The orchestra and its instruments . es wanted by a composer. Meyer-beer used a big bell in low F to give the signal for themassacre of the Huguenots and combined it with bas-soons and clarinets, which give the music a sinisterquality that is very impressive. Rossini has a bell inthe second Act of Guillaume Tell and Verdi has aprison bell ring in 77 Trovatore. There is nothing more false, says Lavignac, thanthe saying who hears a bell hears one sound only,for of all sound-producing agents the bell is perhapsthe one which develops the greatest number of over-tones, often discordant even, which s
The orchestra and its instruments . es wanted by a composer. Meyer-beer used a big bell in low F to give the signal for themassacre of the Huguenots and combined it with bas-soons and clarinets, which give the music a sinisterquality that is very impressive. Rossini has a bell inthe second Act of Guillaume Tell and Verdi has aprison bell ring in 77 Trovatore. There is nothing more false, says Lavignac, thanthe saying who hears a bell hears one sound only,for of all sound-producing agents the bell is perhapsthe one which develops the greatest number of over-tones, often discordant even, which sometimes causesa difficulty in discovering which is the fundamentalmusical tone. Of course, we can easily see how such would bethe case, when the sound is reflected back and forthinside the bell and the old echoes do not have achance to die away before new vibrations are set inmotion. Modern composers rarely use real bells. They givethe impression by other means; for instance, for themidnight chime in his Danse Macabre, Saint-Saens. DRUM, XYLOPHONE, AND TRIANGLESYMPHONY SOCIETY OF NEW YORK Samuel Borodkin PERCUSSION INSTRUMENTS 131 has twelve notes plucked on the harp. Strauss in hisSinfonia Domestica tells us it is seven oclock by sevenlittle taps on the glockenspiel (see page 127). The Bellsof Montsalvat in Parsifal are usually played on theTubular Chimes, a row of steel pipes, which areshown in the illustration facing page 126. CHAPTER VIII THE ORCHESTRA The Orchestra as an instrument; instruments of the Sixteenth Century, —Cbitaroni, theorbo, lutes; Claudio Monteverde (1567-1643); Marc AntonioIngegneri; Orchestra of Orjeo; Cbitaroni; II Combattimento di Tancredi eClorinda; Incoronazione di Poppea; Adriannd; Vergilio Mazzoccbi (15Q3-1646), and bis music school; Stejano Landi; Orchestras in Rome; Orchestrasin Venice; Antonio Cesti and bis opera, 77 Porno a Oro ; Cardinal Mazarin;growing popularity of the violin; the first French Orchestra — the Twenty-fourViolins oj the K
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