. Orchestration . cresc. jf In the Coda of Till Eulenspiegel Strauss has a four-part shake forHorns: EXAMPLE 50. Strauss. Till EulenspiegelSehr lebhaft. %. It will be noticed that they are all pitched fairly high, and that ofthe four shakes three are major. Furthermore, if reference is madeto the Full Score it will be seen that they are all pretty well coveredup by the heavy Brass and the Strings, and that the whole of theWood-Wind is trilling at the same time. From what has been said above, the student will gather that theHorn differs materially from all other Brass instruments. It is,indeed,
. Orchestration . cresc. jf In the Coda of Till Eulenspiegel Strauss has a four-part shake forHorns: EXAMPLE 50. Strauss. Till EulenspiegelSehr lebhaft. %. It will be noticed that they are all pitched fairly high, and that ofthe four shakes three are major. Furthermore, if reference is madeto the Full Score it will be seen that they are all pretty well coveredup by the heavy Brass and the Strings, and that the whole of theWood-Wind is trilling at the same time. From what has been said above, the student will gather that theHorn differs materially from all other Brass instruments. It is,indeed, at a higher artistic level altogether. The player is not a mere piston-opener. He often has the choice of many methods of execu-tion, and, in order to select the best, he has to keep his lips, his righthand, and his ear, in happy relationship with each other. It would bequite untrue to say that the modern ValveHorn has replaced the 118 ORCHESTRATION old Hand-Horn. The latter instrument is incorporated in the former,and is still the foundation of its technique. The player has now theadvantage of being able to set and re-set his instrument instan-tan
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