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The Technique of the Modern Orchestra: A Manual of Practical Instrumentation ...
No preview available - 2014
The Technique of the Modern Orchestra: A Manual of Practical Instrumentation
Charles Marie Widor
No preview available - 2015
Actual sounds Allegro Alto Andante arpeggios articulation Bach bars Barytone Bass Clarinet Bass Drum Bass Trombone Bassoon Beethoven Berlioz brass instruments Cello Chords chromatic scale compass composer Concerto Contrabass Cor Anglais Cornet Cymbals depressed finger descend difficult Double Double-bass effect employed execution fifth finger would produce Flute forte fundamental tone G clef Harp high register holding-notes Horn in F impossible Ital Kettle-drums kind permission legato low register medium register minor mode modern mouthpiece Mozart natural harmonics notes lowered Nowadays Oboe obtained octave orchestra Organ passages performer permission of Heugel pianissimo piano Piccolo pistons depressed pitch Pizz Pizzicato play players quality of tone Remark Resolutions Sarrusophone Saxhorns Saxophone semitone Shakes and Tremolos Side Drum slurs Solo sonorous Soprano staccato stops Symphony tempo timbre touching the string tremolos possible Triangle Trumpet Tuba tube tuned upper partials vibrations Viola Violins Violoncello virtuosi Wagner writing written
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 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.