ORCHESTRATION1922 |
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Common terms and phrases
1st Violins 2nd Violins actual sounds air-column Allegro Andante arpeggios bars Bass Bass-Clarinet bass-clef Bass-Drum Bass-Trombone Bassoon Beethoven Brass Instruments Cellos century chords chromatic compass Clarinet clef composer Concerto Cornet cresc crook Cymbals Double-Basses Double-Bassoon Drums effect embouchure employed English-Horn EXAMPLE fifth finger Flute Full Score Harmonic Series Harp Horns in F instru Kettle-Drums key-signature legato length major second mechanism melody ment merely method minor minor third modern mouthpiece Mozart musical muted notation Oboe octave octave lower open string Ophicleide orchestral ordinary passage perfect fifth perfect fourth Piccolo pipe pitch pizz pizzicato played player position produce Sarrusophone Saxhorns Saxophones semitones shakes slur Solo sounding an octave stopped notes Strauss stroke student Symphony technique Tenor tone tone-colour tone-quality transposing instruments treble tremolo Trombone Trumpet Tschaikowsky Tuba tube tuning unison upper upwards valves vibration Violas Wagner Wood-Wind word writing written
Popular passages
Page 382 - I can, at any rate, show that the experiments made with it at the end of the seventeenth and the beginning of the eighteenth century fully confirm the high encomium bestowed by Dioscorides upon his indicum.
Page 296 - To you it is commanded, O people, nations, and languages, that at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of music, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up : and whoso falleth not down and worshippeth shall the same hour be cast into the midst of a burning fiery furnace.
Page 85 - Hand-Horn of the type common in the last half of the 18th and the first half of the 19th centuries.
Page 209 - For true love and for thee— ah me! and pray To be thy knight until my dying day, Fair Lady.
Page 331 - Series 6 with which the student is already familiar. He will have no difficulty in remembering the notes of this Series, as they give a regularly diminishing set of intervals from the open string upwards, — an octave, a perfect fifth, a perfect fourth, a major third, a minor third. In the following list of Natural Harmonics the Open String is represented by a semibreve and marked 1, while the 5 Harmonics are represented by crotchets and marked 2, 3, 4, 5, 6, respectively. The numbers have, of course,...
Page 193 - Es nah't, es nah't mit muthiger Hast ! Sie weh't, sie weh't, die Flagge am Mast. Das Schiff, das Schiff! Dort streicht es am Riff! Sieh'st du es nicht?
Page 108 - Let us accept the fact frankly that a Cornet is a Cornet, not a Trumpet. Then we shall be able to see what can be done with it.
Page 75 - This is a type ot" what was and still is the ordinary notation for all Transposing Instruments. But in the case of the bottom notes of the Horn there was another convention. This convention, which has persisted to our day, consisted in writing them in the bass-clef, but an octave too low. There is not a word to be said for this foolish custom. The only reason for adopting the bass-clef at all should be the avoidance of leger-lines. What can one say about a pretended simplification which only adds...
Page 254 - ... fifth harmonics (two octaves and a major third above the fundamental notes) or ninth harmonics (three octaves and a major second above the fundamental notes). In Mozart's day the Clarinet compass appears to have extended down a major third to low C He uses that note in Clemenza di Tito, and, on the Bb instrument, for which the passage was written, the sound would of course be a wholetone lower. During the classical period, and well into the middle of the nineteenth century, orchestral Clarinets...
Page 251 - ... various arguments that have been brought forward to support one view or the other we may put the probable facts of the case into a few sentences. The word "Chalumeau" (Schalmey) was used irregularly and loosely to describe not one instrument of special bore and make, but almost any small Wood-Wind instrument. It was a generic name, and as such was applied (a) to wooden pipes played with a doublereed, (6) to wooden pipes played with a single-reed, (c) to the chanters of Bagpipes and Musettes....