. Orchestration . , typical models of thepolyphonic style applied to the The Harmonic method was, as we have seen, the style of Bach andof his period. It was also the method of Gluck in Orfeo, Alceste, andIphigenie en Tauride. It was also mainly the method of Mozart inhis Brass accompaniment to 0 Isis and Osiris (Zauberflote), and in thestatue and supper scenes of Don Giovanni. It was also the methodof Beethoven in such works as the G minor and CJtoral the general method in their sanity was the use of simple rhythmsand held notes in three-part harmony with carefully thou
. Orchestration . , typical models of thepolyphonic style applied to the The Harmonic method was, as we have seen, the style of Bach andof his period. It was also the method of Gluck in Orfeo, Alceste, andIphigenie en Tauride. It was also mainly the method of Mozart inhis Brass accompaniment to 0 Isis and Osiris (Zauberflote), and in thestatue and supper scenes of Don Giovanni. It was also the methodof Beethoven in such works as the G minor and CJtoral the general method in their sanity was the use of simple rhythmsand held notes in three-part harmony with carefully thought-outexpression marksp and/, -=n and ^=—. Here is a brilliant effect in the last three bars of Dvoraks CamevalOverture. The Trombones, in close harmony French-fashion, suddenly come through Avith a flaming chord of A major. Nothing could besimpler on paper: nothing could be more effective in sound. EXAMPLE 79. Kettle-Drums. Triangle. TUTTI. Allegro Dvorak. Cameval 1 j J | *TfJ]U* MJ3IJ I JT fnim m i t**J* ^ Secco. m as
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