. Orchestration . ts are played by the Wind. In the generalmf ensemble of Strings, Wood-Wind, and Horns, the Cello part maybe associated with the dry staccato of the Bassoon. In the latter caseit is often wise, either to divide the passage up between two Bassoons,or, if the figures are allotted to a single instrument, to omit the bass-note. The lower staccato notes of the Bassoon are sometimes a littletoo heavy and the Double-Basses, of course, supply the omission. Inaddition this arrangement gives the Bassoonist regular places forbreathing. In the more serious forms of music the Cello pizzica
. Orchestration . ts are played by the Wind. In the generalmf ensemble of Strings, Wood-Wind, and Horns, the Cello part maybe associated with the dry staccato of the Bassoon. In the latter caseit is often wise, either to divide the passage up between two Bassoons,or, if the figures are allotted to a single instrument, to omit the bass-note. The lower staccato notes of the Bassoon are sometimes a littletoo heavy and the Double-Basses, of course, supply the omission. Inaddition this arrangement gives the Bassoonist regular places forbreathing. In the more serious forms of music the Cello pizzicato, withoutbeing bound down to a persistent figure of accompaniment, appears indelightful combinations with the Wood-Wind and Horns. Brahmsoften makes a very happy use of this method in his Allegrettos. Ofthese one cannot quote a better example than the opening of the 3rdMovement of his Symphony in G minor. EXAMPLE poco Allegretto e grazioso. dole, Brahms- Symphony in Cminor. Clarinetsin Bk Bassoons 2 Horns. 1st & 2nd Here the flowing Clarinet-tune and the easy upward movement ofthe Horn are charmingly contrasted and combined with the pointedCello-bass. Notice also the unexpected and happy entry of the threeupper String-parts, p ololce —= —, and their no less unexpected THE CELLO 429 and happy exit. The held Oboe-C with its little crescendo, followedby two bars of movement diminuendo, and then twelve bars rest, iswell worth noting for its tiny perfection. The student should examinethe whole of this movement in the full score, as the pizzicato Cello-bass plays quite a prominent part in it As with the other Strings there is a certain upward limit beyondwhich it is inadvisable to write the pizzicato. This limit, fixed by theshortness of the string and the consequent dryness of the tone, may beexactly illustrated by the little unaccompanied scale-passage whichleads from Scene II. to Scene III. in Act III. of HumperdincksHansel und Gretel. Anything higher tha
Size: 1940px × 1289px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
