Divisi Notation

9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 493 Part 9

Decoding and Marking Orchestral Parts A Manual of Orchestral Notation and Performance Practice

9.23 “Which Part Should I Play?” • Strategies for Dividing the Violins

 Tables 11.4a and 11.5: solo passages for various positions • • In Strauss’s, Aus Italien/iii, Zarathustra, or Salome, each of the Wulfhorst 2013, Ch. 15: foreign terms and abbreviations • two violin sections is subdivided into groups A (usually the Del Mar 1983, 36–44 four front stands) and B (the four back stands). Some issues regarding the division of the violins in an orchestra • In the Pifa from Handel’s Messiah, Wagner’s Siegfried I/3, concern primarily concertmasters, principals, and conductors. Strauss’s Josephslegende and Elektra, Shostakovich’s Symphony But all players should read this downloadable chapter in its entirety 5/iii, and Britten’s Dream III the two violin sections are tem- so that they understand the principles, know how to mark their porarily or permanently divided into three equal groups. Bar- parts, and can ask appropriate questions. tók’s Music has four violin parts. Section size • Note that it takes ten players to double the • Fauré’s Requiem, Stravinsky’s Capriccio, Weill’s Mahagonny loudness of one ( Beament 1997, 154). The main benefit of a and Symphony 1, Schoeck’s Horn Concerto, and a few other larger section is a smoother, more homogeneous sound quality; pieces feature only a single violin part. the main drawback, however, is the difficulty of achieving perfect • Bach’s St. Matthew Passion, J. C. Bach’s Double Symphonies, rhythmic precision and clear articulation. and some works by Bantock, Martin, Tippett, and Vaughan Today the the second-violin section is generally the same size Williams use two full string orchestras, situated against each as the first-violin section, minus one stand (or, more rarely, minus other. one player). In medium to large halls and opera houses, seating • In numerous 20th-century pieces, each stand or player per- audiences between 800 and 2000, the common ratio between first forms from a separate part. Strauss’s Metamorphoses, for in- and second violins is as follows: stance, require ten solo violins. • 18/16 (18 firsts and 16 seconds) for Bruckner and Mahler • There are even a few notorious pieces without any vio- • 16/14 for most symphonic repertoire of the 19th and 20th lins: Brahms’s Serenade no. 2, Hindemith’s Schwanendreher, centuries, as well as for the operas of Wagner and Strauss Stravinsky’s Symphony of Psalms, Honegger’s Roi David, Du- • 14/12 for 19th- and 20th-century concerto accompaniments, tilleux’s Timbres. for most 19th-century operas, and for oratorios with large For any non-standard division, the principal players, together choirs with the conductor, must develop strategies for the assignment • 12/10 or 10/8 for Classical symphonies, Classical concerto ac- of parts and, if necessary, for seating; these must be based on the companiments, Classical operas, bel canto operas, and orato- way the individual groups are used in the score, the strengths of rios with small or medium-sized choirs. the players, and the acoustics of the hall (Ch. 8.12). For instance, Common chamber-orchestra ratios are: 8/7, 8/6, 7/6, 6/5, 5/4, for the works or passages with with three violin parts listed above, 4/3 and 3/3. the parts should be assigned so that the musicians playing the same part are sitting closely together: Some repertoire requires non-standard section divisions: • Group I comprises the outside stands of the first violins. • For Baroque and Classical repertoire, some period-instrument • Group II comprises the first two stands of the second violins specialists have returned to the 18th- and 19th-century tra- and the remaining stands of the firsts. dition of same-sized first- and second-violin sections. Some • Group III comprises the remaining stands of the seconds, with works by Berlioz, Wagner, Debussy, and Strauss explicitly re- one of the principals positioned strategically. quire this. Many operatic works include music played onstage or in the • Pieces in Viennese waltz style sound best if one moves one wings; these passages are usually printed in separate parts, though stand from the seconds to the firsts (16/10 instead of 14/12, or they may appear in the parts for the pit, too ( Table 11.5/D). The 14/8 instead of 12/10): in this music the seconds merely pro- concertmaster or conductor should assign one or more soloists, as vide the accompaniment, and the firsts often play the melody needed, and decide, in cooperation with the stage director, where divisi in thirds or octaves. they should sit or stand or whether the music needs to be taped.

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) 494 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Solo, soli, tutti • In string parts, solos such as those listed in label is especially helpful when an exposed passage follows a Tables 11.4a–11.5 are usually marked “solo” or “soli” (addition- loud or “safer” texture, as it does here (and in many other al labels are listed in Wulfhorst 2012/14). Accompanying parts examples in Parts 3–9). for the remainder of the section are usually marked “gli altri,” “die In concertos the term solo indicates passages where the soloist übrigen” (the others), and so on. But be careful: the marking “soli” dominates. (In Dvořák’s Cello Concerto/iii 11 and 14 , however, can sometimes signal a prominent, exposed, or difficult passage “solo” indicates a true solo for the concertmaster.) In solo passages that should be played by the full ensemble: of 18th-century concertos, some period-instrument specialists a • Even though this passage is marked “soli” by the composer have revived the 18th-century practice of reducing the string section. or editor, it should be played by the entire first-violin section. Modern examples of the same practice are found in Walton’s con- The term indicates an important, exposed thematic statement. certos: the passages marked with hooks ( ) should be played b • The term soli, added here by the players, indicates that the with a reduced violin section. tricky passage is exposed and every note will be heard. The 9-23a-h [2-16m March 11, 110%

Allegro assai moderato = 63 a 4ta corda q 1 (Soli) 1 Verdi # # 5 4≤ ≤ ≤ ≤ ≤ ≤. 1 Ballo I/Prel. # # c œ œ nœ œ. œ ~~~ &strings,# ww. (strings:Œ Ó fugato) Ó offŒ nœ œ nœ œ œ œ . œ . œ . œ œ œ œ œ œ œ œ ! . .assai. piano. œ. .e stacc.œ. #œ. . œ. . œ. . ∏ ∏

All.o agitato assai vivo [ = 80] b h 28 4 3 2 Verdi w w œ œ ≤ Traviata II/7 b b œœ œœœ œœœœ œ &b b b C w w œœ œœœ œœ œœœœ œœ œ j‰ ‰‰ j‰~~~ @ a tempo@ 3 nœ bœ œœœœ œ j œœ œ ƒ soli (to be doubled by the4 42nd violins) œnœ œ œ œ a tempo p c Etwas ruhiger [ = 96] Rit. q 150 4 The notation of divisi passagesget. zus. ≤ Mahlerc • Ideally, composers have marked the beginning -œand end of . œ.f – i • (3) The composer specifies which stands or players are Symphony 5/II/3 bb 3 Œ Œ ‰ œ a passage for divided& pizz.4 violinsœœ with abbreviationsarco such as “div.” J playing the parts: and “unis.” or their Germanœœ or French equivalentszartπ (here f • “The first [= outside] players of all stands alone” isa “geteilt” and “zusammenp”). Check for omissions and misprints more precise way of saying “half the section.” Wagner and of such markings and add them if they are missing. Mahler meant the same with the phrases “erster Spieler” d Rêveusement lent = 50 La moitiŽ q 4 Composers may1 indicate section divisions in various manners, (ParsifalTOUS div. I/m.- 1) and “alle 1. Spieler” (Symphony 3/vi ). leaving sometimes more and sometimes less freedom to the con- g • The third and fourth stands divide the two parts, either Debussy n˙. Rhapsodieductor and players forb b theb assignment≤ ∑ of parts: ∑ ∑ ∑by player or by stand. d • (1) The composer&bvn.b b2 specifiesc or implies the number of groups h • The numberingŒ n˙. system is very precise. You will only need Sourdine w w w w into which the section shouldπ be split: div. a 2, prima metà, 2. to decide from- the context whether the numbers refer to Hälfte, etc. Players and conductor must decide whether here, stands or players,π and then mark your part accordingly. for instance, “la motiéRubato” (half the[ = section) ca. 100] refers to the outside Given that the section size in this piece is sixteen players, e sur la toucheq players, the inside players, the front stands, or the back stands the numbers system surely refer toa theTempo stands. = 112 -2 of the section.59 i • Given that the stipulated section59 size isq sixteen play- 3 ( 1 ) 2 ≤ ≤ 4 Debussye • (2) The composer specifies ≤3thenumber of stands≤ or musicians≤ ≤ ers, the numbers≤2 must refer to the players. In Jeux De- Ibériaplaying/iii a certain part: 2 stands. , uno- leggio, 4 Spieler, 6 violons, bussy chose a clearer format: “2e, 3e pupitre,” etc., refers &c œ- œ œ- œ œ- œ œ œ œ- œ. œ œ . j ‰ Œ Ó etc. You should assume that the stands or- players-œ - are-œ countedœ. . -to stands,- -œ andœ numbersœ. œ. œ withoutœ. œ attributeœ (“1.,” “2.,” etc.) from the front:6 1 ershere V ons“6 Solipremiers violons soli” can be assumed refer to players. . . . FexpressifÖ et un peu moqueur (= somewhat mocking) á to refer to the first three stands. Modify these directions if the section size is smaller thanPlus the calme one specified et très expressif by the composer [ = 54] f 54 +5 h (cf. p. 502). 21x Debussy w¥ w¥ La mer/iii b b 2 &b b b 2 . . 1πers de chaque pupitre Soli

Scherzando = 72 g 1 +8 q. ©Martin Wulfhorst, pizz.The Orchestral# œ. Violinist’s Companion, 2012 (To order the book visit www.orch.info) Debussy # . œ Jeux ## 3 # œ & 38e et‰ 4e Pup.œ DIV. p Adagio assai = 76 h div. en 3e 4 +3 ≤ Ravel, Piano 1.2.3. 4.5.6. Concerto/ii 3 œ &4 [7.8. bbœ n œ ≈ Œ Œ stands bb œ π á 9-23a-h [2-16m March 11, 110%

All.o agitato assai vivo [ = 80] b h 28 4 3 2 Verdi b w w œœ œœœ œœ ≤ Traviata II/7 b bb C w w œ œœœœ œœœœ œœœœœ œ j‰ ‰‰ j‰~~~ & b a tempo œ œnœœ bœœœœ œ j œœ œ 9 Decoding and Marking@ Orchestral@ 3 Parts • 9.23 Divisi: “Which Part Should I Play?”œ œ 495 ƒ soli (to be doubled by the4 42nd violins) œnœ œ œ œ p Etwas ruhiger [ = 96] a tempo c q 150 Rit. get. zus. 4≤ Mahler -œ . œ. Symphony 5/II/3 bb 3 Œ Œ ‰ œ & pizz.4 œœ arco J œœ zartπ p d Rêveusement lent = 50 La moitiŽ q 1 TOUS div. - Debussy n˙. Rhapsodie b b b ≤ ∑ ∑ ∑ ∑ &bvn.b b2 c Œ n˙. Sourdine w w w w π π- Rubato [ = ca. 100] e sur la toucheq a Tempo = 112 -2 59 59 q 3 ( 1 ) 2 ≤ ≤ 4 Debussy ≤3 ≤ ≤ ≤ ≤2 Ibéria/iii c œ- œ. œ- œ- œ- œ œ œ œ- œ. œ œ . j ‰ Œ Ó & - -œ - -œ œ. . - - -œ œ œ. œ. œ œ. œ œ 6 1ers Vons Soli . . . FexpressifÖ et un peu moqueur (= somewhat mocking) á Plus calme et très expressif [ = 54] f 54 +5 h 21x Debussy w¥ w¥ La mer/iii b b 2 &b b b 2 . . 1πers de chaque pupitre Soli

Scherzando = 72 g 1 +8 q. pizz. # œ. Debussy # . œ Jeux ## 3 # œ & 38e et‰ 4e Pup.œ DIV. p Adagio assai = 76 div. en 3e h 4 +3 Ex. 9.23i ≤ Ravel, Piano 1.2.3. 4.5.6. Concerto/ii 3 œ &4 [7.8. bbœ n œ ≈ Œ Œ stands bb œ π á En serrant [ = 92+] e i 45 +3 - ≤ # ## # 2 r œ œ œ. œ . # 1.2.3.‰. œ œ. œ œ & # 4 4.5.6. œ Debussy players œ œ Ibéria/ii p p # # ≤ # ### 2 ‰. r œ œ & 4 7.8.9. œ- UNIS. œ. œ . 10.11.12. œ œ

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) 496 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Marking divisi passages • The notational system in h —with k • Because of differences in system breaks, often there is a dis- numbers indicating the stands—is the most precise and practical crepancy in the divisi indications of the parts and those of way of marking the assignment of complex divisi passages with the full score. As a result, switches from one divisi system to three and more parts. (See the model page from Debussy’s Jeux another in the middle of a staff in the full score are indicated at http://www.orch.info/parts.) Where necessary add a Roman incorrectly in the parts, if at all. Because conductors normally number designating the individual players to the number of the do not check the parts, the player must notice and correct stand—for example, 3/I for the outside player of the third stand, such mistakes. In the full score for this passage, all first-violin and 3/II for the inside player. The alternative is to assign a number parts are printed on a single staff, and it is clear from the print to each player. In simple divisions in three or in four, however, it that the switch from div. a 4 to div. a 2 occurs in m. 17. will suffice to add div. by person or div. by stand. l • But in the first-violin part, a new staff begins in m. 20, and When you mark divisi passages check them carefully for errors, the printing gives the wrong impression that the switch from misprints, oversights, and inconsistencies, which are among the div. a 4 to div. a 2 occurs here. If this is not corrected, some most common mistakes in printed parts and scores. players might be forced to perform needless, awkward skips j • Berlioz notated mm. 1–17 as div. a 3 on three staves, but at the staff break. It is best to cross out the second and fourth in mm. 7 and 17 he composed only two parts, assigning the staves in mm. 17–19 and to insert a div. a 2 marking at m. top notes to the top two staves and the bottom notes to the 17 and arrows for those players who need to switch staves (cf. third. In this case, consider switching from div. a 3 to div. a 2, Debussy, Jeux 38 +6). Another typical problem shown here is as composers of later generations would have required. (The that dynamic signs are only printed between staves 1–2 and E b in m. 6, which Berlioz seems to have avoided for technical 3–4. If you are playing the second or fourth parts you might reasons, has also been added for consistency.) want to add the dynamics. 9.23j [2-16m Apr.07, 110% Larghetto = 63 j q 3 3 2 arco 4 bœ´ œ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ ´ pizz. bœ Berlioz, Symphonie œ œ œ œ bœ œ œ œ bœ œ œ œ fantastique/v 6 œ œ bœ c ~~~~ 6 J ‰ œ œ Œ Ó Ó & œœ ˙ ∏3 f f 4 3 pizz. arcoS p bœ´ œ´ ´ ´ ´ ´ ´ ´ œ œ divisi a 3 œ œ bœ œ œ œ#œ´ œ´ nœ´ œ´ con sord ~~~~ œ œœœ œ œ &c 6 6 ‰ œ Œ Ó Ó J œ div. a 2 ˙ ∏ arco 3 2 pizz.f f S p ´ ´ ´ ´ ´ ´ 3 œ œ œ#œ œ nœ œ œ´ œ´ bœ´ œ´ œ´ œ´ œ œ œ c ~~~ 6 nœ ‰ œ œ Œ Ó Ó & 6 œœ œ ∏ J ˙ f f S p

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) 9.23k Deb. Rondes 110 % 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 497

ModŽrŽment animŽ = 96 En retenant q √près du chevalet k - - - sur la touche - - - 3 pizz. pizz. 16 æ @ æ @ 20 arco Debussy bbœœ œœ b œ@ nœœ œœ b œ@ bb˙.˙æ. bœæ œ œ Rondes, 4 œ bœœn œœ n œœ bœœ n œœ n œ bœ @ bœ @ full score bœ œ æ Œ œ œ Œ œ œ &4 æ cresc.@ @ æ @ @ æ ‘ bœ æ œ bœ æ œ DIV. ˆ 4 æ œ æ œ 9.23 l Deb. Rondesp 110 %: Bitte unbedingt den Umbruchƒ S behalten:f SEHR WICHTIGp bœ. p bœ.

ModŽrŽment animŽ = 96 DIV. ˆ 4 q En retenant l sur la touche + √près du chevalet 3 pizz. 16 œ- - - œ- - - uh Debussy œ bœ œ œ b˙. bœ œ Rondes, 4 æ @ @ æ @ @ æ æ œ æ œ@ violin part &4 cresc. ‘ Œ trem. ƒ Sf æ œ. p psur la touche - - √près du chevalet pizz. bœ œ- - nœ œ- - b˙. bœ œ 4 nœ œ @ &4 æ @ @ æ @ @ æ æ ‘ Œ œ æ œ près du chevalet suræ la touche œ p √ pizz.. bœ- bœ- - nœ- bœ- - b˙. nœ bœ 4 æ œ œ æ æ @ &4 cresc. @ @ æ @ @ æ ‘ Œ bœ æ œ trem. bœ p ƒprès du chevalet Sf surp la touche . √ pizz. - - b˙. 4 œ œ- bœ- œ œ- œ- nœ bœ @ &4 æ @ @ æ @ @ æ æ ‘ Œ bœæ æ œ p bœ.

20 pizz. arco œ @ & Œ œ æ œ DIV. ˆ 2 æ œ parco pizz.. bœ & Œ bœæ æ œ@ p bœ.

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) 498 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” m • In the full score the engraver used two staves for divisi n /344–45 • Use arrows pointing up or down to show where you schemes a 2 in m. 341, a 3 in m. 343, and a 4 in m. 345. must switch staves, as shown here for the third stand. n • But in the part, the two lines in mm. 341–42 are distributed n /352 • Use the standard symbol to separate a system of mul- @ incorrectly over three staves. Correct this by reassigning each tiple staves from a single staff with undivided parts, and/or of the two lines in these measures to four stands, in the man- mark the single staff with two slashes or arrows. Both meth- ner shown here (details below). ods are shown here. Add “driving directions” that will help you find your part easily o • Use parentheses for passages that you do not play but are and quickly: still notated on your staff. (Do this especially for solos of the n • Add two short slashes, lines, or arrows to the left of the staff principals or other players.) to mark your part and that of your9.23 stand l partner,[2-16m as Apr.07 shown div. Zem dec 09: 110% here for the third stand.

Sehr gedehnt FrŸheres Zeitma§, nur mŠ§iger m m. Dpf. get. 341 24 œ#œ ˙. ˙. œ œ œ œ œ #œ œ#œ œ#œ ˙. ˙. œ 3 ˙ ˙ œ#œ œ#œ œ#œ &b 4 œ œ #œ 86 J ‰ ‰ Œ. ∑ Zemlinsky Mermaid/ii, π ∏ Ø full score m. Dpf. n˙. ˙. œ ˙ nœ œ. œ#œ œ n ˙. ˙. œ 3 œ œ 6 J &b 4 ˙ 9.23n˙ Dec. 2011 8 ‰ ‰ Œ ‰ ∑ π ∏ Ø n Sehr gedehnt [ = 56] FrŸheres Zeitma§, nur mŠ§iger [ = 72] q q. 24 div. a 3 in 6 2 3 m. Dpf. 3 1 1 2 3 1.5. 341 1 ˙. ˙. œ 1.5.6. ≤ 1.5.6. œ #œ œ #œ œ #œ Zemlinsky œ ˙ œ ˙ œ œ #œ 4 Mermaid/ii, b 3 6 J ‰ ‰ Œ. violin part & 4 stand 6: 3 4 8 div. a 2!!π div. a 3 ∏ div. Øa 4 m. Dpf. 2. 4.8. 4.8. œ≤ œ ˙. ˙. œ 4 3 ˙ ˙ œ #œ œ #œ œ #œ 6 &b 4 œ œ #œ 8 J ‰ ‰ Œ. π 2.3.7.∏ Ø 3.4.7.8. m. Dpf. 1 2.6.n˙. ˙. œ ˙ nœ œ. œ #œ œ 4 3 œ≤ œ 6 &b 4 ˙ ˙ 8 J ‰ ‰ Œ ‰ Nb.:π The slashes and arrow show∏ the markings for the 7th stand. Ø3 3.7. 9-23 n˙. ˙. œ 4 86 J ‰ ‰ Œ ‰ 352 4 Pulte Ø œ b ‰ œ œ œ ‰ ~~~ & pizz. + hp. ∏

II o And.te sostenuto = 56 senza sord. rall. q senza sordina poco accel. Tutti 14 come eco 1.o Solo 2 3 ≤ 1 2 Puccini - - ≤ bœ bœ- œ- Butterﬂy II/ii bœ - - - bœ œ œ œ bœ bœ & c Œ œ œ œ nœ œ ‰ œ ) ‰ ˙ con sordina#˙ ( dolce π F cresc. f con passione ©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)

p Più animato [ = 80] q Andante più tosto Allegretto [ = 100] h q 200 K +17 196 Dvořák, Slavonic œ U˙ Haydn œ œ Dance 3 b b 2 œ Symphony 103/ii œ œ œ & b b 4 Œ g˙ & 42 Œ œ ‰ ‰ œ ‰ œ Œ g˙ J J œ œ ƒ ƒ J

Presto [ = 69] r Presto [ = 72] s w h. 12/29 174 2 œ. w Ž . œ Haydn # œ œ œ œ Mozart # ˙ œ Symphony 73/iv # 6 œ œ ‰ œ. . Ov. Figaro # c œ & 8 œ œ . & œ f Z ƒ

Allegro con spirito [ = 80] t h 1 0 0 Ž 2 ˙ œ.. Æ Mozart # ≤ œ Symphony 35/i # C œ r ~~~ &vn. 1+2 ww œ œ œ f ' ' 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 499  

Double stops and chords: to divide or not to divide? Unfortunately, 18th-century writers were silent on the issue of p • When a composer wants strings to play double stops or whether the unavoidable arpeggiation of non-divisi chords should chords, he or she adds symbols such as or , or writes non begin on or before the beat and how the chords should be spread. divisi, unis., zus., or Doppelgriff. Modern writers can do no more than provide rough guidelines: Most likely, during the Baroque9-23 and Classical periods orchestral “In Baroque music, where harmonic considerations rule, the play- players did not divide double stops and chords. 19th-Century er’s priorities should be focused on the bass line, with the bottom string players continued this practice, though the stronger hair note as the strongest point in the chord, usually played on the tension of the Tourte352 4 bowPulte made it more difficult to play chords. beat. The other notes of the chord may be spread in a variety of Even Wagner and his contemporariesœ œ œ obviously still expected ways according to the context, speed of the music, or considera- players to follow& bthis‰ tradition except whereœ ‰ they explicitly~~ ~in- tion of the other parts....There is no rule which notes should be dicated div. (Otherwisepizz. they+ hp. would not have taken such care to sounded together” ( Tarling 2000, 149). In Classical and Ro- avoid writing double stops and chords that a violinist could not mantic orchestral music, by contrast, the focus shifted to the top play easily.) ∏ note. This requires a very quick arpeggio that starts just before the Today we find a mixed practice, different from orchestra to beat and ends with the top note on the beat. II orchestra and fromo And. conductorte sostenuto to conductor. = 56 If you are in doubt, q – t • We do not know whether senzaplayers sord. maderall. any distinction q senza sordina poco accel. Tutti ask. Dividing 14usually resultscome ecoin a more1.o controlled Solo 2 sound quality between the four notational forms found in 18th-century 3 ≤ 1 2 andPuccini higher rhythmic precision, and it should be applied wherever music and some- 19th-century- music,≤ norbœ dobœ- we knowœ- how Butterﬂy II/ii bœ - - - bœ œ œ œ bœ bœ a very smooth sound& c or a very clear attack Œare required.œ Notœ dividœ nœ- œ ‰theyœ performed them. ) ‰ ing generates a fuller ˙soundcon sordina and#˙ greater( energy. Thedolce HIP move- u – w • If you divide three-part chords, however, avoid dividing cresc. con passione ment has given new πlife to this older practice ofF not dividing ( them in a manner so that both playersf double the middle part. Barschai 1996, Lamprecht 2000).

Presto [ = 69] r Presto [ = 72] s w h. 12/29 174 2 œ. w Ž . œ Haydn # œ œ œ œ Mozart # ˙ œ Symphony 73/iv # 6 œ œ ‰ œ. . Ov. Figaro # c œ & 8 œ œ . & œ f Z ƒ

Allegro con spirito [ = 80] t h 1 0 0 Ž 2 ˙ œ.. Æ Mozart # ≤ œ Symphony 35/i # C œ r ~~~ &vn. 1+2 ww œ œ œ f ' ' 2 Unbalanced division: Balanced division: u v w Notation: j j j j j j j Dividing double stops # œ #œ œ œ #œ œ œ #œ œ and chords # c œ ‰ œ ‰ œ Œ ‰ œ ‰ œ ‰ œ Œ ‰ œ ‰ œ ‰ œ Œ ‰ & J div.J div.J œ œ œ œ œ œ J J J J J

Moderato = 76 q 2 stands 1-4 ≤ x 58 nœ bœ œ œ nœ bœ œ œ Elgar # ˙. ∑ ˙. ˙. ©MartinEnigma Var./xiii Wulfhorst, 3Theæ Orchestral Violinist’sæ Companion,æ 2012 (To order~~ ~the~ book visit www.orch.info) &div.4 trem. ∏ stands 5-8

All.o mod.o = 88 q y 33 +32 All.o agitato = 132 - mune; è nostra patria q Genova UH D 1 0 2 1 3 Verdi ≤ ( ) Simon I/6 & c j‰ Œ j‰ Œ Œ œ bœ œ #œ œ œ œ nœ . bœ œ œ . œ œ œ œ. œ œ œ . œ œ bœ œ œ œ œ œ >œ œ metˆ sola dei primi violini (front half ofn œthe section). nœ . œ π f > ∏

Unmerklich etwas bewegter [ = 120] z Die HŠlfte (last four stands) q 255 21 4 Mahler 3 Symphony 3/I/i 2 ≤ & b 2 Ó Œ ≈ ≈ ≈ œ œ. ≈bœ œ ≈ œ ≈ j ‰ ~~~~ Immer wie aus weiter Ferneœ œ œ œ œ œ. . . . . œ. œ œ sempre . off. . . . . ∏ Un poco meno mosso = 122 q aa arco 5 front stands 277 f - soli 3 3 . > Bartók - (≤) . j >. j >. . j>. . j>. Concerto/v 2 #œ ‰ #œ œ #œ œ œ #œ ~~~ &div.4 #œ œ #˙ #œ ˙ #œ œ #œ œ#œ œ œ #œ œ œœ œ nœ œ #œ ‰ pizz. Œ p 3 back standsŒ Œ Œ Œ

Allegramente = 116 bb div. 1 h pizz. Ravel, Piano 1 œ] Nœœ Nœœ Concerto/i # 2 & 2 ∑ Œ œ Œ œ Ó Œ œ Î Î p LŽger et fantasque = 126 q 15 +7 1er et 2e P. 4 cc 3e et 4e P. 5e et 6e P. . - bœ bœ. œ œ. bœ- œ œ Debussy œ . œ b œ œ Rondes c œ œ bœ bœ œ œ &(12/8)‰ ‰ J expressif J p cre ______scen _ _ _ _ do molto 500 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Assigning two divisi parts • No matter how a division into signed to the back stands—for instance, the tremolo in x or two parts is marked, consider various options fo assigning lines: the pizzicato in Ex. 7.2s. In Berg’s Violin Concerto/ii/175, “1. d /5 • Dividing between outside and inside players is the standard Metà” should comprise the first three stands so that the gradu- method, assumed to apply unless you are instructed otherwise. al expansion and reduction of the volume has a spatial quality. x – z • Dividing between equal blocks of stands or players is aa • Dividing between unequal blocks of stands is preferable if one preferable of the two parts should dominate ( Woss 1983, 6). x • if a melody and an accompaniment (or two melodies) are bb • Dividing according to other systems: Here the chords sound juxtaposed (this system should be designed so that the stands best if the outside players take the middle, moving part and who sit close to each other play the same part) the inside players take the ostinato octaves as double stops. y – z , d /1–4 • if only half the section plays: Ex.: Debussy, Rondes 16 +3 • The marking “1 par pupitre” on Unbalanced division: Balanced division: 2 y • the front half plays in passages that require a tight en- both staves only makes sense if one follows Debussy’s ap- u Notation: v w semble and close contact to the conductor, as in this tricky Unbalancedparent division: intention to have theBalanced two stavesdivision: generally divided by 2 u j v j j j j j j Dividingtransition double stops Notation: œ stand. Here,œ only the outsidew players are playing.œ But having and chords # œ #œ j œj #œj j œj #œj j Dividingz , ddouble/1–4 stops • the & back# halfc œ plays‰ passagesœ ‰ whereœ Œ the sound‰ œ ‰ theœ first‰ œ fourŒ stands‰ divideœ ‰ theœ two‰ partsœ Œbetween‰ them by and chords # Jœ #œ œ div.œJ #œ œ div.œJ #œ œ must be less direct or must# c explicitlyœ ‰ œcome‰ “fromœ Œ a distance.”‰ œ ‰ playerœ ‰ insteadœ Œ makes ‰for a tighterœ ‰ ensemble.œ ‰ œ Œ ‰ & J œJ œ div.J œJ œ div.J œJ œ Similarly, in passages with two parts,J the partœ that needs less J œJ J œJ acoustic presence or less rhythmic definition should be as- J J Moderato = 76 q 2 Moderatostands 1-4 = 76 ≤ x 58 q ≤2 stands 1-4 nœ bœ œ œ nœ bœ œ œ Elgar x # 58 ˙. ∑ nœ˙. bœ œ œ nœ˙.bœ œ œ ElgarEnigma Var./xiii 3 æ˙ ∑ æ˙ æ˙ ~~~~ &div.# 4 . trem. . . Enigma Var./xiii 3 æ stands 5-8 æ æ ~~~~ &div.4∏ trem. ∏ stands 5-8 All.o mod.o = 88 q y All.33 +32o mod.o = 88 All.o agitato = 132 - mune; è nostraq patria q y 33 +32 Genova UHAll.Do agitato = 132 - mune; è nostra patria 1 q 0 2 1 3 Verdi Genova UH D ( ) ≤ 1 0 2 1 3 VerdiSimon I/6 & c ≤j‰ Œ j‰ Œ Œ œ bœ ( œ) Simon I/6 #œ œ œ nœ . bœ œ œ . œ œ œ œ. œ œ œ . œ œ bœ œ œ œ œ œ & c j‰ Œ œj‰ Œ œ œ Œ œ metˆ solabœ dei primi violini (frontœ half ofn œthe section). nœ . œ #πœ >œ œ œ n>œ . bœ œ œ . œ œ œ œ. œ œ œ . œ œ bœ œ œ œ œ œ >fœ œ ∏ metˆ sola dei primi violini (front half ofn œthe section). nœ . œ π f > ∏ Unmerklich etwas bewegter [ = 120] z Die HŠlfte q (last four stands) [ = 120] 255 Unmerklich etwas bewegter21 z Die HŠlfte (last four stands) q 4 255 3 Mahler 21 4 Symphony 3/I/i 2 3 ≤ Mahler & b 2 Ó Œ ≈ ≤ ≈ ≈ œ œ. ≈bœ œ ≈ œ ≈ j ‰ ~~~~ Symphony 3/I/i Immer2 wie aus weiter Ferneœ œ œ œ œ œ. . œ . . . œ. œ œ ~~~~ & b 2 Ó Œ sempre . ≈ off. . ≈ . ≈ œ . ≈bœ œ ≈ œ ≈ . .j ‰ Immer wie aus weiter Ferneœ œ œ œ œ œ. . . . . œ. œ œ sempre ∏. off. . . . . Un poco meno mosso = 122 ∏ arco q aa Un poco5 meno front stands mosso = 122 277 arco 5 front stands q aa - soli 3 3 > Bartók 277 f ( ) 3. >. . >. . >. . >. soli - ≤ 3 j j j j > Concerto/v 2 f#œ- ‰ . >. . >. . >. . >. œ #œ ~~~ Bartók &div.4 œ œ- (≤) œ œ#œjœ #œ œj œ œœ#œjœ nœ œjœ ‰ Concerto/v pizz.2 #œ #˙ #œ ˙ #œ œ #œ‰ #œ #œ œ #œ œ #œ #œ ~~~ &div.4 #œ3 backœŒ stands#˙Œ #œ ˙Œ #œ œŒ #œ œ#œ Œœ œ #œ œ œœ œ nœ œ #œ ‰ pizz. p Œ p 3 back standsŒ Œ Œ Œ

bb Allegramente = 116 h div. 1bb Allegramente = 116 pizz. h div. œ œ œ Ravel, Piano 1 1 pizz. œ] N œ N œ Concerto/i # 2 Ravel, Piano & 2 ∑1 Œ œ] Œ Nœœ Ó Œ Nœœ Concerto/i # 2 & 2 Î Î ∑ Œ pœ Œ œ Ó Œ œ ©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) LŽgerÎ etÎ fantasque = 126 p q LŽger15 +7 et fantasque = 126 1er et 2e P. 4 q 15 +7e e cc 3er et 4 eP. 4 51e et et 6 e2 P. P. œ. - . cc 3e et 4e P. bœ bœ. œ œ bœ- œ œ Debussy 5e et 6e P. . - œ b œ œ Rondes bœ œ. œ bœ. - œ œ Debussy c ‰ ‰ bœ. œ œ bbœ œ œ &(12/8) Jœ expressifœ. œ J œ Rondes c cre ______scenbœ _ _b œ _ _ do moltoœ &(12/8)‰ ‰ pJ expressif J p cre ______scen _ _ _ _ do molto 2 Unbalanced division: Balanced division: u v w Notation: j j j j j j j Dividing double stops # œ #œ œ œ #œ œ œ #œ œ and chords # c œ ‰ œ ‰ œ Œ ‰ œ ‰ œ ‰ œ Œ ‰ œ ‰ œ ‰ œ Œ ‰ & J div.J div.J œ œ œ œ œ œ J J J J J

Moderato = 76 q 2 stands 1-4 ≤ x 58 nœ bœ œ œ nœ bœ œ œ Elgar # ˙. ∑ ˙. ˙. Enigma Var./xiii 3 æ æ æ ~~~~ &div.4 trem. ∏ stands 5-8

Unmerklich etwas bewegter [ = 120] z q 9 Decoding and MarkingDie HŠlfte Orchestral(last four stands) Parts • 9.23 Divisi: “Which Part Should I Play?” 501 255 21 3 4 Mahler ≤ SymphonyConsider different 3/I/i methodsb 2forassigning three or more divisi parts: stands that playsœ the more rhythmic material to the~ front~~~ of • division by player & 2 Ó Œ ≈ ≈ the section,≈ œ closer. ≈ tobœ theœ conductor.≈ œ (Dividing≈ j ‰the two fast Immer wie aus weiter Ferneœ œ œ œ œ œ. . . . . œ. œ œ • division by stand sempre . off. . . parts between stand partners instead of by .stand. will promote • division by group of players/stands ∏ a compact sound quality.) n • division accordingUn topoco a more meno individual mosso system. = 122 • Avoiding awkward skips: In transitions between different di- In order to decide howarco to design the systemq and how to assign visi arrangements, parts should be assigned in a manner that aa 5 front stands parts, consider the following factors—some musical, some practical: • avoids unwarranted audible breaks between the phrases, 277 3 cc • Timbre: Divisionf - bysoli player is preferable in passages where 3 . which>. result. from>. awkward. >. voice. leading>. > Bartókthe combined parts are intended- to create a dense,(≤) homoge- • avoidsj switchingj staves unnecessarily.j j Concerto/v 2 #œ ‰ œ neous weave& ofdiv.4 sound.œ œ This applies especially to sustained œ Theœ#œ œ planœ œshownœ hereœœ# œ avoidsœ œ trickyœ œ melodic#œ ‰ jumps~~~ at mm. pizz.#œ #˙ #œ ˙ #œ œ #œ #œ #œ nœ #œ chords and other homophonic3 backŒ stands passages.Œ WhenŒ such a timbreŒ 342–43Œ and 344–45; at the same time, it allows as many players is intended, you shouldp change the printed instructions to as possible to read from one staff ( l , Ravel, Bolero 18 +28). indicate a division by player ( h ). Perhaps the scheme in n ee • In passages with frequent switches between divisi a 2 and a 4, should be changed into division by player too. you should dd • Juxtapositionbb ofAllegramente material and ensemble = 116 playing: Division by • divide two parts by stand (with the odd-numbered stands h div. stands or blocks1 of stands is preferable pizz.if theœ ]parts play veryœ taking theœ top line and the even-numbered stands taking Ravel,different Piano material. Such a strategy1 will also œmake playersN feelœ the bottomN œ line) Concerto/i # 2 œ œ œ more secure,& because2 they will∑ share theirŒ part with theirŒ stand Ó • divideŒ four parts by player. This minimizes melodic and partners. Here a specialÎ Î divisi arrangement movesp a block of visual switches. LŽger et fantasque = 126 q 15 +7 1er et 2e P. 4 cc 3e et 4e P. 5e et 6e P. . - bœ bœ. œ œ. bœ- œ œ Debussy œ . œ b œ œ Rondes c œ œ bœ bœ œ œ &(12/8)‰ ‰ J expressif J 9.23dd p cre ______scen _ _ _ _ do molto

Lo stesso movimento = 63 armonici dd 35 1.a METË q Verdi (senza sord.) ≤ Falstaﬀ III/ii # # 3 stands 4-6 & # 4 Œ Œ O ˙O O ~~~ (con sord.) œ œ 3 DIV. π3 2 œ. œ. . . œ. œ. œ. œ. . . œ. œ. . . 1 ...... 1 stands 1-3 # # œ œ œ œ œ œ œ. œ. œ œ œ. œ. œ. œ. . . œ œ nœ œ œ. œ. œ œ œ. œ. œ. œ. outside # 3 6 œ œ ~~~ & 4 stacc. e leggeriss. 2.a METË p3 ...... 2 1 stands 1-3 # œ œ œ. œ. œ œ œ œ œ. œ. . . 2 œ. œ...... inside # 3 œ œ œ. œ...... œ œ œ œ œ œ œ œ œ. œ. # 6 #œ œ nœ œ œ œ#œ œ œ œ ~~~ & 4 stacc. e leggeriss.9.23dd Dec11, 110% p ModŽrŽ, sans lenteur (dans un rhythme très souple) = 116 e ee ≤ DIV. 44 ˙. œ pizz. Debussy œ œ œ œ œ œ La Mer b b œ œ œ /i &b b b 86 J ‰ ‰ Œ ‰ ∑ œ œ œ π 1 π ˙≤. œ bb b 6 J ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ & b b 8 ‰ ‰ Œ ‰ ∑ DIV. ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ pizz. π ©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) 502 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

i • Section size: For a section of twelve first violins (instead of Berlioz seems to have been the composer who invented the alter- Debussy’s standard section size of sixteen), reduce the stipu- nating-divisi plan (or at least the first major composer to apply lated division of four groups of three violins to four groups of it systematically): two violins so that acoustic proportion to the tutti is approxi- ff • In order to facilitate a single line of fast, tricky eighths, mately maintained. Berlioz distributed the notes between two groups of first and Ex.: Verdi, Aida IV/10 U • Balance: With Verdi’s original divi- second violins so that they play alternating or slightly over- sion, only a single first violin of a twelve-piece section plays lapping segments. He described this passage in his Treatise: each of the arco parts on the three lower staves. To make these “Sometimes the rapidity, complexity, or high position of the arco parts sound fuller, assign them to stands 4–6, and assign tones would make a piece too dangerous; or else the author the pizzicato parts to the six second violins who sit closest to may want to be sure of a secure and neat execution: in such them. (The original second-violin part will not suffer from a cases the violins should be divided, some playing one part of reduced number of players.) the passage, the rest another. Thus the notes of each section Ex.: Sibelius, Symphony 5/iv J and L • Avoidance of awkward are interspersed with short rests, not noticed by the listener, page turns: Design the divisi plan so that one player at each which allow, as it were, a breathing space to the players and stand can turn the pages easily without missing important afford them time to reach difficult positions securely and to notes. strike the strings with the necessary vigor. ...if the parts are Ex.: Zarathustra/end • Visual appearance and issues of leading: divided between the two players at each desk and each part Though original divisi plans that involve one or more solo is thus played on both sides of the orchestra [in the 19th- players and several tutti parts should usually be followed liter- century seating arrangement with the violin sections on op- ally, here it looks odd if the inside player at the first stand is posite sides of the conductor, as shown in Figure 8.12/A], the the only one in his block of stands who is not playing. He or fragments will connect smoothly and it will be impossible to she should double the top of the tutti parts, as in all passages notice the division of the passage” ( Berlioz 1844, 29–30, for one solo and two or more tutti parts (for instance, Debussy, and 1948, 42–43). La mer/ii 24 ). A number of other composers followed suit, including Verdi ( kk ), j • Tradition of the orchestra: Some string sections have devised a Tchaikovsky (Overture Nutcracker/33), Bartók (Concerto/v/259). “divisi policy” so that the concertmaster or principal needs to and Prokofiev (Kijé/iv 47 , 51 ). give instructions only in particularly complex passages. Such Today players and conductors apply alternating-divisi patterns a policy might look like this: even where they are not notated—especially in order to make • For three parts, always divide by stand. switches between different playing modes and registers easier, • For all other divisions, always divide by person. smoother, and less hectic: Task 9.23: Work out and mark the divisi schemes in tricky pieces gg • The alternation between ricochet and pizzicato is nearly im- such as Debussy’s Jeux or Lutoławski’s Concerto. Use the page at possible to perform. Instead, the outside players should play http://www.orch.info/parts as a model. the ricochet, the inside players should play the pizzicato. hh • Divide arco and pizzicato within the section in order to Reading and performing divisi passages minimize the physical motions in this extremely quiet and Ex. 6.10a–b • In passages with octave divisi, read whichever part suspenseful passage. The only other option—left-hand pizzi- is easiest to read and transpose the notes up or down an octave cato—will never produce the same sound quality. if necessary. ii • Distribute the notes at the “seam” between arco and piz- cc • Complex passages with two or three parts printed on a single zicato, with players leaving out alternate notes: this prevents staff, particularly those with parts crossing, are difficult to players from chopping off or accenting the last arco and from read. Especially if you are playing the second part you prob- playing the first pizzicato note late or sloppily. ably will need to memorize your pitches. jj • Stagger this tricky string change in a similar manner. In other, similar passages, leave out an awkward note that is dou- All types of divisi discussed so far have entailed distributing bled by the seconds (Sibelius, Violin Concerto/i/ 12 +16) or two or more parts between players—including divisi strategies assign it to the seconds (Schumann, Symphony 1/iv/181). where only a portion of the section plays, while the others pause Alternating divisi also helps to facilitate pizzicato passages. ( d /1–4). But there are two more types of divisi that entail es- kk • You may split extended, very fast, and loud pizzicato pas- sentially only a single part. Such plans, designed by the composer, sages between outside and inside players: here the groups the players, or the conductor, serve to facilitate difficult spots or alternate on every quarter, as they may in Ex. 7.2g too. In strengthen certain effects. The following two terms have been Stravinsky’s Sacre/i 40 , they may alternate on every fourth coined for use here: dotted quarter. • Alternating divisi: A single line of music is split “horizontally” between two or more alternating sections or groups of players. • Complementary divisi: Two or more groups or sections simul- taneously play slightly different versions of the same material.

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info) 9.23 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 503

Allegro agitato e appassionato assai = 132 ff h 412 n 3 œ œ 2 œ œ 4 2 2≤ ≤3 Berlioz, Symphonie œ œ œ œ œœœ œ œ œ œœ œ œœœ œœ œ œ#œ œ œ œ œ œ#œ œnœ œ fantastique/i C J‰ Œ ‰ J‰ Œ ‰ #œœ Œ ‰ &div. vn. 1/I+2/I 3 3 ƒ unis.≤ 1 1 3 1 4 n ≤3 ≤ œ œ œ œ 4 œ œ œ œ œ œ œ≤ œ œ œ œ œ œœ œ œ#œœ œ œ œ œ#œ nœ œ C J‰ ‰ ‰ J‰ 9.23Œ ‰[2-16m March 11‰ 110%Œ Ó ‰ œ Œ & vn. 1/II+2/II J J 1 3 ƒ ≤ gg Allegro = 120 arco arco arco arco arco AA +9 (outside) q 2 arco arco ||: j j j 1 3 :|| 4 4 . œ #œ ≤ nœ ≤ ≤ j j Verdi # # œ. . ≤ œ œ œ œ. . ≤ œ nœ #œ œ œ nœ≤ ‹œ œ≤ Otello I # # c œ . œ œ Ó & ‰ œœ 3 œ œ œ œ œ J ‰ pizz.. œ div. uniti 3 pizz. pizz. pizz. pizz. pizz. pizz. . leggero . . . . p (inside) .

Allegro con brio = - 60 hh h. (outside) (inside) arco M 380 div. pizz. 1 pizz. arco 2 unis. Beethoven 4 ∏ b @ @ ˙. œ Symphony 3/i b 3 b˙. b˙...... œ . ˙. . & b 4 Œ Œ Œ Œ point Œ Œ Œ Œ ˙ ˙ . ˙ ˙ hrn. ˙ ˙ ˙ œ Œ Œ repeat: œ @ œ œ decresc.œ @ @ œ œ @ @ @ @ @ œ p π π f ƒ Allegro [ = 92Ð100] q. ii 2 ≤ (outside) 103 . . ≤. œ. œ Brahms œ œ nœ œ œ ‰1 2 Symphony 1/i b 6 j J J J J J #œ nœ &b b 8 bœ ‰ ‰ div. ‰ œ nœ ‰ ‰ j ‰ ‰ ‰ . (inside) J J p ‰ J J ndim.œ P p P

jj Allegro molto = 76 274 h div. 3 Beethoven ≈ ≤ œ œ œ œ œ Symphony 3/iv b œ œ œ œ œ œ œ œ œ &b b 42 . r œ ˙ n˙ ˙ n˙ œ ≈ sautille' π π

Allegro = 120 kk qpizz. AA +4 div. 3 >j Verdi # j ‰ œ #œ œ Otello I c Œ œ œ #œ #œ œ œ ‰ Œ Ó & œ #œ J ‰ J Œ > F Allegro = 100 q ll 11 +5 arco leggero e molto stacc. vn. 1 Verdi # ...... Falstaﬀ I/i # c ‰ ...... ! ! ! & vn. 2 ! ! ! ! œ œ ©Martin Wulfhorst, Theœ Orchestral≈ œ ≈ Violinist’sœ ≈ œ Companion,≈ œ ≈ 2012≈ (To≈ order the book visit www.orch.info) p pizz.

Bewegt, doch nicht schnell [ = 63] mm h II trem. 330 √ div. trem. 1 Bruckner # # 1 œ œ œ œ œ œ œ œ #œ œ Symphony 7/iv # # C ‰ œ ‰ œ œ œ & @ @ @ @ @ @ @ @ @ @ @ @ @ @ ≤ ≤ ≤ ≤ ƒ Ï 9.23 [2-16m March 11 110%

gg Allegro = 120 arco arco arco arco arco AA +9 (outside) q 2 arco arco ||: j j j 1 3 :|| 4 4 . œ #œ ≤ nœ ≤ ≤ j j Verdi # # œ. . ≤ œ œ œ œ. . ≤ œ nœ #œ œ œ nœ≤ ‹œ œ≤ Otello I # # c œ . œ œ Ó & ‰ œœ 3 œ œ œ œ œ J ‰ pizz.. œ div. uniti 3 pizz. pizz. pizz. pizz. pizz. pizz. . leggero . . . . p (inside) .

Allegro con brio = - 60 hh h. (outside) (inside) arco M 380 div. pizz. 1 pizz. arco 2 unis. Beethoven 4 ∏ b @ @ ˙. œ Symphony 3/i b 3 b˙. b˙...... œ . ˙. . & b 4 Œ Œ Œ Œ point Œ Œ Œ Œ ˙ ˙ . ˙ ˙ hrn. ˙ ˙ ˙ œ Œ Œ repeat: œ @ œ œ decresc.œ @ @ œ œ @ @ @ @ @ œ p π π f ƒ Allegro [ = 92Ð100] 504 9q. Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” ii 2 (outside) 103 ≤ ≤ In the late 19th century composers. . introduced. œ complemen. œ - mm • Many conductors and musicians apply a divisi plan of De Brahms œ œ nœ œ œ ‰1 2 Symphonytary-divisi 1/i plans tobb create6 newj colorsJ Jand effectsJ that result fromJ J Falla (Nights/i 23 ) to other#œ n œpassages with tremolo or fast rep- the simultaneous& combinationb 8 bœ ‰of different‰ articulations or playingdiv. ‰ etitions:œ nœ ‰ only‰ half jof‰ the sectionJ ‰ plays‰ tremolo or repetitions, . (inside) J J dim. J modes: p ‰ while the othern œ plays regular note values. This distribution ll • The first violins playarco with repetitions whileP the seconds p Plends heightened intensity to Bruckner’s climaxes and brings play the same pitches pizzicato. melodic clarity and luminousness to some of Schumann’s Players and conductorsjj apply such divisi strategies too in order to scrambling passages (Ex. 9.8ee). achieve and strengthenAllegro special effects molto when = 76 no amount of practic- Ex. 9.21h, Stravinsky, Sacre 176 +2, +4 • Half the section plays 274 h div. ing and rehearsing truly produces the desired result.≤3 arco to make a loud col legno or pizzicato passage audible. Beethoven ≈ œ œ œ œ œ œ œ SymphonyEx. 9.15u–x 3/iv • Thebb most2 common. form of complementaryœ œ œ divisiœ œ œ Ex. 6.2q • Players useœ differentœ fingerings in order to avoid un- are divisi, staggered,& b 4 and free bowings:. the playersr use differ- warranted sudden color changes. sautille' ent bowings for the same˙ nmusic˙ in ˙ordern˙ to createœ ≈ the illusion Ex. 6.8c, 9.21bb • Only a part of the section performs a cer- of a long, seamless legato.π π tain notated or interpretive effect, preventing its exaggeration Ex.: Beethoven, Symphony 3/i/280 • Use staggered bowings also and guaranteeing a polished timbre. If here some of the first on bowed-out notesAllegro in order = 120 to create subtle effects: players violins play across the strings, the passages will sound clearer, kk qpizz. should switch fromAA “all+4 down” to 3 at different points in > smoother, and probably, better tuned than if everybody fol- div.     j Verdiorder to make the transition very gradual. j ‰ œ lows the instructions to play on the G string. Similarly, the Complementary-divisiOtello I # schemes open up a realm of infiniteœ œ nu-#œ passage in Ex. 5.11x will sound clearer if half the players leave & c Œ œ œ #œ #œ œ ‰ Œ Ó ances, especially in Romantic andœ late-Romantic#œ music: J ‰ J out the grace notes. Ex. 5.4h/39 • Half the section playsŒ détaché to prevent the legato > notes from sounding fuzzy orF unarticulated. Allegro = 100 q ll 11 +5 arco leggero e molto stacc. vn. 1 Verdi # ...... Falstaﬀ I/i # c ‰ ...... ! ! ! & vn. 2 ! ! ! ! œ œ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ ≈ ≈ p pizz.

Bewegt, doch nicht schnell [ = 63] mm h II trem. 330 √ div. trem. 1 Bruckner # # 1 œ œ œ œ œ œ œ œ #œ œ Symphony 7/iv # # C ‰ œ ‰ œ œ œ & @ @ @ @ @ @ @ @ @ @ @ @ @ @ ≤ ≤ ≤ ≤ ƒ Ï