. Orchestration . example. Such a chord would nowadays always be written so An extra part would only be made of the lower notes in those caseswhere either (A) the tenuto note has no tail to be joined to the lowernotes, or (B) where confusion would result owing to the fact that thetenuto- or melody-note was already represented by a the latter case it of course would not do merely to write thelower notes in crotchet-heads, as they would not be properly distin-guished from the melody-note at the top. It would be necessary towrite the lower notes as a separate part in order to giv
. Orchestration . example. Such a chord would nowadays always be written so An extra part would only be made of the lower notes in those caseswhere either (A) the tenuto note has no tail to be joined to the lowernotes, or (B) where confusion would result owing to the fact that thetenuto- or melody-note was already represented by a the latter case it of course would not do merely to write thelower notes in crotchet-heads, as they would not be properly distin-guished from the melody-note at the top. It would be necessary towrite the lower notes as a separate part in order to give them therequisite distinction. The latter necessity rarely arises in orchestralwriting, though occasionally, with light arpeggio chords, it willhappen that crotchet and quaver upper notes need to be detached inappearance from the lower notes. The following examples of (A) and(B) will arm the student against any of these dreadful emergencies : EXAMPLE 211. Beethoven. Kreutzer Sonata.\lst Movement^Presto. _ ^ /7\. THE VIOLIN 315 EXAMPLE 212. Tempo Molto Moderate Bach. 2nd Violin Sonata.[Sarabanda!]
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