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accompaniment Adagio Allegro Andante B-flat bass clarinet bassoons Beethoven Berlioz brass brass instruments breath-pressure called cello chalumeau chords clari color cornet cymbals Daniel Gregory Mason double double-bass drums duced Dvorak E-string effect English horn F-clef fifth higher fifth lower Fifth Symphony Figure XLVI Figure XXXIX fingering flute fortissimo fourth full score fundamental tone give harmony kettledrums keys lower register lower than written major second lower melody Mendelssohn ments minor third minor third lower modern composers oboe octave higher octave lower orches orchestra orchestral instruments Overture partial tones passages Pathetic Symphony pianissimo piccolo pitch player playing an octave produced pulsations quality of tone scherzo second violins series of partials shown in Figure solo instrument sonority Sounds a major sounds an octave stringed instruments struments Symphony Figure tenor clef tions tone-color transposing instrument trumpet Tschaikowsky tube Vibr violas violins violoncellos wind instruments wood-wind instruments written an octave
Page 56 - ... example, suppose we are writing in the key of F-sharp; which has six sharps. If we were to use C clarinets the players would throw up their hands in despair at so many sharps, and very likely declare their parts unplayable. If, however, we should use B clarinets, which produce tones a major second lower than those written, we should be able to write their part in the key of A-flat (a major second higher than Fsharp) which would give them only four flats; and flats, moreover, are easier for wind...
Page 75 - The quality of tone of the trumpet is noble and brilliant; it comports with warlike ideas, with cries of fury, and of vengeance, as with songs of triumph ; it lends itself to the expression of all energetic, lofty and grand sentiments, and to the majority of tragic accents.
Page 52 - The feelings of absence, of forgetfulness, of sorrowful loneliness, which arise in the bosoms of the audience on hearing this forsaken melody would lack half their power if played by any other instrument than the English horn.
Page 108 - JUST PUBLISHED Self Help for Singers A Manual for Self Instruction in Voice Culture based on the Old Italian Method. A sequel to The Psychology of Singing By DAVID TAYLOR Cloth Price One Dollar The "Psychology of Singing" established the principle of imitation as the sole basis of the old Italian method. "Self Help" is a simple comprehensive system of voice culture by imitation arranged for the student's use in self instruction.
Page 1 - Mason in his prefatory note, is to assist the concertgoer in recognizing the various orchestral instruments, both by sight and by hearing, and to stimulate his perception of the "thousand and one beauties of orchestral coloring.
Page 16 - Wagner calls for two piccolos, two flutes, three oboes, one English horn, three clarinets, one bass clarinet, three bassoons, eight horns, four trumpets, one bass trumpet, four trombones, one contra-bass tuba, four kettle drums, harp and strings.
Page 16 - Prince Metternich," he tells us in his Memoirs, "said to me one day: 'Are you not the man, monsieur, who composes music for five hundred performers?' To which I replied : 'Not always, monseigneur ; I sometimes write for four hundred and fifty.
Page 20 - ... ing very softly often give the hearer a slight shock. Bowed instruments, furthermore, can be played for any length of time without fatiguing the performer, while the wind instrument players must have frequent rests to regain their breath and to relax the muscles which, in playing such instruments as the horn, have to be contracted in a way that soon becomes wearisome. The hearer, too, can stand more string-tone than wind-tone. The peculiar timbre of such instruments as the oboe, the clarinet,...
Page 1 - ... by hearing, and to stimulate his perception of the thousand and one beauties of orchestral coloring. As a help to the eye, the descriptions of the appearance of the instruments are supplemented by pictures; in order to help recognition by ear, the divers registers of instruments are discussed with some particularity; while it is hoped that the many figures showing excerpts from standard works will sharpen the reader's attentiveness to delicate shades of tonal effect.
Page 8 - ... producing a whole series of vibrations, of varying rates of rapidity, at one and the same time. This depends on two facts: first, that the shorter the vibrating section of string the more rapid are its vibrations ; second, that the piano string in question, when struck by the hammer, starts to vibrating not only as a whole, but also in segments of halves, thirds, quarters, fifths, sixths, sevenths, eighths, etc., of its entire length. Figure I. shows graphically these different modes of vibration,...