. Orchestration . ay, however, quite well be used if nottaken too hastily. The following example, from which the whole ofthe Wood-Wind has been omitted, will illustrate this point. Thepassage occurs at Bar 25, 3rd movement, of Beethovens Choral Sym-phony, The interpolated note D in the Cello part (Bar 8 of theextract) needs no change of position, as it merely involves lifting thethird finger and sounding the open string. The finger is then replacedand the octaves resumed in the original position. 1 When the thumb-note jumped-to happens to be the first harmonic of an openstring . . the danger i
. Orchestration . ay, however, quite well be used if nottaken too hastily. The following example, from which the whole ofthe Wood-Wind has been omitted, will illustrate this point. Thepassage occurs at Bar 25, 3rd movement, of Beethovens Choral Sym-phony, The interpolated note D in the Cello part (Bar 8 of theextract) needs no change of position, as it merely involves lifting thethird finger and sounding the open string. The finger is then replacedand the octaves resumed in the original position. 1 When the thumb-note jumped-to happens to be the first harmonic of an openstring . . the danger is minimized, because this first harmonic will come out, even ifthe position of the finger is not mathematically correct.— Widor. By first harmonic the octave above the open string is meant. The expression position of the fingerwould be more correctly position of the thumb. THE CELLO 413 EXAMPLE Moderate Beethoven. Choral Symphony. 2nd Violins Violas Cellos. Double-Basses. (sounding anoctave lower.). nmrt rrpsr- ^~- ^ ^— -^ pp cresc
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