. Orchestration . The poignant dramatic moment in A • II / ischai ictly th< colour. With Wagner of • ? the elem< q{ f instrumental display which robs the M THE BASS-CLARINET 277 it- sincerrl I tally absent. The Obbligato part in this ] ssag - ---Clurin».-t-in-A. and as it touches the botl .; ~ ondingCj Db)—needs that instrument for ite linary German notation bo aiding b minor third law< ? mil aeeompani- d. In I I II. i W; _ able tone-colour for thi 3 time the melody is -- ective octave-unison of Bass-Clarinet and lish-Honx < lennan no* EngliS- 2 Clarinets • 2 Ba- KXAMILK : [

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. Orchestration . The poignant dramatic moment in A • II / ischai ictly th< colour. With Wagner of • ? the elem< q{ f instrumental display which robs the M THE BASS-CLARINET 277 it- sincerrl I tally absent. The Obbligato part in this ] ssag - ---Clurin».-t-in-A. and as it touches the botl .; ~ ondingCj Db)—needs that instrument for ite linary German notation bo aiding b minor third law< ? mil aeeompani- d. In I I II. i W; _ able tone-colour for thi 3 time the melody is -- ective octave-unison of Bass-Clarinet and lish-Honx < lennan no* EngliS- 2 Clarinets • 2 Ba- KXAMILK : [nite onnecesf to g Bass-Clarinet technique. It is practically f the BvA-Cla: ie limitations _ g to of instrument, reed, wide bore, and heavy key-apparatus. In the folk*extract from Sta - v the chromatic power of the instrument if y utiliz lould note that. though this example _ - in the treble-clef, the German notation is employed. The tra - - a major Becond through- out, and the treble-clef is only written for convenience of notation. It is used merely as a continuation upwards of the bass- The two note< A and A\ where the clefs meet in bar 3, are a semitone apart. EXAMPLE 193. I B ewe at -. ;

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