. Orchestration . regularity and smoothness by a good player, there arecertain differences of colour as the notes proceed upwards. Thetemptation for a writer is to make these differences correspond withthe three octaves of the scale, but to the ear this is not quite correct. From bottom C up to about A (a major sixth higher) the Flute hasa thick, heavy breathe-y quality, something, as it has been expressed, like thick plush. This part of its compass is extremely effectivebut liable to be easily covered up. The Double-Basses in especial withtheir wealth of Harmonics seem to have the faculty of
. Orchestration . regularity and smoothness by a good player, there arecertain differences of colour as the notes proceed upwards. Thetemptation for a writer is to make these differences correspond withthe three octaves of the scale, but to the ear this is not quite correct. From bottom C up to about A (a major sixth higher) the Flute hasa thick, heavy breathe-y quality, something, as it has been expressed, like thick plush. This part of its compass is extremely effectivebut liable to be easily covered up. The Double-Basses in especial withtheir wealth of Harmonics seem to have the faculty of blurring thelow notes of the Flute. The student should notice how often in theaccompaniment of Flute solos they are omitted altogether. Evenwithout the Basses a String tenitto needs very delicate playing if it isnot to cover up the lower notes of the Flute. A subject like thefollowing from Dvoraks New World Symphony : EXAMPLE 98. Flute. ViolinsI& II. Violas. Cellos. Allegro Molto. Dvorak. New World sounds poor and stupid when there is the slightest over-thickness inthe accompaniment. Of the emotional, almost exotic sound, of the lowFlute no better example can be given than Tschaikowskys Efts in the 186 ORCHESTRATION Pathetic Symphony (opening of last movement). The effect of this five-part unison of three Flutes and two Bassoons is eerie in the extreme. EXAMPLE 99. 3 unison]] Adagio lamentoso Tschaikowsky. Pathetic Symphony,affrettando
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