. Orchestration . IR^ilC er CHffr I vMf JSf f gg Rit-terdort er an- er-kant so heh - rer Art doch Violinsin 4 parts. Mi I I!e r npir c g p c eP*ppp Gra - bes Se - gen, ent-hiilli muss er des Lai - en Au - ge fliehn In this passage the magical effect of the E major chord, which isleft as it were trembling in the air, is much enhanced by the stronglycontrasting tone-colours of the two previous bars. This familiarexample prompts an observation which is well worth the studentsattention. All Bowed Tremolos, whether p or /, have much less soundin them than the corresponding legatos or Fi
. Orchestration . IR^ilC er CHffr I vMf JSf f gg Rit-terdort er an- er-kant so heh - rer Art doch Violinsin 4 parts. Mi I I!e r npir c g p c eP*ppp Gra - bes Se - gen, ent-hiilli muss er des Lai - en Au - ge fliehn In this passage the magical effect of the E major chord, which isleft as it were trembling in the air, is much enhanced by the stronglycontrasting tone-colours of the two previous bars. This familiarexample prompts an observation which is well worth the studentsattention. All Bowed Tremolos, whether p or /, have much less soundin them than the corresponding legatos or Fingered Tremolos (No. 3).This statement, which is directly contradicted in some orchestrationbooks,3 is undoubtedly true. In the Bowed Tremolo the amplitude ofthe string-vibrations is very small, and, with every turn of the bow,the sound is damped. Even the greatest crescendo possible, providedit remain a true tremolo* never approaches the dynamic level of an Example 231. From Act III. See Widor, page 165. 4 The practical application of this can be seen in any big Trem. cresc. toff. In suchpassages the String-players always
Size: 3270px × 764px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
