. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. A dilemma sometimes presents itself when certain parts—for tlie sake of contrast■ are given a triple rhythm, while others preserve tlie dual rhythm. iefe|i^^=i. If the wind-instrument parts in the above example are confided to players who aregood musicians, there will be no need to change the manner of marking the bar, andthe conductor may continue to subdivide it by six, or to divide it simply by tw
. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. A dilemma sometimes presents itself when certain parts—for tlie sake of contrast■ are given a triple rhythm, while others preserve tlie dual rhythm. iefe|i^^=i. If the wind-instrument parts in the above example are confided to players who aregood musicians, there will be no need to change the manner of marking the bar, andthe conductor may continue to subdivide it by six, or to divide it simply by two. Themajority of players, however, seeming to hesitate at the moment when, by employingthe syncopated form, the triple rhythm clashes with the dual rhythm, require assur- THE ORCHESTRAL CONDUCTOR. ance. which can be given Toy easy means. The uncertainty occasioned them by thesudden appearance of the unexcepted rhythm, contradicted by the rest of the orches-tra, always leads the performers to cast an instinctive glance towards the conductor,as if seeking his assistance. He should look at them, turning somewhat towards them,and marking the triple rhythm by very slight gestures, as if the time were really threein a bar, but in such a way that the violins and other instruments playing indual rhythm may not observe the change, which would quite put th
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