. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. opula(dessus). 34. Grand jeu. as the Diapason Organ, the Orgue enchant^, the Hand or Barrel Ogan, an in-ill be unnecessary to explain in detail, as they are of no value for orchestral purposes. Group 111. INSTRUMENTS OF PERCUSSION. 1. THE KETTLE-DRUMS. (PAUKEN, TIMPANI, TIMBALES.) Their character expresses itself in their powerof concussion, which can express itself from thefaintest Pianissimo to the
. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. opula(dessus). 34. Grand jeu. as the Diapason Organ, the Orgue enchant^, the Hand or Barrel Ogan, an in-ill be unnecessary to explain in detail, as they are of no value for orchestral purposes. Group 111. INSTRUMENTS OF PERCUSSION. 1. THE KETTLE-DRUMS. (PAUKEN, TIMPANI, TIMBALES.) Their character expresses itself in their powerof concussion, which can express itself from thefaintest Pianissimo to the most tremendous andenormous Fortissimo. The Kettle-Drums adaptthemselves to every variety of musical composi-tion, but especially for storm-scenes and funeral marches. They can be excellently employed toillustrate the uneasy beating of the heart indramatic scenes, and can add much towards thecharacterization of impressive situations. Forinstance, Lohengrin Act 3, and IuneralMarch from R. Wagners Gotterdiimmerung an extract of which is presented in the followingexample. Fagotti. (Bassoons.) EXTRACT FROM THE FUNERAL MARCH FROM GOTTERDAMMERUNG. Miissiglangsam. {Moderately slow.) ^ R- Pauken in H. (Kettle-Drums in B; GROUP III. —INSTRUMENTS OF PERCUSSION. 175 Haydn, Mozart, Weber, etc., have producedbeautiful effects with these instruments. Bee-thoven has used them in a very pecuHar andunique manner in the Scherzo of his 9th, in theAdagio of his B flat Major, and in his C minorSymphony. Two Kettle-Drums are as a rule employed inthe orchestra with the following tonal-compass: — Seldom. The large (low) Drum. m (-&-) Seldom. The smaller (high) Drum lii^ Seldom. ^ Kettle-Drums can be tuned according tothe intention or imagination of the composereither in thirds, fourths, fifths, sixths, sevenths,or octaves. Every conceivable variety of tonal-shading is possible upon these instruments ran-ging from the softest pianissimo to thestrongest fortissimo or the reverse
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