. Orchestration . course, to finger for $ when he wished to produce the sound The French composer, therefore, satisfied his sense of logic by placingthe Mezzo-soprano-clef on the 2nd line and leaving the player toimagine a treble-clef instead. For the sound Middle C he wroteMiddle C in the Mezzo-soprano-clef thus: Kj o and the player read There seems to have been some difference of routine as to key-signatures and accidentals. This perhaps explains what they did atrehearsals in those days. In Italy composers before Verdis time adopted the absurd plan ofwriting the sounds required in the bass-c
. Orchestration . course, to finger for $ when he wished to produce the sound The French composer, therefore, satisfied his sense of logic by placingthe Mezzo-soprano-clef on the 2nd line and leaving the player toimagine a treble-clef instead. For the sound Middle C he wroteMiddle C in the Mezzo-soprano-clef thus: Kj o and the player read There seems to have been some difference of routine as to key-signatures and accidentals. This perhaps explains what they did atrehearsals in those days. In Italy composers before Verdis time adopted the absurd plan ofwriting the sounds required in the bass-clef an octave below theirtrue pitch. Bach, in writing for the Oboe da caccia, an instrument similar tothe English-Horn, set down the actual sounds required in the Alto-clef on the third line. 222 ORCHESTRATION The following shows at a glance the three obsolete notations andthe now universal modern notation : Bachs Oboe da Caccia Notation. \ OBSOLETE. m-tirjTJ err Old French Notation. IB IJTIUT Old Italian Notatio. Actual sounds
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
