. Orchestration . s very greatly according as it is used in the/ or the p, and in the lower, middle, or upper registers of the differentinstruments. In the lower registers it has a sombre, threateningeffect. As it rises upwards to the top string it gradually loses itsgloom and becomes more and more ethereal. On the top-string itseems, in Gevaerts words, to sparkle. It would be impossibleexcept at great length to give adequate examples of the many p and /tremolo-combineitions of Violins, Violas, Cellos, and Basses. They must 1 See below, p. 358, for the ordinary notation of the Bowed Tremolo in
. Orchestration . s very greatly according as it is used in the/ or the p, and in the lower, middle, or upper registers of the differentinstruments. In the lower registers it has a sombre, threateningeffect. As it rises upwards to the top string it gradually loses itsgloom and becomes more and more ethereal. On the top-string itseems, in Gevaerts words, to sparkle. It would be impossibleexcept at great length to give adequate examples of the many p and /tremolo-combineitions of Violins, Violas, Cellos, and Basses. They must 1 See below, p. 358, for the ordinary notation of the Bowed Tremolo in notes whosetime-values vary from the semibreve to the semiquaver. THE VIOLIN 353 b>e studied by the composer in the concert-room and the theatre Anexample of a low tremolo for tutti Strings is given For thesake of contrast we shall give here a medium-register tremolo forViolins only in four parts. EXAMPLE 230. Langsam Wagner. Lohengrin.* 3 Flutes. Trumpetin E. 3 Trombones. Violinsan 4 parts. IR^ilC er CHffr I vMf JSf f gg Rit-terdort er an- er-kant so heh - rer Art doch Violinsin 4 parts. LOHENGRIN.
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