. Orchestration . is too short. The nearest approach to that logical ideal is themethod of writing each pair of enharmonic-unisons as a repeated noteof the same name, thus: EXAMPLE 289. Liszt. Mephisto-Walzer. o JLF F F T qf f Harp. This procedure, showing clearly not only those notes which are takenas enharmonic-unisons on two strings, but also the note which has nohomophone, is quite sufficient for all purposes. Indeed, it is tooelaborate for ordinary everyday use. It would be quite enoughto indicate the tuning clearly by a series of single notes confined toone If the
. Orchestration . is too short. The nearest approach to that logical ideal is themethod of writing each pair of enharmonic-unisons as a repeated noteof the same name, thus: EXAMPLE 289. Liszt. Mephisto-Walzer. o JLF F F T qf f Harp. This procedure, showing clearly not only those notes which are takenas enharmonic-unisons on two strings, but also the note which has nohomophone, is quite sufficient for all purposes. Indeed, it is tooelaborate for ordinary everyday use. It would be quite enoughto indicate the tuning clearly by a series of single notes confined toone If the limit of the glissando upwards or downwards, asthe case may be, is then shown by an additional note at the otherextremity, the Harpist can have no doubt as to what is wanted. Thisis really all that is necessary, for there is only one way of setting the Harp for any given glissando. The labour of writing out Harp-parts is always so great that any form of abbreviation is a blessing. 1 Widor instances the followine:. 4 iJU J ^j J ijjtJiJfrHJ h^^^M 2 The quotation from Liszts Mephisto- Walzer (Ex. 289) gives only the first seven notesof the glissando. In the Full Score Liszt writes the whole passage out in full for fouroctaves. Each octave after the first is of course only a repetition of the notes in thepreceding octave. THE HARP 469 Here is an ordinary example of an abbreviated glissando fromVariation VII. of Strausss Don Quixote set: EXAMPLE 290. Strauss. Don Quixote.
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