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alto ancient Bach band bass clarinet basset horn bassoon beauty Beethoven bell Berlioz brass called cello chords chromatic colour compass composer concert conductor contrabass contrabassoon cornet cymbals diatonic effect English horn especially example excellent fifth fingering flute G clef give given guitar Handel harmonic series harp Haydn higher instru kettle-drum keys lower lowest melody Mendelssohn ment Meyerbeer minor third modern mouthpiece Mozart music is written musicians natural scale oboe di caccia obtained octave open tones opera ophicleide orches orchestra overture passages pedal tones performer phrases piano piccolo pipe pitch play player plucked produced reed Rossini Schumann scores semitone sharps or flats slide solo soprano sounding an octave Spohr strings Symphonie Fantastique symphony tenor theme tion to-day tone-colour transposing instrument trills trombone trumpet tuba tube tuned unison upper notes usually valve vibrations viola violin violinist voice Wagner Weber wind-instruments wood-wind write wrote
Page 169 - Oh, that I were The viewless spirit of a lovely sound, A living voice, a breathing harmony, A bodiless enjoyment — born and dying With the blest tone which made me ! Enter from below a CHAMOIS HUNTER.
Page 169 - For here the patriarchal days are not A pastoral fable— pipes in the liberal air, Mix'd with the sweet bells of the sauntering herd; My soul would drink those echoes. Oh, that I were The viewless spirit of a lovely sound, A living voice, a breathing harmony, A bodiless enjoyment— born and dying With the blest tone which made me!
Page 121 - Time has laid his hand Upon my heart, gently, not smiting it, But as a harper lays his open palm Upon his harp, to deaden its vibrations.
Page 44 - I can play the lute, the violin, the pipe, the bagpipe, the syrinx, the harp, the gigue, the gittern, the symphony, the psaltery, the organistrum, the regals, the tabor and the rote. I can sing a song well, and make tales and fables.
Page 280 - ... a deaf one, whatever may have been his technical talent before losing his sense of hearing. The orchestral conductor should see and hear; he should be active and vigorous, should know the composition and the nature and compass of the instruments, should be able to read the score, and possess — besides the especial talent of which we shall presently...
Page 44 - ... mandore, to perform on the cloncorde and the guitar, for they are delightful to all. Learn how to string the viol with seventeen chords, to sound the bells, to play the harp, and to compose a jig that shall enliven the sound of the psaltery.
Page 259 - Beethoven's time the drum hnd, with rare exceptions, been used as a mere means of producing noise — of increasing the din of the fortes ; but Beethoven, with that feeling of affection which he had for the humblest member of the orchestra, has here raised it to the rank of . a solo instrument/ The late Mr.
Page 112 - The harp was a favourite instrument with the ancient Britons. The old laws of Wales mention its use as one of the three things necessary to distinguish a freeman or gentleman from a slave. Pretenders were discovered by their unskilfulness in playing the instrument. The laws also forbade a slave to touch a harp, even from mere curiosity, and none but the king, his musicians, and the gentlemen of the realm were allowed to possess one. The harp was exempt from seizure for debt, for it was presumed that...
Page 44 - Learn to play on the tabor, the cymbals, and the bagpipe. Learn to throw and catch little apples on the point of knives. Learn to imitate the songs of birds with your voices, to pretend to make an attack on a castle as if you were besieging it, to jump through.
Page 20 - Men in a state of nature, in every zone, make great use of these gramina with high stalks. The Greeks said with truth, that reeds had contributed to subjugate nations by furnishing arrows, to soften men's manners by the charm of music, and to unfold their understanding by affording the first instruments for tracing letters.