. Orchestration . ecessary in an orchestralensemble. Yet the omission of those few notes, or the substitution ofa tenuto Bass-part col arco, will often befog the whole passage. Thepizzicato Bass not only lightens the weight of the whole orchestra butit also adds a sense of point, of movement, of something a single Bass note played pizzicato in the proper place can beeloquent and even poetical. Strauss has drawn attention to the pizzi-cato G of the Basses, which, in the 1st Act of Tristan just touchesthe word blau (blue) with colour. The passage may be seen on page32 of the Full Scor
. Orchestration . ecessary in an orchestralensemble. Yet the omission of those few notes, or the substitution ofa tenuto Bass-part col arco, will often befog the whole passage. Thepizzicato Bass not only lightens the weight of the whole orchestra butit also adds a sense of point, of movement, of something a single Bass note played pizzicato in the proper place can beeloquent and even poetical. Strauss has drawn attention to the pizzi-cato G of the Basses, which, in the 1st Act of Tristan just touchesthe word blau (blue) with colour. The passage may be seen on page32 of the Full Score. Another happy instance of two simple pizzicatonotes has already been quoted from Bridges In thisexample the composers intention is, of course, not the illustration ofan external idea. The cleverly placed pizzicato is, however, none theless delightful from a musical point of view. EXAMPLE 278. Adagio Weber. Der Clarinetsin Bk Bassoon. Kettle -Drums. 1st Violins. Violas. Cellos. 1 See Example 248. 2 The chord for four Horns is omitted from the 1st Bar of this Example. 452 ORCHESTRATION Within the present limits of space it is impossible to illustrateadequately the curious psychological effect produced at times by thepizzicato of the Basses. The student must seek these for himself inthe concert-room and the theatre. The simplest and possibly theearliest attempt to utilize this tone-colour for the sudden realizationof Drama is to be found in Webers familiar passage on page the means is the simplest: the result, the most magical. Theessence of the orchestration is the contrast between the mass of heldHarmony above and the lugubrious mechanical stroke of the Bassesand Drums below. The colour in the low Clarinet-notes, in thetremolo Strings, and even in the high Cello melody, is less essential tothe tragedy. Since the days of Der Freischutz this kind of orchestraleffect has been used again and again often in a much more elaborateform. Th
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