. Orchestration . ks of a large size. They .ire not often used in full eight-partharmony, but rather as a double quartet, whose power of added weight and accentuation can !><• brought to bear at any desired point. A very short example of muted Horns in harmony has alreadybeen quoted from Elgars Qrcmia and Dia/rmid (Ex. 4). There theHorn parts were given for the students convenience in their actualsounds. We may, therefore, give a final example here of the 11 on is intheir transposing notation. (Example 75, p. L33.) This is a characteristic Wagnerian example of six part harmony onthe mute
. Orchestration . ks of a large size. They .ire not often used in full eight-partharmony, but rather as a double quartet, whose power of added weight and accentuation can !><• brought to bear at any desired point. A very short example of muted Horns in harmony has alreadybeen quoted from Elgars Qrcmia and Dia/rmid (Ex. 4). There theHorn parts were given for the students convenience in their actualsounds. We may, therefore, give a final example here of the 11 on is intheir transposing notation. (Example 75, p. L33.) This is a characteristic Wagnerian example of six part harmony onthe muted Horns. The 4th Horn part is to be r<ad a major third higher, QOt B minor sixth lower. The student would do well to writeout these Eew bars as they -mind, noting the negligible enharmonKJdifferences between the Horns and the 1 A f<-\v Dotea for muted Home may be Been in Ex. 134. They are u »ed merely to iill in the liaimony. THE TROMBONES 133 EXAMPLE 7; Moderate* con moto. Wagner. Das Alberich Nacht und Ne-bel, Nifmandgleich Siebst du mich Bnider? The Trombones. Ft. Trombones j It. Tromboni] Ger. Potauney. PRELIMINABT. There are four different sizes of Trombone,1 the Alto, the Tenor,t\wBass, and the Double- (or Contra-) Bass—a large family, of which thefirst is in a state of senile decay and the last only a bawling the name of Sackbuts fchey have existed from early times muchas they are at present. Indeed, in many pictures of mediaeval bandsand orchestras it is the familiar slide-mechanism and the characteristicdownward slope of the bell-joint in the Sackbuts that first attract amodern musicians attention. In the sixteenth and seventeenth centuries there seems to havebeen, besides the Alto, the Tenor, and the Bass, a very high Soprano-Trombone, in appearance and pitch something like the SopranoTrumpets which one sees in Bersaglieri bands. In Bachs day it wasthe custom at Church-Festivals to give each of the four parts of thechorale
Size: 2568px × 973px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
