Introduction to playing from score . roughtout by means of tremolos. The sustained thirds of theoboes may be omitted to ensure the clear presentationof the melodic passage of the first violins. This can bedone without great loss, since the first oboe merely streng-thens the viola in the upper octave. Tones higher thanthose of the first violin do not occur at first; we are inthe position, therefore, to produce the double-basses andcelli exactly in the notated position, and, generally, to playthe whole passage exactly as written until bar 12, wherethe sudden rise of the violins renders the compo
Introduction to playing from score . roughtout by means of tremolos. The sustained thirds of theoboes may be omitted to ensure the clear presentationof the melodic passage of the first violins. This can bedone without great loss, since the first oboe merely streng-thens the viola in the upper octave. Tones higher thanthose of the first violin do not occur at first; we are inthe position, therefore, to produce the double-basses andcelli exactly in the notated position, and, generally, to playthe whole passage exactly as written until bar 12, wherethe sudden rise of the violins renders the compositionunplayable, and necessitates an arrangement after themanner of thorough - bass playing. We now raise thetones of the viola along with the violins, and continueforming tremolos, using other tones of the harmony as werequire them. 81. ?#? -^ TT mf —f—1-—r—1--+—»• —(? —+ —I- —f -+ —t- -«?-#?-#?-#?-•--#• -0- -#? -•? -•- -0- -•? 94 SUBSTITUTES FOR ORCHESTRAL EFFECTS. ;3 do al ^1. -t-ä- s §?^^=^: P=:|: 3lz=zzizp ?^^- ^E^ etc. =-F SUBSTITUTES FOR ORCHESTRAL EFFECTS. 95 It would be in vain to try to reproduce exactly thenext six bars (19—24), on account of the difficulties theycontain. True, the horns are only di rin/orza, and caneasily be done without; the oboes, too, only combine insustained chords the notes played arpeggiatido by thefirst violins, and only their final rolling figures requirepreservation. On the other hand, however, the secondviolins are carried on throughout independently, and thebasses, which are strengthened by the viola, require care-ful consideration. I see no other solution than to sacri-fice the dotted rhythm, preserving instead the ascendingpassage of the second violins which leads up to the f ofthe first violins, and modifying the descent of the secondviolins by keeping them in the upper octave, so that thefinal figure of the oboes will follow naturally. 82. < _^_Hi_,_i^ i 9M m A—-J ;SfEE5i^^
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Keywords: ., bookauthorriemannh, bookcentury1900, bookdecade1900, bookyear1904
