The Technique of the Modern Orchestra: A Manual of Practical Instrumentation

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J. Williams, limited, 1906 - Instrumentation and orchestration - 190 pages

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Page 139 - Moreover, it should be felt that its smooth, equal, and uniform sonorousness, never entirely melts into the variously characterized sounds of the orchestra, and that there seems to exist between these two musical powers a secret antipathy. The Organ and the Orchestra are both Kings ; or rather, one is Emperor, the other, Pope ; their mission is not the same, their interests are too vast, and too diverse, to be confounded together.
Page 200 - Log, for the measurement of the distance passed over, has only been in use since the end of the 16th or the beginning of the 17th century.
Page 112 - ... Another effective triangle part of precisely the same length — namely one note — is to be found at the end of the 2nd Act of Siegfried, page 280 of the Full Score. The tremolo or " roll " is made by beating rapidly to and fro between two sides of the Triangle. Widor picturesquely remarks that " at the climax of a crescendo, when the orchestra would seem to have reached its maximum intensity, it suffices to add the Triangle, in order to convert red-heat into white-heat.
Page 141 - Cavaille'-Coll's instruments, with their admirable tones and their incomparable mechanism, have attracted and passionately interested a number of composers, who have found in them a genuine orchestra, varied, supple, and powerful, respectful of tradition, yet ready to welcome a new ideal. M. Widor's ideal is Bach, and the ideal of the master organ builder to whom he refers, was to unveil through his wonderful organs "the colossal work of the Master of Eisenach, of hearing Bach as he wished to be...
Page 176 - Clarinettot when played on the 3rd string are " bad notes . . . their tone is rough, harsh, incongruous, and uncertain; this is equally true of all Violoncellos used for orchestral purposes, whoever may be the maker.
Page v - ... formerly unknown. Hence the necessity for a new manual setting forth the present state of orchestral instruments : their compass and capabilities. Characteristic features of the present book are the Complete Lists of Shakes and Tremolos for the Woodwind, and of Double, Triple, and Quadruple Stops for the Strings. It has always seemed to us that these matters are dealt w ith in somewhat too summary a manner in most works on Instrumentation.
Page 139 - A, our ear not being able to appreciate the value of sounds beyond the 320^ harmonic. lf, beginning with the most acute notes, the pipes of the instrument are made to speak one after another, the volume of this synthetic A increases proportionally, until it becomes 32 times as powerful as the A sounded by the deepest - toned pipe itself. lf the 32 pipes are allowed to speak simultaneously, a single fundamental tone is heard, of incomparable power and absolute truth of intonation.
Page 86 - ... only mention it here on account of its rarity. This fantastic howl is produced by the combined action of the slide and the lips, as a glissando is performed by the finger on a stringed instrument.
Page 144 - Organ. lt is now possible to graduate the sound mass, to pass suddenly from an imposing fortissimo to an almost imperceptible pianissimo, and, when accompanying a singer, to follow all the lights and shades of vocal expression.

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