelle, Editeur-Proprietaire.)
In
the
following
choral
given
to
the
Brass, the
Solo
Horn
doubles
the
first
very
efficiently:
15*
Adagio
sostenuto.
in F.
Horn
$--->
Trombones.
^=*=
Tuba.
64
The
but
THE HORN.
following combination so often used since, is very
of
two
Clarinets
in
and
even
quality,
two Horns, little known before Mozart, the two kinds of tone-color blending
admirably:
Clarinets in
B!>.
Andaniino.
J-
.î
Horns in
El>.
Strings.
(Flauto Magical)
The
leave
next
behind
the Roi de Lahore, that example shows some light, bounding chords from them a vibration as pleasing to the ear as the white mist of a summer's
eye:
morn to the
Allegretto
inEl>
Horns
<
in B!
Strings.
(By kind permission
of Heuêl ut
C(, Kditeurs
ProprieUires)
(Massenet, Le Roi de Lahore)
Note
notes
also
of
this
the
charming Strings and
effect
of
the
Horns and
recurring
Flutes,
figure
accompanied
of
by
the
holding-
the
rhythmically
the Harp:
Flutes.
Horn
in G.
Harp.
Strings.
(By kind permission
of
A.Dunnd
Fils,
Kditeurs-Proprietaires.)
(Saint-SaenS, Dansi- Macabre)
In
chord
at
played
by
all
the
of
wind
instruments
to
together,
give
nothing
Horns
the
extreme
end
diminuendo,
the
can equal the stopped impression of a dying echo:
J.
W.
14267.
THE HORN.
Flutes.
65
Oboes.
3 Clar. in
B\>.
Horns in F.
Bassoons.
3 Trumpets in
F.
3 Trombones.
(Wagner, Siegfried.)
(By kind permission
of
Schott
&
C9, Publishers -Proprietors.)
Remark: When the Horns are written in four parts, the bass is naturally obliged to expend more wind than the other parts, and to take breath oftener, being at the same time less sonorous. It is better, when sustained notes are needed, to make use of the Bassoon, which is less fatiguing for the player and forms a more solid basis to the harmonic group:
1*1
Tranqvillo.
Horns
in F.
Bassoons.
(By kind permission
of Schott
&
C9, Publishers-Proprietors.)
(Humperdinck, Hansel Und Gretel.)
2nd Remark:
the first
As we have usually four Horns in the orchestra, it must be remembered that Horn of each pair is an ascending Horn, and the second a descending Horn; consequently, the high register must be confined to the !$t and 3J Horns, and the low register to the 2"d an d 4th.
12. AUTHORS AND WORKS TO BE STUDIED: Mozart (Quintet); Beethoven (Sonata, Schumann (Concerto); Brahms (Trio); Quintet, Sextet and Septet); Schubert (Octet)} Saint -Saens (Romance); Friedr. Gumbert (Solobuch Dauprat, Gallay, Mohr (Schools);
fiir Horn), etc. Read Handel, Bach,

phony),
all
Mozart,
Beethoven
all
Weber,
all
Wagner, and
the
J.
(who writes down modern authors.

W. 14267.
to
double
B\>
in
the
9th
Sym-
66
THE NATURAL TRUMPET.

(Ital.,
Tromba.
2)
Ger., Trompete.
Fr, Trompette.}
1.
We
the
have
already
to
seen
(P. 51,
its
that
the
narrow
its
diameter
in
of
its
tube would
only
not
allow
with
low
Trumpet E (actual
sound
fundamental
tone,
scale
j>m
practice
beginning
pitch):
_^
fL.
Average compass:
This
has
nearly
this
Manfred, Schumann
ually
always been regarded as the inferior limit ventured to write El>, a semitone lower,
of
the
instrument.
In
but
1^l
transfer
Flute.
note
>
from
the
intimidated
Trumpet
to
the
prudent conductors usTrombone:

i
Allegro.
|
*Tj
r-^-8
*LJ" k^
THE NATURAL TRUMPET.
67
^Tr
in Ak.
*>
TI
^
4
T &
9^
f
a-"'"*
TV
3
_
3=
rj
t>o
Sounding:
68
THE TRUMPET.
THE TRUMPET.
Remark:
The Trumpet
in
(#)
is
required for Bach's
works;
it
erally speaking, notes above Bt (actual pitch) lose the timbre sensation of a large Flute rather than of a brass instrument.
is not used otherwise, for, genof the Trumpet, and produce the
Besides, Gjt and

-i
A
there
tf
]*
cannot be attacked piano, and still less B and C J^T '*/ high a key? The true compass of the Trumpet is two octaves, from
l~~
so
what need
is
for
.
so
to
G
old
(actual sounds.)
and within these limits nothing

in
is
so fine and so powerful
as the
Trumpet
little
in
(in
or
E, according to tonal
necessities).
Compared with
sounds
almost
this
manly and imperious instrument, the tone of the

of
modern Trumpet
the Cornet a Pistons. Wagner scrupulously avoids making too free use of the ly, and to produce a special effect, that he writes up to
like
that
It is likewise ual pitch):
quite
exceptionally
and
in a
ff that
it is quite exceptionalin alt (actual pitch) in Parsifal. he sends the F Trumpet up to BP (act-
high notes;
li
Trumpet
in
ff*
(By kind permission
r
of Schott
(March for the Centenary of American Independence^} & C9, Publishers Proprii-tors.)
-
However, the
the
performers
it
high
of
register.
Rf
Et>
it
basso;
to
when
Ei>
Manfred,
for
adopted the Trumpet in C, easy to play in have Nearly tuning- slide which allows of falling one tone below is to the necessary for the Second Trumpet to descend still lower instance it takes the B\> crook, and its tuning -slide not only allows
of
to-day
have
all
all
C,
play the
but
even
D
the
(actual
pitch),
so
that
the
Trumpets
of
pair,
the
in
2!
in
B?, have
following
enormous
compass:
..--"''Natural
Tuning-Slide.
in C.
Scale.
Trumpets:
-in
Tuning-Slide. 2
-
it
TY
.....--"Natural Scale.
(Actual
Sounds.)
Remark:
The tuning- slide
is
not used
for
keys lower than Bt.

.
Articulation
8.
Like the
and
triple
Flute, the Trumpet articulation, so that

in
makes use
is
of
three
of
kinds
of
capable
great
rapidity
tonguing: single, double, of emission:
Trumpet
E.
of
(By kind permission
HeuKl
et CIS,
Editeurs-PropriMairts.)
(l)elibes, Sylvia?)
(J :
88)
Trumpets
in D.
Flutes.
Oboes. Clarinets
Bassoons.
(Berlioz,
Menuet des
p.
Follets.)
259.
J.
W, 14267.
70
Presto.
(J =
THE TRUMPET.
160)
?
,1
Trumpets
in E.
_^(By kind permission of Heugel
^L^
et CIS,
\^f
%
^^
f
^JL^
Le Rot
d'Ys.)
Editeurs-Proprietaires.) (L/alo,
Andantino.
Solo
March e aux Flambeaux.)
(Meyerbeer,
Trumpet
in
Trombones.
Violins.
Basses.
(By kind permission
of C.F.Peters,
Editeur
Proprie'tMre.)
(Wanner,
low and medium registers:
The
(J =
following
are
about
the
maximum speeds
attainable
in
the
120) ^{k-ft
1~~
:^~~~~
^_j~~~
(J =
144)
3
long, on
However, the passage must not be very consequent heaviness of articulation.
account
of
the
fatigue
of emission and
Length of Breath.
9-
Piano,
in
the
Trumpet
*
,
can,
in
moderate
tempo, sound a
&
bars
the
low
register:
J?
8_ _*
67
in
holding -note
8
of
or
p^f
and
or 14
TVTTTrTYTTTTT*
of
?
register for 12
with
bars:
the
same rate
(J
r
movement,
.
(
it
can
hold
note
the
medium
120)
o
numbers
are
halved
in
It
is
needless
to
observe
of
that
is
these
forte passages,
because
then
the
expenditure
breath
doubled.
J.
W. 14267.
THE TRUMPET.
71
Shakes.
10.
We
have
it
seen that
is
the
Horn
does
it
not
the
Trumpet,
The
following
just the reverse: are those which may
can
make use of the pistons only use its pistons.

(the cross
for shakes.
With
be
used:
means bad; the double
cross im-
possible).
18
14
15
16
17
possible.
C)|
somewhat sharp.
18
19
20
21
difficult,
very
difficult.
10
difficult
OlO
and
unsatisfactory.
HltpOf:
11
12
24
Impossible
beyond
Muted Trumpets.
11.
Neither
into
Beethoven
nor
Weber made use
of
muted Trumpets.
them
they
are
fashion by employing them in Siegfried and in constantly to be met with in modern scores:
.
Wagner has brought Since then, Meistersinger.
_... ., Allegro. (mit Dampier.) ^
Trumpet
in
Bk
Violins.
i
^
^
1
Basses.
..|WH1
(And Wagner
directs the performer to
[iV^rM^ll^VÎT^'^'^'vlJVj* ]'']' blow very (Meistersinger,

hard).
p.
460.)
14267
iy kind permission of Schott
&
C9, Publishers- Proprietor*.)
THE TRUMPET.
There
Strauss,
following
is
no modern
composer
who
does not
Vincent
exquisite
d' Indy,
use
Bruneau, Debussy. of muted Trumpets:
Richard use the Trumpet con sordino: will only quote the abound: Examples
I
Flutes.
Clarinets in A.
Horn
in
F.
Trumpets
in
(muted)
Triangle.
Celesta.
Harp.
15*
Violins.
"
Violins.
PPP
The
an
articulations
of
(By kind permission of Heugtl
et Clf,
Editeurs-Proprietaires.)
(Charpentier,
Louise.)
the
experienced ear can only just silvery notes of the Harps.
Trumpets loom through the surrounding veil of orchestral haze; detect them under the tremolo of the Violins and the
J.
W. t4J267.
73
THE
12.
BASS
the
TRUMPET.
is
The
quality
of
tone
of
Bass
Trumpet
admirably
full,
rich,
and even, from:
to
Its
tube
is
ft.
8^
it
in.
long.
Wagner
writes
in
El>, D,
&
C:
Written:
~S
10
11
12
13"
14
15
1?5~T7
18
19
20"
7
n
10
11
1
12
13
14
-brr
15
krrr
16
17
18
**
19
Im im
fr-
3456
ktv **~^
8
a /c
9
_,
10
it
11
12
__ i
13
14
15
16
17
18
'
19
Sounding
in
--
34567
3
-^ty-vr
"
t> it" -**
1 . o h* *>" - ~ H" diTô""!^-
in
C
4
5 6 7 8 9
10
11
12
13
14
15
16
17
18
19
20
but,
whatever
the
key
indicated
by
the
in
posing
when
necessary),
Bass
Trumpets
composer, D Et> and
it
is
always
being
played
in
(trans-
not
made.
Bass Trumpet
in ElI
Sounding:
"
in
mp*
f *j
'
Ij.
Sounding:
j>
-JF
Bass Trumpet
Sounding an
octave lower.
Avoid
falling
F,
as
low
as the
above,
3fj!
is
partial,
or
rising
higher
than
E,
the
20tt>
partial,
though
semitone
possible
and
tolerably
sonorous.
J.
W. 14267.
74
THE BASS TRUMPET.

These
Everything be idea
published
out
of
13.
since
Bach
(as
and
far
Handel.
as
the
iwo
is
illustrious
masters
than
with
style.
should
the
read
of
more
curiosity
Trumpet
altogether
concerned)
our
imitating
them,
their
manner dif-
fering
from
modern
Technically,
we have
analogous
little
information
our
little
about
their
in
almost
prehistoric
Trumpet.
Was
it
an
instrument
in
to
Trumpet
C?
So
one
would
think from a pass-
age
Deldevez's
Curiosites
musicales:
has has
a been
"Lately, an
important
discovery
in
Bi>,
made
at
Heidelberg, which
of
solves
-
the
slide,
procan
blem;
be
tube
to
4
the
ft.
long,
of
been
meeting
the
by
found, which, by means

held
in
a tuning
raised
key
D.
At
Berlin,
Rosleck
played
of
it
before
an
assembly
an
that
unanimously
than
admired
easy
and
agreeable
Trumpets!'
formerly have
in
emission
notes
sounding
octave
higher
is
it
those
produced
Is
it
ordinary
Where
this
Trumpet?
only
this
the
instrument
current
use?
although
How
have
time
is
that
single
specimen
of
all
should
of
been
discovered,
we
the
preserved
of
it
numerous
V
Charles
specimens onwards?
of
kinds
Trumpets
and
Trombones
from
Was
merely
a question
the
mouthpiece
employed, as
Breitkopf
(Die Trompete in alter und neuer Zeit,

the
specialists
I
&
in
Eichborn supposed by and the majority of Ha'rtel)

is
have
been
able
by
to
to
consult?
"The
of
radical
mistake
made
scientific
men consists
No,
it
thinking
that
the high tone

to
Soprano
of
Trumpets
various
was due
their
tube
very
was due
obliged
exclusively
the
em-
ployment
his
lips,
mouthpieces, whose
narrow
bore
the
player
to
contract
the
Soprano
Trumpet
having
much smaller mouthpiece than

narrow
scale
the
ordinary
Trumpet'.'
The
truth
for
is
that
the
in
employment
a
limited
of
a
of
very
mouthpiece enables
to
lips
specially
practised
playing
part
the
reach
heights
generally
plays
deemed
of
inaccessible.
its
Besides,
octave.
we must
note
that
Bach's
Soprano
hardly
ever
outside
own
The
special
real
Trumpet
Weber,
begins
with
Haydn
Berlioz,
and
Mozart,
too
the
high
imperious
nor
too
and manly Trumpet of
Beethoven,
Wagner, and
neither
low:
two octaves
from
to
G:
This Perfect
is
the
ancient
Trumpet,
the
Fifth
the
oldest
instrument
It
in is
the
world, unchangeable like the

kind
of
Consonances,
to
and
the Octave.
for
this
Trumpet that we
ought
write.
J.
14267.
75
THE CORNET A PISTONS.

(ital., Cornetto.
Ger., Kornett.
Fr.,
Cornet a pistons)
For nearly half a century, in French, Belgian, and Italian orchestras, the Cornet a This was due to the fact Pistons took the place of the Trumpet, gradually ousting it. that the Cornet was easier to play, requiring less talent and artistic intelligence. Trum1.
pet
virtuosi
became rarer and
rarer,
while
cornet -players
were
to
be met
with
every-
where. Although the timbre of the two instruments could not for one moment be compared, the same the one being thick and vulgar, the other noble and brilliant, as they had the difference in quality of tone was ignored; so much the worse for sensicompass,
tive
ears!
the
However, since the invention of the little modern Trumpet, which can rise as easily as Cornet, makes use of the same harmonic series, and is not much more risky in its
the
emission,
Cornet
are
in
has gradually
in
retreated
A:
their
before
the
reinstated
Trumpet.
the
2
little
Cornets
tuned
B;>
and and
the
length of
their
tube
is
same as
Fjl,
that
rises
of
Trumpets the same C in
B? and
A,
scale, which
starts
from the same
to
alt.-
Cornet
in
Bt>
length of tube
4
4
ft. ft.
in.
in.
Compass:
Need we again
highest
ful
call
attention
or
the
of
lowest
the
notes
quality
first
creasing
weakness and
danger incurred by too frequently using either the instruments? We must ever bear in mind the doubt5 or 6 degrees in the low register, from F# to C, and the inthinness of the timbre from the sixth partial (G) upwards.
to
the
of
brass
High register where

I I
good register.
the tone gradually
8
S:
becomes thinner.
The highest notes can only be produced which is relatively easy.

It
with
some
difficulty,
except
B!>
A
when
easier
is
dangerous
notes
the
like
to
attack
these
the
extreme
danger
degrees
is
without
preparation,
is
but
and
surer
precede
them
obviated.
Nothing
more
frequent than a
cadence
following, for
instance:
Cornet in Bt
and the B? thus prepared is excellent. So we see that the best notes of the and G (6ti? upper partial).
3:
instrument
lie
between
(2!
upper
partial
Cornets
same possible
gle,
and Valve -Trumpets have and impossible shakes.

triple
the
same
the
mechanism,
Trumpet,
the
the
same
Cornet
capabilities,
the
of sin-
Like
makes use
double, and
it
mouthpiece,
tonguing. Still can perform the wildest
more
easily than the Trumpet, thanks to the shape of its acrobatic feats: runs, iterated notes, chromatic scales, etc.
J.
W.
14267.
76
"But
ondary
its
THE CORNET.
technical
of
resources,"
military
Luigini's
says
Gevaert,
brass
"show
to
the
best
it
forms
art
and
bands
where
is
advantage in the sectreated as a bravura
instrument."
See
Alex.
not
interesting
Caprice.
Gounod, Meyerbeer, in the orchestra. Trumpets the West of Europe wrote for 2
Berlioz,
Bizet,
However, we must
forget
services
and
contemporaries Till within the last few years, composers in is only quite recently pets and 2 Cornets, and it
into
their
used
Cornets
rendered; instead of
Trum-
that
Trumpets
have
again
come
vogue.
Allegro.
a 2.
Trumpets
in B'.
Cornets in
E\>.
_C_fr!
gs
(Kerlio/,
Trombones.
HE
L'Enfance du Christ^}
Andante.
Orchestra.
Cornets in At.
fit^
Trumpets
in E\>.
Trombones.
Ophicleide.
Hy-j>
*'
--
(Meyerbeer, Le Propkete.)
Allegretto.
Flutes.
(Orchestra).
3
Cornets in
B\>.
a J iyi P
l
JJJJ JJJ
I T
I
Bassoons.
Triangle.
(Gounod, Faust)
i.
W.
14267.
THE CORNET.
Moderate.
77
Trumpets
in
A.
J?
Cornets in A.
"Jl V
ff
Trombones.
3E=
Orchestra
fl
I'Arlesienne.)
(Chondena, Editeur- Propriotaire.)
Flutes.
(Orchestra)
Trumpets in
E.
^
y
Pizz.
^
t
Cornets in A.
/I
F
:
Orchestra.
^=!
5fe
3E$
Violins.
^
T^r^r
et Cif, Editeurs- Proprietaires.)
ff
i
Trombones.
(By kind permission of Heugel
(Widor, Ouvertum Espagnole)
At
ing
present, Cornets
their
are
gradually
disappearing
legitimate
from
the
orchestra, and
Trumpets are tak-
place,
thus
resuming
their
position.
J.
W.
14267.
78
THE TROMBONES.
(ital.,
1.
Tromboni.
Get.,
Posaunen.
(in
Fr.,
Trombones)
always
Bach,
Gluck,
bones
Despite
Alto,
its
Mozart, and Tenor, and Bass.
Beethoven
his
youth)
wrote
for
Tromhas
al -
admirable
timbre, akin
to that
of
its
the
Trumpet
in
F,
the
Alto
Trombone
it
now become
most
more or less obsolete,

of
because
compass being much the same,
is
a duplicate
that
magnificent
instrument.
Alto Trombone:
Trumpet and
section,
Trombone
the
complete
lower
the
in
latter
section
each other, the former being, of a single keyboard.

never
or
as
If
it
were,
the
higher
the
Alto Trombone was
necessary
so
the
orchestras
of yore, which
had
more
than
two
Trumpets,
it
is
not
indispensable
now that
we have three
four
Trumpets.
2
with
In
the
last
chapter (P. 74,

Its
13)
to
mentioned
any
the
theories
but
started
in
connection
Bach's
it
vented
played
else
Trumpet. from taking

soprano
of
inability
in
produce
notes
It
the
natural harmonics pre-
part
in
conjunct
polyphony.
of
was
never
but
the the
Trumpet
that
the
kind
part
the
quartet
brass
instruments,
high Trombone
nowadays
almost
unknown.
"//
was
Cornetto, or a characteris-
on Sundays and Church holidays, to have the Choral the day played by a band of Cornet and Trombone players, standing for in the tower of the principal church. Bach introduced this effect into his Cantatas, the brass instrument group playing alone or doubling in unison each of the vocal parts" (Cantata N9 25}.
tic
So, the
German custom,
Cornetto
and
in
the
this
Trombones
robust
were
grouped
together,
and
the
Alto
became
an
indispensable
voice
quartet.
The
old
formula
Alto,
Tenor, Bass
adopted
the
limits
remained
the
of
in
force
till
the
the
Symphony
first
in
C
his
minor.
on
Afterwards,
staff,
Beethoven
exceeding
one
never
the
system of Tenor
writing
two
and
Trombones
and
Trombones,
Weber
followed his example. when 4 Trumpets came to be used in the orchestra, the Trombones being ever Then, more confined to the lower parts of the harmony, the Alto became more and more obsolete.
successors
THE TENOR TROMBONE.

( Ital.,
Trombone tenore.
notes,
Get.,
Tenorposaune.
=
to
Fr.,
Trombone
tenor.)
3.
Compass:
35
from
y
slide,
Its
mechanism
the
is
simple;
the
which
by
can
a
be
drawn out
to
seven different
lengths,
displaces
harmonic
series
each
time
semitone.
J.
W: 14267.
THE TROMBONES.
&*"*
,.
79
84
ii
66789
L
=_
10
IS* Position. The instrument is, so to speak, closed, the tubes fitting into each other. The fundamental tone, termed pedal-note, is
practicable.
B!>j-
^
7
I**
?*
284
,
56
o
lt lengthening
8
9 10
Position. of the slide.

is
The
fundamental tone
practicable.
in
IV
^
.
234
HW3
3
86789
7
10
The "? lengthening of the slide. fundamental is no longer so practicable
^
4
Position.
56
66
10
The lengthening of the slide. fundamental is still less practicable.

3ld
^
VI
5 th
7
10
The lengthening of the slide. fundamental tone cannot be sounded.

4th
^
^
is
-n
ip ro
o
5 6
o
7
>
:
10
* Position. The lengthening of the slide. fundamental tone cannot be sounded.

sth
VII
j|o
9
fr*
7M
6ti?
Position.
^ 56 78
complete
scale, with
10
The lengthening of the slide. fundamental tone cannot be sounded.
Here
the
indications
allows of sounding the

even
to
said
note.
As
will
be
above each note showing the position which seen, some degrees are common to two or
three
positions:
VII VI
V IV
II
III II
I
VII VI V IV III VII VI

VII VI
V IV III
I
II
V IV
I
III II
VII VI
VII VI
V IV
III II
IV
III II
VII VI
V IV
III II
oflo
jt"
(*)
This
Bli
is
but good
when held
of indifferent quality in a rapid passage, for some time.
When
and
is
possible, avoid
the
7*1]
position,
of
in
which
all,
requires the
maximum
Double
the
extension of the slide,
therefore
the
onl_y
most
be
difficult
the
two
notes
E + and
B+
fifth
above,
which
can
produced
this
position, are
worst
on the instrument.
J.
W. 14267.
80
The
remark
in
THE TROMBONES.
made
case of as
on
P.
4.
57 (2), concerning
cannot
in
the
Horn, applies
equally
to
the
Trombone:
and
It
the
both
the
instruments, performers
play
have
to
choose
with
between the high

equal ease.
the
the
is
low register,
evident
will
F,
lips
both
81I 1
,
registers
that,
find
it
after
having
to
sounded
descend
the
9 til, and or
10*1?
upper partials,
to
performer
notes: G,
difficult
without
mistake
hesitation
the
low
E:
.V
of
J
really
As a matter
B!<
in
fact, the
sonorous
register
is
comprised
between Gamut G and
the
Clef:
THE TROMBONES.
81
Length of Breath.
6.
The amount
performer
is
of
wind
to
required
to
play
at
the
Trombone
every
is
so great
that
in
forte
the
obliged
take
breath
A
almost
note:
Andante maestoso.
a O.
i
ir
i=i
Wagner, in this case, does not take the trouble to mark the breathing-places, for he knows that the performers will take breath everywhere; on the other hand, he carefully marks the legato passages, and, to preclude the shortening of the last note of
each
legato
pence
the
group,
for
he
places
an
accent
over
every
note.
"if
I
'Give
me change
back;
my money" Gounod
if
I
used to say,
don't
t" e
give you
shilling,
want
twelve
In
write a
'Pilgrims'
crotchet,
theme
a
of
the
Chorus!
play notes marked
a quaver."
legato
in
bar
do
not
indicate
punctuation,
that
but
values"
and
says Z show
of
is
Wagner, "let
accent as
me
breath
sostenuto of the phrase; "don't cut down my have them complete'.' On the other hand, the slurs is to be taken after the second such beat, while
the
timein
bars
the
is
meaning
crotchet
the
over
note
at
the
same
time,
the
length
of
ihe
second
curtailed
of
little
as possible. (a method peculiar to the

of the
This
system
the
Trombone)
articulating and taking breath simultaneously corresponds to detached bowing on the Violin.
When
he
asks for one
composer for the bow per note;

the
Violin
wishes
no
to
have the
but
full
tone-power
instrument,
he
marks
slurs,
writes' above
passage:
let
sostenuto,
the
which
means: "let
mistake, prevent any there be no intermittence
to
he
in
the
legato Trombone proceeds in the same passages), it can play legato as well
linking
of
the
notes;
The
be uninterrupted!' way; when able
to
economize
just
breath
(in
Piano
violinist
as
any
other
instrument;
as
to
the
gives
of
bow
slide,
to
each
note,
so
the
trombone- player gives
an
articulation
each
motion
the
and
that, too,
sostenuto assai.
Tenor
Tromb.
THE TROMBONES.
Have
of
we not always heard
the
following
transition,
by
placed
by
Schumann
at
the
end
his
Larghetto, "hermetically"
slurred
the
performers?
Trombones.
Bassoons.
(Symphony in
l?l>.)
Remark:
writes
like
Schumann sometimes uses the Alto Clef

Alto
for his
two
first
Trombones,
Trombones, as in the following extract from the preceding illustration from the Symphony in Bk
(J
in
--
3d
Symphony
which he and in the
54)
J^T^
rau
Horns
in
Trombones.
PP
H
b
**
"
M-
Bassoons.
f
Note
bone.
the
extreme
lip
-tension
required
to
sound
the
high
El>
of the
Horn
and Trom-
This
is
certainly
a striking
not
feel
example
so
orchestras,
we have players
the
public
skilful
dangerous to sound this enough

very
of
composition.
Ei>
Yet,
in
our modern
harmoniously
difficulty,
on
their
Tenor
Trombone, ware of the

breathe
even
much as suspecting
of
the
but the
professionals, a-
danger,
thrill
freely
when
careful
the
not
difficulty
has
suspense at the been overcome.
beginning
of
piece,
and
only
Let
us be
to write
so high.
7.
In
the
preceding
it
paragraph,
referred
to
only
to
slurs
like
between
the Horn, having
ferent
positions;
is
net, etc.,
the Trombone
hardly necessary can emit a succession
add
of
that,
harmonics
belonging to difthe Trumpet, the Cora common fundamental
notes
with
one single articulation.
15*
Position:
Oth
Position:
J.
W.
14267.
THE TROMBONES.
83
8.
This
at
instrument,
is
which
is
so
short-winded
in
in
forte
for
passages,
its
and obliged to take

sustaining-
breath
every note,
remarkable,
piano
passages,
astonishing
power:
Moderate.
Violins.
Violas.
Trombones.
Violoncello
Double-bass.
marcato.
(By kind permission
cf Sehott
&
C9, Puhlishers-Proprietors.)
Through eight
giving
ing
its
long
bars, the
any sign of fatigue; slow tip-toe exit.
without respective notes quietly, and then the sound vanishes like mist, without our so much as notic-
Trombones hold
their
Articulation.
9.
It
goes without saying

It
that the
to
lower the Trombone
becomes.
like
is
evidently
difficult
sound
descends, the heavier the emission the fundamental tone of a tube 8ft. 10 in. long,
ft.
that of the
Tenor Trombone (Bb), or 12

that
in.
long, like
that of the Bass Trombone
(F).
Not only did the classic masters dispense with these

voided
anything
looked
like
bravura
effect.
low notes, but they carefully Nowadays, thanks to the skill of
ain-
strument-makers, many things formerly forbidden have become possible. Berlioz and Weber always wrote in semibreves, minims, and crotchets,
school
ages,
gister:
While
Beethoven
and
the
modern
are not
afraid
of
much
well,
livelier
rates of
which come out very
on
movement, or even of prolonged florid passcondition they are written in the sonorous medium re-
Allegro.
Mephistopheles suddenly appearing.
(88
J)
(Marche Hongroise.)
a 3.
J.
W.
14267.
THE TROMBONES.
No one would
formerly
have
thought
of
using
the
following
articulations, from Gotter-
ddmmerung:
Allegro.
Tromb.
(By kind permission
of Schott
&
C?, Publishers -Proprietors.)
Or these, from
Parsifal:
y
T*y
(The low
G+
is
difficult to repeat.)
(By kind permission
of Schott
& C9,
Publishers -Proprietors.)
(138
a 2.
i
(By kind permission
>ires.v of HeuRtl et C!f, Editeurs-Proprietaires.)
(Saint- Saens. 5E^ Svn (Saint-SaenS, Sympk.)
3^
Violins.
Tromb.
(By kind permission
^^
of Henêl et Clf, Kditeurs-Proprietaires.)
>,.
*
'
The performers of to-day look upon these passages as mere child's play. ask them for Mozart's long susBut set them to play the Scene of the Commander collect their to tained tones; you will see them shake their heads and beg for time
strength,
and
indeed
they
have
need
of
it
all:
Andante.
Violins.
4Trombones.
f
P
Violoncellos.
Double-basses.
it
fp
ta:
^
J.
W.
14X67.
THE TROMBONES.
85
(Don Giovanni}
The
matic
whole
than
scene
the
Trombones
or anything
more
be studied, note by note. Can there be anything more drain octaves under the chromatic harmony of the orchestra, rising impressive than the crescendo of these sounds of brass? should
Allegro.
Orchestra.
Trombones.
Remark:
the part.
The low Et
(*)
is
possible
on the Bass
Trombone, for which instrument Mozart wrote
J.
W. 14267.
86
THE TROMBONES.
Shakes.
impossible with the slide; they can only be produced by the lips: the stand one tone in ones are between degrees of the scale which only practicable apart the harmonic series, i. e. when the 71!), 8*1?, and 9il? partials can be employed.
10.
Shakes are
34587
In
(l?t Position.)
10
reality,
the only
possible
shakes are as follows
(the
positions
being
indicated):
\f^T
VII
VI
IV
III
II
was passing near a public ball-room, heard such strange bellowings eswent in and asked the performers, as soon as the Trombones that caping dance was over, to show me their music. This was what they had been playing:
Lately,
as
from
the
Tempo di marcia.
Trombones.
Side Drum. Kettle-drum.
and
to
wind up:
3 Tromb. -^fc-]
Astounding effect! cracker tied to its

It
is
not
likely
I
thought it was the Beast in Revelations, "Fire!" through a speaking-trumpet. tail, roaring that this effect will ever be used in a symphony, any more
One would
have
with
a
the
than
only mention it here on account of its rarity. fantastic howl is produced by the combined action of the slide and the lips, as a glissando is performed It is by the finger on a stringed instrument. very easy to execute, and suitable for a nigger dance.
shake, This
and
11

Trumpet;
of
published as poor as that of the but all the masters have Trumpet, written for both each one treating them in his own and it is instruments, personal manner, these various manners which must be studied. The brass instruments of Bach and Handel are written very high; those of Mozart, Schumann's sometimes too high, sometimes too Beethoven, Weber, in their true register;
literature
the
read
all
the
scores
since
must repeat the advice given in connection with the time of Bach and Handel; the special
the
Trombone
is
low;
Wagner's
low
usually
in
the
rich
medium
register, but
not
without
a secret
register
young
pets,
We
ors.
(Bass Trumpets, Tuben, Bass Trombones, Contrabass contemporaneous school with just the contrary tendency, especially as regards Truma tendency to be for it is anti- instrumental. regretted, must read, compare, and take our advantage of the
experience acquired
by
J.
predilection for the Trombones); those of the
predecess-
W. 14267.
87
THE BASS TROMBONE.

(ital.,
Trombone
basso.
Get., Bassposaune.
FT.,
Trombone
basse.)
12.
It
is
the
Tenor
Trombone
4^
4
Z^
transposed
a fourth
lower.
^' Ifcl*
EE
1
"
5*
JTVSlllUn. l$t Position.

Jli."
Fundamental tone theoretically practicable.
bii.
TT
t) :
~J'
--84578
j|
^3^
22*
Position.
Fundamental tone theoretically practicable.
fc>
5E
5**
456
4
5
6
78
h-ii-
Fundamental tone impracticable.
(HF)
i
TV AV
*>:
TV
.
Fundamental tone impracticable.
C-*)
1>"
-
[>TT
345678
*
i^
1,^
5^* Position. Fundamental tone impossible.
4j):
"
11
b<1
"""
Position.
Fundamental tone impossible.
VII
1=*7
2
7 *~ Position Fundamental tone impossible.

-
The Bass and

Its
Trombone
lips.
is
is
admirable
as
to
tone,
but
difficult
to
play,
requiring robust lungs
special
compass
as
follows:
2
3
FFy
been
said
the the
>J
All
that
has
about
first
the Tenor
Trombone
the
in
applies
of
equally
to the
of
Bass
Trombone,
ft.
with
the
restrictions, other referring to
two
concerning
slowness
speech
the
a tube 12
long,
difficulty
experienced
producing
pedal- notes
but
(fundamental
B:>
tones).
If
the Tenor
Trombone
\
can
,
barely
sound
as
pedal -notes anything

not
Double
and
Double
of
?
V
the
lower
notes
coming out,
still
less can the pedal-notes
the
Bass
Trombone be obtained:
Not
indulge
only
in
have
too
the
great
masters
of
free
use
the
but they are very careful not to never employed them, lowest notes of the real scale. They rarely write lower
than
Et
"f
^^
J.
W.
14X67.
THE TROMBONES.
Take,
for
in
instance,
the
score of
Tristan-, do you
know how
many times Wagner
in-
dulges
Bi? +
(P.
Once
note:
only
76), and
just
see whether
he
tires the
performer by the length of the
Oboes.
ff
dim.
Clarinets in Kb.
W^
p
cresc.
/f
dim.
Cor Anglais.
Jf
m
^
</'.
Horns in
F.
Bassoons.
cresc.
Tenor.
cresc.
Trombones.
Bass.
I" 9
Violins.
e"
&
cresc.
fe
cresc.
Violas.
cresc.
Basses.
J.
W.
14267.
THE TKOM HONES.

He does not make
lowing
exquisite
the
89
more than 8 or 9 times;
one
of
Bass Trombone
descend to
(P.
Ei>
the
fol-
holding-note +
pianissimo
250)
is
the
cases
in
question:
dolce.
Flutes.
-l/yfj|if{L
Harp.
(By kind
permissiaD of Breitkopf
&
Hrti-l, Editeurs-Proprletalres.)
Twice he writes D:
Andante.
Tromb.
PP
W
(p.
242)
Ten
THE TROMBONES.
So
that
the
whole
it
of
is
this
score
contains at
of
the most one
Double B\, two Z>&,andafew

never
EVs.
than
And when
El>,
question
holding- notes,
Wagner
employs
anything
lower
and
the
always piano.
rare
but
act
examples of a holding -note forte is to be seen at the end of the 20<i admire the prudence of the musician who has his Bass Trombone Parsifal; a Tuba, and only asks the Trombone to play fortissimo for 4 bars, while the doubled by Tuba continues for 8 more:
One
of
of
Orchestra.
Ten.
Trombones.
Bass.
Tuba.
(By kind permission
of Scbott
&
CP,
Publishers-Proprietors.)
dim.
THE CONTRABASS TROMBONE.

137
The Contrabass Trombone

Cello,
or,
is
an octave
below
the
Tenor Trombone,
like
the
Double
bass
compared with the

In
its
first
position,
its
more precisely, like the Sarrusophone compared with the Bassoon. harmonic series is as follows:
*}
91
THE SAXHORNS.
separate group of absolutely different timbre from the other brass like that struments, the tube of the Saxhorns being conical, instead of cylindrical and Trombones. Trumpets
1.
This
is
in-
of
If
we enquire
family
of
into
the
origin
of
the
Saxhorns,
we can trace
it
back to the almost
for-
gotten
Keyed
of
Horns
seven
and
The
group
consists
Ophicleides. instruments:
Sopranino
Saxhorn, or
Small
Bugle
in
in
Ei>
Soprano
Alto
_
_
or
or
Bugle
Alto
Bt
El?
in
Barytone
or
OP
Barytone
in
B!>
(*)
Bass
(*)
Tuba
in
Bl> (or
in
C)
i This is the instrument used i n the orchestra as a bass to the Trom(V. bones. 8, P. 94)
Deep Bass
Double Bass
_ _
or
Bombardon
in
El (or
in
F)
or
Contrabass -Tuba
in
Bl>
Except
are
the
Tuba, which
has
four or even
five
pistons,
all
the
members
of
this
family
analogous to the Cornet, having the same mechanism and of the same fingering.
number
of
pistons,
making use
of the
same
of the tubes, unnecessary to enlarge upon the differences in the dimensions 1 increaswith the of emission of a Bugle 4 ft. S ^ in. long, compared facility upon the lowest notes of the Contrabass- Tuba in Bl>, which is 17 ft. 8 in. long, ing heaviness of not or to repeat that, at such depths, speech becomes slow and bravura effects are
It
is
the
to
be
expected.
3.
It
would
be
well
to
admit
total
the
Saxhorn
of
group
of
into
our orchestra.
This
homogeneous mass, mellow background

It is
with
for
a
the
foil
compass
than
five
octaves,
would
serve as
perfectly firm and
brilliant
flourishes
the Trumpets
of
and and
and
Trombones.
with them.
would
serve
as a
rather
as
an
element
combination
This (re-
what
The
Wagner
in
intended
B\>),
when he conceived
which
are
is
his
Tenor -Tuben
modified
Alto
Bass-Tuben
Bass
Saxhorns.
spectively
E? and
total
compass
of
the group
nothing but as follows:
8.
(Little Bugle.)
(Contrabass -Tuba.)
The
for
Saxhorns
are
made
of
of
brass;
their
length
is
invariable,
i.
e.
their key never changes,
they
make use
neither
tuning -slides
nor
crooks.
J.
W.
142&7.
92
THE SAXHORNS.
SOPRANINO SAXHORN.
.
(LITTLE BUGLE IN
E!>)
4.
In
German:
Fliigelhorn piccolo in
'
Es:
Compass:
/jC
^
instrument,
for
sounding:
!)*
T"
This
ful
is
a very
high,
shrill
capable
the
of
great
but
in
the
it
where
ters:
plays
orchestra, the Sopranino

: '
unless
some
part;
:
special
effect,
following
are
it is not execution; very usesuitable for bands, military the limits of its various regis-
Low
register.
Good
The notes
are
very
of
. :
register.
High register. ?. ?
ly
te
the
high
register,
difficult.
especially
the
three
last
=
semitones
dangerous
it
and
Even
by
high
A
or
T
seme
cannot
of
be
attacked without pre-
paration;
has to be
led
up
to
scale
kind
figure:
sounding:
It
is
played
like
Cornet a
Pistons;
it
has the
mission, and the same single, double, and but a Cornet higher by a fourth. Its most characteristic name is the German
ly
same mechanism, triple articulation.

one:
the
the
It
same easy eis
Cornet,
Fliigelhorn Piccolo, which clearfamily;

it
points
to
the
fact
that
it
is
the
Piccolo
of
is
not
melodic
but
bravura
instrument.
SOPRANO SAXHORN.
(BUGLE IN
fit)
5.
In
German:
Fliigelhorn
in
B:
sounding:
Compass: A.
_..
This is an instrument with a soft, mellow, poetic timbre, and is less vulgar than the more than has hardly been employed It Cornet, to which it corresponds in compass. once in the and even then its part is usually played by the Cornet {Robert le orchestra,
Diable, last act);
it
is
true, Meyerbeer,
being
the
dead,
is
unable
those
of
to
of
protest.
As
its
compass
to
and
note
mechanism
about
the
exactly
correspond
to
the
nothing special dentical.
Bugle,
capabilities
both
Cornet, there instruments being
is i-
=fe
Excellent
!
Hi h register.
(Hardly practicable.)
register.
j
J.
W.
14267.
THE SAXHORNS.
F||
93
excellent,
is
dangerous,
to
but
of
the the
two
following
octaves
latter
are
not
inferior
that
Cornet,
which
instrument
the high register frequently rises to C.
and
is
Remark:
the
Except F|, the low notes are of much better quality and purer of intonation than on
Cornet.
Bl>.
Bugles in
sounding:
Although capable
strument, and
of
ought
great execution, the Bugle is more especially for melodic purposes. to be used chiefly
an
expressive
in-
ALTO SAXHORN.
(ALTO IN
6.
In
E\>)
German:
Althorn
in
Es:
Compass:
=
inferior
of
^ sounding:
~^^
This
is
a rather
forms
It
is
part the
but instrument, which does not play as a soloist, usually to the polyphonic instruments. background and Barytone Saxhorns. However, it connecting link between the Soprano
the
articulates
with
considerable
ease
and
can
hold
note
for
some time.
Low
register.
Register of best quality.

It
High
register.
is
imprudent
octave
to
descend
at
lower than
to
A
for
its
==,
unless
other instruments
in
unison
or
in
the
are
hand
make up
defective
quality.
Alto
in E\>.
I*
It
is
a background
instrument,
a kind
of
orchestral
padding.
BARYTONE SAXHORN.
(BARYTONE IN
7.
Jn
st)
German;
~
Tenorhorn in B,
.,''
or
Bass -Fliigelhorn:
sounding:
t
Compass: = OK^
^s^
and
to
a)
This
is
much more pleasing

of
attractive
instrument
with
than
the
Alto, and
the great
emitting
ft.
advantage
without
while
the
like
being
able
descend
relative
In
ease,
it
at
the
same
to
possesses time
a
difficulty
some
pretty
stop,
li
Bugle
the
is
written
Bl>.
corresponds Cornet, but sounds

f
high notes. to an 8 ft.
reality
corresponds
16
stop.
an
octave
lower.
Barytone in
n-
fr j
J.
sounding:
**
tt
W. 14JJ67.
THE SAXHORNS.
;-i :
High
register.
Low
u^; '*
register.
Medium.
Excellent register. All this compass practicable
_...-'' '"
of course, gradually become thinner in quality, the Apart from the highest notes, which, whole of its compass, and in particular the medium, has a full, soft, rich tone, reof very satisfactory execution. Like It that of the Horn. is, besides, capable calling better adapted for melodic than the Bugle, the Barytone is an expressive instrument,
for
It
florid
is
passages.
the
most
perfect
instrument
of
the
whole
family.
BASS SAXHORN.
(TUBA)
8.
In
is
German:
the
only
far.
Basstuba:
instrument
of
This
the
Saxhorn
family
that
has
been
introduced into the
orchestra
so
to
Thanks
the
addition
of
supplementary
its
valves,
it
can descend
the
as low as
notes
the
Con-
trabass-Tuba.
mon
Tuba.
to
the
two
However, as instruments
tube
is
relatively
like
narrow,
rich
low
which are com-
are
nothing
as
and
full
as on the
Contrabass-
***
Compass:
Bass -Tubas
tones
in
are low
constructed
register:
in
C and
in
Bt>,
this
latter
i
key
possessing two extra semi-
the
Bass-Tuba
in
Actual ^ "Âc
But, whichever
sounds.)
instrument
is
used,
the general
find
practice that
is
to
write
for
the Tuba
in
C.
the
If
performer transposing when necessary. we consider this extensive scale, we

low one)
.
the
most
:
interesting
register
(the
very
;
'
is
unfortunately
the
weakest:
.....................................................
;
................. .
..........................................................
Ai
Sonorous. H
II
I
Less sonorous.
I
I
Ful1 tone-power.
I.
t>3
$
it
b*
\*
can, with
Y
the
#^
5-piston
z
.
High
register.
Some
exceptional
performers
is
Bass -Tuba, descend

orchestra, to write
as
low
as
=
=
TT
but
imprudent, when
scoring
for the
lower
than
and
the
even
third
this
note
should
be
sparingly
used,
as well as
all
the
degrees
comprised
in
Y.
On
rich
the
in
other hand, the
two
octaves
between
and
are
remarkably
intense
and
quality.
J.
W. 14J467.
THE SAXHORNS.
The Tuba, which has
factory a substitute blend well; the soft
with great advantage replaced the Ophicleide, is not so satisfor the Bass Trombone, for the two kinds of tone -color do not
thick
tone
of
the
Tuba jars
with
the
metallic
of
timbre
of the
Trom-
bones, and the comparison is altogether to the disadvantage But let us try to be content with what we have got, and
the Tuba.
neither Beet-
remember that
hoven
Weber had these deep bass notes the use that can be made of them: showing
nor
at
their
disposal.
We
give
some
examples
jd
Trombone
Tuba.
*p-n
1=?
THE SAXHORNS.
THE DEEP BASS SAXHORN.

(BOMBARDON)
11
It
In
is
German:
either
Tuba
in
in F, in Es.
in
E!>.
tuned
F or
inF.
Compass;
:
sounding:
in
This
necting
instrument
link
is
not
the
used
in
the
between
Tuba
and
orchestra, but only in military bands, as a conthe Double-bass Saxhorn in By, which latter it
usually
doubles.
THE DOUBLE-BASS SAXHORN.

(CONTRABASS -TUBA)
12.
It
In
is
German:
in
Bi>.
Kontrabass-Tuba.
tuned
Compass:
sounding:
*)'
It
is
written
like
16
ft.
stop,
e. g.
Double -bass Saxhorn in Bl>.
be seen, this is, of the whole family, the member that has the most limited All the notes of the compass, but, on the other hand, it is perhaps the most sonorous. scale come out well, down to G, and the execution is satisfactory, despite the great of the notes. depth
As
will
Wagner had
to
Contrabass -Tuba
extremely
(V. P.
in
constructed
are
effect not
is
for
Rheingold, which
as could
could
descend
wished,
16
ft.
El>.
These
low
notes
Their
when
played
forte
186).
satisfactory better mezzo -forte:
as
be
Contrabass -Tuba.
"}' " \b,\>

1>
Lento.
Bass -Tubas.
Contrabass -Tuba
in C.
J-n-y^J-jn^^f^^ MM- bil!ll> ,,13 |W(Sy kind permission

of Schott
W
C?, Pnbllsherii-Proprietorij
&
It
is
mf
also
that
he gives this
low
J.
to
the
Contrabass -Tuba:
W. 14267.
THE SAXHORNS.
Bass Trumpet
98
Chapter III.
Percussion
Instruments.
THE KETTLE - DRUMS.

(ital.,
Timpani.
Ger.,
Pauken.
Fr, Timbales.)
1.
"The Kettle-drum
shell
consists
of
of
The
should
of
be
good
skin,
brass, free
hemispherical from any
shell,
over
of
which
or
is
stretched
skin.
is
kind
-
flaw
dint;
the
"head"
usually
made
uniform
ass's
but
some
instrument
be
to
makers
curried,
employ
goat- skin,
dog-skin,
sheep-skin, or
calf- skin.
The skin
It
must
well
homogeneous,
and
of
thickness.
is
attached
to
the
shell
by
of
means
for
of
cracks, screws; an iron ring,

to
without
contracting
or
and
the
expanding
in
obedience
the
action
these
given
screws, serves
tighten
but
loosen
membrane.
the
No precise
deep
notes
dimensions
are
of
can
be
Kettle -drums,
on
large
Kettle-drums
last
better
quality!'
(Kastner)
This
proposition
is
self-evident.
2.
lected
hide.
Nowadays, all Kettle-drum heads are made of well curried calf -skin, usually from the animal's back, that being considered the most serviceable part of
the
skin
is
sethe
As
the
not of the
absolutely
thin
uniform
thickness,
the
drummer's
thick
rescue,
sparing
conscientious
like
drummer
parts, and may sometimes
beating be seen
out
the
ones.
experience comes to Before a rehearsal,

of
hammering
out
parts
the
head, very
gold-beater. It sometimes takes 4 or 5 years to "mellow" a Kettle-drum. The instrument - maker constructs it, but the performer gives it the finishing touches, which take more time, as we have just seen, than the making of the Drum.
much
well
made
on
this
Kettle-drum
it,
lasts
long
time.
"On the
average,
and
Henri
if
no
untimely
the
accident
happen to
about
as
in
performer
orchestra.
instrument
long as the drummer," the Colonne Orchestra;
says
Mr
Vizentini,
and
accidents
are
rare
in
the
3.
Kettle-drums are made

largest
in
three
to
sizes.
The
ed
in
can at
will
be
made
sound
any
one
of
the
chromatic
degrees compris-
the
fifth:
=SJF
J
the
|J
notes:
The
smallest
size
gives
following
v
and
the
r
or
in
medium -sized
:,
ones play
to
either
in
the the
fifth
the
fifth
according
the
custom
J.
of
various
countries.
W. 14267.
THE KETTLE-DRUMS.
For the sake
of
99
a
little
compass
two
..
completeness, we will " to be found

,
also
in
mention
Kettle-drum
in
with
this
museums,
but
hardly ever used

Fq
is
practice, the
highest
though
Beethoven
being
degrees, Ft and 6, being of poor quality. he never fails to contrast uses it
Even
it
not
sonorous, and allower,

its
with
of
the the
F an octave
low
F:
weakness
atoned
*/
ff
for
by
*
the
full
and
rich
quality
|*
J
?'
(8^
Symphony.)
H-;t f- V
h\
beyond
either
(9tb Symphony.)
4.
So,
it
is
not
advisable
to go
high
F or
low
F.
==
is
sometimes
mo;
I
its
am
required for a special effect, but has no tonal value except in a pianissitone suggests the idea of a cracked Bass Drum. that Berlioz wrote the high FJI, and Wagner the low E, but only fully aware
exceptionally,
and
if
you
feel
inclined
to
borrow
anything
from
them,
that
it
is
better
to
ask
them
for
Besides, there is drum: it consists
something another
in
else.
means
a
of
producing
roll
deeper
than
of
the
Kettle-
using
old
Bass
has
Drum played
been
with
Kettle-drum
sticks.
5.
In
France,
the
of
system
small
retained;
the
membrane
11
is
ened
by
means
7 to
he
is
screws,
for
and
with
from
which
there
9
is
varying in one.
number
Taking
from
into
9 to
account
for
tightened and loosKettle - drum, large

of
the
inequalities
the
skin
familiar,
risk
the
of
drummer adjusts
head
cracking.
the
several
screws
accordingly;
other-
wise
some
the
Besides, quality
and correct
intonation
depend on well-balanced tension. The length of time required to change the tuning of the on the number of turns to be given to the screws. val,
strong
to
Drums depends The head is

would
be
on the
inter-
sufficiently
bear tightening
to
the
extent
of
fifth,
but
it
very unskilful on the
of the composer to require such skips. The performer requires a relatively long time to change the pitch than a major third, and if the great masters' works be examined, it
part
of
Drum
be
by
more
that
will
seen
they
I
carefully
avoid
exceeding
at
this
limit.
take
five
scores
random:
Liszt:
Festkldnge... 4 Kettle-drums tuned in: G, A, Bl>, C. Ff A, Bl>, Bl). Changing to: (Maximum skip: a semitone?)
,
Hungaria
....
Kettle-drums tuned
in:
A,
Ff,
B\>,
B\>,
D.
Changing Then to:
to:
And finally to: A, (Maximum skip: a major third.)
D|. Bb, D|. C, Dl|.

Bit,
Mazeppa
2 Kettle-drums tuned
in:
Changing
to:
Then
to:
And
finally to:
skip:
A, D. A, Cf. A, Bl|. A, D.
third.)
(Maximum
J.
a minor
*. 14267.
100
Berlioz:
THE KETTLE-DRUMS.
Marche Nocturne
(L'Enfance du Christ.)
2 Kettle-drums tuned
in:
Changing to: (Skip of a second.)

in:
G, C. G, Bk
Fantaisie sur la "TempSte". 2 Kettle-drums tuned

(Lelio.)
At,C.
Al, D.
Changing
to:
Then
to:
At.E.
And finally to: C, F. (Maximum skip: a fourth, but

a gradual one, by seconds.)
About
pitch
fifth,
one
of a
if
bar of quadruple time, in moderate tempo, is required to raise or lower the Drum by one tone. Naturally, more time is required for a third, a fourth, a
indeed
only
such
skip
be
are
risked.
in
When
the
ear;
small
intervals
question,
drummers manage
to
tune
without consulting
turn
to
of
they
know
In
when
it
to
is
give
the
screws.
tutti.
fact,
only
a quarter, a half, three-quarters, thus that they can tune in & forte, amid
called
or a whole
the din
However,
ience;
when wide
skips are
gently
in
for,
whether
they the
may
be
seen
is
touching
the
they no longer trust to their manual experskin with a drum -stick, endeavoring to judge
instrument
tune.
Germany, Russia, and Italy, this system has tuned Kettle-drums exclusively adopted. Two kinds are made: (1) Drums mounted on pivots,
6.
In
been
discarded, and
mechanically
loos-
the
head
being tightened or
left:
ened
levers
latter
according
acting
kind
is
as
the
instrument
of
is
turned to
the
right
or to the
the
series
(2)
Drums
with
upon
in
number
notches
use.
corresponding
to
of
semitones.
This
more general
The great
tempo,
All
advantage of mechanical tuning lies in its figures such as the following can be executed
moderate.
instantaneousness.
on a
single
In
moderate
Drum.
i
of
=*"
(The sudden motion of the lever coincides with the stroke

the
stick, so as to avoid
blurring.)
like
Curious glissando effects can be obtained the violinist's finger on a string:
by
handling
the
lever
slowly,
very
much
Andante.
Kettle-drums, but has just discarded them again, their intonation is inaccurate. The skins contract or distend according to alleging that the temperature and the or dryness of the air, so they say, and they comdampness
The Paris
Opera
had
adopted
these
plain
that
they
have
not
sufficiently
direct
control
over
the
tuning
of
the
Drum.
Sub judice Us
estl
i.
W. 14267.
THE KETTLE-DRUMS.
7.
fit,
101
but
As
for
composers,
they
need
not
take
that
sides
of
in
the
quarrel,
write as they think

to
its
without
any
other preoccupation
than
confining
the
instrument
true
of-
fice.
What do we require A vibration, a sound

denly damp the Drum's function
this
of
the
Kettle-drum?
dying
is
away
like
a
to
sound
to
antagonistic
To abruptly cut short or sudharp -string's. the nature of the instrument. Is it really
run
With
in
three
Drums
a
all
up and down rapid scales? combinations are possible. As

all
each
Drum can be
scale
easily
tuned
4
It
successive
involving
semitones,
skip
the
without
greater
that,
than
a
degrees of the a minor third.

rehearsal,
chromatic
can
be
obtained,
frequently
happens
at
first
the
of
performer
key
is
embarrassed by the
it
composer having neglected to indicate the drummer's business to study and arrange
such
It
changes
the
case
think
the
composer
in
is
proper somewhat to blame.

of
beforehand; changes for the
will
be
the
In
next rehearsal.
happens
to
sometimes,
the
course
unable
follows:
make the necessary
change
in
a piece, that a single performer is absolutely the tuning. Suppose his Drums are tuned as
,
IT
and
then
that
he
needs to finish
off
on
Bi>,
as follows:
Vivo.
t
Orchestra.
Kettle -Drum.
If
he
is
na'fve,
he will
tell
his
If,
troubles to the
conductor,
who
will
direct
him to
will,
is
ask
his
his
neighbors
C, to
for
assistance.
on
the
contrary,
in
he
is
bright
man,
he
the
he
of
own
the
accord, request
give two
one
of
of
his
companions
the
the
orchestra, while
to
himself
playing
his
screws
half -turn
necessary
raise
Drum
by
semitone.
Nowadays, anything can be written, technical difficulties constantly diminishing, but nothing ought to be written which is not in keeping with the nature of the instrument.
The
8.
Sticks.
or
There are
with
two
kinds:
Sticks
for
skin
soft
knobs, for
effects.
ordinary
use forte
piano, and
but
sticks with sponge knobs,
particular/ Formerly, wooden- headed
sticks
were sometimes used,
hard and has very little timbre, recalling that of drummer avoids playing on the extreme edge of the head, as this only produces a He also carefully avoids the centre the of nasal, dry tone, without vibrating power.
is
very
the quality of tone produced the Side Drum.
The
head,
and
prefers playing
mid -way
between
edge
and
centre.
J.
W. 14267.
102
THE KETTLE-DRUMS.
Mode
9.
If
of writing.
is
any
definite
of
duration
of
sound
required, the
Drum
part
must be as carefully
in
written
as that
any other
the
the
instrument.
of
Beethoven, fearing
the
beginning
of
vibration
to
the
would
last
overture
Fidelia,
*}'
separates
E
V
the
beyond the attack of the B^, two notes by a rest +:
Kettle-drums.
ty
J)
whereas, for the
remainder
of
the
orchestra,
3-
the
.
is
dotted:
8 Jit
Orchestra.
^*pt
In
the
of
course
a
of
the
work,
of
it
will
be
observed,
Beethoven frequently marks the accenthaving
ed beat
bar
by
means
written
crotchet,
it
when, not
a
any
of
special
intention, he
might
just
as
well
have
minims;
is
mere question
habit:
Allegro.
Kettle-drums.
Orchestra.
t^pEEfp
In
Elffe
writes:
m
(Quartet)
such
cases,
Mozart
usually
m
10.
When a
roll
is
required,
the
great
masters
make use
of
two
kinds
of
notation.
Some
write
the
roll
like
shake
*}'
others
like
the
tremolo
of
the
Strings
*)'
o
.
and
the
same
master
frequently
uses
both
systems
in
succession.
Remark:
specify
It is hardly necessary to add that with the time -values sufficiently rapid to produce a roll.
system
it
becomes indispensable
to
Vivo.
Afoderato.
Adagio.
The
system
seem
preferable, precisely
on
account
of
its
uniformity.
J. \V.
14267.
THE KETTLE-DRUMS.
11:
103
notes
of
When a
may
roll
lasts
through
two
or more
bars,
first
the
must be
bar
to
tied; otherwise, the
performer
think
the
composer
intends
the
beat
each
be
marked:
wr
104
dramatic
in
THE KETTLE-DRUMS.
its
energy:
Kettle-drums.
Orchestra.
(By kind permission of Rieter-Biedernann, Editeur-Proprletalre.)
(Gernsheim,
on the
#*2*
Symphony.)
We
on the
ring:
must
also
mention
the
the
possibility
of
continuing
of
a roll
Drums
by a
tremolo
Double-basses;
two
qualities
tone
follow
each other
without the least jar-
Kettle-drums.
T~-C
Double-bass.
THE KETTLE-DRUMS.
Allegro.
Kettle drums
(Ek
Bk)
Orchestra
106
THE SIDE DRUM.

(ital.,
Tamburo
piccolo.
Ger.,
Kleine Trommel.
Fr, Tambour.)
1.
We
of
have
seen
that
the
head
is
of
Kettle-drums
is
made
of
calf -skin;
in
the
case
the
Side
are
Drum
of
sheepskin
used.
The
sticks
wood.
can
be
As no definite
correct
to
call
pitch
it
assigned
to
the
tone be
keys,
in
of
the
Bt>,
Side
in
it
Drum,
in
it
would be more
is
noise.
Whether the piece

being
suited
on
to
all
A^, or
F#
quite
its
im-
material,
the
Side
Drum
because
has
no
key of
own
and
its
effects
depend
or
solely
rhythm.
could be quoted
of the
Kemak:
not
The 2
as
examples
that
tuning of the
Side
Drum need
detain us,
they are not
sufficiently conclusive.
Various
2:
Strokes.
used:
The
single
stroke
of
one
stick
is
rarely
but, in
its
stead, the the
double- stroke,
is
produced
by
the
almost
simultaneous attack
of
the
two
sticks
on
membrane,
Written:
usually
employed:
(fla) Soundipg:
1
=^=
above
by
as
first
is
also
the
"coup de
charge',
differing
from
the
the
accentuation
of
the
short
note:
Rolls.
3 They
Rolls
are
called:
of 3, 4,
ra.
5, 6,
7,
consist
8,
10
strokes, and
so
on:
etc.
There
a
is
also
like
the the
continuous
roll,
similar
to
the
Kettle-drum
roll;
it
is
written
like
shake, or
tremolo
of
the
Strings:
or:
care
values
being
taken, as
in
the
to
case
of
the
Kettle-drum
roll:
(P.102,
10),
to
write
time-
sufficiently
rapid
VtTO.
produce
true
Moderate.
Adagio.
"
J.
W. 14X67.
THE SIDE DRUM.
107
Rhythmic Combinations.
4.
Some
of
all
the
rolls
in
use
in
the the
French
army
are
given
below:
they
pretty
well
summarize
the
capabilities
of
instrument:
(J--80U
r_ 3E
(J
76)
Aux
Champs-.
L_
a-
(J
no)
7
Pas
accelere: 5K^
La
Retraite:
Notation.
5.
The
idea
of
Side
high
Drum
notes.
clef
is
usually
written
in
in
the
clef,
its
clear
acute
timbre
evoking
the
line
However,
given
to
the
without
any
is
the
majority Side Drum,
of
scores
as
this
published nowadays, a single arrangement economizes space.

Triangle,
of
The same practice prevails as regards Cymbals, Bass them being instruments without definite pitch.
Drum,
Castanets,
all
Use of the Side

6.
is
I
Drum
employed
in the
in
orchestra.
On
the
do
not
think
for
it
has
ever
been
symphony.
other
hand,
it
frequently
used
dramatic
terrible
derive
peculiar
for
and
the
purposes. effect from
"Meyerbeer," says Gevaert, "has known how to the the association of the Side Drum with
roll of
Kettle-drums,
the
famous
crescendo
own words,
his
the
Benediction des Poignards
(in
Huguenots)'.'
are,
in
These
vice,
fact,
novel.
Berlioz's
then
to
quite
Since
time,
it
dehis admiration for Meyerbeer's expressing has been so often used that it seems supercall
fluous
quote
I
examples.
quote
this
Everyone
can
the
them
to
mind.
At random, account
in
theme
of
"Marche de Turenne"
which
Bizet
has turned to
L'Arlesienne:
Allegro.
Horns &
Wood-wind.
Side -Drum.
Violins.
Basses.
ere
(Choudens, Editeur-Proprietaire.)
J. _
seen
W. 14267.
108
And
this
THE
other
delicate
SIDE DRUM.
from
the
yet
incisive
effect,
Scenes Pittoresques:
Solo.
,
Side
Drum.
Orchestra.
(Joseph Williams, Limited. Publishers
Proprietors.)
(MaSSCnet, Fete
okeme.)
Muffled
7.
Drums.
If
They
a
cloth,
may
be
heard
at
military
funerals.
quality
the
head
is
of
the
Drum
the
be covered
vibrations
with
of
a very
striking
and
or
mournful
less
of
tone
to
obtained,
driven
roll,
the
terior
of
parchment being the Drum. Nothing

a
more
damped
more
and, so
speak,
back
into
the
in-
can
be
dismal
than
long
gradually swelling
and
diminishing, on
muffled
Drum:
Sometimes
either
by
of
the
indication:
sans timbre
left
is
met with;
as
the
effect
means
loosening the execution is
snares, or by muffling
usually
to
described
above;
obtained required is the choice of the
the
of
The following passage illustrates the

,
use
performer. the muffled
Side Drum:
Maestoso.
<
a 2.
Clarinets
in B\>. PJ
Bassoons.
m
im
Horn in
F.
Trombones
VP\
-J>
Tuba.
>:i>,
-
Es-4
m
i
i3S
Kettle-
Drums.
Side Drum.
fffF)
(muffled
8 m
&
PP
(Mackenzie, Solemn
(By kind permission
of Novello
C9, L4.,
m
March from
the "Story of Saytd".)
Publishers- Proprietors.)
Bass Drum
THE TENOR DRUM.

(WIRBELTROMMEL, HOLLTROMMEL, RUHRTROMMEL.)
8.
The
Its
Tenor
Drum
is
is
longer
than
the
Side
Drum, and
is
made
of
wood, instead
of
brass.
It
in
in
be that of a small -sized Bass Drum. duller, and might same purposes and has the same mechanism as the Side Drum. Gluck, Iphigenie en Tauride (Chorus of the Scythians), and Wagner, in Die Walkiire and Parsifal, have made use of the Tenor Drum.
sound
the
serves
J.
W. 14267.
THE TAMBOURINE.
(ital.,
109
Tamburino.
Ger., Schellentrommel.
Fr.,
Tambour de Basque)
\:
There
are
three the
ways
of
(1)
By
striking
parchment
using it: with the back of
the
hand:
Tambourine.
Carmen.
Orchestra.
(Choudens, Editenr
Proprie'tire.)
(Bizet,
1
Carmen,
p.
182.)
(2)
By
plates is thus
shaking the instrument, in order to call into play the "jingles', i. e. the small metal which are, so to speak, embedded in its hoop; a metallic rustle rather than a roll
obtained:
Tambourine.
Mr
Orchestra.
(Choudens, Editeur
Proprietaire.)
(Carmen,
is
p. 183.)
As
like
in
the
case
of
the
Kettle-drum
tremolo
for
and
the
Military
Drum,
this
rustle
written
either
shake, or
like
Strings:
or:
Note,
iently
before, that rapid to ensure
as
when
the
latter
mode
of
(3)
the
By gliding the sound of the jingles

104)
continuity of sound must thumb over the parchment, a
writing is employed, time-values be indicated (P. 106, 3).
suffic-
temporary
roll
can
be produced,
skill.
in
which
predominates.
This, however,
requires
some
)
(J =
j_J
i^-yJ^-yiJSJSiJSî
in
|J
>J
-y|J -yJ
in
in
v|J
of
2.
The
Military
clef has no more value Drum, the Triangle, etc. A
the notation of the

line
is
Tambourine than
employed, as
that
the
single
usually
the
above
ex-
ample.
THE TABOR.
(Fr.,
1.
Tambouring
Provence.
in
This
into
is
blows
his
a very long drum, without timbre, used in three -hole pipe, or Galoubet, which he holds
The
his
right
tabor -player hand, while with
left
he
beats
time
.^
with
single
stick:
_ Allegro
Piccolo.
Tabor.
iuj
*m.
\i
(Choudens, Editeur- Proprie'Uire.)
(Bizet,
'
ArleStetttie.)
J.
W. 14267.
110
THE TRIANGLE.
(ital.,
Triangolo.
Ger.,
Triangel.
on
Fr.,
Triangle.}
or
in
1.
The
for
suitable
Triangle may all kinds of
be
written
either
single
single,
line,
the
clef.
It
is
rhythmic
combinations,
double,
triple strokes, etc.
Allegro.
The
tremolo
is
written
as for the' Drums:
2.
The
single
stroke the
sometimes
last
seems
have
too
simple, and
is
replaced
value.
by
group
of
2, 3, 4, or
notes,
alone
any
appreciable
time
in
I.
IV
The
This
short
note
preceding
the
true
note
the
gives
first
it
more
sprightliness.
II.
group of 3 notes is excellent, to left. direction, from right

group
of
and
third
being
struck
in
the
same
III. This
4 notes
is
not
so
natural,
the
first
and
last
being
struck
in
con-
trary
directions.
all
IV. Groups of 5 notes, as well reason given above (See II).
odd -numbered
groups
(7,
9, etc.),
are
very
good,
for
3.
If
pianissimo
rod
is
is
wanted,
inch
it
is
the
of
top
of
the
Triangle
that
must
this
be
touched,
in.
where
the
the
has
performer
I
only likely to
it
an
or
his
so
space
it
to
is
move
needless
backwards and forwards

to
As
know
business,
note
in
the
score.
Remark-.
think
may be
a double sound; they may produce a single sound.
as well to call attention be said to be out of tune;
to
the fact
the
that some Triangles produce stroke of the rod ought always to
4r
alone
is
heard
Always effective, the Triangle is absolutely indispensable in the orchestra, for to it sometimes entrusted the duty of marking the rhythm of the piece. It can be through the whole of the polyphonic mass, even when struck
A (J
=
88)
Triangle.
rrm
PP
Tempo di Minuetto.
Orchestra.
r
J.
(Berlioz,
Damnation de
Eatust.)
W. 14267.
THE TRIANGLE.
-.
in
I
112)
/""*
Piccolo.
fff
Mj
Flutes.
Triangle.
^
i
of
^
p
~r A.Durand
fefe
^ ^
""/."
(.Saint- SaenS,
Violins.
Violas.
o
et Fils,
(By kind permission
Editeurs-ProprUtaires.)
La
Jeunesse d'Hercule.)
(J
120)
Flutes.
Triangle.
m
m f^f
fizz.
Violins.
Violas.
Violoncellos.
^^
Allegretto.
(Schumann,
/? Symphony?)
Horns in E.
îfe
Triangle.
Violins.
Violas
Violoncellos.
Double-basses.
112
Here
for
THE TRIANGLE.
is
very
delicate
effect
of
the
Triangle
tremolo, with
pianissimo
holding-notes
the
Strings.
Triangle.
THE CASTANETS.
Usually,
tain
this
113
Spanish
very
formulae
instrument, so characteristic of current tras los monies, which
popular are not
music,
is
confined to cer-
varied,
as may
be
seen:
Treble.
Castanets.
Bass.
Allegretto
Treble.
Castanets.
Bass.
2.
The
Castanets
of
are
the
usually
written
on
a
et
the
single
line,
without
be
The
beneath
Ones)
2nd Scehe
the
veil
3!^
Act
of
Samson
for
Dalila
should
any clef. consulted.
Note,
iron
of
this
persisting
rhythm
Castanets
(both
wooden and
Allegro.
the
skilful
use
of
the
percussion
finally
instruments
to
then
drawing
closer, and
uniting
alternating with and replacing each other, produce the maximum outburst of strength.
THE CYMBALS.
(Ital., Piatti.
1.
Ger., Beckett.)
They
may be played
be
a
violently
either
together
or
They
ly
may
sound
clashed
one
against
separately. the other,
or
one
of
them may be
light-
struck
with
drum
-stick.
The
In
may
either
be
damped, or
are
it
may be allowed
as
follows:
.
to
vibrate.
the
former
case, the
Cymbals
6
written
in
the
latter
case, thus:
tp
"
ff
J.
W. 14267.
114
THE CYMBALS.
if
Even
the so
the
bind
only
leads
vibrations
must
not
be
a rest, To stopped.
to
it
nevertheless
surer, the
retains
its
value as a bind,
i.e.
make
two
preceding
examples may
al-
be
written:
2:
There
are
two ways
they may the right
of
forte passage,
as
an
axis discs
in
be
to
for
(1) In a producing a roll, or tremolo, with the Cymbals: clashed against each other, the performer's wrist serving these shocks, as rapid as possible, of the two left motion;
brass
(2)
produce
an
uneven, but
for
very
violent
and
sonorous
metallic jingle;
piano
by
its
passages, or
strap, and a from piano
pended
of
crescendo, one of the perfectly even and continuous

a
to
two
roll
Cymbals
may
it
be
by
sus-
performed on
great
means
and
drumsticks; vice versa.
forte, the
kind
of
sound
swells
with
regularity
As
oration
*
an
of
example
the
of
the
first
roll,
the
tutti
passage
which
announces the perfor
Tannhauser
Allegro.
Overture may be mentioned: eight

A (
/
/ll
bars
fortissimo
the
/!
/>
ff
and
as a
specimen
of
the
other
kind:
_
Cymbal.
/5
Vivo.
i*
tL
Orchestra.
THE CYMBALS.
4.
115
Every
one
has noticed
as
the
to
charming
equal
or
effect
of
Cymbal
the
with
gently
struck
of
with
sponge -tipped
angle.
drumstick, so
could
to
even
surpass
pianissimo
each
stroke
the
cloud
Triof
Nothing
color a
rise
rhythm
out
of
more
the
delightfully;
gold-dust
seems
up
orchestra:
Andantino.
Cymbal
Poco
rit.
Flute.
(Solo.)
Violins.
Viola.
Violoncello.
Double- bass,
la
Tempo
(J. Hamelle,
Editeur- Proprietaire.)
(Lalo.)
The
in
two
the
Cymbal strokes which are indicated in the above example are not to be found Suite from Namouna (P. 74); it was Vaucorbeil who very ingeniously added
the
them
during
rehearsals
of
Lalo's
posthumous
work at
metallic
the
Paris
Opera-house.
which
have
So
characteristic,
of
so unexpectedly
picturesque
in
was
ear,
this
quiver,
upon the reappearance

since
the
theme,
that
it
still
rings
my
despite
the
many
years
elapsed.
J.W. 14267.
116
THE CYMBALS.
now
of
We
midst
give
another
Strings:
example
of
the
skilful
use
of
fymbal
struck
piano
in
the
the
Allegretto. a 2.
Clar. in
B\>.
Bassoon.
Horn
in Bt>.
Cymbal.
J>
^^T
Violins.
*/
!/
Violas.
^^
J * J
Violoncellos.
EE
cantando.
Double-basses.
(By kind permission
of Heugel
Ci?, Editeurn-Proprietaires.)
Arco. __ (Th. Dubois, Suite miniatured)
"
J.W. 14267.
THE CYMBALS.
ANCIENT CYMBALS.
5.
They
are
of
made
after
the
model
of
those
discovered
of
all
at
Pompeii, and
in
preserved
in
the
Museum
Naples, along
with
instruments
Pipes,
kinds
employed
6
to
the time of the
Caesars:
Flutes, Organs, They are much smaller and have a more silvery
Pandean
than
our
Citharae,
etc.
Cymbals,
varying
from
inches
in
diameter,
and
acute
in
timbre.
Since
their
adoption
have
writes
by
Berlioz
Romeo
for
and
in
Les Troyens,
Gounod,
and
St Sae'ns,
and
many
would
others
employed
for
of
them.
as
ordinary
The
which
are
their
composer
be
them
Cymbals, avoiding
a
rolls
tremolos,
rolls
difficult
production
on
such
small
will
surface.
However, such
not
impossible, and means.
perhaps
some
special
effect
some
day
with
be
produced
by
On
the
stage,
dancers
held
in
and
the
figurantes
hand.
frequently
keep
step
the
assistance of
Ancient
Cymbals
THE BASS DRUM.

(ital.,
Gran Cassa.
Get., Grosse
Trommel. Fr, Grosse Caisse)
This angle,
is
another
instrument
etc.
is
without
the the
precise
intonation,
like
the
Military
Drum,
Tri-
Castanets,
obtained
(Tuning
not
Bass
trouble
is
Drum
that
full
has
it
sometimes
been
attempted, but
the
result
is
worth
involves).
What
The
required
of
the
to
Bass Drum
be
large:
and
or
rather
Bass Drum
to
ought
equally
the
rods
braces
1
heavy quality of tone. which stretch the parch-
ment
ought
act
upon
the
whole
circumference',
(Pares,
Treatise
on Ina
sin-
strumention for Military Bands). The Bass Drum is played by means

gle
of
felt
of a
large drumstick
provided
knob,
by
either with
or
stick
cork
knob
(mailloche simple},
With
or
with
double
held
one
at
each
of
end
its
the
(mailloche double).
the
mailloche
the
middle
handle, a
roll
wise
imitate
resembling distant thunder may be produced. cannon (Berlioz, Marche Hongroise).

said
(P.
The
Bass
Drum can
like-
We
of
have
already
99,
4)
that,
in
order
to
obtain
roll
deeper than
of
that
the
Kettle-drums, the
sticks
for this
Bass
Drum
tle-drum
rarely
been
used.
We
purpose. give one example:
might employed, the player making use The roll thus produced is very effective, but
be
Ket-
has
J.
W. 14267.
118
Allegro. (J = a 2.
8)
THE BASS -DRUM.
Trumpets
in C.
Do able
basses.
,
Hercule au Jardin des Hcsperides.)

Editeurs- Proprietaires.)
(By kind permission
of
Henry Lemoine
et Clf,
Who
bals,
has
not
been
a
moved
phrase,
by
to
the
pianissimo
it
attack
of
the
united
accentuating
which
lends
mysterious
solemnity
Bass Drum and Cymand impressive gran-
deur?
Bassoons.
Horns
in
THE BASS -DRUM.

I
119
II
120
I i
f' f
f
if
~mm
THE BASS -DRUM.
^^
r 7
Ul
1
il.
U
itJ Ji
Tf-rgfe
*jr-
^ y
^s
(Balakirew, Thamar.)
.1.
W. 14867.
121
THE GONG.
(ital.,
Tam-tam.
Ger.,
Tam-tam.
Fr.,
Tam-tam.)
The The
not
key,
Gong
to
it
is
terrifying
composer
give
must
a
when struck forte, and threatening even when struck pi(tno. beware of its long -sustained vibrations. Although the Gong
of
is
able
yet
tone
to
definite
pitch,
and
of
is
seems
borrow
harmony
Gong.
the
or
tonality
the
consequently adapted chord in which it

be
for
is
use
in
any
so
struck,
that
any
change
to
of
any
modulation
must
avoided
as
long as the Gong
continues
vibrate.
Andante.
Orchestra.
The
Gong
seems
suddenly (Y Z).
bar;
to
be
quite
its
in
tune
in
the
first
bar
(X)
the
appears to second bar

of
lose
In
truth
a
case,
of intonation
it
when
to
the above example, but harmony changes in the

of
its
such
it
is
necessary
the
damp
vibrations
hold
at
the
end
the
first
like
otherwise,
will
seem, during
second
bar,
to
the
preceding
chord,
Pianoforte
without
dampers.
Different Altitudes of Percussion Instruments of Indeterminate Pitch and Long Vibration.

Let
us
that
suppose
we
to
are
give
required
to
depict
of
the
Titans
being
in
hurled down from Heaven,
and
If
we need
such
I
the
impression
violent
shocks
might need to
quick
succession.
to
three
shocks
the
at
different
sonorous
instruments
altitudes
suffice-
indicate
the
cataclysm,
think
percussion
would
be
disposed
as
follows:
Cymbals.
Gong.
Bass -Drum A
122
Percussion
Instruments.
Exceptional
1.
2. 3.
The Glockenspiel. The Celesta.
The Xylophone.
Bells.
4.
THE GLOCKENSPIEL.
1.
This
of
instrument
little
consists the
to
of
number
of
of
small
is
steel
in
bars, which
are
struck
by
means
hammers;
ratio
pitch
these
of
bars
their
direct
proportion to their thick-
ness, and
If,
in
inverse
it
the
square
to
length.
for
instance,
length,
were
would
desired
only
to
obtain
the
to
chromatic
increase
the
scale
by
means
of
of
bars
all
of
equal
to
"it
be
the
necessary
difference
thickness
of
each successive
bar
an
extent
equivalent
between
each
the
semitones."
(Mahillon).
The compass
of
the
Glockenspiel
keyboard
is
two
octaves
and
tone
from
l>TT
to
sounding
-f
(The actual sounds
are two
octaves
above the written notes.)
The
little
keyboard
of
the
in
Glockenspiel
is
similar
to
that
of
the
Pianoforte, and the
instrument
may
the
the
in
be
treated
much
the
same
to
manner
as
the
Piano,
provided
time
is
allowed
for
somewhat
finale
of
long
vibrations
travel,
in
Wagner,
Die Walkure,
etc.
Meyerbeer,
L'Africaine,
Glockenspiel.
of
Delibes,
in
Lakthe
me,
The
lowest
tone,
I
Massenet,
best
in
La
of
Vierge,
the
have
are,
of
employed
course,
fifth
the
notes
instrument
to
those
above,
scale.
the
medium
of
register,
notes
having
loses
which
believe
power
tendency the lower

the
first
it
sound
the
the
in
instead
the
fundamental
note
the
Handel
was
composer
to
make use
of
the
Glockenspiel,
in
Saul.
After
him
Mozart
Allegro.
employed
^***\
i
i
in
Zauberflote:
*<Tj
J.
14267.
123
THE CELESTA.
2.
This
by
is
an
instrument
Their
with
keyboard,
is
like
the
Glockenspiel,
that
of
the bars being resteel
placed
on
the
tuning-forks.
hand,
fully
is
tone
much
weaker
than
the
bars,
of
but,
in-
other
infinitely
more
in
ethereal
it
and
the
poetical.
Mustel,
the
inventor
the
strument,
Its
was
justified
giving
name
of
Celesta.
compass
four
octaves;
* .....
from
to
sounding
The
which
wind
a
it
Celesta
may be treated somewhat resembles.

and,
of
like
Its
the
Piano, or
rather be
like
ft.
and
2
like
ft,
organ-stops,
vibrations
time, the
can
sustained
almost
of
those
attack
of
instrument,
veil
I
at
the
same
over
crystalline
of
percussion
the
throws
delightful
mystery
an
of
the
tone
the
Celesta.
in
On
had
P.
72
gave
illustration
it,
from
Louise,
in
which
the
Celesta
is
employed.
already Celesta
made use
will
at
the
Ope'ra,
into
the
Korrigane,
The
come
ever
more
vogue.
THE XYLOPHONE.
(Ger., 3.
Holzharmonika)
of
This
is
an
instrument
like
consisting
series
of
wooden
by
bars, or
of
rollers, of
little
varying
length,
lets.
disposed
organ- pipes,
which
are
struck
means
two
wooden mal-
Compass: three
octaves:
Saint
inent
Sae'ns
has
used
the
it
in
the
Danse Macabre,
octave
and
Gevaert
pitch:
remarks that the em-
composer
writes
notes
an
below
their
true
Allegro.
Sounding:
aFjM^jjjjE;
J.
W. 14267.
124
BELLS.
4. of
tin
Bells
are
made
in
all
keys. their
The
metal
of
which
height
they
are
composed
be
to
is
an
alloy
and
as
copper.
As
15.
of
for
dimensions, their
should
their
greatest
diameter
To
suffice
12
to
give
to
an
idea that
bell
the
practical
of
difficulty
of
employing
Tenor 18
them
in
the
orchestra,
is
it
will
say
great
the
of
weight
bell
sounding
C -2
the
over
22
bell
tons,
that
the
Notre
-Dame
(Paris)
weighs
tons, and
Kremlin
more
than
So,
195 tons.
bells
may
be
classed
with
church
Organs
in
the
category
of
musical
instruments
difficult
to
manipulate.
for
bells,
When
are
writing
care
must
be
taken
to
indicate
whether
deep or acute
sounds
required.
Gevaert
^
remarks
that on
in
theatres
the
actual
pitch
is
rarely
lower
at
than
in
alt
EE.
He
goes
of
to
say
that
the
Day,
two
in
large
4t!)
bells
used
the
Paris Opera-house,
for
the
tocsin
St
Bartholomew's
yet
the
act
of
Les Huguenots,
octave
of
have always
written
been
by
considered
as
rarities:
*#
they
only
sound
the
upper
the
notes
the
composer
bells
=y^=*^=^
E.
very
Large
not
being
practical, "attempts
in
have
been
made
thin
to
replace
allow
of
them
by
hemispherical
ing
alarum -bells
with
to
cast
a
bronze;
their
relatively
of
sides
attain-
much deeper notes

are
the
bells
far
smaller
weight
metal."
at
These
be
heard,
arranged
as
follows,
the
end of
the
111
act
of
Parsifal:
Bella
(on
the
Stage)
125
Chapter IV.
THE SAXOPHONES.
1.
This
family
by
is
of
instruments,
more
used
in
French
military
bands than
in
orchestras,
was invented
The
the
tone
Sax.
Clarinet;
all
the
produced by means of a reed fitted into a mouthpiece similar air- column is conical, and the tube is made of metal.
the
to
that
of
Of
wind
can
instruments
swell
Saxophones
their
are
perhaps
the
most
losing
expressive;
their
of
like
the
Oboe
they
and
diminish
tone
without
ever
timbre, which alCello,
ways remains rich and full Anglais, and the Clarinet).

the
(bearing
The
analogy to the mechanism and fingering

which
the
some
tone
the
the
Cor
for
are
much the
same
as
Oboe.
following
The
are
the
four
members
Soprano
Alto
of
family
is
officially
composed:
Saxophone
11
in in
in
B?
E!> B!> El>
Tenor
Barytone
in
They
the
all
have
about
the
same
stop
at
compass as the
El>
Oboe, including
register,
->L
the
low
the
B!>;
however,
Soprano
can
and
to
Barytone
F.
in
the
highest
whereas
Alto
and
Tenor
rise
f.
..''
Compass
of Soprano
& Barytone.
Compass
of Alto
& Tenor.
2:
ing
in
The
the
Soprano
low
and
notes
Tenor
for
cannot
descend
Alto
very
easily,
so
on
it
is
better to avoid
writ-
very
them;
the
and
Barytone,
the
contrary,
are excellent
their
lowest the
register.
As
it
for
Bass
Saxophone,
it
is
not
used
in
practice, on
account
of
its
great weight;
is
usually
ful
ease
replaced by the Sarrusophone, which to the extreme depths of the orchestra.

by
can
skip
down
with
the
most
grace-
Proceeding
established:
analogy
of
tone -color
and
of
pitch,
the
following
comparison
may
be
Soprano
Alto
Saxophone
n
ft. ft.
stop
ii
_
_
the
12
Tenor
n
n
_ 16
24 G
ft.
ft.
.1
Barytone
= = = =
Oboe, Clarinet.
Cor Anglais.
Cello.
Bass Clarinet.
their
The Saxophones are
written
in
clef,
whatever
actual
pitch
may
be.
* Avoid attacking pianissimo the applies equally to all the members
notes comprised in the lowest sixth: =# of the Saxophone family. "V**

J.
=
~-^
this restriction
W. 14267.
126
THE SAXOPHONES.
SOPRANO SAXOPHONE
3
Compass:
sounding:
in
Bk
Its
office
It
in
is
military
bands
shrill
is
to
reinforce
the
Clarinets, or to
is
replace them
in
in
case
of
need.
rather
-toned
instrument, and
not
used
the
orchestra.
ALTO SAXOPHONE
4
Compass:
sounding:
^
in
Ek
It
is
the
best
of
the
family,
the
instrument
to
be
heard
in
Hamlet, L'Arlesienne,
good bass notes.
Herodia.de, Werther,
Its
It
etc.
it
tone
is
is
even, and
can
rise
easily,
at
the
same time possessing

Clarinets.
powerful
enough to be a match for 4 or 5

that
it
Remark:
ticable
for
By saying
can rise easily,

register.
do not
mean
or 6
as the notes
of the
medium
The 5
that the highest notes are as prachighest notes can only be written
virtuosi.
They naturally become thinner and
thinner.
Saxophone
E\>:
sounding:
(Choudens, Editeur
It
Proprietaire.)
(G. Bizet, Arlesienne)
is
to
the
Alto
in
Saxophone
military
that
bands'.'
florid
figures,
quick
scale
passages,
shakes
and
ar-
peggios
are
given
'Pares).
Avoid, however,
the
following
shakes:
TENOR SAXOPHONE
5.
It
in
Bk
with
the
Alto
is
an
octave
below
the
Soprano,
nearly
in
unison
Clarinet.
Compass:
sounding:
)'
m
as
satisfactory as that of the
Its
timbre
Like
for
is
as
Alto,
full,
as
even,
and
in
every
is
respect
of
Alto.
the the
the
Tenor
of
Saxophone
it
dapted
It
execution
to
bravura passages,
the
capable great execution, chromatic figures, etc.

highest
and
well
a-
is
better
avoid
giving
or
notes
to
play.
J.
W. J4267.
THE SAXOPHONES.
BARYTONE SAXOPHONE
6
Compass:
in
Ek
^
&.
.
^-^
sounding:
)'
This
instrument
is
heavy
in
to
carry;
in
military
bands
it
plays
much
the
same
part
as
the
Its
Bass
Clarinet
is
the
orchestra.
so
mechanism
Such, then,
not
quite
simple as
family
it
that
of
the
Saxophones
of
higher
pitch.
7. is
is
I
the
only
official
neglected, and
It
mention
There is another Saxophones. for the sake of completeness.

of
group,
but
it
consists
of
the
following
varieties:
Sopranino
Saxophone
n n
n u
in
in
F C F C F
the
Soprano
Alto
in
Tenor
in
in
Barytone
As
in
Bi>,
for
the
Bass
Saxophone
in
C,
it
is
not
used
any more than

of
its
Bass Saxophone
is
which, as we
have just seen
(2), on account
great
weight,
replaced by
the
8.
Sarrusophone.
All
for,
the
shakes
I
ophone,
figures
but
as
and tremolos possible on the Oboe can be performed on the have already said, the two instruments have the same mechanism.
Oboe, Clarinet, and
Sax"All
possible
on the
Bassoon are equally
suitable for the Saxophones,
legato passages suit them best'.' (Gevaert). The quartet of the Saxophones produces the illusion of the Organ. when However, breathing must not be lost sight of, and the composer,
long legato passages, must
in
writing
holding-
notes and
be
careful
not
for
to
exhaust
the
players.
in
A note
quadruple
the
medium
register
cannot be held
more than 10
bars,
moderate
time.
each instrument comparing the Clarinet with the Saxophones,it will be found that is a maximum which can can sustain a note for about 40 seconds. However, this only be
Upon
expected
in
the
case
be
of
soloist
playing
of
piano.
the
What may
the
future
destiny
Saxophones
in
the orchestra?
Will
the
whole family be some day admitted, or will Time will show. been done so far?
If
I
only
individual
members
be
invited, as
has
may
venture
to
express
an opinion,
with
that
confess
of
its
the tone of the
instrument
seems to
me
by
to
it
rather
loud
and
out
proportion
perfectly pleasing. Bizet, quoted above, harmonize so well with the surrounding instruments, if elsewhere it seems out of place, be must be because it is then seen at a disadvantage, and is consequently not to
which
is
the example neighbors, excepting, however, But since the Saxophone here seems
criticized.
All
means are good, provided
they
are
properly
used,
each
in
its
own time and place.
J.
W. 14267.
128
THE HARP.
(Ital.,
Arpa.
Ger., Harfe.
of
Fr.,
Harpe.}
1.
The
following
figure
shows the compass
the
Harp, which
comprises 47 diatonic de-
grees:
This
diatonic
at
scale
becomes chromatic
as a
by
by
is
means
of
seven
into
octaves
pitch
of
once.
string
According
is
the
raised
pedal semitone or by two semitones.

'
hitched
pedals which act on all the one or other of two notches, the
Example:
Bd notch.
:
1st notch.
One and the same string:
*)'
becomes:
or:
\i
The various octaves of one and the same string:
-^
THE HARP.
This
129
r: passage, quoted by Berlioz as impossible, on account of the presence of both and Ff (and so it was, formerly, for single-action Harps), is very easy, nowadays, for double-action Harps, Ft) being played as E# on the E string.
So
and,
fold
this
double -action
system
for
is
very
ingenious.
It
was
invented
by
Sebastien
Erard,
as
Gevaert
of
remarks,
whole
century
of
conditions
modern
music,
allowing
been adapting itself to the and executing chromatic passages

it
has
manithose
the
glissandos,
whole
diatonic
or otherwise, which
seem
to
throw
a kind
of
poetic
haze
over
orchestra.
3;
The
following
figure
shows the various
registers
of
the
Harp:
Register of
full tone-power.
jjJJJ
rrff
i
Excellent
in a
Thin.
m
Catgut strings.
!
PP
Covered strings
The
tone
is
first
three
low notes
full,
are rather hollow.
From
the
lowest
to
Bt;
in alt
the
to
rich
and
is
whether
used forte
still
or
piano.
in
The next
octave, from
B in alt
The
B in altissimo,
notes
er.
less
sonorous, but
excellent
in
pianissimo passages.
strings
highest
alone
are
rather poor
and
thin
quality,
the
becoming shorter and short-
4.
The
first
eleven
low
of
notes
are produced
by
covered strings; from

only
Gamut
wards the strings are

shall
catgut.
(Harmonics
are
possible
on
catgut
strings,
upas we
see
later).
5.
semitone
ber of
As has already been said (2), each string of the Harp can be raised either a or two semitones; twenty -one notes (nearly double the numconsequently,
chromatic degrees) are available in each octave. How is it that we have not got which would give us two strings for each semitone? is because three notes: D +, It 24, G +, and A +, have no enharmonics, no synonymic or homophonic equivalents, as may be seen from the following diagram:
J.
W.
14267.
130
6.
ful
THE HARP.
What
curious
combinations
we can
get, by
tuning
the strings
in
all
sorts
of
fanci-
ways!
What extraordinary scales we can imagine!
E. g.
Many
nor or
others
can be found, or the

thirds:
scale
may be transformed
into
succession
of
mi-
even
major
3
Minor
thirds:
7|
E*
Ft|
-1
=0-8-
1
All
Ftt
G(t
Bb
Bf
At
Ct
Major and Minor thirds:

B
Cl|
Cl
J
J
fJ
V=
3
as
i
such
^ ^^
following
^^PF^ji^sfe
J
^N J
J'
jj
S
be
obtained:
^^ J
" ;
p. 86.)
Chords
the
can
also
^s^=
All
$
mentioned
in
j"u
r 'j
(Gevaert, Traite d'Instrumentation,

the
combinations
in
this
paragraph
are
employ
the
complete series of strings
comprised
four
notes,
the
octave.
of
When
notes
by
a
these
are
strings
three
is
the
sounded
string.
each
grouped so as to produce a chord with by two homophonic strings, whereas the

fixed,
fourth
only
to
note
slide
produced
his
single
Once the pedals are

gently
or
violently,
in
the harpist
has
the
fingers
over
the
strings,
order
to
produce
prepared
Presto.
harmonic effect.
(Rimsky-Korsakow, Sheherazade.)
(By kind permission
of A. Durand et FiU, Editeurs-Proprietaires.)
(Saint
Sae'nS,
Oratorio de Noel.)
J.
W.
14267.
THE HARP.
131
(By kind permission
of E. Fromont,
Kditeur- Proprietaire.)
(DcbuSSy, PelleaS et Melisatlde.)
Moderate.
(By
kind permission of Schott
&
C9,
Publishers
Proprietors.)
Wagner, G otterdtimmerung?)
(Liszt,
Dante -Symphonic.)
(Hasselmans.)
Sometimes,
of
for
indicating
to
the
write
a particularly complicated figure, a prudent composer takes the precaution When this has once been done, it becomes tuning of the Harp himself.
the
needless
accidentals
before
each
note:
Accrochez:
(By kind permission
of Heugel et
c!?,
Editeurs
ProprieUires.)
(MaSSenet, Esclarmonde?)
7.
The
play
harpist,
having
notes,
two
even
strings
in
at
his
disposal
for
each
of
degree
the
of
the
scale,
can
easily
iterated
the the
quickest
least
tempo,
detecting
each
the
strings
being
alter-
nately
plucked,
without
the
ear
in
ingenious
subterfuge.
1.
W. 14267.
132
Vivo.
THE HARP.
(Saint-Saens, Ascanio.)
(By kind permission
of
A.Dunnd
et
Pils,
Editeurs
Proprietaires.)
(J=116)
Vivace.
(Oberthiir.)
It
would
to
thanks
cording
ly
be impossible to perform the preceding passages Erard's invention, possess the means of tuning the to our fancy, making all imaginable kinds of harmonic
(6
and 7)
if
we
did
not,
Harp
instantaneously accombinations, as we near-
always
have
two
strings
at
our
disposal
for
each
note.
Harmonics.
8
Harpists
of
of
never
string
use any
into
other
harmonic
parts,
than
the
is
second, which
is
produced
division
the
the
two
equal
that
and
consequently
alone
low
an
octave
the by above the fun-
damental
We
ics.
have
open string. already seen (4)

Verdi
it
the
catgut
strings
produce
satisfactory
harmonfor
When
writes
this
metry's
sake;
cannot
be
descending heard:
arpeggio,
the
E +
is
added
only
sym-
o 9.
(Falstaff.)
Harmonics
can
be produced
within
the
following
;
limits:
Register in which harmonics can be produced.

>
sounding:
o
It
is
not
ity
to
is
to go still In higher, but at the expense of quality. reality, it is better so high, as the tone becomes thinner and the register of good qualthinner; limited to two octaves from Gamut G upwards:
possible
rise
~nr
sounding:
;
Register of best quality.
J.
W. 14267.
THE HARP.
10.
ics
133
Double -action Harps allow of sounding 2,3, sometimes even 4 simultaneous harmonwith the left hand, on condition the intervals are small, and require no extension of the
fingers.
The
right
hand can
never play more
than one
harmonic
at
time.
ÊS
(Humperdinck.)
(The low C +
is not
played as a harmonic.)
(Reinecke.)
i^f?
-QO
Ê
8
pp
(Parish Alvars.)
(R.Martenot.)
Of
poetic
course,
like
harmonics
cannot
glistening
be
in
made use
the
of
in
forte passages:
they
they are mysterious and
dew-drops
sounds
moonlight.
They
ed
in
recall
echoing
through
dream;
can
only
be
heard when
all
is
hush-
silence
and
sleep.
Nowadays,
placed
over
harmonics are
the
always
written
o
an octave
below the
actual
sound, with
zero
written
notes:
Written:
"
note
^ sounding:
In
the
time
of
Berlioz,
the
was sometimes
frequent
written
at
its
true
pitch,
e. g.
accompanied
by
the
indication:
harmonic.
/I
Hence
mistakes
were possible;
Harmonics....
Does the composer
wish
these
two
bars
to
be sounded
as written, or an
octave
higher?
There remains a doubt.
So composers have done well to give up this mode
of writing.
11.
Besides
harmonics, the
vibrations
Harp has yet another color

of
of
tone
at
its
disposal,
viz.
etouffe sounds: the

lusion
of
the
string
are
to
stopped as soon as
that
of
produced,
or Violins.
giving the il-
brief
pizzicato, very analogous

Andantino.
the
Violas
Harp.
Violins.
(By kind permission
of Heugel et C^S, Editurs-Proprie'tires.)
(Widor, Choral ct Variations.}
J.
W. 14267.
134
In
THE HARP.
the
whole of
this
passage, which
that
of
is
played
staccato
forming
with
single
finger,
the
sound
full
of rich
the
Harp
closely
resembles
concludes
playing
the
Strings,
an
absolute
contrast to the
If,
arpeggio which like a violinist

close
to
the
phrase.
the
sul ponticello,
the
Guitar.
harpist
plucks the strings at their
lower
for
extremity,
the
of
sounding-board,
the
tone
produced
may
easily
be
mistaken
the
metallic
timbre
Mode
12. pers:
sic
sion,
in
of writing for the

as a
kind
of
Harp.
Pianoforte
travel
The
that
Harp should
is
be
corsidered
magnificent time
to
without
dam-
to
say, the
sound-waves must
must
be
in
be
allowed
written
all
for
the
Harp
as
in
tempo
the
in
harmonic
incoherence;
far
short,
enough to prevent instrument must be treated

consonant
as
the
slow
and disappear. Muconfuall kind of

like
an
Organ
an
empty
to
its
cathedral,
as
possible
first
harmony
strings
and
are
diatonically.
As
than
the
ail
special
of
technique,
Pianoforte,
observe
it
that,
closer to each other
those
natural
sorts
of
the
is
the
tenth
rather
not
is
than
prevent
only
the
the
octave that
span
of
the
hand,
which
further
but
fact
does
it
use
of
the
to
corresponds to octave and of

too
great
intervals;
observe
the
that
that
not
of
inadvisable
leave
to
distance
between
hands,
it
is
the
first
importance
balance
the
intervals
skilfully.
Example
of
very
sonorous
writing
in
slow
tempo.-
Andante.
Note
fy
also
that parts,
if
the
rate
of
movement
is
accelerated,
it
becomes necessary
otherwise
the
in
to
simpli-
the
bass
giving octaves only to the left hand;

incomprehensible,
like
music
the
be-
comes heavy,
octaves
of
thick, and
the
buzzing
of
chords played
lowest
the
Pianoforte:
Quasi Allegretto.
Note
octaves
treated
that
the accented beat, Meyerbeer assigns to the bass nothing but or single Few composers have notes, because he needs clearness and rhythm. the the instrument as well as he. the following are quite Oversights such as
immediately
after
exception
in
his
works:
J.W. 14267.
THE HARP.
Here
being
this
135
write
he
seems
to
to
forget
that
it
is
unable
other
play
more than
I
four,
quite useless to since they never
chords
of
of
of
five
notes,
harpists
make use
on
the
its
little
finger.
Take
figure,
which
have
often
heard
criticized
account
weak and
confused
character:
Harp.
Basses.
'it
is
written
built
too
low
its
down','
say
virtuosi, "and
a
besides
it
has the
be
serious
defect
of
1
not
being
upon
true
bass;
simple
arpeggio
would
infinitely
more
sonorous'.
The
most
why
we
powerful effects are produced by the simplest means. True. But is that a reason should always follow the beaten track, and confine ourselves to one and the same
arpeggio?
Shakes.
13:
The
shake
performed
with
the
to
it
aid
of
single
hand
on
is
nearly
as
bad
of
as the
Violin,
one
tipsy
violinist
With
two
might hands, and
attempt
play
is,
pizzicato
the
the
first
string
the
piano,
on
contrary,
excellent:
accelerando.
It
is
better
all
to
main
at
airy
keep to this piano, and and delicate.
not
attempt
a forte,
if
the
shake
is
to
re-
14.
All
scales,
all
arpeggios, major
the
of
or
minor,
can
be
executed
to
the
fingers
pedals, had a
it
whatever
keyboard
is
key,
the
fingering
to
always
upon.
remains the
with equal ease; thanks same, just as if the
white
However, choose the

Avoid
always
of
Cl>,
better,
Gl>,
D!>,
keys unless a
play
great
number
of
of
double
flats
are
involved,
to
keys
rather
than
in
those
the
Bq, F|, C#.
repetitions
of
the
same chord
same hand:
Not good.
Avoid
Much
hands:
better.
great
spaces
between
the
(Poor and thin quality.)

W. 14267.
J.
136
Let
ing
THE HARP.
the
string
distance
between
has just
Give
the
hands
be neither
by
too
great
nor
too
small,
and avoid havmotion

again
a
the
which
hand.
been
the
plucked
one
time
hand
to
immediately
let
set
in
by
other
sound-waves
travel;
the
vibrations die out of
themselves.
What
each
can
be finer
filling
than
the
the
following
bass- notes
their
of
the
Harp, marking
the beginning of
bar,
and
orchestra
with
long
deep tones?
Lento.
Flutes. Clarinets.
Harp.
Violas.
Violoncellos.
Double-basses.
(Massenet,
(By kind permission
Za
Navarraise.)
.)
of Heugel et Cl5, Editeurs- Proprictaires
This
called
deep register
rather
hollow,
of
the
instrument
is
admirable;
even
the
lowest
notes,
in
which
octaves:
we
had
when considered by themselves
(3),
are
admirable
=55
15.
Here follow some figures
practised
b^
harpists, sonorous
because they are easy:
Animato.
seen
.do
of Heugel et
(By hind permission
Editcurs-Proprietaires.)
(Th. Dubois, Fantaisie,
Harpe
et
OrcAestre.)
J.
W. 14267.
THE HARP.
137
Rapide.
(By kind permission
of A.Ledur, Editeur-I'mprieUire.)
(HaSSelmanS, Ballade)
Allegro.
(By kind permission
o{
A.Durand
et Fils,
Editcurs-Proprie'uires.)
(HaSSelmanS, Gitatia.)
8'
3
Tres mte
J^L^J
(By kind permission
of
J.
Geo. Morley, Publisher- Proprietor.)
(HaSSelmanS, Cottte de Noel!)
.1.
W. 14267.
138
THE HARP.
ljl>
..
f~f
Andante.
THE ORGAN.
139
Speaking of the Organ used in combination with the Orchestra, Berlioz in his Treatise The Organ and the says: "a secret antipathy seems to exist between these two powers.
Orchestra
the
are
both
kings,
or rather, one
is
Emperor,
too
the
other Pope;
to
their
mission
is
not
same;
their
interests
are
too
vast
and
diverse
allow
of
amalgamation'.'
I.
Whom
I
did
Berlioz
consult
able
to
on this
ascertain,
subject?
although,
to
On what
in
organist
to jog
did
he
unluckily
of
stumble?
have
never
I
been
order
the
memory
Aristide
the
Ca-
vaille'- Coll,
sometimes
went
so far as
charge
him
with
indifference
to
Master's
fame.
And
indeed, what
more
reliable
authority
could
Berlioz
have been
found
better
than Cavaille'-Coll,
qualified
with
whom
else
he
to
had
give
it
frequent intercourse, and him correct information?

is
who would
have
than
any
one
Although
true
that
it
organ-stops
is
are
of
three
kinds:
Foundation-stops, Mixturefact
stops
and
ing
and
Reed-stops,
time
our
of
nevertheless
to
an
indisputable
the
by
old,
that
the
Foundation-stops
Organ,
dat-
Mixture -stops
from
the
to
alone
suffice
constitute
the
true,
the
genuine
Guido
d'Arezzo,
sanctioned
Bach, and
whose traditions
we
should
hand
If
down
Berlioz
successors.
to
failed
understand the
function
of
these
Mixture-stops
it
was
the
fault
of
his
informant.
-
"Organ
sonance;
'it
builders
however
and organists" he writes, "agree in praising the effect of this manifold reit decidedly causes several different keys to be heard simultaneously.
they
say,
'if
would
be insufferable',
the
the
two
upper notes
could
It
be
singled
out, but
they
are never heard,

how a good
effect
fundamental
be
tone
on
drowning
ear
by
them
what
1 .
then
not
of
remains to be explained
can
produced
lines,
the
is
heard!'
When
Berlioz
of
wrote
the
these
the
composition
fundamental
had
This
first
importance not yet been

instrument,
and
function
the
partial
tones
in
the
his
demonstrated
consisting
of of
by
Cavaille'-Coll
pipes, can
with
in
Enregistreur Harmonique.
cession, or simultaneously,
to
32
ft.
sound,
suc-
the
32 upper
beyond
the
notes, the
partials
an
A,
our
ear not being able
appreciate
If,
the
value
of
sounds
acute
320<l
harmonic.
beginning
another,
with
the
most
after
the volume of this synthetic A
pipes of the instrument are increases proportionally, until
made
it
to speak one becomes 32 times
as powerful as the A sounded by the
speak
truth
simultaneously, a single
of
deepest -toned pipe itself. If the 32 pipes are allowed to fundamental tone is heard, of incomparable power and absolute
intonation.
for resonance, no divergency of key, no doubt or uncertainty the ear. On the contrary, we get a sound so crystalline and clear, so full and powerful that of means the great masters of the 18*1? century made it their Organo Pleno, the richest
We
are
troubled
by
no manifold
expression
of
polyphony.
is
Besides, this
merely the repetition of what

that
takes place
in
nature for any sound
whatsoever, of
the
phenomenon
we might ask
Voltaire's
mechanician to explain:
L'Univers m'embarrasse et je ne puis songer Que cette horloge existe et n'att point d'horloger.
J.
W. 14267.
140
THE ORGAN.
as a
in
Just
ceding
pebble
falling
into
pond
inevitably
obedience
from one
to
a well
by
ascertained
ever
produces circular waves, which, while remathematical law from their common centre, are
distances,
until
separated so a sound
another
other
diminishing
the
they
finally
seem
to
blend,
originates
sounds, which
ear does not hear,
but
which
nevertheless
effect. These secondary tones that are generated by the fundamental tone, these circular waves around the spot where the pebble disappeared, these harmonics which the orchestra has not the Organ either one at a time, or in groups, yet succeeded in reproducing, are employed by
grading
intense,
In
produce a good
at
will
any
recent
one
of
of
them;
according
as
the
one
or
the
other
becomes more or
less
the
timbre
the
instrument
changes.
Saint -Sae'ns
his
most
Pianoforte
of
Concerto,
Pianoforte
with
has
made an
ingenious application of
this
finity
It
theory.
The quality
the
the
seems
Erard.
to
be
completely
altered,
having
more
af-
with
is
Xylophone
than
the
the whole mass of 8 foot

that
Foundation- stops,
of
corresponding
to the
Strings
in
the
or-
chestra,
of
infinite
are the
backbone
calm
and sweetness.
Organ music; it is these stops that produce the feeling Quick rates of movement and powerful effects are to be obBach's
tained
of
from the
Mixture- stops.
any
of
Organo Plena,
on the
as
these two groups, without

indicating
Reed-stops
manual.
If
have already said, is composed Bach and his contemporaries
and the registering, at the beginning of their compositions, it is because, only making use of two rates of movement always the same, Andante and Allegro (when perchance they want an Adagio they mark it), and nobody, consequently,
neglect
the
rates
movement
suitable
to mistake the tempo of the piece, nobody should make a mistake as to the orchestration, the Foundation -stops being always reserved for pieces of a serious character, the Mixture -stops for pieces in quick tempo.
being
able
If
Berlioz
for
fit
only
organist
"a medley and tangle of sounds, of disorder, of hideous pasquinades an orgy of savages or a dance of demons" it is because the wretched depicting who set him on the wrong track must have been in the habit of serving up Bach's
speaks
of
music for
Berlioz's
to
consumption
of
with
spicy
dressing
all
of
Bombardes and Trumpets, an

ignorant
of
effect
comparable
that
String
quartet
to
is,
with
parts
totally
doubled by Trumpets and Trombones.

the
This anonymous organist seems most profound work of Bach, which
have
at
been
most
intense
of
and
the
the
same
to
time, the
one
most
visitor
characteristic
insight
instrument:
anical
side
his
three
books
of
Chorals.
He gave
his
illustrious
into the
mech-
only as a kind of road surveyor, as a manufacturer of velocity exercises at the rate of so notes per second. Of course, many the illustrious visitor could not discover what his guide failed to show him.
of the
question
only:
Bach appeared
Berlioz
remark may be made. If, in the history of art, there are two techniques opposed to each other, certainly they are those of Bach and Berlioz. two antipodic minds, these two inhabitants of planets far distant from each oare ther, these two travellers setting out in opposite directions, have the same tendencies, attracted towards the same horizon, are the same ideal. They are both landscape pursuing
diametrically Yet these
painters;
Here a curious
both
is
are
fascinated
all
musicians, When there

the
text
of
above
is
by the picturesque; what appeals to them, although a pictorial impression a picture. break in the series of Little Chorals for each Sunday, it
they
is
are
because
one of
these
the
chorals
did
of
not
imagination. at a spring
When
composer
the
festival,
wishes to insert
sings
suggest anything picturesque celebrated Aria destined to be sung out of doors this air in one of his Church cantatas, as he needs a
of
to
the
musician's
green
It
is
background, needless to
as his music
point
May,
he
instinctively
in
chooses
all
Whitsuntide.
afford
out
the
proof.
same tendency # * *
J.
Berlioz;
his
works
ample
W. 14267.
THE ORGAN.
II.
reed-stops were rare in the Organ. One or two only were to be found on and they were exclusively destined to play the Solo theme of the Choral. In manuals, In the were not introduced into polyphony. Arnstadt Organ, the first to which general they Bach was appointed, out of 24 stops there was only one Trumpet. At Weimar the proportion
In
Bach's time,
the
was the same. At the church of Leipzig University there were three manuals, 38 stops, and one poor Chalumeau! At the church of St Thomas in Leipzig there were 31 stops, one Cremona, and one Trumpet. On the other hand, several reed-stops were always grouped on the pedal; usually a 16 ft. Trombone, an 8 ft. Trumpet, and often a 4 ft. Clarion, forming an excellent bass to the mass of the foundation -stops and mixture- stops on the manuals.
For the
last
century, organ -builders

of
creasing have proportionally

stops, as
the
number
France, England, and America have gradually been inthe expense of the mixture -stops, whose number they reed-stops reduced. Many Organs with 30 or 40 stops have only one or two mixturein
at
quality
compared with seven, eight or ten and character of the instrument.

it
Hence results a modification in the reed-stops. The tone of the whole mass of stops becomes
old
heavy;
ious
is
no
longer
possible, as
of
with
lace
in
the
parts, as the
background. are in the

Berlioz
The
medley
designs strata of
white
air
of
can
be
Organs, to follow the progression of the vartraced when thrown into relief by a dark
set
motion
in
seem
the
to
be
thick
and
tangle
sounds,
savage
and
and viscous, and here we fiendish disorder of which
speaks.
we must add that this modern Organ meets a new requirement: the necessity adapting the masses of sound to the size of our cathedrals or concert- rooms. Formerly, music was performed in churches of relatively small dimensions; the instruments were not very powerful, and the choir was composed of very few singers. Palestrina's choir consisted of 32 voices, Bach's of 16 only. Even when, by way of exception, an Organ with 100 stops was built, no one ever dreamt of using more than 30 (say) of these stops simfor it was impossible, on account of the material weight of the mechanism,to couultaneously, A hundred stops meant 100 varieties of timple together more than two manuals at once. but nowise the whole mass of such a number of stops. bre, So that our Full Organ has had to submit to playing a more decorative than polyphonic part. Nowadays, some care has to be taken with the enormous volume of sound produced
However,
of
and time allowed for the sound to travel to and fro by coupling together all the keyboards, under the roofs of our cathedrals. The composer no longer has the same liberty left him; his style can no longer be so close. Everything has to be punctuated, measured, minutely dosed.
in
These
of
masses
in
of
16
ft.,
ft.,
and 4
are
ft.
reed-stops
It
cannot
possibly
to
be
rise
written
for
four
search
stops.
It
parts breathable
the
medium, where
air,
in
order
to
they avoid
stifled.
is
indispensable
suffocation
and
of
absorption
this
by
the
in higher formidable bass-
is
needless to try to
nearly
akin
to
conceal
of
the
fact
that
the
ideal
modern Full
traditions
of
Organ
is
ra-
ther too
ing
that
Brass
Bands.
Forgetful
of
the
the past, abandon-
sunny land of Counterpoint, it remains cooped up within the narrow limits of struck and harmonies according to a few set formulae. chords, Luckily, a reaction has set in: of late, works have been specially written with a view to prothe
those
back to decadence, and French organ -builders are now coming which the Germans, with their native good sense, had always held in esmixture-stops teem. unwise Besides, did not the genius of Aristide Cavaille-Coll alway turn a deaf ear to inconsiderate criticism, and momentary impulses? advice,
testing
against
this
artistic
In
the
Organs
of
St Sulpice,
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-Coll's chief claims to celebrity is based upon his having given us these means of unveiling, of contemin all its and in its true light, the colossal work of the master of Eisenach, of plating brilliancy,
hearing Bach as he wished to be heard. Cavaille-Coll's instruments, with their admirable tones and their incomparable mechanism, have attracted and passionately interested a number of composers,
who have found in them a genuine orchestra, ready to welcome a new ideal.
varied, supple,
and powerful, respectful of tradition,
yet
***
J.
W. 14267.
142
THE OKGAN.
III.
The
tition,
solidity
of
the simple
mechanism
all
and
it
held
in
its
own against
but
if
of the 18*!) century Organs has, so far, defied compemodern systems, whether pneumatic or electric. Nothing can
surpass
the
last
principle,
it
this
principle
organ -builders,
is
nevertheless
true
that
its
has always been religiously respected by the great within application has been greatly improved
50
of
years.
invention
of
The
ingenious
Barker,
an
number
Pianoforte.
keyboards The sound
without
is
affecting
the
English watchmaker, now allows of coupling together any touch, which remains as light as that of an Erard
instantaneous;
in
the
will
of the
virtuoso encounters neither resistance

material, which he moulds at
will,
and
nor surprise; his hand which becomes his
is
direct
contact
with the
sonorous
obedient
for
servant.
Certainly not. pneumatic or electric systems? the organist and the sound; he strikes a They are like insulating bodies coming between another an unconscious piece of mechanism, which seems to transmit to wooden keyboard,
Could
as
much
be
said
the
more distant
at
piece
of
mechanism
after
motions
of only
approximate precision.
He can never be sure
what
in
precise
moment
the
not
communication
with a soul:
depression of a key a pipe will speak. he has to deal with an automaton.

length
is
The
virtuoso
is
Nor are these the only defects:

to
circulate
before
not
reaching
owing to the great the pipes, so much wind
has tubing through which it consumed that the Full Organ freof
quently
I
does
lately
seem very full, not to speak of the slowness of speech of the reed-stops. observed an Oboe so slow of speech that it did not admit of playing a scale in
in
quavers legato
the
following
moderate
consented
tempo!
to
It
was necessary, before releasing one

to
key, to
wait
till
key
I
respond
the
to
the
action
of
the
finger.
Recently too, had conceived the
stood
idea
dumbfounded
of
before
the
wonderful
action
invention
of
Swiss
Of
It
inventor,
who
adapting
pneumatic
be
to the
Swell.
course, neither
suppleness to execute
certain
nor quick response was a slow and progressive
expected
or
from
to
this
contrivance.
was impossible
had reached
a
crescendo,
stop
the
sound
when
it
The barbarous bit of mechanism could only shut or open with a degree of strength. sudden jerk, like a shutter banging in a thunderstorm, and this was not the worst of it: the said mechanism was never up to time the automaton was lazy. When he was needed, he
put
in
an
appearance
the
two
bars
late.
Barbarous seems
brought
before
the
too mild
The wind began to blow when the storm was over. such inventors should be term under the circumstances;
their
assizes, and
finish
days
in
prison.
With
iterated
pneumatic system just attempt playing rapid notes, and you will soon form an opinion as to
successions of chords,
its
shakes,
or
qualities.
Perhaps the electric action is a trifle superior. Perhaps iterated notes and shakes come out better, but would not vouch for it; electricity being impulsive, "uncanny" and changeI
able
by
nature,
we must
I
be
prepared
of,
is
for
surprises
if
However, what cannot treat

of
am
of
sure
that
nothing
equals
we trust to its tender mercies. well-made mechanical action.
this
tice
some modern
special question without builders, who substitute for
the pracenergetically protesting against the combination-pedals stops placed be-
side
It
the
may
liberty,
ordinary stops, and consequently requiring to be drawn out by hand. be laid down as a general principle that an organist always has whilst both hands are always occupied.
one foot at
J.
W. 14267.
THE ORGAN.
When
at writing
right
148
for the
Organ,
the
composer so contrives
his
music that the foot may be able
depress the combination -pedal which acts upon a whole category of stops prepared beforehand, thus changing the orchestration of the piece without interrupting the train of musical thought.
the
to
moment
The system
reason
seize
of
this
other
variety
of
barbarians
keeps
obliged
one
to to
foot
quit
idle,
while, contrary
in
to
all
and
the
artistic
feeling,
one of the
required,
hands
is
the
combination -stop a
afterwards
returning
the
keyboard, keyboard as if nothing
order
to
had
happened. What would

turn
his
conductor say if he saw his 1! Horn stop in the middle instrument upside down, in order to drain it out? True, conductors
listen
of
Solo
what
and
is
observe
happening, whereas organists never

I
to
their
own playing.
a
single
flute -stop.
In
once
saw an organist accompanying

his
singers
with
in
pianissimo
keys as
if
passages
he
ing
fingers
barely
touched
meant
out
to
smash them.
Diapason,
When,
in
forte passages ivory; towards the end of the piece,

to
the
he
I
struck the
took
the liberty of drawof
an Open
the
order
of
up against
somewhat
vigorous singing mortified, he said: "So

also protest
not
the
I
support the poor weak choir, he looked at me

not
Flute,
in
in
incapable
bearing
great
astonishment,
and
have
strength enough
my
finger
ends?"
open
all
We
stops
great
must
of
so much
the
against
those
of
rollers
in
which
mechanically
of
the
the
Organ
as
against
abuse
them
the
performance
the works of the
masters.
of a futhen, unfortunately, there may be heard, introduced into the development tone-colors which enter according to the rules of the mechanical contrivance, without at all gue, They burst forth one after the other, running the coinciding with the outlines of the piece.
Now and
risk
of
bumping
in
heads with the

a
the middle of the Subject,
composer's idea, a Piccolo suddenly making its appearance in someCornet towards the end of the Answer, a Trumpet
where
the
Stretto.
And here we are come back again to the time of the wretched man with the diseased brain who gave Berlioz such unreliable information, and played him Bach's music tricked out with Bombardes and Clarions.
Is In what cracked brain could the idea crop up quartet? and bangles, till in the end little by little bedizening a fugue with instrumental spangles would seem to be masquerading about in the guise of a Symphonic Piece, accompanied by
not
a fugue
in
reality
simple
of
it
Fife
and
Drum Band?
IV.
the time of Berlioz, the Swell was known, but was still very imperfect. What is its origin? would be hard to say. England claims the invention of the Swell, attributing it to Jordan (1712), and we know that Handel was able to admire one of the first specimens of the new invention in London; we know also that about 1780 the Abbe Vogler recommended its use
In
It
to
German organof
builders,
in
but
this
very
ingenious
means
of
creating
the
impression of a mod-
ification
tion.
of
intensity
So that Berlioz
sudden
creating
was still a mere curiosity without practical an organ -pipe applicadenies the possibility of changing suddenly from piano to forte, or contrasts, of swelling and diminishing the volume of sound at will, and
the
being
consequently of tones of the
blending
Organ
and
the
Orchestra
into
one
harmonious whole,
of
the
cold
former
incompatible
this
with
the nervous
sensitiveness
the latter.
"On
almost
all
occasions"
he says,"when
singular
J.
combination
has been attempted, either the
W. 14267.
THE ORGAN.
the Orchestra, or else the Orchestra, having been raised to unOrgan very much "overcrows" due preeminence, well-nigh drowns its adversary" It is How times have changed! Nowadays, no concert- room is built without its Organ. now possible to graduate the sound mass, to pass suddenly from an imposing fortissimo to an almost imperceptible pianissimo, and, when accompanying a singer, to follow all the of vocal expression. lights and shades aware that this "expression" of the modern Organ can only be subjective; wheream fully the Pianoforte and the human as the Strings and the Wind instruments of the orchestra, the Organ, account of their impulsiveness and spontaneity, on are
I
voice,
captivating
its
wrapped
can
for
in
ever
only it alone among the instruments like a philosopher; primitive majesty, speaks the idea of Religion out of the furnish the same volume of sound, and generate
conception of Infinity!' there is nothing that

the
least
No, the
is
expression of the Organ is neither spontaneous nor impulsive; deliberate nature, neuropathic about the Organ. Of a thoughtful and
to
its
Organ rises architecturally from piano inflexion would constitute a defect in

as those of an
engineer's
plan.
forte, following
outlines, which
the
should
straightest diagonal. The be as straight and pre-
cise
The Philistine who "sentimentalizes" on the Organ forthwith turns the instrument of MajesHis outlines are like the wild zigzags of a weatherinto a big accordion. ty and Dignity a feather- brush carelessly passed along a dusty wall. chart, or the marks left by enable us, with almost too ready facilitate emis It precisely because our present means we must avoid all disrespect towards the majesty of body any and every musical idea, that
the
tic
Organ,
feeling.
it
and
that
Otherwise
into
we must employ this "expression" with conscientious reserve and artiswe shall ignore the essential characteristics of the instrument, and
witness
etc.
convert
pieces,
a pseudo- orchestra,
those
heavy, clumsy
arrangements of
symphonic
overtures, marches, suites, Modern builders enclose a whole

by
of
Organ
Swells
in
upon stop, and then of the whole mass

challenge
opening sound. Then,

ft.
the
Swell-boxes, and so obtain, first by adding stop one after the other, the magnificent crescendo
with
to
simple 8
skill,
Thanks
of
their
immediately after this exhibition of colossal strength, they Bourdon the pianissimo of any orchestral instrument. we can obtain, at will, sudden contrasts, instantaneous changes, crenothing
is
scendos and diminuendos-
easier
than
to
compete
with
the orchestra
in
point
suppleness, and to keep the Organ constantly well balanced with regard to the orchestra. So, here we are far from the supposed antipathy between "Emperor and Pope" of which
Berlioz
speaks.
No such thing exists nowadays, and a minute examination

it
of the case
leads
in
us to doubt
this
whether
ever
really
existed.
Is
not
Berlioz's
ignorant
opposite not entirely based upon the suitable combination of the Organ with the Orchestra? And was not this combination satisfactory even at a time when the Organ was not expressive? that Listen to the "arrangements" of Bach's Cantatas for concert - rooms have no Organ, and compare the effect produced with Bach's original version. And what a-
case
too?
it
Does not the whole
mass
of
Bach's
vocal
work point
guide to the
to
blame
con-
clusion?
Is
bout
If
Handel
Berlioz
and were
his
Concertos?
alive
into
still
he
his
would
mind.
forswear
his
views
of yore, or
rather the views
that
were so unfairly union of the two

manifest
furnish
instilled
former
rivals,
"the
Admirable new effects may yet be drawn from the Emperor and the Pope," who, converted into fast allies,
ever growing mutual sympathy. A conclusive evidence on this point.
number
of
recent
compositions
could
quote
J.
W.
14267.
THE ORGAN.
145
What was the Organ like in former times? When did the manuals become more numerWhen was the pedal invented? No one can say for certain. Two or three broad facts are known: Some 200 years before the Christian era, attempts were being made to improve
ous?
the
bellows;
to
pressure
was then obtained by

in
means
of
water, and
the
Hydraulic
and complete
Organ
is
was
nish
ful
the
Romans,
gives
the time of the

description
of
Caesars,
pretty
much what the Pianoforte

clear
to us.
fur-
Vitruvius
us
of
a
its
the
a fair
artist
idea with
construction.
directs
softly
And after
by
instrument, sufficiently Vitruvius, the Emperor

of
to
Julian says: "a skil-
swift
to
fingers
means
the
his
of
touch
the
the
valves
which, being
ody."
ing
made
head
vibrate
by
action
keys,
breathe
adapted to the pipes, forth a sweet mel-
The
his
bas-reliefs,
with
mosaics, and terra-cottas of those times show the organist standan attitude which proves that the pedal was projecting above the pipes
not
yet
known.
Circus
very
The
is
instruments
must
have
been pretty
large;
had
they
several
keyboards?
It
not
likely.
Byzantium, whence a few centuries later, it The Christians, having had West, in the reign of Pepin or Charlemagne. time to forget the instrument whose tones had accompanied the martyrdom of their ancestors, took it for a new instrument, and forthwith adopted it in their places of worship. Is it not likely that Guido d'Arezzo's early polyphonic attempts, his harmonizations in
The
Organ emigrated
to
with
the
Emperors
to
came back
the
fourths
and
fifths, first
suggested
the
idea
of
of
choir-parts without making any pretence the harmonics of the fundamental tone?
mixture -stops, which simply reproduced the obeying the laws of sound, or of reinforcing
We
case
al.
It
it
In hardly know anything of the history of the Organ during the Middle Ages. any cannot have been of much use, music being at that time almost exclusively choronly begins to attract attention again with Frescobaldi and Scarlatti, under the fin-
gers of
the great
The classical
or three
masters, the fore-runners of the great German organists. sanctioned by Bach, who determined its compass, consisted of two Organ manuals and one pedal -board, the former extending from CC to F in alt
Italian
(54
notes),
and
the
latter
likewise
beginning
at
CC
and
rising
to
F above middle C (30
notes).
Manual.
*>
Pedal.
146
THE ORGAN.
builders
On the manuals German, English, and American while retaining the pedal -board of 30 notes:
now go up
to
C in altissimo,
4>
Manual.
Pedal.
THE ORGAN.
VI.
ers' catalogues.
In
To form an idea of the amount of music modern Organs have given The mere list of composers inspired by the Organ would
Paris, the
of a great
rise to, consult

fill
publish-
production
of
Organ music was

skilful
ing
virtuoso and a
builder
set
formerly nil, when, the stone rolling.
all
a large volume. of a sudden, the meet-
Lemmens,
to
collect
from
for
in
Belgian organist, was coming back Hesse the traditions of Bach in
from
all
their
his plans
the
the
Organs
very
one came
thus
far
been
groping
of St^ Clotilde, St Sulpice, nick of time to guide the tottering footsteps of alone in the dark. To these circumstances we
Breslau, where he had gone piously Cavaille-Coll was preparing purity, Notre-Dame, etc.... The advice of the
the other, who had owe our magnificent
instruments.
this
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,
its
making
Is
influence
at
there
the
played by the imagination of its organist? When, by the mere depression of a finger, the organist strain on poor ation, and that too without the slightest ed on
]ie
is,
Organ
everywhere. present time one single country that is not justifiably proud of a fine an excellent musician? Is there any fine instrument which has not spurrpretty
felt
well
obtains
a note
of unlimited
dur-
human lungs
when he
feels that
the
so to speak, master of Time and Power then he appreciates the true character of instrument he plays, comprehends the language it behoves it to speak, and realizes
style
if
the
that
the
And
gan
exactly essential
befits
it.
qualities
of
good
in
style
are:
purity, clearness and precision, Ordegree,

not
to
music
certainly
possesses
of
them
the highest
mention
other
minor
excellencies.
The great
heard
strive
voice
the
under
after
stone
effects
roofs
Organ should reflect the calm of the Absolute; it is made to be and is based on natural harmonies. While orchestral instruments
by
obtained
nor
more
of
or
less
diseased
maximum
to
of strength by have neither beginning
means
the
common chord
it
Organ attains virtuosity, the of C, by sustaining tones which

a
the
seem
end.
plan.
This great voice requires to sing in time; Let us remark and admire in Bach's
interrupt the continuo of rate of movement, the great
works
needs rhythm, punctuation, and those cadences which here

in
definite
and
there
come and
ever
the
the text,
order
to
give
master thus avoids any

self-possession,
us a minute's repose. Whatimpression of anxious hurry

the
serenity
of
and precipitation.
audience.
He never loses
voice
of
his
never
troubles
his
And
this
great
like
places, and
fillings- up.
proper place,
the
Organ does not admit of the use of set formulae, commonEvery note is meant to carry, and should, consequently, be in its Stringed Quartet, which eschews superfluous ornament.
the
When
or of
It
organist has before him the 4 or 5 key -boards of St Sulpice, of Sheffield, Moscow, he fully realizes that the Organ is no drawing-room toy or fancy instrument. of is a stupendous mass, a monument of granite, the most powerful means on earth
the
expressing
In
what
in
is
its
presence
let
great, unchangeable, eternal. us call to mind the monumental
constructions
to
of
the past;
let
us
bow down
or
reverence, and
imagine
that we are going
move
to
song Egyptian
Pyramid
Roman Coliseum.
J.
W. 14267.
148
Chapter V.
The
Strings,
THE
(ital., Violino.
1.
VIOLIN.
Fr.,
Ger., Violine.
Violon.)
It
is
needless
to
give
minute
of
account
of
the
mechanism
of
the instrument, which
has not
Its
changed
since
the
time
Beethoven.
maximum
compass
may be
stated
as 3 octaves and a
fifth:
f
But,
in
in
the
the
orchestra,
highest
it
is
dangerous
to
employ
without
preparation
the
notes
con-
tained
third:
A
to
fr
?
B\>
f''
It
is
almost
impossible
attack
in altissimo
rest (at
*, unless
it
is
degrees,
for the
or preceded
by a fairly
long
least
one bar
to
of
up to by conjunct moderate quadruple time),

led
and
player's finger must be allowed sufficient find its very narrow resting-place.
if
time
run up to the top of the scale
And
case
it
is
nearly
C,
CjJ,
with
Btj,
and
impossible to play above.
Bt>
without
preparation,
still
more
is
this
the
N. B.
ner and
many
in altissimo, however, is excellent others do not hesitate to write
when played
it.
as a harmonic (V. List,
P.
160).
Wag-
B!>
in altissimo
above
if
may be said
of
to
be the
highest
sonorous
note
on
the Violin;
the four
semitones
However,
still
becoming
thinner
Violins
and
thinner.
a number
move upwards by conjunct

occasional
degrees,
these
notes
are
tolerably
sonorous;
hence
their
use
by the great
classic
masters.
2.
Here follows the table
of
the
seven
positions
of
the
Violin:
J.
W. 44267.
THE VIOLIN.
4th String.
l?l
149
String.
2^
15* String.
String.
position.
2nd
HH
position.
Std position.
4th position.
5th position.
6th position.
7th position.
150
5.
Is
it
THE VIOLIN.
necessary
string, of to
speak
of the
different
mirable
liant
If
41!)
the
rather subdued
qualities of tone on the Violin: of the adtimbre of the 3!^ and 2"d strings, of the bril-
the
string? a theme be given to the fourth string, loudest, the power of the tone being
quality
is
15*
sul G, the notes

in
of the
lower
of
octave
will
be
proportion
to
the
length
the string.
position),
Howwhich
ever, the
limit
it
will
remain
exceed.
full
and
homogeneous
up to Treble
(7tJ!
unwise to
Moderato.
am aware
-&,.
that
in
solo
higher
notes can
be
reached:
Moderato.
j>b
(^^T-
(Widor, Concerto?)
but
in
writing
for
the orchestra
it
would
be very imprudent
to
go
beyond C.
Double Stops.
6.
It
is,
of
course, easy
to
play
all
double
stops that
include
an open
string.
LIST OF DOUBLE STOPS IN THE ORDER OF INCREASING DIFFICULTY.
EASY:
all
major and minor
sixths.to:
from
up
EASY:
all
major, minor,
'
and diminished sevenths:,

va.
so
fa.
from
up
to:
EASY:
major and minor thirds:

from
~-jL-
i
up
to:
POSSIBLE-,
all
perfect and augmented fourths: -6 -6-1
from -Af-
POSSIBLE:
all
diminished and augmented fifths:

from 3B
"
up
to:
i
to:
POSSIBLE.-
octaves.-
-6
from
fez
*
\f<
\>3
From
this
upwards they become
more and more
difficult.
POSSIBLE:
JflSKY:
major seconds. minor seconds which

}
should
only
be used
with
great
care.
J.
W. 14267.
THE
8. to
in
VIOLIN.
151
on stringed instruments. It is better if ever it becomes necessary to use it
first
As
for
it
the
perfect
fifth,
it
is
consider
as very dangerous
in
hardly perfect orchestral work;
a chord, carefully avoid going

It
beyond
the
F C on the
string:
may be as
possible
well
for
to
repeat
remark already made at the end of

ninth:
'-jE
,
4:
the
maximum
stretch
It
the
hand
is
the minor
is
impossible to reach the

of
major ninth.
sevenths
(For
in
9. We now give a list mon chords on which they MT Sechiari, Solo Violinist
all
keys,
and
of
the various positions

in
of
the comto
resolve.
of
much assistance
this
matter
am
indebted
the
Lamoureux
Concerts}.
Chords of the Dominant Seventh.

The
tions
crosses +
that
show the
difficult
in
or
unsonorous
chords;
either
the
asterisks
* show
the resolu-
are
impossible
not
specially
the
minor
are
mode.
possible
in
Resolutions
marked
mode. +
DOMINANT SEVENTH CHORDS.

In
C.
fl
In 3 parts.
152
In 3 parts.
THE VIOLIN.
'<?-
Resolutions.
.H
:
+
.1
Pjt
.'
T>
4
J,
.
f"NP
lit
In
*4
4
rra
possible in the
minor mode
only,
4 parts.
r*p
'
i
Resolutions. ""
,,
I
:
'Tgl
M*
'*
possible in the
minor mode only.

In
Cjj.
In 3 parts,
^g
H--
j^g
4^
^
'
+
Resolutions.
-au
+
ti
if
^
oo
only.
H*
^ "^
i
,o
+
o
oô
possible in the minor
mode
. ,
In 4 parts.
Ê*
D
"^
;j-ii1^
^ 8^"
i
&-^'fl-P-
_,
^
9
^
a-
^
Resolutions.
ffft
a* s ^-^-r^P^
1^
33F
ffTrt p
In
possible in the
1
minor mode
Da.
rtr
only.
In 3 parts.
I
Resolutions.
Off
zr
OH
5 *M
*
H #
r
:
Fj(
on the 4th
String-.:
**f|.i r4
J.
W. 14267.
THE VIOLIN.
In 4 parts.
153
m i=p32 ^
.- 'J
vr4
,TTK
._,477Z;
r
ozr
Resolutions.
__t**i
/JK
<
^^^
J5
fei ^^^
t*1o
z
^4
4t>
'o~
In
E:..
In 3 parts.
*
Resolutions.
4 k >J
Oir
^^
^: i,u
+
H
4^
-r
ifc
154
THE VIOLIN.
+
Resolutions.
&* r
i?
-i-
4
*
J
-j
i
o
j
o
4,
4-
"YV
*
-,
I
T-?
mode
4
only.
In
F.
4P.fi
Pa
8
(
to
1>
o 4 !>a
In 3 parts.
*
Resolutions.
J*iJb<ttJ^
4
t-
4*
tl iJ I si
*fi
9*
In
L+
*
I
I
90. Ipfi 4(>Zll
+
.
4 parts.
ra
S7
S*
OP
4''
94
1
p-
-p-
2-9-
2-
+
-r
f: 8
Resolutions.
+++, ^
\
f
In
Z-9-
F|.
ft.
3 a.
In 3 parts.
T J
#=7
Resolutions.
'
* r
B
^
4
^f
iîi^
Jt
4JJ*
J?
ui
p* J*
J: M^*
r
"possible in the
^
j
+
In
minor mode
only.i
4 parts.
"Hf
A
|f
9-
+
ii
Resolutions
jJ
i4
TiS
ff
sj?"5 f'j3
.
possible in the
J.
W.
minor mode only.
14J467.
THE VIOLIN.
In
155
6.
rrzt
In 3 parts.
Resolutions.
SP
"-S-~~:
*w
3
n
3
'I
*"
31 g
In 4 parts.
la
OS
T?>
+
:?
Resolutions.
FTT
p
I
"E r
:r"
e v
:E r
156
, I i
THE VIOLIN.
,
Resolutions.
jCTrjji?
-*
1
b^^-^rJ^^^Tiglgg^^ ^îi
*
fci
4 1
..
i ;
.
_ *f-
f-
^
+
4
*"
-r
+
''*
'
i*
0/
iJ--
45* *
^ + :
ti
'
+
!o
4tts>
_.
ftp
ft
p
tin
In 4 parts.
'f
Resolutions.
, t
jo
|O
+
*
$
i
"
if-li-J-.
r
"
J !p
In
Bb.
J
9;
b
te
^
s'
i.
_J
..
In
_ ~=^4 - fcrgrmrprf..
'
J _
|;>jO
_-
2| -ga bp/
&^
4't?
,
Resolutions.
:
^t b^
* +
*4 ^
::-;
\--b-u
,1 T^W-.^
i
*"'-
'
J
In 4 parts.
*
4*
i
afr
-i-_i_
.^*.
ibi
Resolutions.
^
,
*
-'J*.
"
;4i
jie.
_i_
b.
-
b.
T
bi 3 bi
1
* tl
+stl *fisi2 *a
|0
e c
-f
-^
"
rt>irbwb'i- i?i
ibr
>
TO
|0
To
P?P5
I
In
65.
In 3 parts, w
Resolutions.
""I*
mode
olily
J.
W.
14267.
THE VIOLIN.
In 4 parts
+
,+
o
157
ate
+ ,+
-
o gg
Resolutions.
minor mode only.
possible in the
Chords of the Diminished Seventh*

On the three lower strings.
In 3 parts.
the three ^fc= higher strings.
On
-&
MS
aU-f-^p^
N**1^
.^
^--^^^M^-i^f-^^-y^
4
r
In 4 parts.
ir
it
=^^P^ *
^^_t__^
s
:
b-r
ir
i
Chords of
On
In 3 parts. the three
tlie
Major and Minor Ninth.

?
*
lower strings.
--JrU^^^=4^=r^ ^ ? ^
i^
if
On
ff
")*
H^
the three
higher strings.:
U
In 4 parts.
dij
t?qidai
3a
w
*lt
;
* P
it
ftt
b^
1>>
Chords of the Augmented Fifth

are easy
in
lour parts within
the following
limits.
Rising chromatically up
to:
* All
the Chords of the Diminished Seventh
may
be written enharmonieally.
158
THE VIOLIN.
Harmonics.
10.
Taking
4tb,
5ti),
as a fundamental
tone
the
note
produced
obtained
3d,
If
and
the
6t!)
upper partials
can be
by each with the
of
the open strings, the 20?,
help of
single
of
finger
lightly
string. touching we take Fiddle 6 as a fundamental
tone,
we get the
following
series
natural
har-
monics:
Jt
TT
1
-f-r
between
the
The
i.
2"d partial
the
point
is
obtained
the
by
touching
the
string
mid -way
produce
nut
and
bridge,
e.
at
where
depressed
finger
would
the
same
note.
Written:
The 3 r.d partial

either (1)
i.e.
can be obtained
the
string
at
in
by
touching
two different ways: distance from the nut

finger would
"Written:
equivalent to
of
its
length,
at
the
point
where
the
depressed
produce the
perfect
fifth:
f
\
of its
or (2)
at
by
the
touching the string at a distance from the nut equivalent to point where the depressed finger would produce the same note:
length, i.e.
Sul G.
Q Written: -fc
It
\
is
necessary to indicate the
string ,
~v~
in
for this 30? partial is also the
of the
2"d partial
string.
The
4U!
partial
can also be obtained

the
string
at
either (1)
at
by touching
distance
two different ways: from the nut equivalent
to
of its
length, i.e.
the
point
where the depressed
finger
would
produce the perfect fourth:
A.
Written:
f
or (2)
the by
point
touching the string at a distance from the nut equivalent to where the depressed finger produce the same note:
wqjild
o
of
its
length,
at
Written:
^-
The
5t!?
partial
can be obtained
in
four different
either (1)
the point
touching the string where the depressed

by
at a
distance from
ways: the nut
finger would produce
equivalent the major third:
to
of its
length,
at
Written:
or (2)
by touching
the
string
at
a distance
from
the
nut
equivalent
to
of
its
length, at
the
point
where the depressed
finger
would
sound the major sixth:
J.
W. 14267.
THE VIOLIN.
Written:
f
or (3)
b_y
touching
the
string
at
a distance from the
nut
equivalent
to
of
its
length, at
the
point
where the
depressed
finger
would
produce
the
major
tenth:
J
dL
Written:
'<&.
or (4)
by
the
point
where
touching the string at a distance from the nut equivalent to the depressed finger would produce the same note:
of
its
length, at
Written:
Remark:
chestra,
The first two ways of obtaining the 5lb partial are the only ones used in the orthe others being rather risky; with the 3I!f way the harmonic is strangled and does not come out immediately; with the 4ti? way the tone is very pure, but it requires considerable
its
stretching to reach this larger dimensions.
position,
which would be
still
more
difficult
on the Viola, on account of
The
partial
can be obtained
the
string
in
two
a
ways:
the nut
equivalent to \^
third:
of its
either (1)
by
touching
at
distance from
length, at
the point
where the depressed
finger would produce the minor
XL"
Written:
'/
or (2)
by
the
point
touching the string at a distance from the nut where the depressed finger would produce the
equivalent
to
of
its
length, at
same
note:
Written:
this
indication
is
vague, for
of
this
6tb
upper partial
the
fourth
partial
(open string)
to
jj^ O V
of
the fundamental
ft
is
also
T*
.
It
is
therefore
string.
first
necessary
of
indicate
whether the harmonic
is
to
be played
on the
or
on the
If
the
way
out
stain
beauty from using
or charm;
the
producing it is employed, the harmonic comes out with difficulty, withthe second way involves a painful stretch, so it is advisable to ab6tb partial, the same note coming out better as the 4-tJ! partial of
a
fifth
the
neighboring string,
above.
J.
W. 14267.
160
THE VIOLIN.
List of Natural Harmonics practicable in the Orchestra.

j
4th String.
ad
String.
nd
String.
l?t
String.
Artificial
11.
Harmonics.
fundamental
can
be
This
is
the
name
given
to
sounds
whose
tone
is
not
note
of
sounded
two
by
an
open
string.
These
artificial
harmonics
artificial
gers, the
at
fore -finger
point.
serving
as an
nut,
finproduced by only the other finger lightly touching the string
means
a given
Of
this
class
of
harmonics
the
the
only
one
employed
at
in
the
orchestra
P.
is
the
4th
partial,
two
octaves
the
above
little
i.
followed;
ial
fundamental; finger touches the

a quarter
of
the
system
explained on
158
a
string
the
distance
of
(fourth partial (1)) is fourth from the artific-
fundamental,
e.
the
way
between the
.
depressed
fore -finger
and
the
bridge.
Written:
m
>*
the
These
artificial
harmonics
are
all
possible from
S""\"\
lowest
Ai>
up
to:
12
can
ger,
Other
be
artificial
obtained
a point
i.
e.
harmonics are made use of by virtuosij e. g. the third partial, which - firby touching with the little finger the fifth above the depressed fore a third of the way between the fore-finger and the bridge.
Written
-^
!;
It is
possible to rise chromatically up to:

J.
W. 14267.
THE VIOLIN.
13.
161
bove
The 5ti? partial can be produced by touching with the ring-finger the major third athe depressed fore-finger, i, e. a point a fifth of the way between the fore-finger and
the bridge:
~
J
Written:
but
this
is
not
often
done, for the quality
of
tone
so
obtained
is
poor.
Remark: may know
careless
that
composer may write any note, putting a zero above it, so that the performer this note is to be produced as a harmonic, leaving him to choose the best means
that the complete
of execution.
does not begin
In this case, the composer must not forget till G in alt:
chromatic scale at his
command
From:
Below this G; he has at his disposal none but natural harmonies, which are limited to of the perfect major chord on each string (V. List P. 160.)
the
notes
Bowing.
said
drawn over the string from the heel to the point, the to be playing a doivn-bow, WTien from the point to the heel an up~bow, indications are used when needful: following
14.
When
the
bow
is
violinist
is
and
the
Down -bow u
Up -bow
V
Fr.
Tire.
Fr.
Pousse.
When
varying
down-bow^
but
it
and when an
up-bow^
in
widely,
may
be stated
accented
beat, and
an
up -bow for an
is to be used, it is not easy to decide, cases a general fashion that a down -bow is used for an unaccented beat or an unaccented part of a beat.
Varieties of Bowing.
15:
The
Grand Detache
the
heel
to
length, from
the
of its produced by using the bow throughout the whole and vice r>ersa, the bow never quitting the string, and point,
is
no slur being
written
over the notes.
/
A powerful tone
If
is
thus obtained.
be not
there
of
the
effect
of,
is
to
only
is
powerful,
but
even
violent,
the heel
of
the
of
bow
alone
is
made use
note
but the
then
some intermittence between each stroke
requires
repetition
the
same motion, and
it
becomes
the bow, for each impossible to play as fast as
with
the
Grand Detache.
uuu'uuuuuu,,
Moderate.
fL
J.
W. 14267.
163
The
and a
THE
Detache Moyen
still
VIOLIN.
a third
of
is
obtained
by using
the
bow;
it is
used
in
rapid
tempo,
rapid
sufficiently
intense tone
is
The Petit
Detache, which
effects.
is
be produced by this means. produced with the point of the bow,
can
is
used
in
very
tempo
as
if
and for soft
The Martele
with a
played
with
the
extreme
tip
of
the
bow,
each note being attacked
drily,
hammer.
Vivace.
r
It
may be used piano, as

is
well
as forte.
the
great
The Sautille
especially
of
obtained
by making
middle of the bow

lightness
of
suited to passages requiring movement, the better the effect.
rebound after each note; it is execution, and the quicker the rate
of
Iterated
notes suit
it
capitally,
but
it
is
absolutely
devoid
strength.
Presto.
Some composers
quite
of the
very
improperly
indicate
the
Sautille
mistake,
bow, and
the
by
Staccato being obtained

each
note;
detaching
by written:
This is by the word Staccato. from the point to the middle an upbow
Allegro.
Frequently
ficulty
of
used
in
it
solos,
the
Staccato
As
is
rare
the
in
the
orchestra,
on account
of
the
it
dif-
ver used
in
executing the orchestra.
with
regularity.
for
Staccato with the down-bow,
is
ne-
Slurs and Legates.

16:
Are
all
possible, whatever
bow, the
weaker the tone;

if
ate quadruple time

figure
The longer the stroke of the ppp require more than 4 bars in moderholding notes are to be played, or two bars in like tempo if a
the
number
it
of
articulations.
even
is
well not to
has to be performed:
Allegro moderate.
17.
Notes are said to be played

with
Loure
This
is
when each one

indicated
by
is
articulated, although
numun-
are played der the slur:
ber
the
same bow
little
dashes over each note
Andantino.
This
is
is a very good means of expression, very one of the favorite devices of modern art.
much used
in
cantabile passages,
and
J.
W.
U267.
THE VIOLIN.
163
The
18
It
Pizzicato.
examples, which give a better notion of the
could:
will
suffice
to quote
is
the
two following
than any
way
in
which the Pizzicato
used
description
Tempo of the Jota Aragonesa.

Piccolos
.
Oboes.
Clarinets.
ist
Violins.
Violins.
Violas.
Violoncellos.
Double-basses
pizz.
(Gevaert.)
Allegro.
pizz.
animando sino al fine.
arco.
Violins.
Violas.
Violoncellos.
Double-basses.
(By kind permission
of Heugel et Cl2, Editeurs-Proprie'taires.)
(DelibeS, Sylvia.)
It
is
than
impossible to change from Pizzicato that of the two preceding examples.
to
Arco, and
vice
versa,
in
quicker
tempo
Remark.-
More time
is
required to take the
bow again
after a Pizzicato than to
pass
from
an
Arco
to a
Pizzicato passage.
J.
W. 14267.
THE VIOLIN.
19:
The quality
of
the
Pizzicato
is
fairly
uniform
from
Fiddle
to
E in alt:
f
but
from
this
E upwards,
is
in
proportion
as the string becomes shorter, so the

up to
tone
becomes
poorer.
However, here
ly
Pizzicato
rising
C in altissimo^
rit.
of
which the effect
is
equal-
good
forte
or
pianissimo:
poco a poco
,
Violins.
_ a tempo
poco a poco
yy
^
'..^..7
J
Violas.
m^
yy
'^=z
Violoncellos.
7_|
-7-
^
a tempo
I
I
m
7T
v
Double-basses.
y/
rit.
a tempo
^fe
rit.
^
f
^3:
=*3
ff
rf*
*
i
vr' (By kind permission
of Heugei et cis, Editeurs-Froprietaires.)
(Philipp, Serenade,
orchestrated by Malherbe.)
Remark: This final C in altissimo # would be impossible if it were not reinforced by the tone of the chord #iven to the 2"d Violins. Thus placed, it cor.ies out with a tone nearly clear as on the Pianoforte.
The last high notes, ased alone, become thinner and thinner, panied by an open string, they are admirable:
but
full
as
when doubled
or
accom-
Excellent:
'
~j
J.
W. 14267.
THE VIOLIN.
20.
The maximum speed possible

not
for
Pizzicati played
in
semiquavers
is
J=104, and even
then the passage must

(J
be long.
104)
it
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,
Struck Chord:
Excellent:
is
merely a question of
e. g.
* The
slur is necessary,
this effect corresponding to the glissando on the

Presto.\
Harp.
Impossible:
N. B.
like
This descending arpeggio would be possible
if
the instrument were held the other end up,
a Violoncello.
21:
All
the
chords that
we mentioned
in
9 can be arpeggioed:
Vivo.
thus:
They may also be subdivided

Viro.
into
two
or
more groups:
22:
crossed
The
old
tremolo of our ancestors
is
passing
out
of
fashion
and
being
replaced
by
tremolos of the
1* and 2H^
Violins,
Violas, etc.
X
Instead of writing:
(JL
(
nowadays
this is preferred:
A.
(*
However, the
former
better
tremolo (X)
be
is in
more sonorous
order
fo
than the
latter (Y),
and
there are
cases
when nothing
could
used
off
reach a
fortissimo.
of
tremolo figure
point:
may
finish
on an unaccented
part
the
bar, without reaching
a cul-
minating
Allegro.
(By kind permission
of Schott
(Parsifal?)
&
C9, Publishers -Proprietors.)
23:
When
are
the
back of the bow
is
to
be
employed
for
a special
effect,
the
words
col
legno
written
above the passage.
J.
W. 14267.
166
THE VIOLA.
(Ital., Viola.
Grr., Bratsvhe.
Violin
Fr, Alto.}
to
of
1.
All
that
has
been
said
about
the
applies
the
Viola,
which
is
in
reality
no-
thing
Its
but
Violin
tuned
be
a fifth
said
to
lower, and
consequently
rather
larger
dimensions.
compass may
comprise
3 octaves:
TT
By
the
transposing
the
positions
fingering
lies
in
of
the
the
Violin
a
for
fifth
lower,
those
of
the
Viola
are
obtained;
mechanism and
are
the
same
both
instruments.
of
The only difference
slightly
larger
dimensions
the
Viola, which
diminish
the
stretching
2:
fifth,
capabilities
of
the
fingers.
We
noted
that, on
and, on
two
a single string, the hand strings, the minor ninth.

perfect
fifth
-4
of
violinist
could
reach
the
diminished
On the
Viola, the
and
the
.
octave
are
the
respective
limits.
Violin.
Viola.
On one and
the same
string.
On two
strings.
On one and the same string,
.;
On two
strings.
ij
Here
is
an
impossible
passage written by an unskilful
composer:
~&~
^?
^
with
~&
-&
Conscientious
just
ers
In
performers
the
it
will
play
the ninth marked
an asterisk
* as
follows:;
will
touching leave
either
bass note, as a small

out
altogether,
will
hand
the
of
would
do on the
only.
Pianoforte; unscrupulous "play-
sounding
very
higher E the
said
case, they
think
little
composer.
3.
As on the
the
Violin,
and
all
four-stringed
instruments, the
to
two best strings are the outer

strings,
ones,
bow not
fear of
touching
venturing bring one of the neighboring strings.

Violin.
to
much stress
bear on the two middle
for
Viola.
=f
Very sonorous
strings.
i
Less sonorous.
Very sonorous,
jj
Less sonorous.
J.
W. 14267.
THE VIOLA.
167
Double Stops.
4.
Are excellent
or possible:
all
minor and major

up
to:
sixths.
from:
All
diminished; minor; and major sevenths.

from:
jg
|J
jJ
"P
to:
All
minor and major

from:
thirds.
up
to:
All
perfect
and augmented fourths.

from
:
up
to:
All
diminished and augmented Jifths.

from:
All
octaves.
from:
up
to:
All
minor and major seconds.

from:
to:
5.
We
remarked on
true,
of
P.
151,
8, that
approximately
and we repeat
the
perfect fifth on stringed instruments was but remark in this connection. We observed that the
the
Violin
extreme
In
limit
perfect fifths on the

the
Viola,
it
was F C
^
would
E.
the
case
of
is
Fjf
JP
=.
It
be very dangerous to go high-
er
in
orchestral
writing.
J.W. 14267.
168
THE VIOLA.
Dominant Sevenths and their resolutions.

6.
The
crosses
+ mark
in
the
difficult
or
unsonorous
chords.
The asterisks
show
the
resolutions
impossible
not
the minor
mode.
are possible
in
Resolutions
C.
specially
marked
either
mode.
In
3-6
In 3 parts.
Resolutions.
in*
'
* IE
ai
o
to.
4o
3H
In
4 parts.
'-'
Resolutions.
r
In D>>
(or C||)
In 3 parts. H
-^^zzTzzg
Resolutions.
^
In
_ _
r-
4l>
.
4 parts.
=$
l_k
Resolutions.
In
Da
te
In 3 parts.
|.r
is
"
To
Resolutions. 3
nj
40
.
^
"2*0
1 1
1*0
J.
W. 14267.
THE VIOLA.
a
In 4 parts.
1
169
dP
3
aP
to
r
'
dP
a
it?
"-
a
20
o!
Resolutions.
<f~ ip
if
y=if
i
I.
P
JzS
In
.1
14
js
_ 1^=4-4^=
In 3 parts.
|g":Z
,!>&
Xl>^ j y,^ I'.gL-H

!>
41
4^
4bi
^
*'
*
,
3J> i>f-
"
f
I
>*
i*
!
,
L* b*
(>
f t
Lt>jt
t>
\>W
In 4 parts.
1
^
>'
I
Resolutions,
jj
Easierlin the
minor mode.
o
In
Eq.
i
In 3 parts,
;
j
T
r
T
T
,_!
fl*
^-r
possible in the
r=&
ttp
fir
Resolutions.
minor mode only.
In 4 parts.
j[g:
Resolutions.
40
j
20 40 mode only,
'
In 3 parts
Jfi?
b, n
170
THE VIOLA. *
ib
difficult.
,
+ W
(.5
!>
is_
\>
In 4 parts.
+
-2
'-!-'
J
^.
f
+
Resolutions.
r
=*
r
00
r
I-
In
Gk
In 3 parts.
*. -
'
Resolutions.
vp
iU* y
1>
i/ p
W ^t r
i.
possible in the
minor mode only.
In 4 parts.
Resolutions.
f
possible in the
!
minor mode only.

In
Ft
^-
-^
jU .^
l
In 3 parts.
"*"
TP
,o
o
o
Resolutions.
^^
In
possible in the
minor mode only.
4 parts. ffi-+fc
-JResolutions.
00
possible in the
minor mode only.
Resolutions.
40
J.
20
W.
14267.
THE VIOLA.
171
40
In 4 parts.
^-
gfr-^jg
+
Resolutions.
4-
N4
In
Ak
Resolutions,
178
THE VIOLA.
10 10 10
4|,
Resolutions.
*
*^
4|.
3JO
.[0
4Ja[_
r "^
!
* o*
or
I
poss: in the
minor mode only.
i In
B .. i^f
.
U.
In 3 parts.
ant:
o
4 g
s)
Resolutions.
+
la.
r
In
4 parts.
-^p
*
Resolutions.
;
In
B:.
3 parts.
In
IP^
Resolutions.
F'F
possible in the
i
minor mode only.
In 4 parts
te
Resolutions.
1^
possible in the
;
minor mode only.
Chords of the Diminished Seventh.

On the
In 3 parts. three
lower strings.
fi
IH
3 =t
W. 14267.
ti
J.
THE VIOLA.
On the three te
q
173
higher strings. J
te
h.
In 4 parts.
-^
t C
t_
&*&
Chords of the Major and Minor Ninth.

In 3 parts. rts
-
On the three ^ree

lower strings ings.
IH
^
*
1
m_.
y_
J
r
On the
t-
'J
three
higher strings.
'"
'
&*
In 4 parts. |
If:
!*
Chords of the Augmented Fifth.

On the
In 3 parts. three
lower strings.
In 3 parts.
On
the three
higher strings.
In 4 parts.
Easy up
J.
to:
W. 14267.
THE VIOLA.
7.
As on the
Violin,
all
these chords can be arpeggioed
and subdivided
into
any
kind
of
groups.
List of Natural Harmonics practicable in the Orchestra. 4 i J 5 2 3 o J

,
4tJ}
String.
fl
String.
2"d String.
String.
175
THE VIOLONCELLO.
(ital., Violoncello.
Ger., Violoncell.
Fr., Violoncelle.)
1.
Its
compass
is
about
three
octaves
and a
third,
from
Double
to
above
Tre-
ble
C:
This
the
last
is
here
given
as
the
extreme
by
limit
in
orchestral
the
writing,
because
one
it
is
at
once
best
sonorous note
on
obtainable
so
depressing
string,
and also
it
of
the
harmonics
by
the
instrument,
depressing
'the
string, or
Above
this
E the notes
performers play ordinary note, as a harmonic, according to circumstances. become harsh and painful to the ear. Of course, am now
I
that
can
either as an
speaking of the orchestral instrument only, go an octave, even an eleventh higher:

Allegro.
and not
of
the
Solo Violoncello, which
can
(J.
Hamelle, Editeur- Proprietaire.)
(Widor, Concerto)
27
the
The
fingering
of of
the
its
Cello
differs
i.
from
in
that
of
the
Violin
and
Viola
throughout
all
essential
part
compass,
is
e.
the
lower
register.
From
Double
to
in
the
clef,
each
semitone
produced
the
by
different
finger
but
from
this
of
A upwards, the
on
in
fingering
is
same as on
the
execution
natural
avoid
it,
all
the
stringed
instruments
of
we have
but
The chromatic scale, so difficult so far considered, becomes quite easy

Violin.
and
to
the
lower
register
for
the
Cello,
above
A
,
(in
the
clef)
it
is
better
when writing
the
orchestra.
HnH-i*-H-iJ-*-'H
1
>!:
THE VIOLONCELLO.
Thumb
3.
Positions.
method
of
The highest note obtainable with the ordinary

this
fingering is this B:
of artificial
"nut','
Above
fingering
note,
it
becomes necessary to employ the thumb as a kind
the
being
the
same as
on the Violin.
Some "Thumb-positions" are sometimes used in the medium, or even in the low register. e. g. octaves, which are can only be executed in this manner always played with passages
one single
kind
of
fingering, viz.
9
o
*>:
sag
? v
|
thumb and ring-finger.

-
v
Ji
'
j 1
j 1
i J
f_
[
C
[*
"
(The
dicates the thumb.)
The very
difficult
impracticable the employment

difficult
without
of
are quite as figures to be found in Rheingold (P. 287 to P. 289) the use of the thumb on the G, D, and A strings as they are with
the
truth
thumb -positions, and whatever means

of
of
execution
is
adopted,
it
is
to
secure
intonation.
4:
Thumb -positions
from
very
suddenly
note
thumb
is
risky,
general, only be employed with considerable care. Skipping produced by the usual fingering to a note that involves the use of the unless, indeed, this note happens to be the first harmonic of an open
should,
in
string, in en if the
which
position
case the danger

of
is
the
finger
is
minimized, because this first not mathematically accurate.
harmonic
will
come
out,
ev-
Quality of the Strings.

5.
As
the
in
the case
of
the
Violin
and
Viola,
the
first
string
of
the
Cello
is
the most bril-
one to which the melody is usually given, and which creates the most intense impresliant, sion. The veiled quality of the second string is also very useful. The third string even, may be used in a solo with very good effect, but it more frequently has the bass of the
harmony
a
to
play,
like
the
fourth,
whose
full
quiet
tone
is
able
to
sustain
the
weight
of
considerable
orchestral
mass.
be reached.
even
the
On each
fourth
string, the
of
octave can
Violin,
string
the
where
eleventh
be
expected in the case of the Violoncello. ing that whole passages are played on a single sake of preserving a uniform tone- color.
6.
However, the admirable effect obtainable on the may be reached (P. 150, 5), must not It is usually in order to simplify the fingerstring;
sometimes, too, this
is
done for the
The
following
curious
or
in
fact
is
not
on
Instrumentation,
any
Violoncello
mentioned, School.
as
far as
am
aware,
in
any Treatise
If
this
ance:
four bad notes make their appeary their tone is rough, harsh, incongruous, and uncertain; tf is equally true of all Violoncellos used whoever for orchestral purposes,
on the
string,
liiv
the fifth be exceeded

fri
|
3*
may
Blj,
be the maker.
can
Ctf
What
C,
this
be due
to?
Why
are
not
Ak>,
A!],
B\>,
Bl|
on the fourth string,
and
Bt,
on
the
second, equally
bad?
Who can
explain
this
mystery?
As in the case of the Violin and 7. Viola, the two outer strings, the 1* and 4th, are the most sonojousj the attack can be more vigorous, because the bow is not hampered as it is when playing on the middle where it runs the risk of grazing the neighstrings,
constantly
boring
strings.
J.
W. 14267.
177
THE VIOLONCELLO.
8.
We
have noticed
that
the
maximum
stretch
possible
for a
violinist's
hand, on a
single
string, is
an
augmented
fourth:
Violin.
(The Perfect fifth impossible.)

hand cannot stretch
beyond a perfect fourth:
and,
in
the case
of
the Viola, the player's

Viola.
(The Augmented fourth impossible.)
but, for
the
cello -player, the greatest

Violoncello.
stretch
possible
is
a major third:
(The Perfect fourth impossible.)
Pizzicato.
9.
The shorter the string
the
drier
the tone;
what
is
the upper
limit
for
pizzicato
play-
ing on the Cello?
No
I
definite
answer can be given,

A, Bb
distant
as both
the
performers and
somewhat;
to
however, write pizzicato.

bluish
is
think
G|,
still
may
be
considered
G#
is
sonorous used
enough to leave
on a
is
highest behind it a
instruments vary notes which it is safe

vibration
that
recalls
the
haze hovering
in
over a
landscape
it
hot
still
summer's day.
satisfactory, thanks to the strength-
A
ening
duller
of
effect
tone, but when the open string:
as follows
Allegro.
Fizz.
Bi>
a
not
semitone
tainly
higher be exceeded.
is
somewhat
dry;
in
case of need
it
may
be written, but
should
cer-
wish to call attention to the fact that some conAs we are dealing with pizzicati, do not trouble much about the way in which the players execute pizzicato passages, and hardly seem to suspect of what an amount of variety and manifold shading this style of
10.
I
ductors
playing
is
capable.
Truth
to
say,
tell
many
teachers
deserve
they you that, they have never thought the matter over, and consequently This is a mistake. fashion, without any special intent.
point,
11.
question
their pupils,
will
their attention
equally severe criticism, for not having been directed to

play
in
if
you
this
happy-go-lucky
We
Viola,
have already
in
cato passage
the
and
seen (P. 165, 20) that the maximum speed attainable in a pizzisemi -quavers cannot exceed J - 104. This speed is common to the Violin, the Violoncello. the Likewise, the chords mentioned in the final remark of
which
same paragraph,
can
be
arpeggioed
in
any
tempo,
in
fashion
analogous to that
of
Harp glissandos. We also remarked
that
this
Pizzicato was
(Presto..
very
good rising:
Violin.
but
impossible
falling:
Fizz
J.
W. 14267.
178
In
THE VIOLONCELLO.
the
case
of
the
Cello, this
figure
is
equally
of
the
two following
arpeggios may
:=K
be
written;
practicable whether rising OP falling. both will sound equally well:

Presto.
Either
Violoncello.
===
'
excellent:
)
Pizz.
Struck chord:
N. B.
These descending arpeggios * are very
little
sometimes prove very useful. used, but might
Double
12.
tral
Stops.
to be
Seconds and
writing,
unless
one
octaves, which involve the use of the thumb, are or other of the notes is an open string:
avoided
in
orches-
Exc,,lent:
J,
^
and 4*]? strings (the higher the notes the harsher the tone.)
Thirds
may be
classified
as follows:
3d
rjtg
Gd and 3 T strings (possible but not of good quality.)
ist
and
2d
strings
(best
register.)
The following
tissimo:
thirds
are
difficult
for
orchestral
players, and
could
only
be used
in
a for-
^zfeEE^
From this point onwards, they become more and more difficult and much harsher in tone:
Perfect and
Augmented
Fourths:
harsh
(Avoid writing higher for the orchestra)

i.
W. 14267.
THE VIOLONCELLO.
Perfect fifths are more
able:
179
they
satisfactory
than on the
Violin;
'
may be considered
practic-
From:
*)'
f
to:
"(if
All
major and minor sixths

.
are excellent:
From:
V'
g=
Up
to:
*=
..f
^.lEE
V (t'pn. f
Minor sevenths
are
assigned
to
are more
difficult,
and
their
truth
of
intonation
more doubtful,
when
they
orchestral
players:
ii
possible up to:
Common
13.
All
Chords.
major and minor chords
are easy, up to Eb:
ItL.
vv
Quite
[^
'^
^-,^~
ytretc.**^
up
to:
easy
too
are
their
first inversions-.
Major:
-y-]H
'^
etc.*r
'
up
to:
Minor
_d ,-tt-j
d"
pq
bo
ere.-**'
up
to:
And
likewise
their
second inversions:
up
to:
Chords of the augmented fifth:

From:
*}'
..-"
to:
Major chords with
diminished fifths:
From:
V=
to:
p-p
J.
W. 14267.
180
First
THE VIOLONCELLO.
inversions of chords of the
augmented fifth:
From-,
,ii :
.K:
Jg
up
to:
Chords of the
diminished
From
fifth:
Jfi
3-
-*^^
Up
to:
inversions:
*
From
up
to:
Chords of the
dominant
From:
*
seventh:
If
r
fa
m
up
to:
Chords of the leading seventh:
And
their second inversions:
From:
3
3
iff
up
to:
From:
*>'
.H
^ -^^
up
to:
Chords of the
diminished
From:
up
to:
Quadruple Stops.
14.
The following
chords-.
are practicable:
Common
THE VIOLONCELLO.
Chords of the augmented fifth:
From:
181
=P ~*?'
a "
Their first inversions:
From:
^
^P
Chords of the
dominant seventh:
....
From:
._ f. i^l r
ri vjq IT
182
The
limits
THE VIOLONCELLO.
within
which
artificial
harmonics are practicable are as follows:

I
^
may write any
Remark:
As
in the
placing a zero above
case of the Violin and the Viola, a careless composer (but only from the 4th partial upwards): it,
o
From:
-~
o
Il0
note,
____
up
to:
'
Below Middle C, he will only have natural harmonics

harmonics given on P. 181).
at his disposal (See the
List
of
natural
Notation.
17.
As
in
the
case of the
often
Horn and
the
Bass
Clarinet,
the the
traditional
mode
of
writing
the
is
Cello
high agree adopt some definite system. to a long -established the G clef, whether used from the outset, or custom, According introduced incidentally later on, is regarded in the same light as a 16 ft. organ -stop, notation being an octave above the actual sounds. When the composer wishes the G to retain its usual altitude in the scale of sounds, he is C compelled to employ the
parts time that musicians
too
leaves
room
for .doubt
regarding
composer's intention,
and
it
should
to
only
the
clef
clef
in
the
first
place,
making use
of
the
clef
in
the
second place only.
I However, of late years, there have been numerous protests against this absurd custom. need only mention Grieg, Reinecke, Hans who Huber, Luzatto, N. von Wilm, Ph. Wolfrum, have always employed the G clef with its true not to of Saint -Saens's
signification,
speak
an
Second Concerto, one with a G clef),

the
safest.
in
which
if
he
uses
two
staves
for
(the
the
lower
one
with
clef,
is,
the
of
upper
course,
as
it
he were
writing
out
true
at
all
Pianoforte.
His
system
We must nowadays combine

signs of musical notation with us always use the F, C, and G
to
root
old-fashioned
only.
their
clefs
meaning
true
methods, and agree to use the Disregarding all devious practices, let
their
altitude:
Ne
varientur.
The Violoncello
18.
I
in the Orchestra.
in
this place, enlarge upon the part it is called upon to play the Violoncello played the polyphony. Formerly, thorough- bass, being so inseparably with the Double-bass that one part was written for the two instruments; only A melodic merely served to strengthen the first harmonic of the Double-bass.
not, in
need
modern
Cello
connected
the
part was ne-
ver given
to
the Cello alone.
the Nowadays, things have changed. The two instruments are written on separate staves, has become a Tenor, the most intense means of expression of the String Quintet, not even excepting the fourth string of the Violin, and the Double-bass is usually left to bear unsupported the enormous weight of the harmonic mass. All musicians have noticed the following curious musical phenomenon: the Cello alone constitutes a rather weak bass to the harmony (save in some special cases, when the music is calm and peaceful, as in the 2Qd act of Meistersinger, for example); on the other hand, the Double-bass seems dull and devoid of tonal precision. Yet, when used in combination, the Violoncello and Double-bass constitute the most admirable fundamental tone that be could wished for; it is and flexible.
Violoncello
clear,
of
bright,
full,
rich,
Double-basses, we give a few bars taken from the exquisite Hans Sachs it will be observed the Celli, alscene; that, in this case, though divisi, amply suffice to sustain the harmony of the Violins, Violas, and Horns:
Violoncellos without
J.
As an
extremely
illustration
the use of
W.
14267.
THE VIOLONCELLO.
Moderato assai.
Horns in E.
183
p^
$
n
*
pp
Violins.
Violas.
Hans
Sachs.
Violoncellos.
184
THE DOUBLE-BASS.
(ital.,
Contrabasso.
Ger., Kontrabass.
Fr.,
Contrebasse)
\>-
Its
compass
*)'
is
from:
to
written:
^^
'
Virtuosi
two notes
ing,
can play
above
B!>),
in
some
still
it
however
They are quite accustomed to C and higher notes. these extreme notes in orchestral is better to avoid
did
(the
writ-
although
Verdi,
Falstaff,
not
I,*
scrupule
to
use
El
*:
- (Actual sounds.)
this
Ed. Nanny, Double-bass soloist at the Opera- Comique, considers that performers on instrument should practice the high notes up to G, and he tells of the admirable effects which might be obtained by means of the Double-basses doubling the Celli in un-
MT
ison
in
cantabile passages:
Violoncellos.
(Actual
sounds.)
Double - basses
cresc.
2.
The Double-bass, corresponding

notes.
to
16
ft.
pipe,
sounds an octave
is
below the writfourths.
ten
The part
is
written
in
the
clef.
This
instrument
tuned
in
Written:
Sounding:
tr
Formerly, the
at
Double-bass
had
three
strings
only,
and
type
its
tone
was perhaps
for
better.
Even
present time, smaller number of strings
the
virtuosi prefer
increases
into
this
classical
of
instrument
solos, because the
the
of
resonance of the
the
sounding-board.
'Without
three
-
entering
the question
respective
advantages
Bottesini;
of of
and
disadvantages
of
stringed
or
for
and
four -stringed
of
Double-basses','
will
says as
"without
greater
less
depth
tone,
begin
by treating
well
the
true
discussing the Double-bass,

is
their
kind
which
three
the
sake
only."
of
the
quality
of
tone, as
easy
fingering,
furnished
with
strings
This
had
is
the
three -stringed Double-bass was the one used in the time of low E of our modern instruments at his disposal, and still
less
Beethoven, who never the 16 ft. C which

the
now obtainable on some

and
Double-basses.
He used
to
write
one and
they
C's
same
part
for
Double-basses, the latter instruments playing their part whenever they came to a difficult passage. Finale of the 5** Symphony were in his time
are nowadays.
Celli
as
best
could, and
at
simplifying
The low
in
the
beginning of the
played
the
octave
above, just
as
they
There
capable
has
of
been no end 16
ft.
of discussion
on this
to
subject.
For a
If
long
it
time,
this
fourth string
sounding
C was supposed
J.
have
existed.
really ever
had existed we
W. 14267.
THE DOUBLE-BASS.
should
fabulous
find
in
185
with
neither
this
of
our
museums
side
is
ten, twenty,
ay,
thirty
little
specimens of Double-basses
in
string,
by side
to
with
Bach's
in
Trumpet, whereas,
but
in
reality,
these
cross
all
will-o'-the-wisps numbers of three -stringed

at
volatilized
any collection, Were they, to use a chemical expression, Double-basses. Is it one and the same time? credible that, whereas instruments used in
XIII
be seen
their
stead
we come
a-
the
time
of
Louis
and
or
Louis
XIV are
to
be
seen
on
all
hands,
not
single
Double-
anywhere? composers manifested for the Double-bass players of yore a "Those men',' said a musicographer to me lately, "did contempt and disdain fully justified. not deserve the name of musicians they were no better than drawers of water"
dating
their
bass
from
1815
of
1820 can be
discovered
By
manner
writing,
3.
instrument
at
Nowadays, we have the E string, which might descend were slightly increased, as has been done in the
Brussels
Conservatory,
all
to
C,
provided
of
the size
of
the
case
five
the
Double-basses used
tuned as follows:
the
of
which
are
furnished
with
strings,
^
These
are
other
five- string
Double-basses
in
are
coming
orchestra
into
vogue
in
Germany and
by
Jehin),
likewise
used
the
Monte -Carlo
(conducted
not
to
England; mention
they
many
extra
places.
Even
with
the
ordinary
instruments
the the
descending
to
of
to
E,
it
is
possible
to
obtain
one
low note, without

However,
we must
that
it
complicating note that

the low
not
fingering
any
great
of
extent.
diminished, so
D can
be
degree be really
tension
the
in
4*!l
string
is
proportionally
only;
in
satisfactory
piano
passages
forte passage
would
very
good.
ought really to possess, besides the ordinary Double basses, two or three five- string instruments descending to C, like those of the Brussels Conservatory. Just as we have ascending Horns and descending Horns (P. 57, 3) so we should have Solo
Our orchestras
Double-basses
and
Tutti
~
Double-basses.
--<+-
Solo Double-bass:
Tutti Double -bass:
Fingering;.
4.
In
the
case
the
is
of
the
possible
between
It
2DJJ
Double-bass, the strings are so long that the maximum stretch and 3 rd and between the 3rJ and 4tb fingers is less than a
the
semitone.
only
between
1* and 20^
fingering
of
fingers
that
this
interval
can be reached,
The
following
figure
shows
the
the
diatonic
2
scale:
3
,4
V
^ *
-*
(O a
Open P
0224141
my
attention to the fact that
,0*3:
3+
(+=
H ar
ffl
String; g onic j
Depressed
String, or Harmonic.)
N. W. Koch (Musikalisches Lexikon, 1802) not onDouble-bass (E, A, D, G), as being already known at that time, but even mentions the possibility of descending a tone lower, to D.
ly speaks of the four- stringed
J.
Df Riemann calls
W.
U267.
186
5.
It
THE DOUBLE -BASS.

is
well
not
to
in
lose
sight
of
of
the
fact
that
the
bow
with
which
the Double-bass
is
is
played
is
very
short;
the
to
case
an
piano
holding- notes, the
performer
attracting
at
liberty
to
but
change
in
from
down -bow
attack
of
forte each
the
up-bow, or vice-versa, without the bow is distinctly audible.
undue
notice,
The composer should

which
therefore
is
mark
take
his
intention
clearly,
and
determine the exact points at
change
of
bow
to
place.
Quality of the Strings.

6.
of
The
Double-bass
is
not
so much
strings
a
of
all
melodic catgut
equally
instrument
(of
as
the
a prop on which the
whole
the
orchestra leans.
wire)
Its
four
which
two
the
lowest
are covered with
brass
ter
may be considered as being
good,
although
most
sonorous
regis-
lies
between:
and
sounding:
*.*
The great virtuosi

expressive
If
of
the
present
day
can
succeed
in
rendering the
15* string
as intensely
Double
-
as a
Cello
string.
still
Beethoven
for
were
alive
he
would
certainly
of
write a
Concerto
to
please
bass
players,
they
are no
longer
"drawers
water,"
but
first-rate
musicians.

7.
All
major
and
minor
shakes ikes
are
currently
used, and
possible
up
to
(extreme limit.)
practicable from G| upwards on the 4th string, from C# upwards on F# upwards on the 2"^ string, and from Bl) upwards on the 1* string, i. e. only the upper notes can be used, to the exclusion of the two first tones on each string, the reason being that it is only at this distance from the nut that the intervals become small to allow of a minor third "stretch" between the 1t and 4th enough
is
The minor
third
only
the
3rd string,
from
fingers.
Tremolos practicable on one and the same string and that may be written without danger.
On
the 4th String.
/
^\ ~^' ^ ^1
On
the 3rd String.
On the 2Qd
String.
(
On the lt
String.
"
(
..:':)
^
J.
Jfl
W.
14267.
THE DOUBLE-BASS.
Staccato passages
in
187
rate
jtf
of
octaves are
very
good, whatever the
movement:
.
*
Allegro.
")'
P
.
_
in
Legato, these octave
skips
are
impossible
quick
tempo.
Pizzicato.
8.
The Pizzicato can be used

register
lies
in
any part
of
the
instrument's
AJL
compass, but
the
most
sonorous
between:
and
Pizzicati are
frequently
written
up to
A and
even
By.
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 tempo, the composer will do well to write for the Double-basses dirisi, giving a few bars to each group alternately:
All? Vivace.
Double -basses.
(Divisi)
Double
9.
stops.
The following double stops
are
practicable:
'Xt
All
minor and major
thirds:
from.-
*)'
up
to:
All
perfect fourths:
from
All
perfect fifths:
from
to:
J.
W. 14267.
188
10.
THE DOUBLE-BASS.
Sixths
are
impossible, except
in
in
the
high
register,
where they can be played by virapplies

to
tuosi, but
taves
are
(unless
orchestra; impracticable the lower note happens to be an
the
the
same remark
string):
sevenths and oc-
open
Sixths possible
y: Sevenths possible
_ii_
I
Octaves possible
The following perfectly Moderate. U u

,
sonorous passage
V
illustrates
the
use of double
stops:
U V
(E.Nanny.)
Harmonics.
11:
On the Double-bass,
artificial
natural
know,
harmonics
are
harmonics are alone practicable, because, as we already usually obtained by means of a stretch of a fourth, and
Double-bass players cannot reach this interval on one and the same string. Even among the natural harmonics some are viz. those of the very thick E string, on hardly practicable, which only the 4tb and 5tb_ upper partials can be produced: *o Q _
*)'
"
ff"
(Actual sounds.)
List of Harmonics.
(ACTUAL SOUNDS.)
fundamental,
o o o
,,
(others
THE DOUBLE-BASS.
By writing harmonics
can be obtained:
Harmonics:
etc.
189
chords of an admirable
tone - color
for
the
Double-basses
divisi,
HI
"Owing to the great length
the production
cessfully
of
1
ll'Hi
ii
of
its
strings','
says Berlioz, 'the Double-bass

of
is well
adapted for
by suc-
harmonics!
the
Verdi
of
has proved the correctness

the
Berlioz's
remark
employing
harmonics
Double-bass
in
the
3r
act
of
A'i'da.
Bowing.
12.
qually short
All
in
remarks made
case
the that
of
in
the
of
the
Double-bass
connection with the bowing of the Viola and Violoncello apply e5 concerning the (save the restriction mentioned in
use of down-bows.
if
bow
Double-bass).
We
repeat
is
So much
passage
be
strength, accent, and rhythm exclusively depend on the this the case that when a composer neglects to mark the
forte
the performer
of
his
own
U
-r
accord
makes use
of
bowing, down- bows:
the
Moderate.
Double-bass.
U
J
U
9
J
y
mII
Moderate. Y
V
*
(j
"
\
1 T
ff
JJ Great
energy.
Less sonorous.
Buns.
13.
fective
Rapid runs are very and powerful: Andante.
frequently
written
for
the
Double-bass, and are extremely ef-
^^-^^
Andante.
u V'*U K
tt-tt
u >
v
9 !f
(Berlioz, Invocation
a la Nature.)
Moderate.
(Gluck, Armide.)
(Widor, Les Pecheurs de

(By kind permission
In
of
St.
Jean.)
Heugel et C>, Editeurs-Proprlttaires.)
all
with
which
By
the examples given above, the Cell! the same notes as the Double - basses, play blend as perfectly as does a fundamental tone with its first harmonic. they themselves the Violoncellos seem weak, on the two middle especially when playing
strings.
J.
W. 14267.
THE DOUBLE-BASS.
On the other hand, passages played by the Double-basses quite alone do not
clearly,
come
out
the
deep
notes
becoming
heavier
and
the
thicker
the
lower
they
are
written. Yet when
used
in
together,
these two
instruments
form
brightest,
most
supple, and
most powerful bass
the
It
orchestra.
the
ft.
is
same phenomenon as
any one of
that
observable
on even
the
Organ:
when
is
to a dull, slow-speak-
ing
ingly
16
Bourdon
the 8
ft.
robust
and tonally precise quality
stops is obtained.
the weakest
added, an astonish-
The Mute.
(SORDINO)
So
cause
far,
it
we have
seemed
is
not,
when
to
treating
of
the
stringed
instruments, referred
to
the
Mute,
be-
needless
describe
such a well
strength
of
known accessory.
the
vibrations
their
of
The
Mute
employed
to
in
to
damp
it
the the
in
the
strings
of
Violins,
Violas, and
(It is
Violoncellos, while
at
same time renders

intended
to
timbre more
on the 4th
penetrating.
string
of
better not
use
this
it
much
it
passages
be played
the
Violin,
because,
is
case,
somewhat
too effectually muffles the tone of the instrument.)
The Mute
not
employed
stringed
on
the
Double-bass.
When
suitably
all
the
other
by
instruments
it
balanced
assigning
in
to
one
all
are muted, the strength of the bass part may be or two Double-basses only, the indication Solo or
In
Due
that
It
Soli being employed

no one
will
that
that
case.
ever that
perceive
the
in
manner, the parts Strings are not muted.

this
will
be so well-balanced
would
seem
on
very
the
Mute
was
still
use
the
in
the time
of
Berlioz,
who
says:
"Mutes
are
employed
is
the
tained
not
brations,
rendering
Double-bass, just the Mute only the quality darker and duller."
characteristic;
as on
bowed instruments, but the effect obsomewhat diminishes the strength of the viother
Tempora mutantur:
nowadays the
Mute
is
no
longer employed by
Double-bass players.
The Bridge.
(PONTICELLO)
The tone of
which
the
bowed
is
instruments varies considerably

to
according the
to
the part of
the
the string
brilliancy
on
is
bow
above
brought
bear.
Whereas, close
is
to
bridge
dull!'
maximum
is
obtained,
the
is
When
to
the
bow
finger-board the quality used near the bridge the

while incomparably
in
weak and
of
timbre
in
the
instrument
metallic
speak, glittering:
powerful
an impressive
ensemble,
the
and, so tone-col-
or
becomes
sparkling and ethereal

in
pianissimo passages.
the
A similar change
ed
the
close
to
the
timbre
it
of
is
Harp may
be observed
when the strings are pluck-
the
sounding-board:
sounding-board of the Harp that Hence this peculiar effect, this characteristic
near the bridge of the bowed instruments and near the strings can bear the greatest degree of tension.
quality.
J.
W: 14267.
191
The Back
Some composers,
e. g.
of the
Bow.
-
(LEGNO)
Saint Meyerbeer in L'Africaine, Wagner in Meistersinger, have succeeded in making effective use of notes produced Saens in the Danse Macabre, by striking the strings with the back of the bow.
The tone thus obtained

recalls
is
very
curious,
resembling
a very dry
Although
the
this
pattering
effect
of
hail
-stones
be
on
plate-glass.
and short pizzicato, which strange and characteristic eintention.
nough,
should
not
used
without
very
marked
Here
Strings.
follows
list
of
French,
Italian,
and German expressions used
in
connection
with the
French.
Pizzicato.
Italian.
Pizzicato.
.
.
German.
Pizzicato.
Archet.
Arco
Bogen.
avec Sourdines.
con Sordini.
mit Dampfer.
sans Sourdines.
senza Sordini.
fohne Dampfer.
. .
(die
Dampfer
Geteilt.
fort.
Divise's.
Divisi.
Unis.
jTutti
.
Zusammen.
.
. .
(insieme.
sur
Chevalet.
le
sul Ponticello.
sul Ponticello.
sur la Touche.
sul Tasto
sul Tasto.
sur la
4e
Corde.
sul
G
Sostenuto.
sul G.
Ausgehalten.
Soutenu.
vGetragen.
Staccato.
Staccato.
Staccato.
J.
W. 14267.
192
TABLE
showing the compass of the various Instruments.
Actual Sounds:
Notation.
Piccolo.
Written:
Flute.
Some Flutes can descend a semitone lower.
Oboe.
All French Oboes
now descend a semitone
er and rise a tone higher.
Cor Anglais.
Written:
Clarinet.
Written:
Bass Clarinet.
=3^
A)
Bassoon
: .
4^
Wagner
requires the Bassoons to play
down
to A.
Double -Bassoon. -9^tflfa.ia.ssa
Sarrusophone.
-T^
oassa.
Written:
-^
'
Ascending
(Tuneifc
Written:
E2E
^T $
(V.
Page
4.)
58,
J.
W. 14267.
193
Actual Sounds.Descending Horn,
Written:
Written:
(V.
^fe
Page
4.)
58,
#
Trumpet.
Nowadays tuned
in
(written as
it
sounds.)
Cornet a
pistons.
-^
-f ^
I
'
.._. ;. ll^nnH in Ut ._ A
'I
Written:
Tenor Trombone.
The Alto Trombone
is
very
little
used at present.
(V. P. 78.)
Bass Trombone.
=^
Wanting
in
many
orchestras.
Tuba.
Tuned
in
C and Bk
(V. P.
94.)
Kettle-drums.
Only sections of this scale can be played on one Drum.
To obtain a complete octave several (2 or 3)

are employed.
Drums
8
Harp.
and C below this
are possible, but not so
full
and
rich.
Violin.
Maximum
stretch possible.
(Tremolos on one and the same string):
Viola.
do.
Violoncello.
do.
<S
Double -bass.
Written:
(V.
do.
Page 185.)
J.
W. 14267.
194
List of
Shakes practicable on Woodwind Instruments.

All major and minor shakes from:
FLUTE:
Excellent:
difficult.
somewhat
flat
very difficult.
very difficult.
heavy.
the following
somewhat
flat.
impossible.
Remark:
On old-fashioned Flutes
shakes must be avoided:
Remark:
OBOE:
Excellent:
lowing
On old-fashioned Oboes the shakes are unsatisfactory.
fol-
from:
to:
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: =|
from:
to:
except the following which are bad:
J.
W, 14267.
195
List
Safe Notation.
of Harmonics.
More Risky Notation.
(The manner of production being
player.)
left
(The manner of production being indicated.)
to the
N. B. The actual sound is written, and a zero placed above the note shows that it is to be sounded as a harmonic.
*o"j
VIOLIN.
From:
to:
i
.7
From:
to:
VIOLA.
From:
From:
to:
VIOLONCELLO.J. .......
.-
From:
2=
From:
to:
DOUBLE-BASS.
As a fourth on
players
this
instrument
of
constitutes
too great
stretch
for
the
fingers,
Double-bass
do not make use
artificial
them are the natural ones between the

Page 188.)
harmonics; the only harmonics that may be written for 2"jl and 6tb, 7tb, or 8tb upper partials (See list on
The only harmonics lower than those given above which the composer has at his disposal are the natural ones, i.e. the 25^ and 3?^ upper partials. for the Dou(V. for the Violin P. 160; for the Viola P. 174; for the Violoncello P. 181;
ble-bass
P.
188.)
Remark:
The 2"d upper partials of two neighboring- strings on any one of the instruments of the String Quartet.
o
-e-
may be
safely used as double-stops
Violin.
Viola.
%!
Double-bass.
196
Double -Stops in Orchestral writing.

An
ier,
as a double-stop on two strings of one and the- same instrument and not so pure and flexible as when played by two different instruments.
interval
played
is
heav-
Light:
f\
Divisi.
J.-J
f
well adapted for modulatpassages, double-stops are not very flexible, not very and their truth of intonation is very doubtful. Double-stops are most frequenting purposes, to the Violas, in the heart of the orchestra, and in the best part of the instrument's ly given
In
piano
compass.
Two parts are also
frequently
written
for
the
Violas, each
playing double-stops.
*
The paramount qualification necessary
if
to a symphonic composer consists in knowing how to are properly treated the rest is of secondary importance. To acthey quire this knowledge there is only one way, and that is to read and listen, to hear and mark. Supposing the student knows the standard compositions of the classic masters well e-
write for the Strings;
nough to be able to write out from memory a given page of Beethoven, then let modern compositions, and consult the works of such musicians as the following:
him
study
In
Germany:
Hofman,
lings,
d' Albert,
Humperdinck, Gernsheim, Wolfrum.
Max Bruch, Richard Strauss, Weingartner,
Schil-
In
Austria-.
Hugo Wolff,
Goldmark,
Bruckner,
G. Malher,
Dvorak,
Smetana, Fibich.
Mascagni, Wolff-
In
Italy-.
Cilea.
Puccini,
Giordano,
Mancinelli,
Bossi,
Martucci,
Leoncavallo,
Ferrari,
In
Russia:
Rimsky-Korsakow,
Balakirew,
Glazounow,
Liadow,
Borodine,
Cui,
TaneVew,
Zolotarew,
Sibelius.
In
Norway
<&
Sweden:
Gevaert,
Grieg,
Sinding,
Svendsen.
In
Belgium:
Holland:
Tinel,
Radoux,
Blockx,
Gilson,
Mathieu.
In
Richard
Hoi.
In
Denmark:
England:
Asger-Hamerick.
Mackenzie,
Villiers- Stanford,
In
Parry,
Cowen,
Elgar.
In
America:
Mac
Dowell,
Chadwick,
Van der Stucken, R. de Koven.

of var-
and many others; nothing

ious
composers,
art
is more instructive than studying and comparing the methods based upon observation rather than being upon set formulae.
J.
W.
14267.
197
Conclusion.
The primary object

instruments
of
this
work having
been to
I
analyze
and
describe
to
the technique of the
composing a modern orchestra,

an
analysis
the
have not
suffice
been
for
able
deal
with
the voice.
And
1$
it
indeed, would
or description learns
his
the
treatment of such a subject?
from
method
that
singer
craft?
Never a day passes

note, or
without
musical
on
Clarinet
shake.
How much
of
composer consulting a professional on a Cor Anglais more necessary it would be to go to the "shop o-
ver
the
way" and
but
ask advice
of
the
singers!
The capabilities
in
the
Cor Anglais
voice
is
and
of
the
Clarinet
can, at
the
worst, be
studied
up
a book,
Singing
the human
a far
more complex instrument.
must
be
learned
of
by
experience.
art
Many composers
for
perfectly
well
acquainted with the
orchestra,
know
nothing
the
of
writing
the
voice.
You
will
meet composers
from
a Tenor,
who
re-
do not so much
quiring
is
as
suspect
to
that
a
on
Soprano
must
be
treated
differently
the
former
for a
if
enunciate
G, A, and
// in alt,
and the latter to sing as low as
possible
Soprano.
unable to sing
himself,
A composer
should
at
least
know how others
sing.
* * *
It
was no part
for
let
of
my program
repeat
intended
fifty
to
treat
of
the
grouping of
is
instruments,
of
balance and
orchestration,
contrast,
but
me
that
to
the
give
present
book
no
complete
treatise on
in
simply a manual
within
some account
of
the
progress made
instrument-
making
the
last
years.
Let us,
however,
summarize the
most essential
principles
of
our
art:
(1.)
Write your orchestral music so that each group can be heard without
the
others.
Just
as an army
consists
of
comprises
Strings,
three
arms,
viz.
Infantry,
Cavalry, and
Artillery, so
the
Or-
chestra
Just
of
Woodwind,
and
Brass.
of
as each of the three

other
arms must be capable
action
and self-defence independently

Imagine
the
at
two,
first
so must
it
be with the three groups of a
symphonic orchestra.
that
last.
the
rehearsal
the
Woodwind
will
be read
of
first, the Brass next, and the Strings

it
Each group apart must give the sensation

of
complete harmony, with
true
bass, and
a fairly precise idea
the total effect.
J.
W. 14267.
198
Write
plays
in
in
such a fashion that each musician

orchestra.
may understand
the part
he
the
The performers
judge at
first
who are called upon

whether you
fore-ground,
have
it
to
interpret
their
sight
in
have
intended
your musical ideas should respective instruments to

but
be
able
to
stand
out
conspicuously
ant
part,
the
or to play
a
to
secondary
keep
nevertheless
in
tolerably
import-
or whether you
meant
them
entirely
the
background.
will
However
themselves
on
the
difficult
the
in
work
may
it.
be,
will
immediately
will
dawn on them,
be
able
to
and
they
his
do
justice
rendering
The
will
conductor
fall
concentrate
the
attention
main
firm
movements,
will of
details
the
composer,
will
themselves, performers, dominated by the spontaneously produce the necessary intensity of sound.
into
line
of
(3.)
It
Change your orchestration when you change key.

is
evident
that
neither
in
Music
nor
in
Painting
any
definite
light
rules
can be given as to
be
when and how

trasted.
the
it
various
colors
and
different
degrees of
and shade should

for
con-
When,
might
be asked,
should
the
Woodwind
this
be
substituted
the
Strings?
modulation
of
This question
would
be of the
will
same order as
always
be
other querv:
when should
technical
said."
be
made?
Satirists
These enquiries
would doubtless
this
unanswerable
from
to
the
point
view.
reply:
"when nothing remains

a sentimental
to
be
However,
If
answer
is
only
of
order.
for
Is
any other possible?

to
common sense
forbids
us even
search
rule,
we may yet be allowed

for
make
a comparison
and draw a conclusion

is
by
analogy.
setting
Modulating
to
like
leaving
one's
home and
out
India,
China, or Japan, there
behold
novel
is
landscapes,
that
under a sky of a different
hue.
us
to
Now,
tell
it
logical
the
same
instinct
which
prompts
modulate
should
likewise
us to change our tone -color. The two things go together; if we take one, we are immediately tempted to accept the other, but, of course, Art admits of no hard-and-fast rules.
(4.)
Keep your instruments
in the register
If,
where
effect,
their tone is of best quality.
Avoid
them,
the extremely high notes. do not do so for any length

lip
for
a special
you are obliged to make
use
of
of
time.
produce the high notes of the Horn and that no Let us take a lesson from a player can bear the strain long.
-pressure
required
to
The
Trumpet is so great Brass Band: at the

but
if
beginning
after
of
a piece
their
a
is
while
at
all
each performer seems to be blowing harder than his neighbor, enthusiasm abates in proportion to their diminishing strength, and,
any
the
piece
long, hardly
volume of
sound
is
left
towards the end.

they never
lost
The great
tical
masters always
of
wrote
logically
and
clearly;
sight of the prac-
means
execution.
J.
W. 14267.
199
Appendix to Chapter
IV.
FURTHER REMARKS CONCERNING THE EMPLOYMENT OF HOMOPHONIC STRINGS ON THE HARP.
Frequently, two
tensity stop;
of
homophonic strings are employed, either with a view

or
in
to
increasing the in-
the
sound,
order to obtain the waving
effect
of
Voix celeste
organ-
thus we write:
ff
one and the same hand setting
one
is
in
PP
simultaneously
vibration
Ajt.
two neighboring
strings, of which
tuned
to
is
B?, and
only
the
other to
to
This device
ing
of
applicable
notes
whose time-value
is in
not
too short;
in
the follow-
example, for instance, homophones could only be employed

the
the case of the quavers, not
semiquavers
(++):
This passage the
performer would play as follows:

R.H.
R.H.
R.H.
R.H.
R.H.
3>5
i(t
L.H.
L.H.
L.H.
L.H.L.H.
U"*1.H.
It
need
hardly
be
of
added
the
that
it
is
impossible to
make use
of this
device
in
the
case
of
those
degrees
scale
which
have
no homophones.
left
Here
is
another instance of two
sounds for one note, the

sounds as written:
hand producing the harmonic,
while the right
plucks the string that
CO
^=
200
The Origin
of the Swell, Pedal -board, Manuals,
and Stops of the Organ.
The Swell
gan
of
was
for the
of
first
time
the
introduced
in
1712
by
Jordan
the
Elder, in
of
the
Or-
the
Church
St
Magnus
provided
with
the
movable
shutters
which
Martyr (London). were slid one over

at
first
This primitive
the
other,
form
Swell
was
a system soon super-
seded
by
Venetian Swell, which

or
was furnished
with
horizontal, and later with
vertical
shades
louvres.
The
organist
Pedal- board.
and
builder
at
at
Organ
gan
at
in
Halberstadt
the
Church
built of
of
in
German, an pedal in 1471. The A pedal was added to the Or(1361) was provided with pedal -keys. St Nicholas at Utrecht not later than 1450. And lastly, the Organ
Its
invention
is
erroneously
to
attributed
to
Bernhard the
the
Venice
who
is
said
have first
introduced
Groningen,
stops, but
1479
by R.
Agricola,
was already provided

from
with a
pedal -board
of
ten
a peculiar
arrangement.
of
One
plete
of
the
first
specimens
dates
pedal -boards
starting
C and possessed
to
of a
com-
chromatic
scale
from
1673
(Nieuwe-Kerk, Amsterdam).
pedals
It
From that time onones, but

to F.
wards, German and Dutch Organs have had compass of only 27 notes (from C to D).
analogous
French
it
with
was Bach who extended
Manuals.
taves tones
but
In
the
F,
tenth
century, the
F,
manual
G, A).
consisted
of
15 keys
embracing
fltl!
two
oc-
(A, B, C, D, E,
G. A, B, C, D, E,
About
the
middle of the
Century, semi-
were
beginning
what
manuals!
of
with
a blow
third
to come into use. In 1361, an Organ was built with three manuals, The keys were nearly three inches broad, and could only be depressed the clenched fist. And while the first and second manuals had 22 keys,
the
manual
and the
pedal -board
had
only
14.
Stops
merely
can
be traced
of
back to the end of the

of
15t!l
century;
at
that
time
the
they
organist,
were
sus-
laths
his
wood (separating the rows

had
to
of
in
pipes from
the
each other);
pending
playing,
at
go to one side of
instrument
and
draw them out or push

of
string;
them back:
such
the end
each
all
lath
was a hole through which passed a piece

simplicity!
was the mechanism

levers,
of
its
primitive
Sliders,
and
stop -handles
did
not
come
into
use
before
the
end
of
the
16th
or
the
beginning
the 1711? century.
J.
W. 14267.
A SELECTED LIST OF EDUCATIONAL WORKS

ON THE THEORY OF MUSIC,
STEWART MACPHERSON.
Practical
&c.
Price net>
D.
Harmonization of Melodies s. Paper 5/-. Limp cloth 7 A Collection of Questions and Exercises f>r Appendix to Practical Harmony. (New and Revi=ed Edition.) < the use of Students Paper 4 0. Limp cbt.i " Paper 1 6. Limp cloth 2 Questions on Hnrmony. From the " Appendix to Practical Harmony Limp Cloth 2 JSO Exercises in Harmony, Counterpoint and Modulation (including the Harmonization of Melodies) Practical Ccunferpoint. (New and Revised Edition.) A Concise Treatise, illustrative of both the Strict and Fres Paper 7/6. Limp cloth 10 Styles ... Summary of the Principal Rules of Strict Counterpoint. 2 Rudiments of Music. (New and Revised Edition.) Paper 1/6. Limp cloth Paper 16. Limp cloth 2 Questions and Exercises upon the Rudiments of Music
Harmony.
'New and Revised
Edition.)
Concise Treatise, including the
6
I
6
6
TOBIAS MATTHAY.
Their Fingering and Practice A Steps in Piano Playing 'I he Forearm Rotation Principle in Pianoforte Playing.
Double-Third Scales
Child's First
On
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6
MUSICAL INTERPRETATION
Its
Laws and
Principles,
&c
Parts
I
BROWNE,
.,
A. M. Musical Facts. Musical Biographies. Classified
Essential to Success in Examinations.

in
and
...
2
... ...
each
1
explained,
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JOSEPH WILLIAMS, LIMITED,
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Mated
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tmumva
JUL jy
MT 70 W5131
Widor, Charles Marie The technique of the modern orchestra
MUMC
s&ss*
DATE DUE
UNIVERSITY OF TORONTO
EDWARD JOHNSON
MUSIC LIBRARY

Widor-Technique of Modern Orchestration

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THE

32.GREAT PORTLAND STREET.

NtW VORK SCHUBERTHiCO

Principal of the Royal

reader coming- across

mistake, either in Hit tfxt or in the musical examples, will

greatly oblige by communicating

E. Suddard, 32, Great Portland St.

setting forth the present

Characteristic features of the present book are the

Shakes and Tremolos

of Double. and Triple, has always seemed to us that

these matters are dealt with in

somewhat too summary a manner

lists contained in this

requirements of the student, and

casionally be of service to the accomplished

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

a few hints that

organ -builders, we have

deavored to give such information as will

wishing to write for the Organ and Orchestra combined.

CHAPTER i. THE WOODWIND The FLUTE

NATURAL TRUMPET. ... VALVE -TRUMPET

List of Shakes and Tremolos

BARYTONE OBOE CLARINET

List of Shakes and Tremolos.

The The The

ALTO CLARINET SMALL CLARINET

The BASS The

DOUBLE -BASSOON. SARRUSOPHONE

CHAPTER m. THE PERCUSSION INSTRU-

KETTLE-DRUMS SIDE DRUM

THE BRASS INSTRUMENTS

The Theory of their Tone-Produc 51

NATURAL HORN VALVE -HORN. .......

Muted and Overblown Notes .... 58

The Horn in the Orchestra

SAXOPHONES SOPRANO SAXOPHONE ALTO SAXOPHONE TENOR SAXOPHONE BARYTONE SAXOPHONE

List of French^ Italian, and

expressions used in connection with

the various instruments. 192 In-

Shakes possible on Woodwind

Harmonics possible on Stringed

Triple and Quadruple Stops.

Use of Double Stops in the Orchestra

Further remarks concerning the employment of homophonio

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

ranged in orchestral scores has been followed, beginning with the

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

short Theory of the tone-production of Brass Instruments,

the following are dealt with:

SAXOPHONES, HARP, ORGAN,

pipe corresponds to 8 vibrations per second.

The low C which the Double-bass ought to be able

(and which can be

Double C on the Violoncello

(Standard French Pitch

mouthpiece, to a great extent, deter-

mines the mode

which, the air

the little cup which forms

with that of the Horn;