. Orchestration . Very often the composer contents himself with suggesting the ictus alone of the bell. This effect, especially when it representsonly the striking of a clock-bell, can be obtained by the simplestmeans. Such is the midnight-chime at the opening of Saint-SaenssBoAise Macabre, twelve little ticks on the Harp, which an unhappyHarpist has been known to extend to the unlucky number accompaniment is a single Horn D, with an interrupted pianis-simo chord for 1st and 2nd Yiolins and Yiolas. The composer addsthe stage-direction that if there is no Harp the D must be struck
. Orchestration . Very often the composer contents himself with suggesting the ictus alone of the bell. This effect, especially when it representsonly the striking of a clock-bell, can be obtained by the simplestmeans. Such is the midnight-chime at the opening of Saint-SaenssBoAise Macabre, twelve little ticks on the Harp, which an unhappyHarpist has been known to extend to the unlucky number accompaniment is a single Horn D, with an interrupted pianis-simo chord for 1st and 2nd Yiolins and Yiolas. The composer addsthe stage-direction that if there is no Harp the D must be struck 58 ORCHESTRATION twelve times on a Bell or Tam-tam, but pianissimo, and not forte, asmarked for the Harp. EXAMPLE 17. Mouvement modere de Valse. Saint-Saens. Danse Violins i&n. The evening and morning Seven oclocks in Strausss SinforiiaDomestica are merely seven little p taps on the Glockenspiel. Inthe second Seven oclock —quoted below—there is only a miniatureaccompaniment of three Violins and a Viola, all muted. Here is thepassage: EXAMPLE langsam. ^ Strauss. Sinfonia Domestica. Glockenspiel. Solo Violincon sord.
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