. Orchestration . ern and suggestive type of accompanimentemployed. It consists mainly of deep four-part chords, held by themuted Double-Basses. The muted Violas and Cellos alternately playa phrase founded on one of the other subjects, and add the upper partsof the Bass chords. The rest is more or less unessential. Thisexample will be referred to again when we come to deal with theDouble-Bass. The whole of the above passage should be looked-at in the FullScore. The Oboe cantabile in the introduction to the same com-posers Don Quixote Variations is an excellent illustration of the charmand fasc
. Orchestration . ern and suggestive type of accompanimentemployed. It consists mainly of deep four-part chords, held by themuted Double-Basses. The muted Violas and Cellos alternately playa phrase founded on one of the other subjects, and add the upper partsof the Bass chords. The rest is more or less unessential. Thisexample will be referred to again when we come to deal with theDouble-Bass. The whole of the above passage should be looked-at in the FullScore. The Oboe cantabile in the introduction to the same com-posers Don Quixote Variations is an excellent illustration of the charmand fascination which the instrument can impart to a simple passage fits the Oboe like a glove, and the studied simplicity ofthe accompaniment only throws the beautiful tone-colour of the solo-instrument into higher relief. It may be added that the Solo part inthis example is not generally played at the dead level of pianissimomarked in the Full Score. EXAMPLE 135. Massig-es Zeitraass. Oboe. Strauss. Don |g§ Pes ^t^U- £ F±£ m
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
