. Orchestration . be written on this simple model. Any of the chords given above may be broken up into the simpler keys a fair number of spread chords are available incomparatively easy stoppings, and this type of formula is often usedfor making up String-backgrounds. Such passages when formed ofgroups of stringed-instruments are not to be looked at too closely fromthe part-writing point of view. If this is done the result is often towrite an effective and simple arpeggio for the 1st Violins and awkwardarpeggios for the 2nd Violins and Violas. At most the outside notesof the arpeg
. Orchestration . be written on this simple model. Any of the chords given above may be broken up into the simpler keys a fair number of spread chords are available incomparatively easy stoppings, and this type of formula is often usedfor making up String-backgrounds. Such passages when formed ofgroups of stringed-instruments are not to be looked at too closely fromthe part-writing point of view. If this is done the result is often towrite an effective and simple arpeggio for the 1st Violins and awkwardarpeggios for the 2nd Violins and Violas. At most the outside notesof the arpeggios need be considered, and even that is often unneces-sary. In the following passage from Act I. Scene 3 of Die Walkiire THE VIOLIN 327 EXAMPLE 214. Massig schnell. A % Wagner. Die 3 Flutes and 3 Oboes. 4 Horns. 3 Trumpets. (in unison) 3 Kettle-Drums. 1st Violins. 2nd Violins. Violas. Cellos andDouble-Basses (The latter soundingan octave lower.) put jig m m * jF^ ir W^W^. I^^jT^^^jr^ Wmwm ¥^^=5 m a tfr pwi uiJIWskULW /y the object is obviously to secure the complete three-part chord at eachend of the arpeggio. It would, however, make practically no differ-ence to the effect, and would be more in the Violin-way of writingif the 2nd Violin passages were written to be played in the 3rdposition, so : mm and the Viola passages, so : I « It is a fair general rule that the String technique should be the first 1 This example is much compressed. The two Harp-parts are omitted as well as theentry of the Bass Trumpet on the last crotchet of Bar 2. All the Wood-Wind and Brassnotes are written as they sound. In the original score the 4 Horns are in E, 1st and 2ndTrumpets are in E, 3rd Trumpet in C, Bass Trumpet in D. 328 ORCHESTRATION consideration in such cases. In the example just given the Brass ffcovers up everything, and it is therefore easy to arrange the arpeggioswith a single eye to the String technique. On the other hand, if, in ppassag
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