CONTENTS

Apologia Foreword to Students List of Music to be used with this Book General Introduction to the Subj ect Explanation of the Compass Charts

PART I THE SCORE (A graded course of study)

The String Orchestra

r The Small O chestra . The Full Orchestra N otes for Advanced Students

PART II THE INSTRUMENTS

Chapter I The String Group Chapter II The String Instruments Chapter III The Wind Group Chapter IV : The Wind Instruments Chapter V : The Percussion Group Chapter VI : The Percussion Instruments and the Harp

Some Obsolete and rarely used Instruments O n the Study of Old and Foreign Scores Table of Instruments Bibliography Index

APOLOGIA

The paramount need in music teaching at the present a ener In or er time is the training of students s list s . d to listen intelligently one must understand the language that The r n u e of the us of to - is spoken . p incipal la g ag m ic day of he Or es r An nt e now e e of the is that t ch t a . i imat k l dg r r of or estr t on is en the ne ess r te n g amma ch a i , th , c a y ch ical e of h en s ener The es w eq uipm nt t e intellig t li t . b t ay to tt n t s now e e is wr n or es r s ores w a ai hi k l dg by iti g ch t al c , hich s ou in no se be or n o os on for one nno h ld ca igi al c mp iti , ca t learn the grammar of a language and write poetry in it u neous sim lta ly .

Twenty years experience of teaching orchestration on — these lines by orchestrating piano-music already in e s en e w t ou re eren e to o er r n es of us xi t c , i h t f c th b a ch m ical — theory has convinced m e that good listeners can be p ro duced in t s wa and t s u en s rt u r hi y ; hat all t d t , pa ic la ly s n ers and n s s can be e ere ow r s soun i g pia i t , aid d th by t a d d

us ns . n en stu en is the s e m icia hip I cid tally , if a d t at am time working through the ordinary academic routine of us eor w resu ts in o os on the t m ical th y hich l c mp iti , by ime he arrives at that goal he has already at hand the technical knowledge of the Orchestra which enables him to transcribe his e s re o he Fu S ore id a di ctly t t ll c .

My pupils have repeatedly urged m e to p ut into book or the no es ve t e but er o f m t that I gi h m , hith t I have refrained from doing so because there are already so many vii viii APOLOGIA

oo e t- oo s u lis e Bu Or e r g d t x b k p b h d . t ch st ation is a su e t w is lw s n n and row n so the bj c hich a ay cha gi g g i g , est oo nev t ets out- of- te in s or e b b k i i ably g da a h t tim . This continual change is due to the development of Music — tse w l e o er art or s—ten s a ll the t e to i lf, hich ik th f m d im e o e e o e a nd ore ffi ul o or t t e e ute . b c m m c mpl x , m di c x c This gives rise to a constant demand for instruments more capable of grappling with the technicalities of the o - he o ern s re . nstru ent ers r se to t o s on m d c I m mak i cca i , and t ou the Str n s are in the n st t the w n h gh i g mai a ic , i d and percussion instruments are constantly improved in e n s s t en is olo for n not er m cha i m . Thi , h , my ap gy addi g a h nu o ose re in e sten e ma al t th al ady xi c .

In conclusion I wish to ack nowledge my great indebted o Mr e Fors w ose e ust ve volu e ness t . t C cil y h , h xha i m , t u e m e trust t t Orchestra ion has een nv to . , b i al abl I ha every student who has worked through this little book with advantage and pleasure will pass straight on to the e or in w Mr Fors t has or u e his v st gr at w k hich . y h f m lat d a e e of n n r e su e t k nowl dg a i t icat bj c .

FL E E FID LE R . O R NC G . FOREWORD TO STUD ENTS

Students without any knowledge of Harmony r and Counte point are assured that , although such knowledge is o f immense service in Orchestra n ecessar n tion , it is not y u til the scores become well advanced . Good elementary orchestra tion only requires acquaintance with the - s elements of music (keys , time ignatures , etc . ) and a working knowledge of transposition . The best method to follow is to study Har t s mony side by side with Orchestra ion , thu developing the tonal colour—sense simultane ou l s y with that of structure and design . The ! unfortunate method of postponing the study o r Orchestration until the final stage of a prolonged course o f theoretical training in music is reached is equivalent t o forbidding a child to colour rr pictures until he can draw co ectly . The two Parts of this book are to be used concurrently , and the student also requires copies of the Piano music and orchestral scores P listed on age 7 . The graded course of study is the result of long experience in teach in . g the subj ect String writing , correct but not necessarily elaborate , must be mastered 2 HANDBOOK O E ORCHESTRATION

r first , as it is the fundamental basis of all o ches r i u t at on . The student is advised to st dy thoroughly each Section (of Par t I) befor e going on to the n ext it is the quickest in the r rn end , and nothing is gained by t ying to lea all at once the details of many in tsrum en ts . Concentration on one point at a time is the aim o f n r this system , which is o ly intended to sta t — the student on the right r oad a road which has no end N o detailed description of the inst ruments has been given as it is obvious that unless the student knows them already by sight and b y sound he cannot hope to achieve much . Tone ur r n n colouring , like pict e colou i g , ca not be r r r taught in wo ds , and any endeavou to desc ibe sounds generally results in absu rdity or in coher ence The ear can only be t r ain ed by constant to an r r r listening orchest a , fi st of all concent a on r an d ting single instruments and on g oups , then studying the mo r e complex soun ds o f r n u n u their va ious combinatio s . The st de t m st not be satisfied until he can hear men tally r r r every sco e he reads o w ites . All statements r elate to E nglish methods an d n r n r instruments o ly , and histo ic i fo mation has ro an d been rigorously excluded . The g wth developme nt o f m usical inst rumen ts is a s u b FOREWORD TO STUDENTS 3

ec t r j of immense inte est , but it has no bearing whatever on the study of elementar y orchestra

r n . tion , and had better be defer ed u til later Students who wish t o p ursue this br an ch of the s ubj ect are referr ed to the Bibli o graphy at the end of this vo lume . The methods of the most modern composers are also omitted as being too fo r i r complicated the beg nner , who is assu ed that if his foundations ar e sound he will find little difficulty in embellishin g his scores later with the most r ecent ornamentation . It is unwise to obscure the plan of a text - book such as this by the introduction of cont r oversial matter : the directions and statements there r fo e have been made intentionally dogmatic . Students who discover numerous exception s and side - issues must be generous enough to r remembe this . In i n addit o to the use of this book , and the tu in n music to be s died con ection with it , the stu den t sho uld ( I ) attend every or chestral n r a n d r c an co ce t possible , always sit whe e he s ee the players well ; ( 2 ) cultivate fr om the fi rst the habit of playing from sco r e he should play all the scores he writes an d as m u ch as he c an of those chosen for study ; (3) copy o u t o n e o r mor e full scores fr om the s et of separate or chestral par ts ; (4) scor e some well - k n o 2 HANDBOOK OF ORCHESTRATION

r first , as it is the fundamental basis of all o ches r ion u t at . The student is advised to st dy thoroughly each Section ( o f Par t I) befo r e going on t o the next it is the quickest in the n rn end , and nothing is gai ed by trying to lea s all at once the details of many intsrum en t . Concentration on one point at a time is the aim o f n r this system , which is o ly intended to sta t the student on the right r oad - a road which has no end N o detailed description of the instruments has been given as it is obvious that unless the student knows them already by sight and by u sound he cannot hope to achieve m ch . Tone r n colouring , like pictu e colouri g , cannot be r and r r taught in wo ds , any endeavou to desc ibe sounds generally results in absurdity or in coher ence The ear can only be tr ained by constant to an r r r listening orchest a , fi st of all concent a on r an d ting single instruments and on g oups , then studying the mor e complex soun ds o f r n u n their va ious combinatio s . The st de t must not be satisfied until he can hear men tally r r every sco e he reads o writes . All statemen ts r elate to English methods an d n r n r instrume ts only , and histo ic i fo mation has r ro a n d been rigo ously excluded . The g wth developme nt o f m usical inst rumen ts is a s u b FOREWORD TO STUDENTS 3

ec t r j of immense inte est , but it has no bearing whatever on the study of elementary o r chestra a n d r tion , had better be defer ed until later Studen ts who wish t o pursue this br anch of the subj ect are r eferred to the Bibli o g r aphy at the o f end o f this volume . The methods the most modern composers are also omitted as being too fo r i complicated the beg nner , who is assured that if his foundations are sound he will find little difficulty in embellishin g his scor es later with the most recent ornamentation . It is u nwise to obscure the plan of a text - book such as this by the introduction of cont r oversial matter : the directions and statements there r fo e have been made intentionally dogmatic . Students who discover numerous exception s — and side issues must be gener ous enough to r remembe this . i n In addit o to the use of this book , and the tu in nn music to be s died co ection with it , the stu den t should ( I ) attend ever y or chestral r sit r conce t possible , and always whe e he can s ee the player s well ; ( 2 ) cu ltivate from the fi rst the habit of playin g fr om sco re he should play all the scores he writes and as much as he c an of those chosen fOr stu dy ; (3) copy out o n e o r more full scores fr om the set of separ ate or chestr al par ts ; (4) scor e some well - kn o w 4 HANDBO OK OF ORCHESTRATION .

r orchestral wo k from the piano arrangement , and then compare his own version with the ’ composer s original (5) study every full score of he can get hold , when possible noting in a piano version (with red ink and a privately invented shorthand) the details of the scoring 6 ( ) play some orchestral instrument , be it only o r r to Triangle Bass D um , in order obtain practical experience in orchestral methods . Ap rop os Of this it m ay be added that wind instru ments are on the whole easier t o play than strings , and are more in demand in amateur orchestras . LIST OF THE MUSIC TO BE USED WITH THIS BOOK

FULL SCORES

B e th v e h t . o en . S m on in E a y p y fl , No I I I (Eroica) !Mendelssohn Five Numbers from the M i d ’ c snmm er N ight s D ream M nsi . S cherzo Interm ezzo N octnrne ( , , , Weddin M arch R i t eltanz g , p ) Ts cha iho s e 1 w s ett . . k . e N oi . Ca ss y Suite , Op 7 ’ Ts chaihows a heti ne h . P t N o . y Symphony, VI ( q )

Op . 74 .

PIANO M USIC

M endelss ohn L e . i der ohne Worte (Any complete edition) B eethoven P . iano Sonatas ’

Borch. P etites P ieces cara cteristi n s q e . Op . 49 . Bk I . (Augener) F ar eon . N i ht M usi j g c . (Seven Pieces) (A ugener) R achm in f an o . S ere ad n e . I I O . I N o . f p , 3 (This is included in several albums of short pieces) Grie . Humoresk en . 6 g , Op . 6 HANDBOOK OF ORCI—IESTRA TIO N

ABBREVIATIONS

In o rder to save space in the text , the four r ar e r rr oica M E r . N . D . full sco es efe ed to as , , uite an d P h m S at S . , . y The page numbers n are those of the mi iature edition . (The D n k i M o a ows . j Edition , now published by essrs M n Feldman Sc Co . ) The initial sig ifies M n oveme t . In the piano music the com ' r n is pose s ame only given , with the number of the piece in the collection . GENERAL INTROD UCTION To THE suE J E CT

The O rchestra is divided in to three Groups r n P St i gs , Wind , and ercussion . Wind and P r r ar e — e cussion pa ts never duplicated that is, the re is only o n e player for each part String

r s r r pa t are pe fo med by several players together . r The St ings form the body of the orchestra , r and can neve be done without for very long . This is because ( 1 ) they have the greatest range in n executio as regards rapidity, expression , r n g adatio of tone , and the facility with which they c an accomodate themselves in stantly to any 2 musical idea ( ) as they use their hands only , String players do n o t tire s o quickly as do n c an : Wi d players , and play continuously (3) the ton e of the St rings does not pall on the s o n a s ear soo the tone of the Wind . D r . Riemann has pointed out that whereas the Strings must always give the form and r r gene al characte of the music , the Wood Wind r adds a f ee statement of definite ideas , and the Brass proclaims those ideas : to this may be added the suggestion that the Percussion r clinches the mat te . 8 HANDBOOK OF ORCHESTRATION

A little thought will show that musical ’ instruments follow the general scheme of Nature s

Laws big things have deep voices , little things : have high voices big things talk slowly , little things talk quickly . So in the Orchestra n the larger the i strument , the deeper its note , f and the greater its di ficulty in playing fast . The largest and the smallest instruments have the least power of expression , and (in the Wind Group particularly) it is the middle si z ed instruments that are the best suited to solo work . The modern arrangement of the parts in a

Full Score is Wood Wind at the top , then P Brass , then ercussion , with the Strings at the foot , the instruments of each group , being in o f placed , roughly, their order pitch . As String writing must be studied first it is neces sary to begin the study of the Score at the bottom . The Violoncello and Double Bass now on parts must , , always be written separate staves and this arrangement of five staves for the Strings rigidly adhered to until such time as extra ones are requir ed for the sub o f r division parts . The two pa ts of each pair of Wind instruments are always placed on the . same stave , and care must be exercised in the matter o f tails and res ts the tails of all notes GENERAL INTRODUCTION 9

to be played by the First being upward , and o f those of the Second downward , irrespective

their positions on the Stave . Double rests in must be inserted , except those bars where both are silent it is allowable , however , ( I ) when only one o f the pair is playing to Im o o r 2 do for a long time , write at 2 the beginning of the passage , and ( ) when both to are in unison for some time , write the term

unis in order to save space . Orchestral writing must invariably be a of i matter artist c nicety and exactitude , with no details left vague or unexplained . The success of a score depends very greatly on the of o ne o f clarity its independent parts , every which should be complete in itself, having its is own phrasing , expression marks , etc . It wise to rule the bar - lines for the whole score i to to before beg nning work , and write in all - to the clefs , key signatures , etc . also number the bars and those o f the piano copy of the is no piece to be scored . It t necessary to begin a score at the beginning , the better plan being to work the easiest parts first : in every case the whole plan of the score should be sketched are out before any details filled in . Every pupil demands to be told sooner or later why he is troubled with transposing i o HAN DBOOK OF ORCHESTRATION

n r r n i struments . B iefly, the easo is this the case of these instruments the choice lies between making things easy fo r the write r o f the scor e and the con ductor of the or chestr a o n r n the one hand , and on the othe maki g n of r r thi gs easy for the players the pa ts , eithe by similarity of fingering to that of a kin dr ed n r n Co r n i st ume t (as in the case of the A glais) , or by the avoidance of leger lines (as in D o uble r f Bass) , or by a less st enuous mental e fort (as in Horn ) there is only one writer and o n e r conductor to a number of playe s , and both writer and conductor are entirely at the mercy of the players therefore it pays in the long run to make things as easy as possible for them at r M r r as the expense of eve ybody else . o eove , P r P r n rofesso rout points out , eve y stude t must learn to read parts written in the accepted r fashion , or the whole of orchest al literature n will be closed to him , and there is nothi g gained by reading scores in one way and writing them in another . The choice of key is not so importan t a n matter as it formerly was , but all i struments are more resonant an d have easier parts in those keys which have few sharps or flats . Other things being equal it is better to take a flat key than a sharp one . Horn and Trumpet players

P MP EX LANATION OF CO ASS CHARTS .

The notes on the stave at the top o f the Chart represent the real sound of each note shown beneath : all other notes In the Cha rt written for are those the respective instruments . o f STRINGS . The four open strings each instrument are numbered and written in semi br eves ; the suggested top stopped note as a n mi im . The lowest artificial harmonic obtain able and the highest advisable appear as r - c otchets with a diamond shaped note above . Natural harmonics are marked as black dots without tails ; it must be understood that others are scientifically possible but undesirable in an orchestral score . It will be noted that in each case the sound o f the lowest artificial harmonic can also be obtained as a natural harmonic . The same relative harmonics are to given to the Viola as the other Strings , but the student is referred to the Section on the P Pa r . Viola in art I I , (

WIN D. The system followed is to regard the semibreve as representing the most perfect note , and the demisemiquaver as the most imperfect , and to Show the intervening gradation by means o f the relative note -values so the best EXPLANATION O F COMPASS CHARTS I 3

par t of each instr ument is that enclosed between P two semibreves . The edal Notes of the Tenor Tr ombon e are shown with diamond - Shaped a n r heads d the lette P over each . Four separate al to staves are lotted the Trumpet , because its notation is not yet standardised : there is o f course no instrument called Trumpet in C but a moder ate compass without transposition has been included under this title as a guide to n begin ers , who invariably find the Trumpet the most difficult of the transposing instruments r to write for at fi st . The two notes in brackets in Double Bassoon are only to be found on O f certain makes instrument . P ERCUSSION . The extreme notes of the four Kettledrums in common use are given : the z M si e of the iddle Drum varies , so both sorts ar e n represented . In Harp , Glocke spiel , etc . the system of graduated note - values (as in n Wi d) is followed . The smallest Glockenspiel compass is quoted : but all these mechanical r n so r u so inst ume ts are va io s in kind , and continually changed and improved that n o final word on their construction is p ossibl I t must be understood that these Charts ar e only intended to serve as a rough guide to the d beginner . The compass (especially the upwar compass) o f most musical instruments is inde ter T4 HANDBO OK OF ORCHESTRATION

n on minate , depe ding to a great extent the make an d u ru n o f q ality of the inst me t , the ability r an d n on m o m n the playe , the co diti s of the e t . r n ar e Ext eme otes always best avoided .

1 H PA RT T E S C O RE.

DY G RA D ED C OURS E O F S TU .

CHAPTE R I : The String Orchestra

CHAPTE R II : The Woo d Wind

CHAPTER III : The Small O rchestra

CHAPTER IV : The Full Orchestra

CHAPTE R V : N otes for A dvanced Students

PA RT l T HE S C O RE

A G RA D E D C RS E O F S T DY OU U .

H THE C APTER I . STRING ORCHESTRA

SECTION I

- D . P a t I . r I . 1 STU Y , Ch I , 5 ; and Chap I I , e e t o S . . 2 I Refer also Sections ,

3 , 4, E a M M roic ; . 2 (Funeral arch) String r pa ts only . hi e et . d ss hn 1 N . 6 n . 0 o o . 8 2 SCORE , No 4 (Op , ) r for St ings .

. 0 . No . 9 (Op 3 , No 3 ) for Strings , omitting the First and last bars n which contai arpeggios .

- NOTES . I Rule MS . music paper into lines i of five staves each , j oining them w th a brace - to h on the left hand . Allot one stave eac instrument , placed in order of pitch , as follows r Fi st Violin ,

Second Violin , o Vi la , n Violo cello , o D uble Bass . 1 8 HANDBOOK OF ORCHESTRATION

’

The two violins like women s voices , Sing in two parts ; the second is the one which

plays the lower part . o f 2 . Each the five parts must be complete

its - in itself, having own clef, key signatures and expression marks ; but directions which f A lle ro a fect the time of the whole (such as g , r lt a ) . need only be inserted at the top of the ica . E ro score ( ,

r i ru » 3 . It is not necessa y to keep every nst E roica 1 1 1 . 00 ment playing continuously ( , , 7 1 2 1 ) o 4 . Any note can be given t any instrument provided it is within its compass : the First E roica Violin need not always be at the top . ( , 1 1 8)

5 . The tune Should bear the same position in regard to the whole as in the original : the bass may never be altered , except in octave ; it must always remain at the bottom o f the harmony .

6 . Notes may be doubled in two or more E roica 1 0 parts . ( , 5 ,

7 . Nothing may be added to the harmony r e . . g a common Chord must emain a common

. chord , and have no seventh added to it n 8 . The instrument that begi s a sentence n should finish it , as in speaki g . THE STRING ORCHESTRA 1 9

SECTION I I

- . 6 1 0 . P art I] . STUDY . , Ch I ; and Chap I I ,

Sec . 3 .

S cherzo . E roica M . 3 ( ) String parts only f r 2 Sara bande o i . Borch . SCORE . , No , , Str ngs N o M endelssohn . . 102 . , No 45 (Op , 3 )

for Strings . I P out NOTES . . lan a scheme for the whole score is to before beginning to write . The best way on play it , marking the piano copy meanwhile of the proposed distribution parts . has one : 2 . Every short piece big climax this should be found , written Tutti ( everybody

to . playing) , worked up and away from

3 . A score Should be sometimes thick with many instruments playing , and sometimes thin to of with only a few , according the nature the music . t 4 . Learn from the first o regard a score z hori ontally as well as vertically , and make each part interesting in itself . The best test to apply is to play or hum it through by itself without reference to the others this will

Show , among other things , that a phrase which on has f finishes the beat the smoothest e fect . To how izzicato 5 . discover fast p can be on i l i e of e een played a v o in , hold a p ec string b tw — 2 0 HA I IDBO O K OF ORCI IE STRATIO N

an d n the teeth the left ha d , and twitch it with the first finger of the right hand , meanwhile Singing mentally the passage in question : it cannot be done beyond a certain speed , which in r r is still less the case of the large St ings . P 1 ( art I I , Chap . , u 3 . When do bling the notes of a chord divide them as equally as possible if there be r r n a remainde st e gthen the root of the Chord , r and then the thi d . t o r 7 . Try always convey the spi it of the f music itself . If a piece is graceful and lowing , write the or chestr al par ts in long slurred smooth is us e passages ; if it j erky and lively , Short zz ato r notes and p i i c . The music is to be t ans n lated from one la guage to another, far richer in expression ; and the best tr anslations ar e those which keep the spirit rather than the letter of the original . SECTI ON I I I 1 1 1 - 1 P a rt II . . STUDY . , Chap , 3 , and Chap

1 1 . 2 . , Secs and 4 M r E roica . . , IV ; St ing parts only Su ite O vertur e M in iature r , ; St ing

parts only . N 1 0 M endelssohn O . 0 . . SCORE . , , (Op 3 , No 4)

for Strings . n a in E M 1 B eethoven S o at . , , No 9 , i for Str ngs . THE STRING ORCHESTRA 2 1

1 r NOTES . . I t is most impo tant to have a fi rm harmonic bass when there are many parts r above it to suppo t . When a Short note is given in the pian o par t a lo ng sustained note r should often take its place in the sco e . The guide to this is the use of the piano pedal in every case where the pedal holds a low note

- n while the left ha d plays a middle part , the bass of the orchestr a Should hold on likewise . izzicato for r A p bass passage is good hythm , but it is not often in itself a sufficiently strong foundation unless another instrument has the same note sustained .

2 . Sustained tone in the middle parts is often required , and to this too the pedal is the r su est guide . If in the piano part the hands are widely separated , leaving a space in the r u middle of the inst ument witho t notes , this space Should be filled up by means of the

- sub division of the Strings into several parts .

3 . It is necessary to detach the mind from ’ the limitation O f the piano and of the pianist s r two hands and ten finge s , and to write accord ing to the gr eater wealth of material which an r r 3 in o chest a supplies . If passage is loud , full a nd r tone , broad in style , pa ts should be thick r r ened and notes doubled . The o chest a can play that which is impossible to the pianist . 2 2 HANDBOOK OF ORCHESTRATION

of r - 4 . The common form piano fou note r Sonata a peggio (Beethoven , Bar is best r eproduced in Strings by r eiterated semiquavers o r r bowed tremolo , the chords being sp ead and divided between several instruments , and the

r - E roic . a pa ts sub divided if , necessary ( , 97 , P to 1 1 res . 4 , and the final )

or 5 . If a long passage , scale , or arpeggio , r proceeds through seve al octaves , and is cut up ff between di erent instruments , the smoothest effect can be obtained by careful dovetailing o f no o f the j oins , leaving moment silence . One o r more notes should overlap ; a good plan is to end on e part and star t the next simultane S che zo o usl on . r y the beat , p .

2 4 HANDBOOK OF ORCHESTRATION

M M h ’ N D W eddin . a rc . . . Vvo od and g ,

String parts only .

Suite r r r , All Flute pa ts , but pa ticula ly M r those of the Danse des i litons . M e delss ohn 1 . n G on . 2 dellied fo r SCORE , No , ( l one Flute and Strings : and N o 0 . 2 . . 2 , (Op 5 3 , No ) for one r Flute , one Oboe , and St ings .

SECTION IV

Y P art II STUD . Chap . IV , Sec . 5 , The Clarinet . D N . ch zo M . S er . r , , Wood and St ing

parts only . Suite , all Clarinet parts . M l so 6 ende s hn . 6 . . 6 SCORE , No 3 (Op 7 , No . ) for n one Clarinet and Stri gs . M endelssohn 8 . 2 No , for Wood Wind

only (two Flutes , two Oboes , two

Clarinets and two Bassoons . )

1 r N OTES . . Wind Instruments must be w itten for vocally , as if for the human voice , and doubtful points can often be solved by reference ’ t o . a the singer s point of View For inst nce , it is as bad to keep a Wind for long on its highest notes as it would be in the case of a Singer : and a Wind player must have time to br eathe n j ust as a si ger must . THE WOOD WIND 2 5

r 2 . In w iting for one Wind instrument and Strings it is impossible to avoid tr eating it r n r more or less as a solo pa t . But whe sco ing fo r many Wind together it is a good plan to r accompany a Wind solo with St ings , and a r String solo with Wind , in order to get the va ied

- tone colour . Tutti 3 . In writing a of the eight Wood Wind and Strings the harmony should be com lete r p in itself in each g oup , so that the Strings an d by themselves would sound well , the Wind

equally well .

4 . If a chord of three or four notes is intended as to sound one whole , with the tone well f blended , the best way to get this e fect is by r n r giving it to St ings e ti ely or to Wind entirely . Four - note chords in Wood blend best when given r either to Flutes and Cla inets , or to Oboes and — Bassoons . Six note chords blend well with the Flutes and Clarinets crossed and the Bas ons s o below .

5 . There is little gained by giving a solo to the Second player in a pair of Wind ins tru ’ ments . The Second s purpose in the Orchestra 1 is ( ) to strengthen the part in a loud passage , E roica 1 2 to r ( , 5 5 ) ( ) add notes to the ha mony E roica 1 ( , 5 ) (3) to play a duet with the First , r E roica such as a passage of thi ds or sixths , ( , 2 6 HANDBOOK OF ORCHESTRATION

1 1 r 3 , 3 ) (4) to elieve the First when he needs r E roica 1 8 r est ( , 9 and onwa ds , and r (5 ) to lead up to a passage by the Fi st . 6 . accom ani It the tune is doubled , the p ment must be corr espondingly thickened to preserve balance . If the tune is taken up an octave the gap between must be filled . In taking the scoring up in this way it is generally to wise carry the bass down , and thus , by

t - t o o . contrary motion , avoid p heaviness

to . . 7 . In regard the last score in Sec IV ( Wood Wind only) it may be pointed o ut that there are three gener al ways o f obtaining good balance in a Wood Tutti : ( 1 ) by making the order of parts coincide with the order o f instru ments on the score ( 2 ) by crossing and inter weaving the parts ; and (3 ) by placin g the parts o f one pair o f instruments in between the f parts o another pair . THE CHAPTER II I . SMALL ORCHESTRA

SE CTION I

N O TE The te r W o o us e lo ne deno tes the e t . m d , d a , igh in s trum en ts in o r nar us e— two Flu tes two O oes two di y , b , “ l r B s n The ter D ru s use lo ne ne ts two a s oo s . C a i , m m d a re er h K e le ru s Fo r the e l n t on o f the f s to t e tt d m . xp a a i Horn a nd ru e t tr ns os t ons o f the o ur o el s ores T mp a p i i f m d c , ee e 126 s pag .

P I 8 art I . . STUDY . , Chap IV , Sec . , The Horn M N D N o urn t e . . . . c

Suite M a ch N o r . 2 , , , Wood , Horn and r St ing parts only .

M e h o for two . ndelsso n N . 2 2 SCORE , , Horns

and Strings . B ee M for thoven . 2 , Sonata IX , Wood

and Four Horns . M endelssohn N o o two . 2 , 9 , for W od , o H rns and Strings . B orch r , No . 3 , for one Oboe , two Ho ns r and St ings . B eethoven M 2 , Sonata VI , . for Wood , s r four Horn and St ings .

T i 1 . In writing a utti it s wise to 28 HANDBOOK OF ORCHESTRATI ON make the four Horns complete the harmony in

themselves , as already done in the case of r the St ings and the Wood .

2 . It is a good plan to test the correctness of transposed parts by playing them , first from r the piano o iginal and then from the score , when the ear should detect any inaccuracy .

SECTION I I

P . art . . STUDY . I I , Chap IV , Sec 4 The Cor

Anglais . Suite Tre ak a nd D anse A ra be , p r Wood , Horn and St ing parts only .

Fa r eon SCORE . j , No . 5 , for two Flutes , Cor

Anglais , two Clarinets , two Bas

s o ons r n . , two Horns , and St i gs B ch o 1 or . , N , for Wood , Cor Anglais ,

four Horns and Strings . R a chm anino S eren ade fl, , for Wood , two

Horns and Strings . ohn N O M endelss . , 34 , for Wood , two

Horns , and Strings .

NOTE . In every orchestral piece there are , u n r ro ghly generalising , three compone t pa ts , 1 2 n ( ) the tune , ( ) a moving accompanime t ,

an d (3 ) a veiled background of sustained tone . THE SMALL ORCHESTRA 29

r This thi d part is not found in piano music , except to some extent by the u se of the pedal (again the surest guide to its inclusion) and in scoring it has to be invented : without it a n r score sounds thi and poo in quality . In hearing an orchestra this unostentatious body n of sound , acting as a foil to the movi g parts ,

should be listened for carefully . The best part of each instrument to use for the back ground is its most neutral par t ; notes which r cons ic are ve y high , very low , or in any way p uous should be avoided ; the crossing o f sus t ain ed is parts often a useful plan to follow . SECTION II I

P art II STUDY . , Chap . V Chap . VI , Secs . 1 P , 4 , 5 , ercussion Instruments . P t M a h S m . . y . II I . uite P S ; all ercussion parts .

F a r eon l m . S u ber on . 2 S SCORE j , No , g , for Wood , n four Hor s , Drums and Strings . G i r e . w . t o g No 4 , for Wood , Horns , D rums , Triangle , Cymbals , and

Strings . Beethoven Sona ta N P ! o . 8 , , , ( ath tique) the last twelve bars of the First Movement to be scored as a re endo tutti c sc . 3 0 HANDBOOK O F ORCHESTRATION

1 M NOTES . . onotony Should always be a A n s a n n voided . idea , y , for accompa yi g a r solo , may be quite good in itself , but if pe sisted in for a long time , it becomes wearisome to the b earer no one thing should be done continuously . The best guide to the points W here it is W ise to to change the style is the phrasing of the original piano music being scored , a new phrase generally needing a new mode of expression . P D 2 . AS stated in art I I , the rum note must always be a part of the harmony , though it need n o t i necessarily be the bass . When it s not the or bass , the Bass Cello should be below it . o f 3 . The easiest way producing a general cres cendo is to make each instrument play louder a more artistic method is by the gradual and

regular addition of instruments to the score . The exercise given (from a Beethoven Sonata) r should commence with the St ings only , and conclude with the Tutti of all the instrumen ts P studied up to this point , the Wind and ercussion

being added gradually .

3 2 HANDBOOK OF ORCHESTRATION

’ S core F r e n ' ' . a o ; . IVill o the IVi s for j No 3 , p , P an d r n iccolo , Flute , Triangle St i gs . B h orc . r n , No 4 , for Wood , Bass Cla i et , D r ouble Bassoon , four Horns , D ums , r r T iangle , Cymbals and St ings . rie G . g , No I , for Full Orchestra . SECTION I I I P II art . , Chap VI , Sec . I I . The Harp . Suite V a ls e des Fleur . s .

B eth ven M S core . e o . Sonata I I I , 3 , for Wood

and Harp . r N o In the M ht Fa eon . oonli j , 3 , g , r A n for Full Orchest a , with Cor g

lais , Bass Clarinet , Double Bassoon

and Harp . ie Gr . 2 g , No , for Full Orchestra . The student who has worked steadily through this Part Should now be able to select hi s own material for scores . AS a general rule it will be found that music most distinctly pianistic is the worst for the purpose Chopin an d Schumann provide little or no r i ev erthin mate al , but nearly g that Beethoven is wrote can be scored . A list added of pieces that w u s have been scored by pupils ith s cce s , and is In v er given merely as a suggestion . e ery case wh e THE FULL ORCHESTRA

there is already a solo part , the accompaniment n only should be scored , thus creating a co certo . Pianists would do well to score music which n o f they play ; singers , the accompa iments

their songs . In songs where several verses are h alike , the best practice lies in scoring eac verse differently ’ The Children s Corner DEBUSSY . Suite . A us dem B dhm er Walde 1 DVORAK . Bk . . (Piano four hands) KALIW DA N octur es P O . n for Viola and iano . M Z A L ak e and a F . air E IL KREU Song , y B a o t.

Z D e Lorele E s war e . i in LIS T Songs , y and K On n Thule ig i . M Z P r Com e sisters ACKEN IE . a t song , , , com e ! e l (N ov l o . ) P P Son Chanson de Route AUL UGET . g , , l (from Chansons p our E l e) . M o f P RACH AN INOFF . Album Short ieces . Bilder a us dem Suden SCHARWENKA . P ( iano , four hands) P SCHUBERT . iano Sonatas . F i M f r SITT . antas iest tch in F inor o Viola 1 Op . 5 3 No . .

R c f r . . om an e in o SVENDSEN G , Violin

P r - The Cloud WALFORD DAVIES . a t song , Riorden (Sidney ) . CHAPTER V . NOTES FOR ADVANCED STUDENTS

E Tutti S CTION I . Writing

1 T . There should be economy in utti writing : the ear soon tires of noise and the good effect of a Tutti is in inverse proportion to its length and its frequency .

2 . The general rule given that each Group in a Tutti should make complete harmony in itself holds good in nearly every case . The Wood being the least powerful Group cannot b e heard individually in any large Tutti except P the high Flute register and the iccolo . The best plan to follow therefor e is to write first the String and the Brass parts and then use f the Wood or filling in the gaps . Tutti 3 . A can be made thick by a multi p licity of parts or thin by a limited number n of parts doubled by many instruments . Whe the total compass is wide thick scoring is a ne s ce sity , as wide gaps in the middle always

- sound badly . In a unison octave passage the parts should be equally divided between the e octav s , when any individual instrument get ing out of its compass c an leap up or down an f o ctave without disturbing the general e fect . NOTES FO R ADVANCED STUDENTS 35

- o f Tutti 4 . The tone colour a depends mostly on the register in which the individual r instruments are placed . The most b illiance can be obtained by putting them high ; a sombre grave tone by putting them low . If quantity of sound merely is desired each should have its easiest and most resonant — r notes Strings with open st ings , Brass with — to - open notes , and needless say unlimited P r e cussion . crescen do 5 . In building up a by additions , the Wood again cannot be considered by them selves , as they are neither strong enough nor t o l subtle enough inf uence the scheme . It is to r wise begin with the St ings , then to add the

Wood and Brass in unisons , in pairs , and to P keep back the ercussion for the climax . 6 r . A good a rangement for the to p Wood parts in a brilliant Tutti is to use the Piccolo

for the top notes , double it in the octave with

both Oboes , fill in between with the Flutes , and double the Flutes in the lower octave by

the Clarinets .

SECTION I I . Harmony

1 . Although quite satisfactory orchestra tion can be done by means o f common sense an d musical feeling without any knowledge CHAPTER V . NOTES FOR ADVANCED STUDENTS

E Tutti S CTION I . Writing

1 e Tutt : . Th re should be economy in i writing the ear soon tires of noise and the good effect of a Tutti is in inverse proportion to its length and its frequency .

2 . The general rule given that each Group in a Tutti should make complete harmony in o itself h lds good in nearly every case . The Wood being the least powerful Group cannot b e heard individually in any large Tutti except h P t e high Flute register and the iccolo . The best plan to follow therefor e is to write fi rst the String and the Brass parts and then use f r the Wood o filling in the gaps . Tutti 3 . A can be made thick by a multi p licity o f parts or thin by a limited number n of parts doubled by many instruments . Whe the total compass is wide thick scoring is a nec s e sity , as wide gaps in the middle always

- sound badly . In a unison octave passage the parts should be equally divided between the o a e ct v s , when any individual instrument get ing out of its compass can leap up or down an f o ctave without disturbing the general e fect . N OTES FOR ADVANCED STUDENTS 35

- of Tutti 4 . The tone colour a depends mostly on the register in which the individual instruments are placed . The most brilliance can be obtained by putting them high ; a sombre grave tone by puttin g them low . If quantity of sound merely is desired each Should have its easiest and most resonant — r r notes St ings with open st ings , Brass with — to — open notes , and needless say unlimited P ercussion . crescen do 5 . In building up a by additions , the Wood again cannot be considered by them selves , as they are neither strong enough nor subtle enough to influence the scheme It is to r wise begin with the St ings , then to add the

Wood and Brass in unisons , in pairs , and to P keep back the ercussion for the climax . 6 . A good arrangement for the top Wood par ts in a brilliant Tutti is to use the Piccolo for the top notes , double it in the octave with both Oboes , fill in between with the Flutes , and double the Flutes in the lower octave by

the Clarinets .

SECTION I I . Harmony

1 . Although quite satisfactory orchestra tion can be done by means o f common sense and musical feelin g without any knowledge 6 HANDBOOK OF ORCHESTRATION

of Harmony , yet it follows that the most advanced work requires to be founded on a r sound ha monic basis . Just as in a picture no amoun t o f skill in colouring will hide bad r s o n o d awing , score sounds clear and satis f in — y g unless the part writing is good in itself , and the tone well balanced between the parts

O f each chord . fo r 2 . The best guide the good spacing of r r chords is the natural ha monic se ies , which , starting from the octave at the bottom , rises by s regularly decreasing intervals . So it follow that the bass instruments Should be widely p s aced , and the treble instruments closely r n r pressed together . In St ing divisio s the e fore it is generally wiser to divide the upper r than the lower St ings . an d 3 . The natural legitimate use of the lowest bass instruments of each Group (Double

Bass , Double Bassoon , and Bass Tuba) is to t r r give the lowest oc ave in the ha monic se ies , an d in a powerful Tutti they cannot be better employed . Close harmony of middle parts Should not lie below G at the top of the bass stave . r 4 . Brass ha mony , except for the four

r . Horns alone , should always be widely sp ead

VO O d ar n n r r n r h mo y , on the co t a y , sou ds bette

3 8 HANDBOOK OF ORCHESTRATION when a Win d solo is accompanied by Strings n r as (4) by the crossi g of pa ts , when the Cello is put above the Violins , or the Oboe above the

Flutes . In 3 . music written for the Piano the melody is almost always at the top of the harmony , and next in order of frequency it lies in the bass least often is it found in the middle parts . But in the Orchestr a the greatest wealth o f M material lies in the middle , round about iddle

C , (which note exists on every instrument

P - except the iccolo , Kettle drums , and the very as has lowest Wind) , and , been pointed out , many in struments are at their best in the middle of their o r compass . I t f llows that o chestral melo dy in most generally lies the middle of the harmony , and the accompaniment has to be considered n M accordi gly elodies which lie otherwise , extremely high or extremely low , are best in in o r . doubled the octave , even two octaves i 3 . It s seldom wise to give a solo passage to two similar Wind instruments . If that mechanical precision which is inevitable when two players have to keep together is the effect r equir ed then the added fuln ess and roundness of tone may be an advantage ; b u t ar e r most Wind solos of a delicate natu e , and such solos should always be confined to one NOTES FO R ADVANCED STUDENTS 39 player of each kind of instrument . or it 4 . When a phrase passage is repeated should have more tone the second time than o f instru the first , either by the use stronger f o . ments , or by the addition others

5 . For purely dynamic effects the String and Brass instruments are the most responsive ; but the finest dim inuendo and the softest pianiss im o can be obtained on the Clarinet . With this exception the Wood Wind Group is h the least subtle in this particular way , thoug f it furnishes the greatest variety o colour . 6 f re- r of . The e fect produced by the ent y Instrument or Group depends mos tly on the i length of ts previous silence .

7 . Entries and Exi ts should never be written in a middle tone except in the case of s background work . A more definite oftness or loudness is required at the beginning and the end of everything . f 8 . One can never a ford at any time to b e o f e i of unrhythmical , least all at the b ginn ng any fresh movement the rhythm then should be slightly exaggerated in order that the hearer can feel the swing instantaneously ; ' it should not take him fi v e or six bars to decide in what time the music is written .

. e ei a 9 Grace notes of ev ry kind , b ng perform it .

mi e of th >hr ddl q ase. 40 HANDBOOK OF ORCHESTRATION

P f r n iano e fect , are best avoided in Orchest atio

if used they should not be doubled . In Wind they are only playable in those conj unctions trem olo where shakes and are possible . m SECTION IV . Accompani ent

1 n d i r . Accompaniments to songs a nst u

mental solos need special attention . The s uffi c ient su ort soloist must have p p , but must — Tutti never be over powered . A can only be is used when the solo is silent , when it f as f e fective a fording contrast . Wind should fo r be kept in the neutral registers , except subordinate solo passages . The bulk of the accompaniment should always be given to

Strings , even in a Violin Solo . m ani 2 . acco If the solo part is florid , the p ment should be simple and the scoring thin . sole If the is smooth with long sustained notes , then the accompaniment should be florid with a full tone , otherwise it lacks interest .

3 . In a song the accompaniment should lie for the most part in a different register from the ’ solo ; the man s voice Should have a high ’ accompaniment , while the woman s requires one a low .

4 . During the solo p assages it is unwise to double Wind in the unison , or to have a heavy NOTES FO R ADVANCED STUDENTS 4 1

sustain ed Double Bass part : Percussion must

also be sparingly used . n 5 . The doubli g of the solo part in the Orchestr a is sometimes effective fo r an isolated

passage , but Should never be prolonged . 6 . Very short snappy chords only sound well when loud ; in a soft passage separate

Chords Should be written in fairly long notes .

This applies particularly to Strings . to 7 . While remaining subordinate the solo , every accompaniment should be made interest in to who g in itself , and acceptable the players perform it .

SECTION V . Balance , Combinations , and Tone - Colour

1 - . Tone Colour should be varied continually , Pr . o but without fussiness For beginners , ’ fessor P is one rout s rule a wise , Change the colour ab o ut every sixteen bars and never in the middle of the phrase .

2 . The study of combinations is unlimited and can be taught by no text - book the know ledge is only obtained by training the ear to — r ecognise the sound of each combination t o n know , how , for insta ce , the Flute and Oboe in unison sound , the Viola and Bassoon in octaves , o and s forth . 42 HAN DBOOK O F ORCHESTRATION

w r r n e 3 . The exact po e of the St i gs d pends obviously on their numerical strength at the n n mome t ; but , speaki g roughly , it may be said that all the First Violins playing a rco ia n o balance one Wood instrument in p , and two in orte f . ar e w 4 . If both Violins in unison ith Viola ,

the latter adds fulness to the body of tone , but

cannot be heard individually .

5 . Except in the case of the two Violin r pa ts , it is seldom advisable to put two Strings

of the same kind in octaves . w r n 6 . Wood blends equally well ith St i gs or Brass if used to double Strings , the tone is thickened ; if to double Brass , the tone is Sweet

ened .

7 . All combinations of Strings and Wood n are good , but the Strings generally drow the

Wood .

8 . Strings and Brass rarely blend well , though a passage for four Horns doubled by Violas and Cellos divis i has an extremely good

effect .

9 . A useful combination is Wind sustained r izzica to and St ings p , one giving sonority and the other lightn ess to the whole . 1 n in 0. One Stri g part unison with one an d n Wood (for instance , Viola Bassoo ) pro

44 HANDBOOK O F ORCHESTRATION

1 7 . Smaller Brass and Wood combinati on s r requi e care . If Wood and Horns are in two or octaves Flutes , Oboes , Clarinets are needed to balance one Horn ; and three o r to two four balance Horns . In the case of Wood and Trumpets three Wood are requir ed to balance one Trumpet when the latter is in two f the lower octave , but are su ficient when

the Trumpet is in the higher octave . A Trumpet passage that gets too high can be best tran s ferred to Oboes and Clarinets in unison ; in this case if the accompaniment to the Trumpet

was Wood , it should be transferred to the

Horns . It is wiser to avoid combinations of M Wood and Trombones . uted Trumpets blend r well with Oboe and Co Anglais . Stopped Horns blend well with the chalum eau of the

Clarinet .

1 8 . n All Wind instruments , when playi g softly , have about the same power , though Trumpets and Trombones should be marked

P P when the others are marked P . But in forte and fortiss im o some adj ustment is required

to procure good balance . Then Trumpets , Trombones and Tuba have about the same strength Cornets have rather less Horns are about half as strong as the larger Brass . It is two best , therefore , in loud passages to put NOTES FO R ADVANCED STUDENTS 45

Horns in unison to balance one Trumpet or on e to Trombone , and two of any Wood Wind

balance one Horn . 1 ar e 9 . When only two Horns in use a common arrangemen t is to build four - part harmony o with the two Horns and the tw Bassoons . iano orte They balance perfectly in p , but in f the Horns are apt to drown the Bassoons unless r m m two o f ma ked f or p . There are methods arranging this combination ( 1 ) by crossing the to four parts , giving the consonant intervals to the Horns , and the dissonant intervals the Bassoons ; an d ( 2 ) by giving the Horns an o f r octave at the top and bottom the cho d , and putting the Bassoon parts in between ; the r everse of this would be bad . Such a passage is of course best when placed in the neutral

registers of both instruments . 0 2 . It is always good to give sustained parts r to Brass and moving pa ts to Wood . 1 r 2 . A useful method of procu ing a glitter ing top part is to put the Flute and Piccolo in no t orte unison ( octaves) , the Flute being f and P a iss i o the iccolo pi n m .

2 2 . A uniform tone of rather a harsh kind can be obtained by writing Clarinets high and

Oboes low . r 2 3 . Wood Wind w iting is simplified c on 46 HANDBOOK O F ORCHESTRATION siderably by the use o f three Flutes and thr ee r Six - r Cla inets , which , by providing a note cho d tim br e r n of much the same , gets ove ma ifold f o f di ficulties . Several the Russian composers use this arrangement with one Oboe and one r tw o a n Cor Anglais , t eating the l tter o ly as

solo instruments .

2 . no 4 There is power in the Orchestra , no t even in the Brass , that can drown a String

- unison octave passage played loudly . to 2 5 . Owing the relative tension of the r o f st ings , the tone the Violin and Cello most r o f nea ly approximates , and that the Viola and

Double Bass . 6 n 2 . There are several ways of avoidi g a t o o - sudden Change of tone - colour by a gr adual f merging o groups . An easy method is to mark on e Group dim inuendo and the other crescendo

at the same time . A more subtle way is by the use of those parts of individual inst ruments which relate most nea rly to the tim bre of the r n other Group . For instance , the ha mo ics of Str ings carry the tone - colour from St rings to high Wood ; the Viola carries String t o n e to Wood through the middle Bassoon o r low Clar inet registers ; low Flute notes can carry Vil o o d tone to Brass through low soft Trumpet notes ; the Bassoon an d Horn playing m ezzo NOTES FO R ADVANCED STUDENTS 47 forte an d in neutral registers can carry Str ings t o r u Brass fai ly well , while muted Tr mpets r and stopped Horns can carr y Wood to B ass . ’ Wagn er s scor es are par ticularly useful fo r the

study of these transitional effects .

A final wo r d to advanced students is that Orchestration is in point o f fact a science that has o f no rules , and that consists entirely For f exceptions . a special e fect anything too i f is allowable , but many spec al e fects

defeat themselves , and produce an inartistic r M sco e . omentary exaggeration is Often ex cellen t . , but habitual exaggeration spells failure Young composers anxious to get their work played Should remember that extra in s tru

ments involve extra expense , and that scores containing many parts outside the ordinar y Full O r chestra ar e no t so r eadily accepted for r r f r pe fo mance o that reason .

PA RT II T HE INS T RUM ENTS

CHAPTE R I The String G roup

CHAPTE R II The String I nstruments

@HA P TE R III The Wind G roup

CHAPTE R IV The Wind I nstruments

CHAPTE R V The Percussion Group

CHAPTE R V I : The Percussion I nstruments and the Harp PA RT 11 THE INS T RUM ENTS

THE CHAPTER I . STRING GROUP

N O TE : Str n w t a ta l S re ers lw s to ( i g , i h capi , f a ay “ ” the group o f instruments with a s mall 5 to the catgut l S m l rl B ss w ta l n fi e h itse f . i i a y a ith a capi sig i s t e D ou le B ss wh le w t s a ll n t l l e tter it eans the b a , i i h a m i i ia m a on bass of the h rm y) .

THE STRINGS . In all bowed instruments the strings are numbered downwards , the highest in pitch being the first . The strings are all made of catgut ; when described as ” r is covered , the refe ence to those which have a tightly - wound metal thread spun round the whole length . These covered strings are the fourth in Violin , and the third and fourth in

Viola and Violoncello . Y KE S . Theoretically all Strings can play equally well in any key but those containing their open strings are easier and have more resonance . Keys having a large number of sharps or flats should be avoided it is better to write

enharmonically . r BOW ING . The signs H and V a e used to denote down - bow and up - bow r esp ec tivel is y , but it not necessary to mark them

5 2 HANDBOOK O F O RCHESTRATION

his r it in order to get hand ightly placed . The Table applies equally well to Viola if transposed o d wn a perfect fifth , but it does not apply to or Cello Bass . A . H 5 S R E S . Shakes of all kinds are possible

one o f on Strings , except the lowest all , that on the fourth open string . The notation is and slurs should Show how much is to in be done one bow . In a very long shake , r however , it is wiser to omit slu s , then each player changes his bow at will and the effect THE STRING GROU P 5 3

is continuous . Double Shakes Should not be

used in orchestral wr iting .

. C 6 . CHORDS AND ARPEGGIOS hords and r ar e A peggios of two , three , or four notes possible which have each note on a separate

- string and in the same position . Double note Chords on adjacent strings are the only ones how that can be played solidly , as the can only

play on two str ings at the same time . Larger

Chords are spread , that is , played in groups of two notes , which follow each other with great n o r tw o rapidity . Chords havi g one open strings for their lowest notes are easiest and have the greatest resonance . It is best to confine spread Chords to the three upper String t par s , and in no case should they be given to

Double Bass .

P ZZ . 7 . I ICATO This is done by plucking the string with the finger ins tead of using the bow , and is an easy and useful device . I t is mos t sonorous on the lower strings and should in no case be written high up in the compass of on any instrument , as a very short string the r tone is bad . A little time is needed befo e an d (still more) after a pizzica to passage to P zz o allow the player to adj ust his hand . i ica t can never be as rapid as bowing ; the degr ee of speed depends on the thickness of the string u i r sed , the Viol n fi st being the quickest to 54 HANDBOOK OF ORCHESTRATION

respond and the Bass fourth the slowest . Spread chords across the strings can be played pizzicato under the same left - hand con ditions b o as with the w . !uick arpeggios to be played with one Sweep Of the finger across the strings should have a slur this is the only occasion in which a slur is used in pizzicato writing

usually the finger rises for each note . Except o n the open strings there is no great r ange o f for ce possible with pizzicato it is most effective iano — izzica to when played p . Left hand p , a no t r solo device , should be used in o chestral r Par P izz cato r . w iting . i on a natu al harmonic ( 1 0 below) is possible and par ticularly good in

on r . Cello , but rather feeble the other St ings zz The direction for pizzicato is pi . which ” arco w holds good until contradicted by , ith

the bow .

M r - ro n 8 . UTES . A mute is a small th ee p ged o r r h piece of metal , wood , ivo y , w ich is placed on the b ridge of the instr ument without touch in r g the st ings . It deadens the sound some

what and produces a thin reedy ton e . The r con sordino n r o di ection is , and the co t adicti n s enz a s ordino r . Time , at least th ee slow r u ba s , m st be allowed in which to put on and O ff M are u d take the mute . utes least Often se for o the D uble Bass . THE STRING GROUP 55

are r n 9 . TREMOLO . There th ee ki ds of trem olo 1 Bowed 2 Fin ered , ( ) ; ( ) g ; and (3) B ro n Bowed trem olo k e . is the most common , an d is very easy and useful . With a quick wrist - action the player reiterates one note

- (or a double note chord) as rapidly as possible . It can be played with any degree of force from

P P P orte f . to f , but is most e fective when soft Fingered trem olo is a shake o f an interval — larger than a second that is it consists o f a o f two tw o very rapid alteration notes , using fi ngers on the same string ; one finger stops the lower note while the other rises and falls as not quickly as possible . Open strings should o to o be used . Intervals s large as require tw strings Should be avoided , as this entails a wrist - action which is difficult and can never be for rapid . The lower strings are the least good olo B ok en Tr em olo o f fingered trem . r consists stopping two notes on adj acent strings and playing them alternately with separate bows as rapidly as possible . It can never be as fast for as the other two kinds , but is the best ortissim o f izzi work . A very rare e fect is a p cato trem olo , produced by thrumming the notes o f a spread - chor d across the strings with the o f soft part three or four fingers . 5 6 HANDBOOK OF ORCHESTRATION

, ’ ’ £62 5 0 rr 6 fi b z f . f f d Je y / 53 7

0 . 1 1 N atural . . HARMONICS ( ) Every string vibrates as a whole and in sections

simultaneously . By lightly touching it at certain points the whole - length vibration is

prevented , and it vibrates only in sections , r and thus produces ha monics . On each string there are several harmonics obtainable ; they occur as a regular diminishing progression of intervals upwards from the open string octave , perfect fifth , perfect fourth , maj or in third , minor third . The lower ones the series are the easier and the most commonly To 0 used . indicate a harmonic a little i r is wr tten above the note , which in eve y case no t denotes the real sound , the place where the string is touched . 2 A rti cial on ( ) fi . Any note the three highest Strings which is two octaves and a note above its lowest string can be produced as an artificial harmoni c by stopping the note two octaves belo w and lightly touching the string r with the fou th finger . In this case the real s n o t r ound produced is w itten , but , instead , THE STRING GROU P 5 7 the two notes which are stopped and touched s te ed the p p note is written in the usual way , and the touched note (always of course a perfect fourth higher) has a diamond - shaped he t o for head . As t whole hand has move each artificial harmonic slurs should be avoided r a n d intervals kept small . These ha monics ar e on f r on easy the Violin , di ficult and isky

Viola , possible and good on Cello , and impossible o n r Bass . They should not be w itten higher than tw o octaves above the lowest one possible . The harmonic is a special effect and must be : flut treated as such the sound is thin and y , ar e and can never be loud . Harmonics always unsuitable when the music is fast , and in no case should a Single one be int r oduced in the middle of a quick stopped passage . The bow must be so used rapidly , long slurs are bad , and a passage written entirely In harmonics should as a gener al ” rule consist only o f the natural or only i of the artificial kind , as an interm xture is f di ficult . The natural harmonics are the easier and have the better tone . A little time for preparation is required fo r the corr ect o f production all harmonics , as needless to say , unless perfectly in tune , they do not sound at all . 1 1 P . a DIVISION OF ARTS . All String p r t s ' 5 8 HANDBOO K OF O RCHE STRA IO N

c a n - be sub divided into two , three , or mor e r In w r sepa ate vo ices . iting for Stri gs alone this is o ften necessary in o rde r to co m le te the e harmony , but at all times it is a useful v ic e by which to obtain variety o f tone - colo r in the is . 0 String Group I t unwise , however , divide the Double Basses except fo r a s p ec ii effect ; and as a general rule sub - divisions s o uld be t confined o the three upper Strings . It must always be borne in mind that by diviling o ne tw o e ' dirn in String part into , the tone is the ished o ne half ha t by , with the result the

- r e r - tone balance requi s e adj ustment . n deli sa s to ey e cate pas ges it is be t divide , when it o fo r o ne to bo tI is p ssible player get notes , as there is inevitably some roughness ii double bo w is le alin note playing , because the g simultaneousl y with tw o st rings o f iffer ent i orte o w v r th ckness . In f w rk , ho e er whe e o f d r t s u quantity tone is require , the pa ho ld h no t be divided if playable w ithout . ere is only o ne satisfactory notation fo r a iv isio n 3 1“ o f e . parts , the dir ction div and the am bi uou contradiction unis . The g term ar e i vided a 2 should be avoided . If parts into more than tw o it is necess ary to us extra

staves . f) Su l oricell , 1 2 E . . SPECIAL FFECTS ( I) p

5 8 HANDBOOK OF ORCHESTRATION

sub - n or r can be divided i to two , three , mo e r In r for r n sepa ate voices . w iting St i gs alone this is Often necessary in order to complete the r v i ha mony , but at all times it is a useful de ce by which to obtai n variety of tone - colour in the r St ing Group . It is unwise , however , to divide the Double Basses except for a special effect ; and as a general rule sub - divisions should be t confined o the three upper Strings . It must always be borne in mind that by dividing one r two St ing part into , the tone is thereby dimin ished one by half , with the result that the

- - tone balance requir es re adj ustment . In deli

cate passages it is best to divide , even when for one it is possible player to get both notes , as there is inevitably some roughness in double note playing , because the bow is dealing simultaneously with two strings of differ en t orte r r thickness . In f wo k , however , whe e o f u r quantity tone is req i ed , the part should n o t be divided if playable without . There is only one satisfactory notation for a division n d for o f . a parts , the direction div the contradiction unis . The ambiguous term r a 2 should be avoided . If pa ts are divided into more than two it is necessary to use extra

staves . Sul onticello 1 . . 2 SPECIA L E FFECTS (I) p , THE STRI N G GROUP 5 9

to with the b ow kept close the bridge . It produces an unpleasant hard tone , and is usual o s o ly confined to bowed trem ol . (2 ) Sul ta t sur la touche b ow (or ) , the being drawn over the fingerboard ; this produces a light , thin tone , P P Col le no only suitable for . (3) g , when the player uses the stick instead of the hair o f the b ow . r r n It is not d awn , but th own on the stri g and allowed to reboun d : the result is a success ion o f hard wooden taps and consider able damage to the varnish o f the b ow : the effect to can never be loud , and be successful requires a large number o f players ; it is wiser therefor e to to give it all the Strings at once . The contra for n a tura le diction all three devices is . 1 3 . CROSSING OF PARTS . This is a useful device with many possibilities , but if the Viola or (more particularly) the Cello , is put above the Violins , it becomes very conspicuous and can only be given a prominent part . 62 HANDBOOK OF ORCHESTRATION

. is n 2 . NOTATION It the o ly instrument in use the Orchestra to habitually the Alto Clef . When the part gets very high the Treble Clef is

used , the part being always written in real notes . b W . ow is 3 . BO ING The shorter , heavier , b and less elastic that the Violin ow . It is to necessary , therefore , keep it moving at a good pace in order to get pure tone consequent l y slurs should be shorter than in Violin parts . f All the various kinds o bowing are possible . ol le o . C n onticell . o 4 SPECIAL EFFECTS g , p , sul ta sto izz icato , p , and the lower natural har is monies are all possible and useful , but it best o M t avoid artificial harmonics . utes are par ticularl f on on y e fective the Viola , especially the two outer strings . o f 5 . GENERAL . The tone the Viola , part icularl on is i y the first and fourth strings , qu te unique and cannot be obtained o n any other instrument ; solos should be kept a s much as p ossible on these two strings . The middle s o strings combine well with anything , are use

- ful for filling ih and background work . The Viola blends better than any other String with M the wind , even with the brass . inor keys are better than maj or ; all flat keys better than sharp the worst keys for the instrument are E maj or e and B maj or . A Viola solo is always effectiv THE STRING INSTRUMENTS 63 in it a score , but should be short , and it must n ever be forgotten that the instrument is natur ally unsuited to great rapidity of movement . In modern scores the Violas are freq uently or six divided , sometimes into four parts , and this gives the harmony a sombre richness that is not obtainable in any other way . SECTION I I I The Violoncello

to 1 . COMPASS . The four strings are tuned

- an octave below those of the Viola . is of The upward compass course variable , but the highest E in the Treble stave may be sug gested as a possible highest note .

2 . . NOTATION All three clefs , bass , tenor now and treble are used , and , , the real sound is always written . In old scores when the treble i clef is used , the notes are often wr tten an octave above the real sound ; and because o f this ambiguity it is wiser to avoid the treble clef altogether , unless the part gets very high . W f . o 3 BO ING . All the various kinds bowing can be applied to the Cello . Very long slurs as are impossible the bow , heavier and less elastic has to than the Violin bow , be used more rapidly in order to keep the thick strings in vibration .

4 . FINGERING . The strings o f the Cello are of of nearly double the length those the Violin , 62 HANDBOOK OF ORCHESTRATION

is n 2 . NOTATION . It the o ly instrument in

the Orchestra to use habitually the Alto Clef . When the part gets very high the Tr eble Clef is

used , the part being always written in real notes .

W . bow is 3 . BO ING The shorter , heavier , b and less elastic that the Violin ow . It is to necessary , therefore , keep it moving at a good pace in or der to get pure tone consequent in ly slurs should be Shorter than Violin parts . f All the various kinds o bowing are possible . ol le o . C n onticello 4 . SPECIAL EFFECTS g , p , sul tasto izz icato , p , and the lower natural har is monies are all possible and useful , but it best o M t avoid artificial harmonics . utes are par ticularl f on on y e fective the Viola , especially the two outer strings . o f 5 . GENERAL . The tone the Viola , part icularl on is i y the first and fourth strings , qu te unique and cannot be obtained on any other instrument ; solos should be kept as much as possible on these two strings . The middle s o use strings combine well with anything , are

- ful for filling in and background work . The Viola blends better than any other String with M the wind , even with the brass . inor keys are better than maj or ; all flat keys better than sharp the worst keys for the instrument are E maj or f e and B maj or . A Viola solo is always e fectiv THE STRING INSTRUMENTS 63 in it a score , but should be short , and it must never be forgotten that the instrument is natur ally unsuited to great rapidity of movement . In modern scores the Violas are frequently or divided , sometimes into four six parts , and this gives the harmony a sombre richness that is not obtainable in any other way . SECTION I I I The Violoncello

to 1 . . COMPASS The four strings are tuned — an octave below those o f the Viola . of i The upward compass is course var able , but the highest E in the Treble stave may be sug gested as a possible highest note .

2 . . NOTATION All three clefs , bass , tenor now and treble are used , and , , the real sound old is always written . In scores when the treble i clef is used , the notes are often wr tten an octave above the real sound ; and because o f this ambiguity it is wiser to avoid the treble clef altogether , unless the part gets very high . W . f 3 BO ING . All the various kinds o bowing can be applied to the Cello . Very long slurs i are impossible as the bow , heavier and less elast c n to tha the Violin bow , has be used more rapidly in i in order to keep the thick strings v bration .

4 . FINGERING . The strings o f the Cello are of of nearly double the length those the Violin , 64 HANDBOOK OF ORCHESTRATION

n r n is f r n A consequently the fi ge i g di fe e t . S a rule the player uses consecutive fingers for a semitone and alternate fingers for a tone , s o he can only stretch a maj o r thir d in on e posi tion . For high passages (above the B in the treble stave) the thumb is brought round and placed on the strings ; these high thumb positions are rarely needed in orchestral music , but if used the player must be given hi a few moments in which to readj ust s hand . All 5 . SHAKES . shakes are p ossible , but it i s best to avoid those on the thick C string .

. r is 6 . TREMOLO Bowed t emolo easy and f B e f ective . Fingered and roken tremolo must be written with regard to the limitations o f the

stretch of the left hand . P zz c t i . i i a o s 7 . GENERAL easy and most

useful , but should not be too fast . Double is stopping not advisable in orchestral writing , unless very easy it is far better to divide the

part . Octaves , unless the lower note is an

open string , are also unadvisable . The fourth is so the most awkward interval on the Cello , any phrase or figur e built on fourths should be r ar e avoided . Ha monics of both kinds easy r w a s to produce anywhere . Fo merly the Cello n n ow only used as the bass of the Stri gs , but it can be alloted any task a n d is equ ally good

66 HANDBOOK OF ORCHESTRATION plenty of time must be allowed for the tuning re - u o f r and t ning the st ing . m m 4 . FINGERING . At the nut the maxi u stretch between the fir st an d four th finger s is a whole ton e ; only the first and second fingers o f can stretch a semitone . The usual method playing a passage o f semitones from one open string to the next is 0242 40 ; as the intervals get smaller in the higher positions the first finger is brought into use . b W . ow 5 . BO ING The is very Short and the so iano strings are very thick , in p the bow has to r be changed every few seconds , and mo e n frequently as the tone is increased . A lo g sustained note should be written either with o ne r long slur , (when each player tu ns his bow at pleasure and so the tone is continuous) or of ortam ento so with a succession short notes p , that the bow is changed in accordance with the rhythm .

6 . . DOUBLE NOTES A few are possible , one or r both being Open st ings , but their use r is inadvisable , and it is better to divide the pa t .

7 . HARMONICS . Artificial harmonics are impossible , but a few natural harmonics are i an d f obta nable , and are easy e fective ; they are written in r eal sounds with black dots on a a l the Comp ss Chart . AS stated above the re THE STRING INSTRUMENTS 67

harm oniCS sound is always written in the case of , and the treble clef may be used .

P ZZ . 8 . I ICATO This is easy and useful , but for exhausting to the player if continued long . on It should never be fast , particularly the

or f . lower strings , the e fect is muddled The lower it is the more resonant is the sound . H no t A R E S . 9 . S These are possible but desirable , as they always sound thick . If used they Should be very Short and doubled in the

1 0 . TREMOLO . Bowed tremolo is very often so found in scores , but it is never loud as de t a ched notes , only more exciting and noisy ; separate notes as a general rule produce the o f better result . Fingered Tremolo an interval no t greater than a minor third is practicable (but undesirable) when the lower note is at least a maj or third above the open string . On the three lower strings it is only good when iano on to m or p , but the p string it can be f orte out even f , and come fairly well . Broken Tremolo is theoretically possible when one o f two inevit the notes is an open string , but it is 5 0 to ably Slow as hardly be called a tremolo . 1 1 . SPECIAL EFFECTS . Those mentioned in 1 1 2 r on Chapter , can be p oduced the Bass and ar e M generally successful . utes are occasion 68 HANDBOOK OF ORCHESTRATION

no t ally used , but are recommended ; most

players Obj ect to their use .

1 . 2 . GENERAL As a rule it is bad to write for - instru fast the Bass , as it is a Slow speaking ment and quick movement of any kind is totally unsuited to its nature ; the numerous quick passages to be found in old music belong to the orchestral vagueness o f the past when the

Cello and Bass played from the same part , a and each did what he liked and could . Gener lly

the Bass part should be kept up , as the continual growl of the lower strings is ugly and heavy Very low sounds of any kind demand harmonic simplicity and for the Bass continual moderate f movement is the best way o writing . The division of Basses is quite legitimate and now r ve y usual , but in very small orchestra there one u is often only Bass player , when Obvio s difficulties arise ; in a thin score it is r arely of good to divide the Basses . The best part the instrument is from the A Open string to about a tenth or twelfth above ; speaking roughly therefore it is well to confine the Bass part within the limits o f the Bass stave . A quick loud passage which continues fo r a long time to is very tiring the players , and it is a good to plan in such a case divide the Basses , and P t u r a h. S cut up the passage between them . ( y 0 I PB 5 , S ) CHAPTER I I I : THE WIND GROUP

di ISIO n . v 1 . WOOD AND BRASS The main o f Wind instruments is between those that are of made wood , called The Wood , and those o f that are made metal , generally brass , called ” i o f o n The Brass . The p tch each depends o f if of the length its tube . The d ferences tone colour are due chiefly to ( 1 ) the method in h set 2 whic the air is in motion , ( ) whether the is or and tube conical cylindrical , (3) the propor f tion the siz e o the tube bears to its length . The Wood Wind instruments in general use P i h are the Flute and the iccolo , in wh c the tone is produced by blowing across a hole in i the tube ; the Clarinet and Bass Clar net , h Cor which ave a single reed ; and the Oboe , i hi h Angla s , Bassoon and Double Bassoon , w c The have a double reed . reeds are pieces of rush which are attached to the mouthpiece in such a way that they vibrate with the ’ i s et i player s breath , and in the r turn in v bra tion the air within the tube . The i o f C Brass W nd consists ornet , Trumpet , h i Horn , Trombone and Bass Tuba , all av ng a i e the e e of cupped mouthp ec , xact shap which a i the The B a the l rgely determ nes tone . r ss has 68 HANDBOOK OF ORCHESTRATION

not ally used , but are recommended ; most

players obj ect to their use .

1 2 . GENERAL . As a rule it is bad to write for - instru fast the Bass , as it is a slow Speaking ment and quick movement of any kind is totally unsuited to its nature ; the numerous quick passages to be found in old music belong to the orchestral vagueness of the past when the

Cello and Bass played from the same part , a and each did what he liked and could . Gener lly the Bass part should be kept up , as the continual growl of the lower strings is ugly and heavy Very low sounds of any kind demand harmonic simplicity and fo r the Bass continual moderate f movement is the best way o writing . The division of Basses is quite legitimate and now r ve y usual , but in very small orchestra there one u is often only Bass player , when obvio s difficulties arise ; in a thin score it is rarely o f good to divide the Basses . The best part the instrument is from the A Open string to about a tenth or twelfth above ; speaking roughly therefore it is well to confine the Bass part f within the limits o the Bass stave . A quick loud passage which continues fo r a long time to is very tiring the players , and it is a good to plan in such a case divide the Basses , and

P at m . h. S . y cut up the passage between them ( , 0 1 PP. 53 , 5 ) CHAPTER I I I : THE WIND GROUP

Cll V l Sl O Il I . WOOD AND BRASS . The main o f Wind instruments is between those that are of made wood , called The Wood , and those o f that are made metal , generally brass , called ” o f on The Brass . The pitch each depends o f f of the length its tube . The di ferences tone colour are due chiefly to ( 1 ) the method in h set in 2 whic the air is motion , ( ) whether the is or and tube conical cylindrical , (3) the propor f tion the siz e o the tube bears to its length . The Wood Wind instruments in general use P hi h are the Flute and the iccolo , in w c the tone is produced by blowing across a hole in i the tube ; the Clarinet and Bass Clar net , h Cor whic have a single reed ; and the Oboe , i hi h Angla s , Bassoon and Double Bassoon , w c have a double reed . The reeds are pieces o f rush which are attached to the mouthpiece in such a way that they vibrate with the ’ in i player s breath , and in their turn set v bra tion the air within the tube . of The Brass Wind consists Cornet , Trumpet ,

Horn , Trombone and Bass Tuba , all having a h i the e of cupped mout p ece , xact shape which i e The a has the largely determ nes the ton . Br ss 79 HANDBOOK O F ORCHESTRATION

r of P P cres more powe , with great possibilities , cendo and dim inuendo while the Wood has the greater agility ; the relative difficulty being that while the Brass is the more difficult to f to . blow , the Wood is the more di ficult finger A technical point o f difference is that whereas o f rais es the mechanism Wood always pitch , that o f Brass always lowers pitch . P f . o 2 . NUMBER OF LAYERS The Wind the modern Full Orchestra consists usually of i on the follow ng , placed in the correct order the score

Two Flutes , ! P One iccolo ,

Two Oboes , ! n One Cor A glais , Two Clarinets , ! One Bass Clarinet , Tw o Bassoons , ! n One Double Bassoo ,

Four Horns , ‘l‘ Tw o Trumpets (or Corne ts) . ! Two Tenor Trombones , ! One Bas s Trombone . ! One Bass Tuba . r Small Orchest as omit those with the asterisk , which are still r egarded as extra instruments and are often played by the second player

72 HANDBOOK O F ORCHESTRATION

T N G E N G . in s r 4 O U I . In every Wind t u ment the soun d is produced by a single action o f the tongue which sets the air within the Ton u in tube in motion . Double and Triple g e g (the rapid succession of notes in groups of tw o or r th ee , produced by the tongue moving in such a way as to in terrupt the breath) is possible only in those cases where the player has no par t

of the instrument inside the mouth . On the P no Flute and iccolo , which have mouthpiece , tongueing o f all kinds is extremely easy ; but all the other Wood instruments , having some sort of mouthpiece within the lips of the player , cannot in consequence do anything in ton ue . beyond single g g In the Brass , where is the mouthpiece outside the lips , Double and Triple Tongueing is theoretically possible for all , but only practicable on the smaller — to instruments the Cornet , the Trumpet , and ( a limited extent) the Horn . Although rapid ton uein g g is easy , it becomes exhausting if i on continued for a long time , espec ally the larger instruments .

. ss 5 COMPASS . The complete compa in

Wood , from the lowest Double Bassoon note o f P to the highest squeak the iccolo , forms the most extended range of any group in the orchestra . The exact upward compass of any THE WIN D GROUP 73

indefi nable Wind instrument is , as it depends n i o f considerably o the ab lity the player , and

on the make o f his instrument . The compass given in the chart is intended for ordinary A orchestral use . s is the case with the human

voice , the very highest and the very lowest o f notes have the least power expression , and are the most difficult and the most exhausting

to produce . An invariable rule in Wind is that every instrument is at its best and easiest o f its in the middle compass , and all solos and prominent passages should be placed there for bi o r sm all , whereas Wind instruments are g , or low the i high , human throat , l ps and hands

remain the same si z e . High notes can only L w be produced loudly . o notes require most T . he in breath lower the descent the compass , the shorter must be the slurs and the greater the Low on number o f rests . notes all the deep bass Wind must be used with caution and to restraint , as they are slow speak and very

tiring to play . Every note on every instrument that lies below the bottom o f the bass stave had t best have a breath o itself . These low notes iano can be held a little if p , but when they are forte they must be quite short with many rests

before and after . Experienced Brass players “ can fake notes below the actual compass O 74 HANDBOOK O F ORCHE STRATION

o f the instrument by means a very loose lip , but it is unwise to score these ; they are only good as a makeshift to meet the difficulties r i r . C . a ising in old and fore gn scores ( p , howeve , P r a t I I , Ch . IV , Sec .

6 . KEYS . As a general rule flat keys are i r the best for W nd . Inst uments vary in the degree in which they are affected by key but in most cases it is best to avoid extreme keys O f or with a large number flats sharps , and it is always wise to write enharmonically in order to

avoid accidentals .

7 . SHAKES AND TREMOLOS . These are gener in i ally possible Wind , but each nstrument ow n has its awkward intervals , and peculiar f di ficulties in their execution . An exhaustive description of this somewhat unimportant point can be found in every other text - book but this here information is given only where it can be condensed in other cases the us e o f shakes and tremolos is best avoided until the subj ect is advanced ; they are only a trimming and quite unnecessary in the earlier stages o f r orchest a tion . H P . P 8 . RASING hrasing means breathing , and is as impor tant to the Win d player as to the sin ger . Each Slur must be carefully thought o ut to with regard to the spirit of the music , the THE WIN D GROUP 75 cap acity of the particular instrument in u s e at

n . the moment , and to the pitch of the otes A general rule is that the higher the instrument and the higher the notes the more can be done in the same breath .

9 . GENERAL . AS the lips are more easily con tracted than distended it follows that ascend ing intervals are always easier to play than descending intervals this applies especially to le a - g to slurs and to the double reed instruments . Brass instruments have no distinct register s of tone , but generally speaking they become n stronger and more piercing as they asce d .

The Wood often have several registers of tone , and become more piercing , but not always as stronger , they ascend . With the exception o f the Clarinets , the Brass can get the softest ianiss im o p . Skips up and down the compass f are very di ficult in Brass , but comparatively easy for the Wood instruments . I t must not be thought that the Clarinet is a lower instrument than the Oboe because of on their respective positions the score , which ’ r is the result of the Oboe s historic senio ity . it The Clarinet goes lower , but also goes much higher . A very important point to remember in writing fo r Win d instrumen ts is that they 76 HANDBOOK O F ORCHESTRATION must be war m before they can be played with u r f r o t risk o di ficulty . In those cases therefo e where the player has had no opportunity to his o f warm instrument , as in the change or Clarinets (Chap . IV , Sec . V , 3) when the Second Flute player takes the Piccolo durin g o f or the course a piece , the Second Oboist the

Cor Anglais , then unimportant passages for the new instrument should be written for a t or i w li tle while , the player g ven time in hich to blow Silently into his instrument in order to r wa m it . (Students are referred also to the Notes follow

P . ing Sec . IV in art I , Chap THE CHAPTER IV . WIND INSTRUMENTS

SECTION I ' The Flute

1 N o - . NOTATION . Treble Clef . n trans n posi g . 1 L w . o to 2 . REGISTERS ( ) ; up tuning A the notes are sweet and luscious but easily drowned when this low register 1s m use the

Double Bass had best be omitted , and the scoring should be thin long slurs should also be avoided as the player has t o breathe after every few notes ; these low notes often sound M iddle u like a Trumpet . (2 ) ; the octave p wards from tuning A is the Sw eetest and for Hi h r the best solos . (3) g eve ything above the high A becomes more shrill and pier cing as it ascends ; this register is the most useful tu i in a loud tt .

3 . KEYS . Comparatively speaking the Flute ff is little a ected by key , but maj or keys are to better suited it than minor , particularly t in the wo higher registers . A ll 4 . SHAKES AND TREMOLOS . Shakes are possible within the tw o octaves above E (fi rst o f to line stave) . Tremolos Should be limited thir ds within the stave . 78 HANDBOOK OF ORCHESTRATION

5 . ADVANTAGES . Nimbleness ; agility ; the le a to sta ccato r Flute can play g , , epeated notes as fast as a Violin , most shakes , skips , arpeggios and scales of all sorts with perfect ease and for longer without rest than can any other Wind instrument its sweet low tone and its brilliant

high tone are equally useful . E no r o f 6 . DISADVANTAG S . It has powe expression o f a soulful kind and can only be amiable or merry ; it has no power for an f sostenuto nor for crescendo dimin e fective , and

n endo .

7 . GENERAL . Flute solos lying low are ia no best p and with a thin accompaniment . The tw o lower registers are good for back ground work but the highest is too shrill for r tutti this pu pose . In a loud the Flutes should

be put high . Flute tone quickly becomes r monotonous to hear , so rest aint should be r t exercised with rega d to its use . A flute mus not

be expected to plav softly high up in its compass . The o ft - quoted defective notes n eed not

be considered on the modern instrument .

P SECTION I I . The iccolo

1 r . NOTATION . Treble Clef . The pa t is w r r r un itten an octave lowe than the eal so d , r in order to save lege lines .

80 HANDBOOK OF ORCHESTRATION

to on ment , be used special occasions only . Everything said about the Flute applies the oreticall to P as y the iccolo , but the latter reaches the top o f its compass it is more difficult o t play . Long sustained notes are unsuited to its nature and it is at its best in continual

rapid movement . SECTION I I I The Oboe

- 1 . . N on ra s NOTATION Treble Clef . t n p os

2 . DESCRIPTION . The Oboe has a very no o f small compass , variety tone and is very to exhausting play continuously , as the player requires so little breath that he has to hold it For back while playing . these three reasons it u f r m st be written o with restraint . The best part o f the instrument is from G on the second line to G on the first space above the stave .

3 . SHAKES AND TREMOLOS . All shakes are possible up to the D above the stave . Some r so t emolos are possible , but there are many that are awkward or difficult that it is better to avoid them altogether in any case they are n un suited to the character o f the instrume t . r 4 . ADVANTAGES . The Oboe is particula ly r good for solos which are short , legato , prefe in ably the minor , fairly slow , and confined THE WIND INSTRUM ENTS

within the five lines of the treble stave . In a brilliant tutti its piercing tone is useful for the for higher notes . It is extremely good sharp c stac ato passages which are not very fast .

5 . DISADVANTAGES . It can never be used

for long at a time . Its piercing tone cuts through everything and is apt t o upset the no t balance . It does blend well with other Cor instruments except the Anglais and , in a i . s for less degree , the Bassoon It good neither n or nor arpeggios , accompaniments , background . f Rapid and florid passages are ine fective . ’ i 5 . GENERAL . The Oboe s essentially a its be melodic instrument , and solos should

accompanied lightly , and preferably by Strings . In a Wood tutti its part should lie low and be

i . no crossed w th others It has favourite keys . Any passage having two sharps or tw o flats f together is rather di ficult . It is less affected

by temperature than any other instrument , and for this reason is the one selected to give h the A to the Orc estra for tuning .

SECTION IV : The Cor Anglais

1 . NOTATION . Treble Clef . The part is written in the key a perfect fifth higher than o f the key the piece .

2 . DESCRIPTION . The Cor Anglais is an 6 82 HANDBOOK OF ORCHESTRATION

A lto Oboe , having the same fingering and practically the same technique as the ordinary r to Oboe . It is rather easie blow and rather more difficult to finger its tone has no brilliance s o f and i less piercing than that the Oboe . Everything written in the preceeding Section t or applies also o the C Anglais .

. no t 3 GENERAL . If overdone the Cor Anglais is perhaps the most beautiful instru for s a for sole s o f ment olo work , especi lly a I i . ts to s mournful character p octave bad , and it is not worth while to write above the

e s a . trebl t ve , as the Oboe can get the notes better If the Cor Anglais p art is to b e p layed by the Second Oboe player (a very usual arrangement) he must have time to Change and warm his instru ment .

‘ SECTION V The Clarinet

1 . . . NOTATION Treble Clef Transposition , a maj or second or a minor third higher than the real sound . E 2 . DESCRIPTION . very Clarinet player has two i one in o f nstruments , built the key B

one o f . flat , and a larger built in the key A to i This is solely avo d extreme keys , which involve complicated fingering and are therefore f for i p articularly di ficult the Clar net . The B

84 HANDBOOK OF ORCHESTRATION

4 . REGISTERS . There are four distinct o f registers and consequent varieties tone , though a good player can so merge one into another that the difference is hardly apparent 1 Cha lum eau to the ear . ( ) , from the bottom o f 2 of the compass to E , first line stave ; ( ) a weak section from F to B flat (3) B natural to the B above ; this octave is the best part o f the instrument ; and (4) all notes above this 1 high B , which are shrill and piercing . No . is useful for special effects , particularly when no it is i there is Bass Clarinet , but very eas ly i f r N o . s o drowned . 2 useful background work , but should be avoided in a prominent h passage , as it is of bad tone quality and tec nic

f . . f r ally di ficult No 3 should be used o solos . is iffi is No . 4 ugly and d cult , but useful some n T tti times l u writing . HE T . 5 . BREAK This awkward mechanical weakness , peculiar to the Clarinet , is not such a terrible thing on the modern instrument as w as it formally , but it should not be forgotten , r in o f It lies j ust ound B flat , the middle the treble stave , and no prominent nor rapid passage

Should lie across it .

6 . SHAKES AND TREMOLOS . On the modern instrument all shakes are possible , but there are f a few which are clumsy and di ficult . These THE WIND INSTRUMENTS 8 5

on or are , roughly , maj or seconds any F sharp on r C sharp , minor seconds the lowest F natu al

to the . and G sharp , and shakes close break It is the best Wind instrument for tremolo to work all tremolos up an octave are possible , do not nor provided they cross the break , rise con above the C above the treble stave . Any taining a C sharp should be avoided and the h best intervals are a third , a fourth and a fift

7 . ADVANTAGES . The various tone quali ties . The Clarinet ranks next to the Flut e and P iccolo in mobility , can play arpeggios ex trem el i y well , and repeated notes with s ngle tongueing as fast as the Flute ; it is good for scales , shakes , tremolo , background , and can take skips easily : it has the most complete control o f any Wind instrument over crescendo diminu endo its ianiss im o and , and p is the softest that can be obtained in Wind . 8 . DISADVANTAGES . The break and the weak middle register : it cannot play in ad vanc ed keys : owing to its being built o n a o f i twelfth , instead the usual octave , any ser es o f octaves or passages formed on an octave are no t good .

. . in o f 9 GENERAL The Clarinet , spite its disadvantages , is the most useful Wind instru m o f on o f ent all , account its variety o f aecom 86 HANDBOOK OF ORCHESTRATION

p lishm ents ; practically it can be asked to do r anything . Before making the choice of Cla inet

the whole piece should be examined , as the key which Is the best at the beginning does not always remain s o it is better to write enharm oni to or cally than use many sharps flats . When the player has to change in the course o f a piece he should not be given an important passage o n the new instrument until he has had o r time t get it warm and in tune . In Ge man scores the B flat instrument is described as in B because the English B flat is the German

B , and the English B is the German H .

SECTION VI : The Bass Clarinet 1 . DESCRIPTION . This instrument is an o f i enlarged edition the ord nary Clarinet , an

octave lower in pitch ; its compass , however , r is smaller by a minor thi d . Only the B flat n no w i strument remains in use . r NOTATION . The e are unfortunately two i methods of writ ng the part , French and German . The French Method is to write always in the

Treble Clef , a maj or ninth above the real sound is that , the usual maj or second transposition o f r the B flat Cla inet , plus the octave lower this is the easier for the player as the fingering r is the same for both instruments . The G e man

88 HANDBOOK OF ORCHESTRATION

cannot be worked so hard as the ordinary

Clarinet .

5 . GENERAL . Everything written about the Clarinet applies theoretically to the Bass

Clarinet , but being lower in pitch , it is naturally z more exhausting to blow , while its si e and the great length of the tracker - rods make it more to M awkward finger . oreover it possesses very r strongly marked characte istics o f its own . The top fifth is poor in tone and passages in that position are best allotted to the smaller Clarinet ; if given to the Bass instrument the

part should be doubled .

SECTION V II ' The Bassoon and Double Bassoon

1 . NOTATION . The bass clef is used princi or pally for the higher notes the tenor treble , for preferably the tenor , the same reason as in

o f 1 1 . 1 1 1 2 the case the Cello . (See Chap , Sec , ) N on - transposing .

2 . REGISTERS . All the minute particulars given in the text - books o f former times with regard to the registers , their weaknesses f o f and di ficulties , apply to the Older types instrument . In the modern Bassoon , with its highly developed mechanism , they have almost ceased to exist . The lowest notes , as THE WIND INSTRUMENTS 89

always with Wind , are rather rough , though the i lowest B flat is a good note . All the m ddle part is good , but when the treble stave is reached the tone begins to get thin and poor . one of 3 . ADVANTAGES . It is the most useful of the Wind on account of its adapta bilit has do y . It a large comp ass and can or solos , accompaniment background work o f re with equal ease . Scales all kinds and p eated notes are easy . It can take wide i unslurred skips w th great rapidity , has an le ato sta ccato excellent g , a very good and blends i well w th most instruments , particularly the

Horn . for 4 . DISADVANTAGES . Its fatal ap titude it do sounding comic in the very things can best . o f It has a somewhat limited range dynamics , and cannot play so softly as the Flute or Clarinet nor so loudly as any other Wind o f its

i . p tch Arpeggios , shakes and tremolos are n ot o and r suited t it i a e best avoided . It is o f i the most imperfect all the Wind nstruments , s o the composer is considerably at the mercy ’ o f the performer s ability to overcome the of various defects his instrument .

5 . GENERAL . A Bassoon solo should b thinly accompanied ; the player should never to f his o r m h be obliged orce tone , it beco es hars 90 HANDBOOK OF ORCHE STRATION

P at once . assages lying above middle C should be doubled by some other instrument and for i the Viola is good this . The combinat on o f F shar G shar p , p (G flat , and A flat) in any octave f e ato is di ficult and cannot be played l g . Very long sustained notes low down in the compass

must be avoided . 6 THE nstr . DOUBLE BASSOON . The larger i u ment is in nearly every respect similar to the to it i smaller , which bears the same relat on as B o Double ass bears t the Cello . It is an octave lower in pitch and correspondingly unwieldy f to s o and di ficult blow and handle , it must be for written with restraint and many rests . Everything written about the Bassoon applies

technically to the Double Bassoon . The lowest is octave its best .

E : S CTION VI I I The Horn .

N ote s se t o n re ers to the Ho rn in F o nl as ( ) Thi c i f y , Fo r m odern players confi ne themselves to the F c rook . i nfo rmation regarding the o the r crooks see the Chapte r O e S o Ol a n Fo e S o res n th tudy f d d r ign c .

1 . . NOTATION . Treble Clef only The part o f h is written in the key C , a perfect fifth igher than the real sound , the necessary sharps and flats being added as required it is best to write enharmonically if by doing so accidentals are

9 2 HANDBOOK OF ORCHESTRATION

f no t C e fective when overdone . lose harmony o f is best , in the middle the compass . The no t to o low Fourth Horn must be put , unless it o f has an extra allowance rest , as it is exhausting to play low notes continually it is good some to out times help the passage with Trombone . The low parts should not have long slurs the middle parts can be crossed sometimes with ad vantage and the Bassoons can help out when a e e more than four notes r requir d . 6 . ADVANTAGES . The Horn is the most

beautiful instrument in the modern orchestra , one o f and the most useful . It can blend at will an for with y combination , is perfect slow

melody , background work and accompaniment . m o 7 . DISADVANTAGES . The Horn lacks bilit l : not y , and cannot p ay fast it does like extreme keys : the part must not be e ver

- i of . wr tten , in spite the ever present temptation Skips are bad and scales and arp eggios do not suit it well . 8 i to . GENERAL . It is still w se write the four Horn parts in pairs , as has always been o f for done in a passage double thirds , instance , each pair should be put in octaves . A modern o r low player can play high notes equally well ,

r - but he must have time to e adj ust his lip . If the H orn is taken up above the stave , it should be THE WIND INSTRUMENTS 93

n ca o f E roi . by steps a seco d ( , p In using one Horn with Wood its best place is at or t the top the bottom if it is o blend well . The middle register resembles and blends well with s o instru the Bassoon , it serves as a transitional ment between Wood and Brass . A good work ing rule is to keep written Horn parts between M o f . iddle C and the top the stave , The Horn is the instrument most capable of making itself in o f o f M N heard the middle a mass tone . ( . . D N octurn e . . )

SE CTION I! ' The Trumpet and the Cornet

For 1 . INTRODUCTION . many years play to ers had struggle with the natural Trumpet , r that p oduced only open notes . Then the valve m w as i Tru pet invented , and gradually mproved by various makers until the fine Trumpet in F

. i evolved This is a noble , dignified nstrument , as with a magnificent tone , and almost much colour variety as the Horn but unfortunately s it is extremely difficult to play . A time goes on music becomes more complex , and as a result , there is a tendency to manufacture instruments to easier play , the ease being obtained by a sacri fi ce of tone . So we find the beautiful F Trumpet i out o f use its steadily dy ng , place being taken by a sm a B a i e h is ea a com ll fl t nstrum nt , whic r lly 94 HANDBOOK OF ORCHESTRATION

i prom se between the Cornet and the Trumpet . It has the same compass a s the Cornet and is a s e o almost asy t play .

2 . . A NOTATION Treble Clef only . s a r e sult of the various changes in the instrument i not Trumpet wr ting is yet standardised , and players are so experienced in transposing that f to they are quite indi ferent it . There are three courses open to write for the F

Trumpet , a perfect fourth lower than the real has of sound , which the advantage putting the Trumpets in the same key as the Horns (2 ) to write as if for Clarinets (the B flat Trumpet A is always provided with an shank) , which has the advantage of being the method used for interchan the Cornet , thus making the part g : to able (3) write the part in C , that is , in i has of real notes , wh ch the advantage having n o transposition at all .

3 . SHAKES . These are done with the pistons so depend on the fingers as well as on the lip a few can be obtained in the middle o f the compass , but they are risky , can never be very

on ir . fast , and are the whole undes able

- M . 4 . UTE This is a pear shaped stopper inserted in the bell , by which two distinct 1 ia no effects can be obtained ; ( ) p , which reduces the sound to a faint echo ; and ( 2 )

96 HANDBOOK O F ORCHESTRATION

players . N O soft notes are possible above the

treble stave . The lower half o f the compass o f as blends well with the rest the Wind , but

the compass ascends , the tone becomes more and

more conspicuous . Below Middle C no long no slurs are possible , and rapidity . THE 8 . CORNET . In the days of the Trumpet in F it would have been necessary to write a separate section on the Cornet ; but the B flat Trumpet and the Com et are s o nearly alike in compass , tone , execution , and general character that this is now needless the part is han ab entirely interc g le . If Cornets are spec iall for y written , the parts must be transposed the or i for either B flat the A nstrument , in exactly the sam e way as for the Clarinet .

SE CTION X : The Trombones and Tuba . E 1 . . DESCRIPTION In ngland at the present of time two kinds Slide Trombone are in use , two o f the Tenor and the Bass , the former and one of. the latter being found in every complete now use orchestra . The Tuba in is a valve

- and piston instrument , built in F , which can sound its fundamental note . In other countries various kinds of Trombones and Tubas have o f been and are in use , some which have a lower compass than the E nglish instruments . THE WIND INSTRUMENTS 97

2 . NOTATION . Both Trombone and Tuba

- are non transposing instruments , in spite of r their being built in keys othe than C . The real sound is always written and the proper - r key signature used . The four parts are w itten , on two staves , bass clef being used for the i or for lower , and e ther tenor bass the upper .

Low . res e 3 . NOTES The directions given p c ting low notes in the fifth paragraph of Chapter I I I app ly particularly to the Tr ombones and n o f Tuba . Below the ordi ary compass the

Tenor Trombone are three deep pedal notes ,

B flat , A natural , and A flat , marked with n diamond heads o the Compass Chart . Of these

the B flat is the best , but all are rather risky , and if used should be approached from the or octave above , follow rests . The correspond ing notes on the Bass Trombone are im p rac tic

able .

P . 4 . TROMBONE OSITIONS The Trombone , a of P like the Violin , possesses technique osi tions , and good writing consists in placing notes either in the same or in neighbourin g positions . Great skips to distant positions are impossible without rests t o give time in which to adj ust the slide . The following Table gives i of r the pos tions the Teno Trombone , and can be applied to the Bass Trombone if transposed down a minor third . 98 HANDBOOK O F ORCHESTRATION

‘ ! ” ’ 7 7 017 5 /zfb 9 ” 01 5 fi U flj f a v or fi rmwa re!

17 17 I!” 727

. . h 5 SHAKES S akes , done with the lip only , on are almost impossible the Trombone . Slow shakes can be done on the Tuba with the and o f o pistons certain these , played with ne i i a piston only , and ly ng w thin the bass stave re f practicable and good in e fect . But shakes are so entirely unsuited to the nature o f these low

Brass instruments , that the student would be to i wise avo d them altogether . 6 A . ADVANTAGES . s the making of notes on the Trombone is completely under the player ’ s control (as is the case also with the Strings and the Kettledrums) perfect intona tion is possible . The Trombone can play with r of o f any deg ee force , with very great beauty t in one , equally well any key , and it can hold the same note for a very long time . Soft four part harmony for the three Trombones and the Tuba (or one Horn) is a useful and a most

100 HANDBOOK OF ORCHESTRATION

should be doubled in Wood . The military

- r n r r valve t ombo e , a necessity for caval y egi o n in mental bands , is ccasio ally used the r r n n fo r Orchest a , the sco i g bei g the same as n n are r r ar the Slide instrume t . Trombo es ve y ely muted . C HAPTER V ' THE PERCUSSION GROUP

P n 1 . The ercussion instrume ts are the least n importa t , the most conspicuous , the most

rhythmical , the easiest to write for and the f easiest to play . Their good e fect is in exact inverse propor tion to the frequency of their us e r s o . Nothing vulga ises a score readily , n or s o n palls on the ear soon , as the sou d of over much percussion : nothing is more effective i is ts us e . than j udicious Restraint , therefore , the Alpha and Omega of good writing for this

Group . P 2 . ercussion instruments are continually

on the increase , as modern composers extend fo r f their demands novel e fects . The ones r us e included he e are those in ordinary , the writing for which demands some technical r r knowledge . N O pa ticular info mation is r e quired in order to write for an anvil or a bird whistle . M 3 . ost Percussion instruments are of n indetermi ate pitch . Of these it may be said r r in a gene al way , that the T iangle is treble , the - r r C m Side d um and the Tambou ine alto , the y

- - bals tenor , and the Bass drum and Tam tam bass . 1 02 HANDBOOK OF ORCHESTRATION

4 . The Kettledrums , Glockenspiel , Xylo phone and Celeste , having definite notes , must have staves ; but for the rest of the Group it is far better to write each part on a separat e and single line , even if this entails the sticking o f pieces o f plain white paper over one or two staves of the score . If staves are used it is t o one to two usual allot instruments , when great care must be exercised with regard to tails and rests .

5 . All Percussion instruments vibrate for a considerable time after being struck unless the instru damped , and the bigger and deeper ment the longer it vibrates . Consequently the exact length of notes and rests must be a f matter o meticulous accuracy . o f 6 . On account the conspicuous character of P the ercussion , dynamic marks must be inserted with greater attention to detail than o f is necessary in the case Strings and Wind . Fo r crescendo instance , every must state what it starts from and what it goes to . In the case o f a long crescendo the intervening steps at which it arrives should be shown thus :

cres . cres . cres . . , p , , f, , j f o ne o f 7 . Rolls and trills must be written in the two following ways

H THE P C APTER VI . ERCUSSION INSTRUMENTS AND THE HARP

SECTION I The Kettledrums

1 . DESCRIPTION . A Kettledrum is a basin shaped metal shell with a head of skin stretched of over the top , the tightness which is regulated

by screws all round the shell . The tightness o f the skin determines within a perfect fifth o f D the pitch the rum . It is played upon with two tw o sticks having padded ends , the only f ” e fects being separate notes and the roll , produced by a rapid wrist action o f the two M sticks at the edge o f the Drum . ost modern — M orchestras have three Drums Big , iddle , c an m anufa c and Small . A Kettledrum be tured z r in any si e in reason , but the th ee in general use have the compass given in the

Chart .

2 . TUNING . The exact note to which each Drum is to be tuned should be written clearly at the beginning of the score o n a small stave . Drums can be tuned during the course o f the unneces music , but this should be done neither s a ril y nor frequently . The direction for re D tuning is Tune C to , or Change C to THE PERCUSSION INSTRUMENTS 1 95

two M . D , or (in Italian) uta C in D The important points to remember in regard to Drum tunings are ( 1 ) that the interval o f change as as or must be small possible , there is the no t risk of splitting the skin , which is a piece o f elastic ; and (2 ) to allow the player ample time in which to screw all the keys round the Drum - head a rough - and - ready rule is Allow three bars of M oderato 4 - 4 time for every interval o f a second but of course the longer is the time allowed , the easier it for the player ,

and the healthier for the instrument .

3 . NOTATION . The part is written in the

- r . bass clef , with key signatu e and real notes 1 M f l co erti 4 . SPECIAL EFFECTS . ( ) u f ing ( p ) , done by placing a handkerchief or something of that sort on the head ; (2 ) using the Side ’ r d um sticks or (in a roll) the player s knuckles , instead o f the proper sticks (3 ) placing three heavy articles (such as the tuning - keys) on the f to head , which produces an e fect similar that - r r of the Side d um , the obst uction acting like the snares of the latter .

5 . GENERAL . The Kettledrums have an immense range of expression from the softest ianissim o ortiss im o p to a gigantic f , and all gradations of tone are completely under the control of the player . If the tunings can be 1 06 HANDBOOK OF ORCHESTRATION confined to two Drums it is an advantage in the o f case small bands , which often only possess two M o f instruments . As the iddle Drum is varying siz e it is best to avoid the to p and bot to m i o . s t notes , G and E It possible strike two h Drums simultaneously , and t us get a

- tw o f is not . note chord , but the e fect good With extra drummers and extra instruments the possibilities o f Kettledrum writing are A D has e almost unlimited . s the rum a definit pitch , its note must always be a constituent of not neces part the harmony , but it need s aril h two y be t e bass . Formerly the Drums i to i a were nvariably tuned the ton c and domin nt , and in simple scoring this is still an excellent i plan . When a roll s wanted below the p itch o f the lowest F it can be done with the Kettle on or i drum sticks the Bass Drum , a sim lar effect produced by a tremolo on the Double no Bass . It by means follows that a part easy o t read is therefore easy to play . All Drum i to to wr ting is easy read , and the best way test its actual difficulty is to play it through with two sticks on three cane - seated chairs ; if the part is clumsy the hands get badly ” locked . The best Drum writing is that is which simple and soft , and the lowest notes For i are always the best in tone . addit onal

1 08 HANDBOOK OF ORCHESTRATION

the groups with uneven numbers are the best . The Flam two o n e n (4) notes , with each ha d , played quickly if the first note is on the beat it is an Open Flam if the second is on the beat

it is a Closed Flam .

’ fi L L f !A I! H ’ - P r f r i xfl fi a/r d a d/f a ra w ay a a a a d /e Dr ag fla .

. M in . uffl 3 SPECIAL EFFECTS g , to prevent

the crackling sound , can be done in two ways ; either by loosening the snares , or by pushing the cords (or something soft) between the snares and the drum - head to prevent a n contact . A good imitation Of c ste ets can be obtained by playing on the wooden edge of the Drum .

4 . GENERAL . The utility of the Side Drum is is u either military or rhythmical , and it usef l also for adding to the tone in a great Climax ; its f its chief e fect lies in entry , after which the sooner it stops the better . Single detached notes are bad the Drag and the Flam ar e the correct strokes for isolated accents . A roll o should never be s long as on the Kettledrums . THE PERCUSSION INSTRUMENTS 109

SECTION III ' The Bass Drum

This large drum has the deepest note in the orchestra ; it cannot be tuned ; only two methods of playing it are possible ; ( 1 ) Single st r okes at a considerable distance from each o 2 ther and ( ) a roll , done preferably with the two f Kettledrum sticks . The legitimate e fects are to add to the force of a climax or to convey ss o ver the idea of awe in a piani im . If a y short note is required it is best to add the direction damp , as the Drum vibrates a r f ve y long time after being struck . It is mu fled either by being wrapped in a cloth , or by loosen

or . ing the braces , both

SE CTION IV The Triangle

The Triangle is a small bar of steel made in o f the Shape a triangle , and struck with a steel f beater . The only e fects possible are single r o f notes , t ills , and groups notes similar to the f Drag and Flam o the Side Drum . These small gr oups should consist of an uneven number o f to to notes , allow the player begin and end with the downward action o f his beater . The best effect o f all is that o f Single notes at rare intervals n and ot too loud . 1 1 0 HANDBOOK OF ORCHESTRATION

E V : Th S CTION . e Cymbals

Two o f z large circular brass plates equal si e , for (the larger the better tone) , which are played in four ways ; ( 1 ) by clashing them together b rushwise ; (2 ) by striking one either with a Side Drum stick or a Kettledrum stick ; (3 ) two - the plate roll , produced by agitating the edges against each other and (4) by hanging one by the strap and playing a roll on it (one stick on each side) with the Kettledrum sticks o f r with the knuckles . I notes appear in the N o 1 part without instructions the player uses , which is the only one po ssible for a loud eff ect f i or os . 2 exact d rections must be given N and 4 , os for and N . 3 and 4 require the usual symbol a o f roll . The three last methods stroke are to i or only applicable m ddle tone soft passages .

E or - S CTION VI The Gong , Tam tam This huge instrument can only be used for is single blows with the Bass Drum stick , and f most e fective when soft . It is dangerous to attempt more than this on the Tam - tam because o f the dif ficulty o f stopping the vib ration s — afterwards otherwise a dinner gong r oll would be possible .

1 1 2 HANDBOOK OF ORCHE STRATION

of or consists eight small gongs , bells , steel - r bars hung on a lyre shaped f ame . Both kinds

are played with two wooden hammers . A thir d r kind , having a keyboa d , has almost fallen out o f use , while the military instrument , thirteen on - r plates a lyre shaped f ame , is rarely used in

“ - r the concert room . Simple Glockenspiel pa ts on of are sometimes played a set Tubular Bells . The Glockenspiel should never be given rapid as - passages , it is a slow speaking instrument and us e the effect becomes blurred . Its best is as

- to a gilt edge high Wood Wind , somewhat after o f P the manner the iccolo , but without the ’ P n o iccolo s velocity . It has sustaining power , s o it is useless to write notes longer than a r or to nor c otchet , introduce slurs has it any range o f dynamic force beyond a uniform on one middle tone . The part is written stave ,

tw o . treble clef , octaves below the real sound It is best to confine the part to single notes : - uns atis Two note chords , though possible , are factory .

SECTION I! ' The Celeste The Celeste most used in England consists also of steel bars struck with hammers , but it r o f is played from a keyboard , simila to that a

P . iano , shortened It possesses a system of THE PERCUSSION INSTRUMENTS 1 1 3

resonators and a pedal mechanism , which

increase its sustaining power . The part is P written on two staves , like a iano part , but

an octave below the real sound . It is as easy to P play as the iano , and should be treated in a manner which comes between that of the Piano o f M and that the Glockenspiel . elody notes no t use should be long . Its Chief , like the out o f Glockenspiel , is to pick the high lights o f a dainty Wood passage . The Celeste part Cas s e N oisette the Suite is a perfect example , but the notes here are written at their real pitch .

SECTION X The Xylophone This instrument is similar to the twenty seven barred Glockenspiel except that the bars

are made o f wood instead of steel . It is played

with wooden hammers . The part is written

on one stave , with the treble Clef and in real is sounds . The best part of the instrument

the octave above the C in the treble stave . SECTION XI The Harp

one 1 . DESCRIPTION . Each of the forty n i s seve strings of the Harp a flat note , and the seven -pedal mechanism causes each string to be

‘ raised in pitch either a semitone or a tone ; 8 1 1 4 HAN DBOOK OF ORCHESTRATION

that is , each string can be raised from the flat to to the natural , and again from the natural s of the s the harp , all the strings ame name f being a fected by the pedal simultaneously . ar Double sharps and double flats e impossible . se e The Harp , because it has only v n notes in its i i octave , is essent ally a diaton c instrument chromatic passages are entirely unsuitable in

an . y case , and may be unplayable The best part of the compass is in t he middle ; the lowest strings are rather rough in tone and the ar oo to be es highest e t short r onant . is 2 . NOTATION . The part written like Piano music on tw o staves (treble and bass) braced , in real notes and with proper key “ ” 8va 8 signatures . The terms and va bassa for of may be used the extremes the compass . Everything for the right - hand must have tails e for - turned up , and verything the left hand o f tails turned down , irrespective compass position . Great care must be exercised in o f e as giving the exact length ach note , the for o t strings vibrate some time unless damped u . M Y . 3 . KE S aj or keys are better than minor . A s the flat notes have a greater le ngth o f string it follows that the flat keys are the better for

the Harp . The extreme sharp keys should h i B i as be written en armon cally , maj or wr tten

1 1 6 HANDBOOK OF ORCHESTRATION

or flat , natural sharp . For example , for the s et chord , A , C , E flat , G flat , the pedals are r for A natural , B sharp , C natural , D sha p ,

E flat , F sharp , G flat . f liss ando is n or The most e fective g lo g , four a s o f r five octaves , the full sweep the st ings can liss ando be done in a second , and a Slow g

is an absurdity . Other kinds are ( 1 ) a series of Short tw o - octave glissandos following each other quickly ; ( 2 ) those done by both han ds in Similar or contrary motion (3) those done one has by hand , while the other separate notes . In every case over - lapping of the hands must be

avoided .

7 . CHORDS AND ARPEGGIOS . The chief pur pose in life for the Harp is to accompany it is in no way a melodic instrument ; chords and arpeggios therefore form its normal language and

the more simple they are the better . They must i as P be wr tten for the iano , within the octave , for and with never more than four notes each hand . o f In general , in the upper part the compass , the more notes there are and the closer together they f lie , the better the e fect . Close chords are always ‘ sec slightly spread , unless marked and to this can only be applied very small chords . Chords and arpeggios should never over - lap

e on or . but k ep straight , up down , hand over hand THE PE RCUSSION INSTRUMENTS 1 17

When both hands are playing arpeggios simultan eously there should always be a clear octave two between the parts . 8 . HARMONICS . One only , the octave above ot on the open string , can be g each string , the effect being very soft and only good in a thin score . Harmonics are best standing o f two or alone , but chords three notes close together are possible . They should never suc c eed each other quickly and must be confined with o f in the compass the great stave , the bass half being rather the better in tone . The modern notation is to write the open string with an 0 r over it (as in Violin) , but forme ly the notes were sometimes written at their actual pitch . E 1 Sh es T . ak and rem 5 9 SPECIAL FFECTS . ( ) olo . These are possible but sound stupid and i to o f ins tru Clumsy , being fore gn the nature the

’ o u ee n ment . ( 2 ) Et f ; the vibratio is stopped as soon as the string is plucked , the result being f izzicato on i an e fect something like p the Str ngs . Sul onticello or sons r es la ta ble (3) p , ( p the t s ring is plucked at the lower extremity , which f o f has the e fect a Guitar . The contradiction ” s ens natu el r s n r o . in each case is , . 1 0 . no t f GENERAL . Harp writing is di ficult if three points are kept in mind ; ( 1 ) the position o f the harp ist ( 2 ) the similarity between Harp 1 1 8 HANDBOOK OF ORCHE STRATION playing and Piano playing and (3) the constant necessity for ample time between passages in order that the last notes played may be damped o ut the edals r e- for in stru and jp set the next . The ment rests on the right shoulder and is played e end from the trebl , consequently the right hand and arm are rather confined , and cannot stretch o ut so freely as the left . The left hand plays the low as on P bass notes the iano . Both hands should not be put low down for any length o f time as this is extremely exhausting for the player . so The little finger is never used , only four notes can be played by each hand these should be n of writte within the compass an octave , though or players with a big stretch can do a ninth a tenth . A string needs to be plucked considerably o ut o f in e the vertical , and is some time r gaining its so I) normal position , reiterated notes can only o f done by means homophones . When the pedals are being set there is inevitably a moment o f si

r - lence . The Ha p is a slow speaking instrument , and becomes incoherent in a rapid passage . As o n P i the iano , quick repetitions should be avo ded ,

also a great space between the hands . In thick Chord work octaves are the best for the left r o f - t hand . The ha mony the Harp par should r be correct in itself , each chord having its t ue a u b ss . Scales are not good , though q ite play

1 1 8 A N BO K H D O O F ORCHE STRATION

la in p y g and Piano l in p ay g and 3) the co s n neces n ta t sity for am le p tim e ' between passages In or der ha th t t e last no tes la d p ye may be dam p ed o u t and the edals r — fp e se t for n x the e t . The instru m en res s t t on the ri ht sh l g ou d er a nd is played rom t he re le end c f t b , onse u n l q e t y the right hand and arm are ra ther c onfi ned and , cannot stretch

sho uld no t be p ut low do wn for an l y ength o f tim e as his is e t x re el ex ha s t m y in for the l er T u t g p ay . he l tle in er i it f g s ne ver used so onl , y fo ur no t es

wri tt en wi hin the com t ss of an o c ve ho pa ta , t ugh la ers wi p h a bi s re ch ca y t g t t n do a ninth o r a tenth .

norm al o si ion so r p t , eit erat ed no t es can o nly bf : do ne b m y eans o f hom o ho nes . W p hen the p eda l a re bein g set there is ine vi t a bly a m o m e n o f x ' t i lenc e . l he l lo r is a s lo v - p r s p ea king ins trunwnt a nd , beco m es inc ohe r en in r ' t a a id re tee - c p p n5 , A ; o n the Pia no u k , q ic ro etiiio no h p s o uld be av o ide d , i t li / r 51 . !ron s a c f p e be ween the ha nds t t . In thic k cho rd w o rk o cta ves a re th e bes t for the lo ft

H u I V/ i ’ ' in ll cl ll o z ‘ , o zh c ho rd h “ a vin it , t rw f g . f ' fl fil l e ; m f o no t o o d tho u h uit g , g q e p in y

1 1 8 HANDBOOK OF ORCHE STRATION playing and Piano playing and (3) the constant necessity for ample time between passages in order that the last notes played may be damped o ut the edals e for instru and jp r set the next . The ment rests on the right shoulder and is played from the treble end , consequently the right hand and arm are rather confined , and cannot stretch o u t so freely as the left . The left hand plays the low as on P bass notes the iano . Both hands should not be put low down for any length o f time as this is extremely exhausting for the player . so The little finger is never used , only four notes can be played by each hand these should be n o f writte within the compass an octave , though r players with a big stretch can do a ninth o a tenth . A string needs to be plucked considerably o ut o f in e the vertical , and is some time r gaining its so normal position , reiterated notes can only b o f done by means homophones . When the pedals are being set there is inevitably a moment of si

- lence . The Harp is a slow speaking instrument ,

and becomes incoherent in a rapid passage . As o n P i the iano , quick repetitions should be avo ded ,

also a great space between the hands . In thick chord work octaves are the best fo r the left

r o f - r t hand . The ha mony the Harp pa should ru be correct in itself , each chord having its t e a u b ss . Scales are not good , though q ite play

N OTES ON SOME OBSOLETE OR RARELY USED M INSTRU ENTS .

I . A BASSETT HORN . tenor or alto Clari in net , built F , with a technique similar to that o f the ordinary Clarinet and the compass of the

Viola . The part is written a perfect fifth high r er than the real sound . The e is also an alto E Clarinet in flat that is occasionally used .

A non - 2 . CLARINET IN C . transposing Clar B inet , rather smaller than the flat instrument , which has fallen out o f use o n account o f its bad

tone . E A instru 3 . UPHONIUM . military bass brass ment which occasionally strays into the orches tra the Older form has three valves and the same compass as the tenor Trombone ; the modern instrument has a fourth valve which extends t o B the compass down the flat below . It is easy to play and in military music is the principal

bass solo voice . A 4 . GUITAR . part is sometimes found in modern scores for this essentially un - orchestral r inst ument . In pitch it comes between the Six r Viola and the Cello . It has st ings , tuned in r thirds and fourths , and the pa t is written in the n r treble clef a octave below the eal sound . OBSOLETE INSTRUMENTS M I

M un - 5 . ANDOLINE . This other orchestral in s trument has the same tuning as the Violin , but its ton e is too thin to penetrate through the m o d ern r r an d r r o chest a , pa ts w itten for it are gener

’ izzzcato on ol ally played p the Vi ins . 6 B A . O OE DA CACCIA . wood instrument Co r almost identical with the modern Anglais , o n which the part is now always played . Bach s r u es real notes in the alto clef , but as a ule the part used to be transposed in the manner O f the r mode n Cor Anglais . ’ M A z z — 7 . OBOE D A ORE . me o soprano Oboe , r a minor thi d lower in pitch , with the same fi r nge ing . In tone and compass it comes midway between the Oboe and the Cor Anglais . 8 A f ins ru . O t OPHICLEIDE . family brass n r ments , havi g holes and keys after the manne

f the Wood Wind , which were last used by M endelssohn , Nos . IV and V) , Wagner z and and Berlio . They were easy to play have fallen out of use chiefly on accoun t O f their defective intonation . The part is now generally played by the Bass Tuba . ! 9 . SA OPHONE AND SARRUSOPHONE . Two n families of French Wi d instruments , invented ar e by Sax and Sarrus respectively , which made of br ass and have a r eed and finger

' r mechanism like the English Wood G oup . 1 2 2 HANDBOOK OF ORCHE STRATION

The Saxophones have a single reed and resemble the Bass Clarinet in appearance the Sarruso phones have a double reed and are nearly to related the Bassoons . Both groups are made in six siz es and all are transposing in s trum ents ; They are in general use in French military bands , and French composers some i in times nclude them orchestral scores , but are E they rarely seen in ngland . I O . SERPENT . A military bass Wood Wind t instrumen occasionally found in Old scores . Its compass was from the A below the bass for stave upwards about three octaves , and the part was written a maj or second higher than the real sound . ’ I I . VIOLA D AMORE . This had the same s compas and notation as the ordinary Viola , to but possessed seven strings , tuned the chord of Of D maj or . It had also a second series

sympathetic strings made of steel wire . tO O f to too un - It was di ficult play , dependable for ordinary use , and could only be given very now simple parts . Its part is played by the

Viola . 1 old 2 . VIOLA DA GAMBA . The Bass

of i . Viol , the predecessor the V oloncello It had six strings , tuned in fourths and thirds , and has not been used in the orchestra since the o f time Bach .

1 24 HANDBOOK O F ORCHESTRATION

for new , the point consideration is that there has never been any exact international standard

isation . in musical matters Each country , has therefore , developed its musical instrument trade independently the result Of this is that for the instruments scored by , say , a Russian or Italian composer are by no means necessarily the same that will play the par ts in E ngland or in France . Every orchestra in the world ,

in dealing with scores from other countries , has to adopt some system Of compromise in

their execution . Again , many composers e (Wagner , for instance) have employed sp cially not r constructed instruments , in ordina y use to at all , but which had be manufactured for them ; parts written for such instruments have now of course to be played by others O f

- o n the same pitch . Every text book Orchestra tion relates principally to the orchestras and to the instruments o f its own countr y and its o wn time , which is the reason why there are so many contradictions between them in matters f o detail . The present arrangement Of the full Score

P e as r (Wood , Brass , rcussion , Voie or Solo pa ts ,

o Strings) seems to be practically settled , alth ugh ther e is still r oom fo r logi c al improvement in the a of Pi the c se the ccolo and Horns . But OLD AN D FOREIGN SCORES 1 25

’ up to Wagner s time sco res were arranged at pleasure some have the Brass at the top and the Wo o d in the Middle ; others have the so Strings at the top , and on . The student is generally m o st perplexed by the vari e ty of n transpositions in the Hor and Trumpet parts . Space does not allow for a full explanation of for e —a the reason this , but bri fly , it is this tube can only produce one note (determined by its length) and the upper par ticles of that note . It follows therefore that without any sort of mechanism the natural Horn and

Trumpet could each play only a few notes . To get over this difficulty the length Of the tube itself was regulated by means Of additional s or piece Of tubing called crooks Shanks , one there being for each key , hence the term ” To in D , in G , etc . Simplify the notation for the player (as the method Of blowing re mained unchanged) the part was always written in the key Of C . Kettledrums also before

Beethoven S time were treated in the same way . They were tuned always to the tonic and domi o f of nant the principal key the piece , the name o f at the the key was stated the beginning , and part was written throughout with the notes

C and G . w t» tiA N t ’tit ’t ’ti t l it

’ ” ' ‘ t t t i tt» l lt tt N A N“

i i ‘ ‘ ' i ‘ f l t i ‘t t ‘ t ' ‘ ’ ‘ t t tt t t t t tt tfi t t l t tt t t l -t St t ttti ti ti t! Lt‘tl t

‘ ‘ W t t tt Tutti t d‘t ‘ti

ttt ‘ttN

- r i f . s s M a li n t e c thnvr n k e e p hi thw e thn n .

' “ i H o o k e d in the rinc i a l tan t tta t) thro u ho u p p ( g t . ‘ f h a w -p t in thM aw o i the I in at a nd t hin t l inin g: ‘ in the thnnt i l M t h W itit lt / i a a c . a w c u m in wt in t

’

f . tmva nw the inn w nic nt i in the law o i Mino r. ‘ t hn hm ! !i t the ie c e w as unm a tl c hm r n ti n ( p g v . the w arde n tha t it p n w ii tm l the ins ti -nnn‘n t i w ith m o re o p e n no tc h ) t w a nrze it; tta t it: ‘ $3 tna n tsix th lmhr w t the a r t is m it a h . p ten

‘ V N V th a t c ho rd nta w d hv the ttm na is tn nnivln n

‘ s f w ith tha t p la w d b y the Vio la . tn the t nnr ia t f Ma rc h the t htn t a nd Thin ! th u ns p la v ttwir

n r ho u l in unis o n with the C la rine s the hu t t , ‘

“ . s v w ( cu t in t o unding a n o c ta e lo e r than i t is m itt e n .

’ s s ' t n M N t . Me nde l o hn vn m he ttt ttn m in

‘ to ur w a ve hi t the live nnw o nw n ts ttm n p arts v b w ri n hi he r tha the u nni t a w in a ria ly tte g n y s , w the Seco nd th n n f : th a t no t e in the Schem e

‘ ’ h m t is the t in the m iddle n t the ar z ta w . thns

v t he ba s s: v i the nhn n t tn ttw p m ii ing t . a u n io ns nhl a nm na lv a p p r a i s ;

1 2 6 HANDBOOK OF ORCHE STRATION

E! PLANATION O P THE HORN AND TRUMPET PARTS OF THE FOUR FULL SCORES To BE USED W ITH THIS BOOK HORN PARTS hi EROICA . Beethoven keeps s three Horns in t crooked the principal key (E flat) throughou , except in the case o f the First and Third Horns M in the Funeral arch , which are crooked in C M because the movement is in the key Of C inor . w as for (The key Of the piece generally chosen , the reason that it provided the instrument E with more open notes) . Because flat is the a maj or sixth below C , part is written a so maj or Sixth higher than the real sound , the very first chord played by the Horns is in unison with that played by the Violas . In the Funeral March the First and Third Horns play their the first chord in unison with the Clarinets , part in C sounding an octave lower than it is written . D M h his M N . . . endelsso n crooks Horns in

four ways for the five movements . Horn parts

are invariably written higher than they sound , so the Second Horn 5 first note in the S cherzo

is the D in the middle Of the bass stave , thus f providing the bass o the chord . In the Interm ezzo a curious Old anomaly appears ; OLD AND FOREIGN SCORES . 1 27

e t formerly when the part g low , the bass clef than w as was used , and the part written an too low so octave , the first C in octaves sounds of two . the As the bass stave The octave G , ten bars later , being in the treble clef , sounds i the E (first line , unison with Second Viol n) and the E below . In the Nocturne the part is written a minor sixth higher than the real C sound (because E is a minor sixth below , ) and in the Wedding March it is written a perfect fourth above the real sound , the first chord A s . ounding F sharp , PA TH Y Y SChaIk O W E TIc S MPHON and SUITE . T sk e i y , being a mod rn composer , wr tes only for the Horn in F .

TRUMPET PARTS

E ROICA . The Trumpets are in E flat through out in , except the second movement (Funeral M n M i i . arch , C nor) where they are in C The Trumpet in E flat sounds higher than it is so two written , the first octave C sounds the E flats in the treble stave . The Trumpet in no C has transposition at all . M N D in z . . . The Trumpet in D the Scher o sounds a maj or second higher than written the first octave G (page 9) being in unison 128 HAN D BOO K tF ORC HESTR ATION

V i with the first om . The Trumpets in the r d Wedding M a ch se n as written . Y M I’ IDN Y PATHETIC S and SUITE . The Sym in phony begins with he Trumpet B flat , and this has the same ra ns p o s itio n as the B flat Fo r the es t o f Clarinet . the Symphony and the w hol e o f the S ite the compos e r uses the A I ha as shank , which the same transposition

the A Clarinet .

Ho n ri (Note) . All parts are w tten higher a u n. e . than they sound , always have be n Tr m r um e ts E pet parts vary ; p in D , flat , E w ritt ei and F are lower than they sound , these four letters bing above C in the musical alphabet Trum p e in C has no transposition

Trumpets in B , B fit , and A are written higher e n than they sound , th se three letters bei g al hbet below C in the p .

128 HANDBOOK OF ORCHESTR ATION

u with the first Violin . The Tr mpets in the Weddin M arch g sound as written . P ATHETIC SYMPHONY and SUITE . The Sym Trurn et in phony begins with the p B flat , and this has the same t r ansposition as the B flat For Clarinet . the rest of the Symphony and the whole o f the Suite the composer uses the i has A shank , wh ch the same transposition as the A Clarinet .

(Note) . All Horn parts are written higher

. u than they sound , and always have been Tr m pet parts vary ; Trumpets in D , E flat , E

and F are written lower than they sound , these four letters being above C in the musical alphabet Trumpet in C has no transposition

Trumpets in B , B flat , and A are written higher

than they sound , these three letters being

below C in the alphabet . TABLE OF INSTRUMENTS

ITA L IA N G E R M A N FR E N C H E N G LIS H Violino Violon Violin (or Fid dle) Viol a (or Tenor) Violoncello (or Cello) Ko ntrab as s C e ntr e b as se Double Bass Flot e Flfi t e Flut e Kleine Flo te (or Pet it e Flute Picc olo Pi c k e lflOt e ) Oboe O boe Haut b ois Oboe (or H a ut boy) Cor no Inglese E nglisc hes Hor n Cor A nglais Cor A nglais Cla rinett e Klarinett e Clarinett e Clarinet Clarinett o b as s o B a s s Clarinett e b asse Bass Clar inet (or Clarone) Klarinett e Fa got t o Fagott B ass o n Bass oon Contr a fagott o Kontrafagott Ce ntre - b as s on Double B ass oon Cor no Ve nt ile Vent ilhor n Cor -a- pist ons Horn (or French Horn) Trom b a Ve nt ile V entiltro m p et e Trom pett e - a Tru m pet: (or Clarino) p Is t o n s Cornetto Corn et - a pi s to ns Corn et Trom b one Trom b one Trom bone Tim pani Tim bales K e ttl edrum s (o r Drum s ) Kleine Trom m el Cai ss e Claire (or Sid e Drum Ta m b our) G ros s e Trom m el G ro ss e Cai ss e Bass Dru m Triangel Tri a ngle Tri a ngle B eck en Cym b ales Cym b a ls Schillen tr om m el Ta m bour d e Tam b ouri n e Basq ue Ca m p e ne tt a G lock enspiel Ca rillon Zila fo n e Ho lz ha r m o nik Cla q u e b o is A rpa Harfe Harpe BIBLIOGRA PHY FOR BEGINNERS

JOHNSTO NE Instrum ents of the M odern S m hon Orchestra y p y (Carl Fischer , New o f York) . This gives photographs a uni form Siz e Showing each instrument being for played , and is particularly useful those students unfamiliar with the appearance of the instruments . LY ON (JAMES) A P ractical Guide to Orchestration 1 1 2 1 (Stainer Bell , 9 , / This gives a o f for useful list musical examples reference . ’ P E Instrum entation M ROUT ( . ) (Novello s usic Primers) RIEMANN (HUGO) C atechism of Orchestration A u en er 2 ( g , / This contains an example f r P o the scoring Of a Haydn iano Sonata . RIEMANN (HUGO) Introduction to P lay ing rom S core A u ener 2 f ( g , / T o he Orchestra C . TAYLOR (H . J . ) (Weekes ,

3d . ) This small booklet gives illustrations Tw o o f each instrument . companion volumes at the same price on The M ilita ry Ba nd and E lem entary A coustics are also

useful .

1 3 2 H ANDBOOK OF ORCHESTRATION

All the articles bearing on the subj ect in ’ r D ictionar o M u sic M l G ove s y f ( acmi lan Co . ) al are useful . The Roy College of Organists publishes volumes o f Lectur es which have been of delivered at the College , some which relate to tw o The Orchestration . The best are A rt of Tymp ani P laying by Gordon Cleather S corin or a M ilitar B and D r and g f y by . A . ll on Orchestration P Wi iams . The three by rof . P o f rout are good , and include an analysis ’ ’ D r on Schubert s Symphony in C . . Turpin s The M anip ulation of M odern Wind Instrum ents is mainl y scientific and n o t as helpful as the ul title might suggest . Usef information can always be gathered from the Schools and Instruction Books for the practice o f the M various instruments , published by essrs .

Co . Boosey , and various other firms

U FOR ADVANCED ST DENTS .

E RN The E volution o CO E (LOUIS ADOLPHUS) . f M Co the M odern Orchestra The . ( acmillan ,

New York ,

O RSY TH Orchestration 85 l F (CECIL) . (Stainer Be l M m 1 1 1 Co . 2 and ac illan , 9 , 5/ This is the most exhaustive work publishe d in o n England the subj ect . BIBLIOGRAPHY . 1 33

A N ew Tr eatis e on Instrum entation GEVAERT . , Suddard translated by E . F . E . . This standard in 1 86 n work , written 3 , still remai s the best known treatise o n the scientific side

o f the subj ect .

’ - P rinci es d RIMSKY KORSAKOFF p Orchestra tion . r r This , the most advanced fo eign wo k on is the subj ect , published in Russian and n in French . It deals almost e tirely with 1 2 combinations , and gives 3 examples in ’ ow n Full Score from the composer s works .

SCHLESINGER (KATHLEEN) The Instrum ents o the M odern Orchestra 1 1 0 f . (Reeves , 9 , This interesting wor k is con cer n ed only with the history and developmen t of the in strumen ts themselves it is illustr ated old with reproductions from pictures ,

statuary , missals , etc .

’ The World s E arliest M usic v1 ITH (HERMAN N) .

(Reeves , This is on much the same ’ e M lin s as iss Schlesinger s larger book , but deals chiefly with the instruments o f early

Egypt and Assyri a .

’ STRAUSS (RICHARD) Comm entary on B erli oz Instr um entation In German and

in French . d M d 1 8 2 2 . m 1 101 elo y , , 4 , 5 , 37 Si e Dru , 3 , 43 , M d ss hn Lieder an d 10 en el o (See 7 . N D m . h M . . c st 2 0 1 ) S all Or e ra , 7 , 7 , 7 . M l t 100 10 108 1 1 2 t in s 1 1 2 1 6 2 i i ary , , 7 , , , S r g , , 7 , , 7 , 35 , 3 , 4 ,

1 2 0 1 2 2 1 2 . 0 6 0 , , 3 5 , . ’ N D M d su m m N ht s u t . 6 0 M . . 2 2 2 8 2 ( i er ig S i e , 5 , , , 7 , , 9 , m M s 6 2 2 2 2 1 2 1 1 1 2 8 Drea u ic) , 5 , , , 3 , 4 , 3 , 3 , 3 , . 1 1 1 Sul 2 2 2 . t 8 6 2 1 1 7 . 9 3 , , 7 pon icello , 5 , , 7 . ’ ffhn 10 10 1 10 t a M u . st 6 2 . g , 5 , 9 , Sul o , 5 9 ,

s 6 2 6 100 . Sur h M u t , 9 , t u . e , 43 , 5 4 , , 7 5 la o c e , 5 9

6 0 1 8 1 m b u 1 0 b 2 . O oe , 3 , 44 , 4 , 7 , 7 , 75 , , Ta o r , 7 m b u n 1 01 1 1 1 2 . 1 1 2 3 Ta o ri e , , , 3 . 1 1 Ta m -t m 1 1 1 d a 2 . a b . O oe Caccia , , 4 3 , ' ’ O o e d A m or e 1 2 1 m n K ettledr u b . m s f , Ti pa i (See ) . h d 1 2 1 1 1 . 2 2 2 6 1 Op iclei e , Tone , , , 5 , 35 , 4 , 9 , 7 . 1 h st t n 1 9 , , T o n u ein 2 . Orc e ra io , , 3 , 9 , 47 g g , 7 ff t s 6 1 2 0. a s t a Tr n i ion l e ec , 4 , 9 3 .

s s nst m nt s . Tran po ing i ru e , 9 , 8 1 1 1 8 1 2 1 I I 1 1 0 t s . 2 t 2 o . Par , , , , 9 , , 7 , 7 3 h t m h 6 2 m a t . P e ic Sy p ony , 5 , , 3 , Tre olo , 5 5 , 74 e 2 101 1 2 Triangl , 9 , 43 , , 9 .

u ss 1 2 1 10 1 . m b 1 1 0 Perc ion , 3 , 9 , 3 5 , 4 , 43 , Tro one , 3 , 3 , 44 , 45 , 7 , 1 0 8 1 h s . 2 P ra ing , 9 , 3 , 7 4 9 , 9 . 1 2 8 2 m t 1 1 0 2 n 2 . Pia o , 5 , , , 9 Tru pe , 3 , 3 , 7 , 7 , 9 4 , 0 80 1 8 1 2 1 2 2 1 2 t o . Piccolo , 3 , 45 , 7 , 7 , , 3 . 9 z z a t 1 2 0 2 6 2 s h a k w sk P a thetic Pi ic o , 9 , , 4 , 5 3 , , T c i o y (See i 6 6 S m hon a nd Su te . 4 , 7 . y p y ) l 10 1 1 1 B s s Tu ba s 8 2 2 1 b a . P ay er , , , , 4 , 5 , 7 , Tu a (See ) 8 2 10 6 6 . 7 : Tuning , 5 , , 5 t Su l P on ti cello tt 1 2 2 6 2 6 Pon icello (See ) . Tu i , 9 , 5 , , 7 , 3 4 , 3 , 79 , s t s 1 6 1 m Po i ion (Violin) , 5 , , (Tro

b . one) , 9 7

0 1 1 1 m b 1 00 . ut 1 . v Pro , , 4 , 3 Val e Tro one , 6 0 6 1 1 2 a 1 2 1 . Viol , , 7 , 4 , 5 , , 9

n ff 2 8 G m b 1 2 2 . R a hm . d a c ani o , 5 , , 3 3 Viola a a , ’

1 0 d A m o r e 1 2 2 . R e m a . a i nn , 7 , 3 Viol , 6 0 1 2 10 1 0 10 1 08 1 8 2 6 . R s , , , , 9 oll , 43 , 4 , 5 , 7 , , Violin , 4 4

1 1 1 l 8 6 0 6 1 2 . 1 10 1 1 2 . , , Vio oncello , , 4 , 5 , 3 , 9

2 0 1 . Voice , 4 , 3 3 , 4 , 4 , 73

u s h 1 2 1 . Sarr op one , 6 1 2 1 W 1 2 1 1 2 1 2 . a x h . , , 5 , S op one , agner , 4 7 8 1 1 1 t 1 2 8 1 2 2 0 . e 2 o . W , , 9 , , 9 , d , , , , 3 , , Scor , 4 5 7 4 in 7 3 4 7 7

t 1 2 2 . V 0 V o od . Serpen , , 7

h k s 2 . S a e , 5 , 74

! h 102 1 1 1 2 . ylop one , , 3 , 9