. Orchestration . to be welcomed. On the other hand, we mustremember that the function of the Drums is not to play scales,portamentos, and Its elemental nature should never bedisregarded. As we have now dealt with all the more commonly-used Percus-sion Instruments we may, for the sake of completeness, give a singleexample of their forte combination in the peroration of a example selected is from the end of Tschaikowskys SymphonicPoem, Francesca da Rimini. The Percussion Instruments employedare the Kettle-Drums (timpani), Cymbals (piatti), Bass-Drum (grossecoAsse), and G
. Orchestration . to be welcomed. On the other hand, we mustremember that the function of the Drums is not to play scales,portamentos, and Its elemental nature should never bedisregarded. As we have now dealt with all the more commonly-used Percus-sion Instruments we may, for the sake of completeness, give a singleexample of their forte combination in the peroration of a example selected is from the end of Tschaikowskys SymphonicPoem, Francesca da Rimini. The Percussion Instruments employedare the Kettle-Drums (timpani), Cymbals (piatti), Bass-Drum (grossecoAsse), and Gong (tamtam). Of these the first and third play a con-tinuous tremolo, while the second and fourth are in rhythmical patternwith the rest of the orchestra. Examples of this sort are, of course,common at the end of many concert and operatic works. 1 According to Strauss. Von Billow put Beethovens on the Mechanical Drums. 52 ORCHESTRATION EXAMPLE 14. Allegro vivo. Timpani. Piatti. Grosse Caisse. Tutti. S3. P m i m p ^ i ^ I ^ i *i *=5l ^ 3chaikowsky. Fravccsca. /7n S ^ S 33 ^ rrs E£ ta * ^^ Another example of a Percussion ending is quoted below fromDvoraks Gameval Overture. The instruments employed are Kettle-Drums, Cymbals, Side-Drum, and Triangle. (See Ex. 79.) Before leaving this subject the student should look carefully at allthe examples in this book which include a Kettle-Drum part. Withoutvery lengthy quotation it is quite impossible to show the relative valueof the Drum-parts to the general orchestral texture of a quotations, however, have been selected when possible to includesome illustration of the commonest Drum-effects. They may be foundin Exs. 43, 73, 74, 79, 91, 93, 112, 134, 176, 182, 214, 259, 267, 278. No. 12. Bells. Fr. Cloches ; It. Campane (or Campanelle) ; Ger. Glocken. There is no need to describe this instrument in detail, but one maysay at the outset that the church-steeple variety is never employed inthe orchestra. Such a bell, ev
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