. Orchestration . etting free a new phrase in the orchestra, either at a change ofharmony, of melody, or of tone-colour. Of this the passage referred toin the Meistersinger Overture is a happy example. But the studentmust resist the temptation of repeating the stroke on the other first-beats of his succeeding melodic sentences. The notation of the Triangleis either on a single line or conventionally on a stave in the treble-clef. The usual notation for the roll is Care should betaken with the ps and /s as the Triangle has considerable powers in 1 The Technique of the Modem Orchestra
. Orchestration . etting free a new phrase in the orchestra, either at a change ofharmony, of melody, or of tone-colour. Of this the passage referred toin the Meistersinger Overture is a happy example. But the studentmust resist the temptation of repeating the stroke on the other first-beats of his succeeding melodic sentences. The notation of the Triangleis either on a single line or conventionally on a stave in the treble-clef. The usual notation for the roll is Care should betaken with the ps and /s as the Triangle has considerable powers in 1 The Technique of the Modem Orchestra, translated by Edward Suddard. 2 See page 24. THE TRIANGLE. THE CYMBALS 35 this direction. As a rule it is well to keep the marking of the Trianglepart below the level of the instruments with which it is playing. Liszt, in his Pianoforte Concerto in Eb, has raised the Triangle tothe symphonic level of a Solo instrument: EXAMPLE 6. Triangle. Strings. (Pizzicato, without Double-Basses.) Allegretto Vivace Pianoforte. No. 7. The Fr. Cymbales ; It. Piatti or Cinelli; Ger. These are two large circular brass plates of equal size. In thecentre of each is a saucer-shaped depression, to the outer side of whicha strap is attached. The plates are made, not flat, so that their wholesurfaces would touch each other, but slightly tapered so as to secure acontact at the edges only. Their tone varies greatly according tosize, weight, and the particular alloy used in their large enough, and of the proper metal, their quality is martialand brilliant in the extreme. But it is to be regretted that makersoften turn them out so small in size, and poor in quality, that they addlittle to the orchestral tone-colour, but a sense of vulgarity anddiscomfort. The tone of the Cymbals is produced in four ways: (1) By clashing them edge-to-edge with a sort of side-ways orbrushing movement. This, the two-plate-stroke, is the ordinarymethod of playing single notes. (2) By stri
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