Post on 22-Feb-2023
THESAURU S OF
ORCHESTRA L DEVICES
By
G ARDNER R EAD
PITMAN PUBL I SH ING COR POR AT ION
NEW YORK TORONTO LON DON
PUBLISHED, 195 3
All rights reserved
2 9 3 5”
Associated Compan iesSm ISAAC PITMAN 8c SONS, LTD.
London Melb ourn e johannesb urgSm ISAAC PITMAN 8c SONS (CANADA), LTD.
Toro n to
TOARTHUR COHN an d NICOLAS SLONIMSKY
peripatetic en cyclopedists an din defatigab le begetters of pan dects,
lexicon s,an d thesauri
FOR EW OR D
Musical literature is sign ally lackin g in up- to—date man uals of o rchestral practice . Texts
that describe the in dividual in strumen ts are plen tiful, of course , b ut on ly a few con siderin an y detail th e subtle art o f combin in g in strumen ts. The presen t volume is un ique in that itsummarizes an d lists illustratio n s o f hun dreds of o rchestral devices, thereby makin g it po ssibleas n ever before fo r the studen t to survey the whole field of o rchestratio n . It was a man - sizedjo b , an d it took Gardn er Read
’
s metic ulous an d persisten t min d , an d his compo ser s in timate
kn owledge of th e orchestra an d its po ten tialities, to carry it out successfully.
N0 on e composer has ever exploited all the possibilities of the modern o rchestra. More
than an y o ther phase of music , the art of o rchestration has depen ded upon the combin edimagin atio n of prac tisin g composers everywhere . This Thesaurus is a compen dium an d store
house of o rchestral experien ce , especially o f co n tempo rary writers, as deduced from actual
works. With a min imum of text an d a maximum of example the author makes it po ssiblefor the music studen t an d all o thers in terested in o rchestral craft to examin e devices, from the
most common to th e most recon dite , that may b e foun d in the published scores of a widevariety of compo sers. No compo ser will ever wan t to use all the effects listed in this bo ok.
On th e o ther han d, n o compo ser is so un iversally adept as n o t to b e able to profit from a
perusal of the man y illustration s exhibitin g the in gen uity an d colo ristic imagin in gs of his
colleagues.
It is a commen t upon the presen t state of musical achievemen t in our coun try that thisThesaurus of Orchestral Devices should have been co n ceived an d executed by an American
composer an d teacher . Bo th Gardn er Read an d his publisher deserve our than ks.
THIS BOOK represen ts that rare thin g in musical scholarship—a first time an ywhere .
AARON COPLANDNEW YORK,
jan uary, 195 3 .
v ii
PR E FAC E
RCHESTRATING IS NOT just arran gin g music fo r the orchestra : it is composing for thein strumen ts. It is thinkin g first an d fo remo st in terms of in strumen tal colo r
,balan ce ,
an d so n ority—mv en tin g a melodic lin e that fin ds expressio n on ly, for example , in the
En glish horn ,an d in n o o ther in strumen t ;writin g a son o rity that can b e achieved by n o other
combin ation than muted brass ; or weavin g an in sisten t rhythmic ostin ato that reaches fullexpressiven ess on ly by the muffled ten o r drum . Perhaps this is the reason why there are so man ymerely “go od” in strumen tato rs an d so few outstan din g masters of orchestration .
It must, however , b e co n stan tly born e in min d b y th e o rchestrator— the experien cedcraftsman as well as the n ovice— that the employmen t per se Of such devices as flutter - to n guin gin the brass,glissan di in the harp , an d col legn o an d sulpon ticello in the strin gs do es n o t n ecessarilyguaran tee colo rful, o r even effective
,o rchestration . An d certain ly the musical value of an
o rchestral wo rk does n ot depen d primarily o n even the most skilful an d imagin ative use of
these o r o ther in strumen tal devices. Haydn,Mo zart
,Beethoven ,
an d Brahms—four gian tswho fmd comparatively slight represen tatio n in this volume—c reated man y fin e wo rks fo r theo rchestra without so much as a hin t of effect
”o r the employmen t Of colo rful an d un usual
in strumen tal devices.
Durin g the past hun dred an d fifty years o r mo re , n evertheless, th e con ception of colo r,
den sity, clarity, timbre—whatever o n e cho oses to call it—has asserted a persuasive an d cumulativeinfluen ce on the creative orchestrato r . All Of the in strumen tal devices catalogued here are
therefore perfec tly legitimate , an d by n ow even in dispen sable , in gredien ts in the o rchestrato r ’ston al palette . Some of them, Of course , have been in use for hun dreds Ofyears, such as the b owtremolo an d piz zicato, first in troduced by Mon teverdi about 1624. O thers, in cludin g mo st Of
the harp an d percussion effects, are comparatively recen t, an d still n ewer devices are yet in the
experimen tal stage—fo r example , th e microphon e techn iques of radio an d film music . It did
n o t lie within the scope of the presen t volume to in clude movie,radio
,an d jazz effects o ther
than those foun d in serious sympho n ic sco res, n o r to delve in to the vast literature of chambermusic an d opera. In compilin g an y kin d of thesaurus o n e must ofn ecessity draw the lin e
somewhere , an d so it seemed advisable to co n cen trate o n sympho n ic Wo rks readily availableto th emusic studen t an dprofession almusician . Numerous exceptio n s have been made
,however
,
in the case ofwell—kn own operatic excerpts which have become part of the stan dard o rchestralrepertoire .
The perceptive o rchestrator will observe that the overwhelmin g majority of the sco resreferred to in the Thesaurus are impressio n istic o r programmatic in con ten t an d style , for mo st
of the orchestral devices listed herein are products of essen tially harmo n ic music,dramatic an d
roman tic in co n cept—descriptive in effect. The wo rks of the lin ear composers, Bach to
Hin demi th , fin d small represen tation because the very n ature of the music precludes thin kin g0
1X
PREFACE
primarily in terms ofexo tic color an d un usual son ority. This is perhaps the best an swer possibleto tho se who will lo ok in vain—an d with amazemen t—fo r exten sive quo tation s from the scores
ofHin demith , admittedly on e ofthe creative gian ts ofthe twen tieth cen tury an d an orchestrato rthout peer.
This Thesaurus of Orchestral Devices is in ten ded to b e a lexicon of in strumen tation whichwillserve th e studen t an d o r profession alo rchestrato r in the same man n er an d to the same degreethat Bar tlett
’
s Familiar Q uotation s, Roget’s Thesaurus of English Words, or Webster’s New
I n tern ation alDiction ary aid both the studen t of literature an d the established writer . As far as
is kn own ,n o such thesaurus of o rchestration has ever before been compiled. It is hoped that
the bo ok will meet a very real n eed amo n g embryo o rchestrators an d season ed composersalike , especially sin ce n early every work quo ted is available in a study sco re edition ,
gen erallyat an agreeably modest price , an d a great man y are
,of course
, c ommercially reco rded. In the
in terests of practicability, o n ly wo rks published in min iature o r study score fo rmat (up to
Jan uary I , 195 1 , an dmade available to the author) are in cluded in the Thesaurus. Certain exceptio n s have been made where a large score is the on ly on e prin ted
, b ut n o man uscript worksof an y kin d have been referred to . The detailed plan used for the presen tatio n of the materialquo ted m th e Thesaurus may b e foun d o n page 41 .
It 1s regretted that the presen t scope of the Thesaurus did n o t allow fo r examples of thein strumen tal devices foun d in modern chamber music works, o ther than those from two
n o table exception s : Stravin sky s Histoire du S olalat an d SchOn b erg s Pierrot Lun aire . The six
strin g quartets ofBartok as well as the complete chamber works of SchOn b erg an d Stravin skyare veritable gold min es for the device - pro spectin g musician ; in fact, they might almost b e
con sidered a basic text of modern strin g techn ique , at least so far as'
the various uses of sulpon ticello, sul tasto, col legn o, glissan a
’i,an d pizz icati effects are co n cern ed . The adven turous an d
ambitious studen t of o rchestration is stro n gly urged to make these works as in tegral a part ofhis score library as Symphon ie Fan tastique , L a Mer, an d L e S acre du
0
Prin temps .
No on e is more aware of the limitation s and un avoidable omissio n s in the Thesaurus thanthe autho r himself. When n early on e thousan d study sco res had to b e examin ed page by page ,itwas perhaps in evitable that some sign ifican t or in terestin g uses ofan y ofthe modern orchestraldevices catalo gued
,
should b e overlo oked . Some examples, moreover , were deliberately n o t
listed when it was felt that the device in question had been amply illustrated o n certain otherpages of the wo rk in han d. If, for in stan ce , every example of the use of b ow tremolo in the
strin gs had been given , there would literally have been room for n o thin g else i n the bo ok ; an dall the in stan ces of the use of cle
’
tache' bowin g foun d in sco res from Haydn ’
s time to the presen twould fill a volume twice the size of this on e !
Fin ally,itmust b e stro n gly emphasized that the n umber of times awork 1s, o r is n o t, quo ted
from is absolutely n o in dication of the composition 3 artistic wo rth. Man y extremely worthwhile sco res are sparsely represen ted in the Thesaurus an d some obviously meretricious worksare quo ted from quite exten sively ; it is en tirely a matter of how much each makes use of an dclearly illustrates the techn ical devices with which this book is primarily con cern ed. It is n o
part of the '
purpose of the Thesaurus to make an aesthetic o r purely musiCal evaluation of the
devices used in scores from the past to the presen t. Everymusician would do well to remember
X
PREFACE
that the art oforchestration ,like allArt, does n ot depen d upon techn ique alon e , n o matter how
brillian t thismay b e . But when techn ique an d expression an d musical co n ten t are in extricablyjoin ed an d in terwoven ,
musical creatio n ,ofwhich in strumen tation is b ut on e
'
impo rtan t facet,becomes valid an d en durin g .
G. R.
BOSTON, MASSACHUSETTS,Jan uary, 1953
ACKNOWL EDGMENT S
ation of such a volume as the Thesaurus of Orchestral Devices could n o t have beenaccomplished. The followin g publishers are deservin g ofmuch more than the con
v en tion al wo rd of than ks an d have,as they kn ow, the author’s deepest gratitude an d
appreciationKarlF. Bauer ofAssociated Music Publishers, In c . ; Maurice Baron ofM . Baro n Co . ; Betty
Ran dolph Bean an d the late Ralph Hawkes ofBo o sey an d Hawkes, In c . ; Alexan der BroudeofBroude Bro thers ; Ralph Satz ofChappell an d Co In c . ; Q uin toMagan in i ofEdition Musicas
—New York ; Hen ri Elkan ofElkan—VogelCo . ; Joseph Fischer ofJ Fischer 8cBro . ; Edwin F.
Kalmus ; Guy Freeman of Leeds Music Co rp . ; Felix Greissle of E. B . Marks Music Corp . ;
Milto n Feist ofMercuryMusic Co rp . ; Lyle Dowlin g ofOxfo rd Un iversity Press, In c . ; Walter
Hin richsen of C . F. Peters Co rp . ; Arthur Paffrath of Salabert, In c . ; Ben jamin Grasso of G.
Schirmer , In c . ; an d Ray Green , who as executive secretary of the American Music Cen ter
made available the New Music an d Arrow Music Press editio n s. The followin g publishin ghouses also gen erously do n ated their sco re publication s to the author : C . C . Birchard Co . ;
Bomart Publishin g Co . ; Composers Press, In c . ; Carl Fischer , In c . ; MillsMusic,In c . ; Novello
an d Co . ,Ltd. ;Pro ArtPublication s ; Robbin sMusic Co rp . ; Southern MusicPublishin g Co . ,
In c . ;
an dWein traubMusic CO.
Kin dest thanks are likewise due to Karl an d Iren e Geirin ger , Dika Newlin ,an d Klaus
G. R oy fo r their in valuable aid in compilin g the exten sive lists of fo reign termin ology ;to Carlton Gamer
,Richard Man n
,an d Vin cen t Trun fio for lon g hour s spen t double
checkin g Spellin gs an d page an d~
measure n umberin gs ; to my wife for patien tly helpin gto co rrect proofs, an d to Nicolas Slon imsky, who scrutin ized the book with an eagle ’seye for errors an d omission s.
Fin ally, very special appreciatio n must b e exten ded to Dr . Philip James, head of
the departmen t of music in the Graduate Scho ol of New Yo rk Un iversity, who as
Advisory Editor for the Pitman Bo oks on Music brought the presen t volume to the
publisher’s atten tio n ,an d who has at all times given to his editorial work on the
Thesaurus un failin g con viction an d in fectious en thusiasm.
WITHOUT THE SUPPORT an d gen erous cooperatio n of the music publishers the compil
CONTENTS
FOREWORD by Aaron Coplan dPREFACE
ACKNOWLEDGMENTS
PART I
THE IN STRUMENT S OF THE ORCHE STRAI n troduction
Chapter I Nomen clature of In strumen ts
Chapter 2 Comparative Table ofRan gesChapter 3 Evolution of the Modern Symphon y Orchestra
PART I I
WOODW IND S0
Extreme or Exten ded Ran ges(1 ) Piccolo (a) Flute (3 ) Ob oe (4)(8) Con trab assoon
Double—ton guin gTriple - ton guin gFlutter—ton guin gGlissan di an d Portamen ti
Bells UpHarmon ics
Off- stage
Echo—ton eVibratoSlap- ton gueMutedMiscellan eous EffectsWoodwin d Termin ology
CONTENT S
In troduction
Chapter 18 Extreme o r Exten ded Ran ges(1) Horn (2 ) Trumpe t (3 ) Tromb o n e (4) Tub a
Chapter 19 Mutes
(1) Mute Types (2) E '
cho Soun ds (3) Han d in b ell (4) Hat over b ell (5) In stan d (6) Oth erin dication s
Chapter 20 Stopped o r Brassy To n es .
(1) S topped (2) (3 ) S topped (4) Muted—b rassy (5) Muted (6) Open—b rassy(7) Open (8) Han d in b ell (9) Half- stopped (10) O ther in dicatio n s (1 1) S topped a ndOpen Comb in ed
Chapter 2 1 Stopped- Open 0 )
Chapter 2 2 Open - Stopped (OChapter 2 3 Triple—ton guin g
Chapter 24 Flutter- ton guin g
Chapter 2 5 Trills an d Tremoli
Chapter 26 Glissan di
Chapter 2 7
Chapter 28 Off—stage
29 Jazz Effec ts(1) Flare (2 ) Growl (3 ) Lip slur (4) Rip (5) Smear (6) Vib rato (7)Wah—wah (8)Wow
Chapter 30 IVIiscellan eous EffectsChapter 3 1 Brass Termin ology
PART IV
PERCU S SION
an i
(1 ) Exten dedR an ge (2 ) Chords [In tervals] (3)Dampen ed (4)Me th ods ofS trikin g 5)Mutfled
(6) Pedal Glissan di (7) StickTypes (8) 2 - Timpan i R oll (9)With 2 S ticks (10) O th er EffectsChapter 3 3 Bells, Glocken spiel, Marimba, Vibraphon e , an d Xylophon e
(1 ) Glissan di (2 ) Mufiled (3 ) Off- stage (4) Stick Types (5) Tremolan di (6) O th er Effec ts
CONTENT S
Cymbals (Pair an d Suspen ded)(1) Dampen ed (2 )Meth ods ofS trikin g (3 ) S tick Types (4) O th er Effec ts
Bass, Sn are , an d Ten o r Drums
(1)Dampen ed (2 )Me thods ofStrikin g Muffled (4) Off- stage (5) S tickTypes (6)With outsn ares (7) Other Effec ts
Gon g,Tambourin e , an d Trian gle
(1 ) Dampen ed (2) Me th ods of S trikin g (3 ) Muffled [Muted] (4) Off- stage (5) Stick Types(6) O th er Effects
Other Percussio n In strumen ts(1) Me thods of Playin g o r S trikin g Mufiied [Muted] (3) Off—stage (4) S tick Types(5) O th er Effec ts (6) O th er Keyed Percussion In strumen ts (7) O th er Pitch ed PercussionIn strumen ts (8) Other Un pitched Percussion In strumen ts
Percussion Termin ology
PART V
KEYBOARD IN STRUMENT SIn troduction
Chapter 39 Celesta, Organ , an d Pian o
(1) Glissan di (2) Ton e - clusters (3 ) Tremolan di (4) O ther Effects
I n troduction
Chapter 40 Glissan di(1) In on e han d (2 ) In two han ds (3 ) Chord—o n e h an d (4) Cho rd—two h an ds (5) C omb in ation s
Chapter 41 Harmon ics
(1) Sin gle—either han d (2 ) Doub le Quadruple Comb in ation s—two han dsChapter 42 Homon yms
_(En harmon ics)(I ) In o n e han d (2 ) In two han ds
Chapter 43 Non - arpeggiato“Pres de la table
Son s e'
touffe'
s”
Tremolandi an d TrillsMiscellan eous Effects
Harp Termin ology
2—(G -429)
CONTENT S
Bowin g(1) Détach é (2 ) Legato (3) Marcato an d Mar telé (4) Spiccato an d Staccato (5) Saltan do(6) S trike with b ow (7) Au talon (8) Pun ta d’arco (9) Full b ow (10) Middle of the b ow
(1 1) R ev erse Bowin g (12 ) Successiv e Down - b ows (1 3 ) Successiv e Up- b ows
Chapter 50 Pizzicati(1) Arpeggiato (2 ) Cho rds (3 ) Glissan do (4) Left- han d (5) Nail (6) On Harmon ics
(7)“Slap
”(8) Sn ap
”(9) Thumb (10) Tremolan do (1 1) Vib rato (12 ) With 2 fin gers
(1 3 ) Pizzicati an d No n -
pizzicati Comb in edChapter 5 1 Tremoli
(1) Bow (2 ) Fin ger (3 ) Bow-Fin ger (détach é trill o r in terval) (4) Glissan do (5) Measured(6) O n Harmon ics (7) Bow an d Fin ger Comb in ed (8) Tremoli an d Non - tremoli Comb in ed
Chapter 52 C01Legn o(1) Glissan do (2 ) On Harmonics (3 ) Tremolo (4) No n - tremolo (5) ColLegn o an dPizzicatoComb in ed (6) ColLegn o an d Modo Ordin ario (arco) Comb in ed
Chapter 53 SulPon ticello(1) Back of b ridge (2 ) Glissan do (3 ) On Harmon ies (4) Pizzicato (5) Tremolo (6) Nontremolo (7) $111Po n ticello an d C 01Legn o Comb in ed (8) SulPon ticello an dModo Ordin arioComb in ed
8111Tasto(I ) Glissan do (2 ) On Harmon ics (3 ) Pizzicato (4) Tremolo (5) Non - tremolO (6) Sul Tastoan d Sul Pon ticello Comb in ed
Mutes
(1) Muted an d Open Comb in ed (2 ) Mutes on gradually (3 ) Mutes Off graduallyNatural Harmo n ics.
ArtificialHarmon icsMultiple Divisi
1) Div i si a 3 (2 ) Divisi a 4 (3 ) Div isi a 5 (4) Divisi a 6 (5) Divisi a 7 (6) Divisi a 8a 9 (8) Divisi a I O (9) Divisi a 1 1 (I O) Divisi a 12
Solo Parts
Soli Parts
Chord No tatio nDouble - stopped Un ison sGlissan di an d Po rtamen ti.
(1) Ordin ary Glissan do (2 ) Slow orMeasured Glissan do (3 ) In Harmo n ics (4) To aHarmon ic
(5) O th er In dication sChapter 64 Off
- stage
ILLU STRAT ION S O F S C OR E S
STRAVINSKY '
: L e S acre du Prin temps Fron tispiece
RIMSKY—KORSAKOFF : S cheherazadeMAHLER : SymphonyNo. 4
BRITTEN : S infon ia da Requiem
STRAUSS : Don Q uixote
SCHONBERG : FiinfOrchesterstucleeBARTOK : Violin Con certo
MILHAUD : L es Choe’phores (IV. Présages)DEBUSSY : LaMer
RAVEL : Rapsodie Espagn ole
BARTOK : Dan ce Suite
xxi
INTR OD U C T I ON
OTHING SEEMS TO DATE mo re quickly than an orchestration text- book. New in strumen ts
are added to the sympho n y orchestra, Others become Obsolete , ran ges are exten ded ,techn iques improved an d expan ded—an d o n e more tome o n in strumen tatio n becomes
itself outmoded . It is a“
regrettable fact that at this time there is n o t in existen ce a sin glecompletely thorough, reliable , or up—to - date text on even the basic techn ique of orchestration ,
in cludin g the co rrect ran ges fo r the stan dard in strumen ts. Such volumes as the Berlioz- Strauss
Treatise on I n strumen tation an d Rimsky—Ko rsak'
off’
s Prin ciples of Orchestration have histo ricalin terest an d sign ifican ce , b ut are assuredly n o t adequate as methods of sco rin g fo r the moderno rchestra. An d certain more recen t bo oks, such as that of Schillin ger
, are n o t o n ly full o fpopular (b ut erron eous) cliche
'
s an d such in formative gems as [sic] There is an un writtenin tern atio n al code of ethics by which composers limit themselves to the written ”g
of the
seco n d o ctave [fo r clarin et] , b ut they also still largely in dicate the restricted ran ges of theeighteen th- n in eteen th- cen tury o rchestra. We must await with patien ce the appearan ce of
Arthur Cohn ’
s mon umen talArt an d S cien ce ofOrchestration , Which gives promise of bein g then e plus ultra in in strumen tatio n treatises.
To Show the o rchestration studen t in particular how much stan dard texts on the subjectdisagree in the simple matter ofran ges alon e , a Comparative Table ofRan ges has b een compiledfrom sixteen well- kn own orchestration bo oks, n ew an d old. These are arran ged n o t alphab etically b ut in o rder of date of first publication , so that the chr o n ological expan sio n of the
in strumen tal ran ges may b e better observed, The Table is completed with what is hoped isthe fin al word (as of 195 1) o n ran ges for the stan dard orchestral in strumen ts : first, fo r the
profession al, major symphon ic o rchestra ; an d seco n d , for the n o n - professio n al or semi- amateurgroup . After all, it is on e thin g to sco re a work for po ssible performan ce by the Bo stonSymphony Orchestra or the
l
New York Philharmon ic- Symphon y, an d quite an o ther for a
high scho ol or college o rchestra. The so on er the youn g o rchestrator learn s this simple an d
in co n trovertible fact the soon er is his wo rk likely to b e perfo rmed.
Precedin g th e Table ofRan geswill b e foun d th e customary Nomen clature of the orchestralin strumen ts. For the sake of completen ess all the n ames common ly used for each in strumen thave been given in the four basic score lan guages—En glish, Italian ,
Fren ch, an d German .
Ben eath most Of the in strumen tal n ames are the co n ven tion al abbreviation s as used in prin tedsco res. It Will b e seen ,
however , that apparen tly composers an d publishers do n ot always agreeWith each o ther as to the proper abbreviation s, an d that as yet there exists n o stan dardizedprocedure 111 this respect.
Fin ally, there 1S given a chart Showin g the evolutio n of the modern symphon ic o rchestraso far as gen eral balan ce , n umber , an d make - up of the in strumen ts are con cern ed. Begin n in gwith the Festmesse of the early Ven etian compo ser, Ben evoli , compo sed in 162 1 , an d en din g
4
Chapter 1
NOMENCLATUR E O F INSTRUME
(in order of appearan ce in the score)Italian Fren ch German
Par titura Partitio n Partitur
I . WOODW IND SIn strumen ts av en t
En glish Horn Corn o in glese Cor An glais
H. , Cor. ingl , Cor igl. , C . ingi. , Cor Ang. , C . Angl. , Cor A
C . An . , Cg.
Ob o e c o n traltoOb . c
’
altoOb o e d’amo re O b o e d’amo re Hautb oisd’amour Ob oe d’amoreOb . d
’
amore Ob . d’
amore t . d’
amour Ob . d’
amore
Bass Ob o e Heckelph o n
Bs. Ob . Heckelph . , Heck
Eb [D] Clarin et Clarin e tto piccolo in Mib [Re] Pe tite Clarin ette en l\/Iib K[C]larin ette in‘
Es [D]E b C l. in E b [D] CI. pica , Cl. pc. . C I. p. , CI. in [R 6] Kl. in E s[D] , Es—KL, D- Klar.
Mib [Re] , C l. (Mib , Re) P”Cl.
Clarin e t(s) Clarin etto (i) Clarin e tte(s)Clarts . , Olars. , Cits. , Cls. , Cl. Cl. Clan , Cl.
Bass Clarin e t Clarin etto b asso Clarin e tte BasseBass Clan , Bass CL, Bs. Clan , Clar. basso, Clar. B Cl. b
’
o. , Cl.Basse, Clar. B. , Cl. B.
Bs. CL, B. C it. Cl. b .
Claro n e
Saxoph o n e(s) Sassofon e(i)Sax . Sassaf.
Basso o n (s) Fago tto (i)Bssn s. , Bsn s ., a . , Eu.
English
Co n trab asso o nCon . Bssa . , Cbssn . , C .
- Bsu. ,
C . C . B’
ssoon . , C .
Eu.
Doub le Bassoo nD. Bssn . , D. Bn . , Dbn .
Sarrusopho n e
Sarr.
Brasses[Brass]
Ho rn (s)
Trumpet(s)Trpts . , Tpts. , Tip , Tps. , Tpt.
Bass Trumpe t(Ten o r) Tromb o n eT.
- bon es Trombs. , Trbn s. ,
T.Trh The.
Bass Tromb o n eBs. Trb n . , Bs. Tbn ., B. Trh.
Ten o r Tub a
(Bass) Tub a
I talianCon trafago ttoCon t. R , C .
- Fag. , C. Fg., n . ,
C . F.
Otto n i[Strumen te d
’
Otto n e ; strumen ti di metallo ]
Co rn o (i)Cor. , Cr.
Tromb a(e)
Clarin o
Corn etto (i) a pisto n iCuti. , C . ap . , Cor. a p .
Tromb a b assaTrb . basso
Tromb o n e(i) ten o re (i)Tmbon i. , Trb n i. , Trbn ., Tbn i. ,Tmi., Trb . , T.
- n i. , Tr.
Tromb o n e b assoTrbn . b .
Tub a ten o reTb . ten .
Tub a (b assa)
Fren chCon treb asso nC“ B“ , C . B“ , Cba.
Sarrusopho n e
Sarr.
Tromb o n e (s)Tromb . , Tbn es. , Trb .
I I I . PER CU S S IONPercussio n e
[Batteria ; S trumen ti a percossa]ui
Batterie
Grosse CaisseC r. , C
”, C r. C . , C .C .
Tamb our (militaire)Tamb .
Caisse Claire
Caisse, (L, C . C . cl.
1 Erro n eous Spellin g
7
NOMENCLATURE OF IN STRUMENT S
German
K[C]On trafago tt
Gro sse Trom'
rn el
gr. Tr. , C . Tr.
Klein e Militartrommel
kl. Mtr.
Klein e Trommelkl. Tr.
INSTR UME STRA
German
Tamb uro piccoloTamb . picc.
Ruhrtrommel
R . Tr.
Tamb ourin de Proven ceT. de P. , T. p.
Tamb ourin Proven calTamb . P.
Cymb ales (lib res)Cymb .
Piatto (so speso ) Cymb ale (suspen due)Piatto o scillan te Cymb . s.
Piatto chin oso Cymb ale Chin oise Chin esisch e Zimb el
Cimb ali an tichi An tike Zimb elnGimb . an t. An t. Zimb .
Tam- tam Tam- tamTamt. , Tam. , T.
- t.
Tamb our de BasqueTamb . de Basq . , Tamb . de BT. de B. , T.b .
Trian gle Trian gle Trian gel
Xyloph on e
OF THE ORCHE
Fren chPe tite caisse Clair eP“ c‘“ cl.
Pe tit tamb ourP" tamb .
Tarolle
Caisse roulan teCaisse R .. C
“ roul., C . r.
Cowb ells
Cowhorn
Dulcimer
GuitarHarmon ica [Mouth Organ ]Jew’
s.Harp
Man do lin eMaracas
Metal Blo ckR asper [Giiiro ]Rattle [Ratch et]San dpaper (b locks)Siren
Slapstick [Whip]
Strin g Drum [Lio n roar]SwitchesTemple BlocksThun der- machin e
Thun der - sh ee t“Win d- machin e
Keyb oard in strumen ts
NOMENCLATURE OF IN STRUMENT S
I talianVib rafo n o
SUPPLEMENTARY LISTIn cudin e
Corn o di automo b ile
Bon go sCaten eCeppi chin o si
Clav es
Campan elle di v acca
Como di v acca
C emb alo n [Cimb alom]Chitarra [Guitarre]Armo n ica
Scacciapen sieri
Bub b oloMan dolin oMarach e
Cassa di metalloR aspe
R agan ella [Sistrum]Ceppi di carta v etroSiren a
FrustaSo n agli
R ugghio di leo n e
Verghe(i)
Macchin a di tuo n o
Macchin a a ven ti
IV . KEYBOARD IN STRUMENT SS trumen ti di tastoCelesteCel.
Fren chVib rapho n e
Machin e 1 to n n erre.
In strumen ts 1 clavierCelestaCel.
Glo cken spiel aclavie :
9
German
Win dmaschin e
Holzkasten[Holzto n ; Holztrommel]Zither
PERCUSSION INSTRUMENTS
En clume Amb o ss
Co r d’auto Autohorn
Bon go s Bo n gosChain es KettenBlo cs chin ois Chin esisch e Blo ckeClav es Claves
Grelo ts Heerden glo cken
R an z de [a] v ach es Stierhorn
GitarreHarmo n ika [Mun dh armo n ika]Brummeisen
Sch elle
Man dolin eMaracas
MetallkastenRaspel
Klapper [Kn arre ; Ratsch e]San dpapierb lo cke
Sir en e
Peitsch eSch elle
LOwen geb riill
Rute (Ruthe)
Do n n ermaschin e
THE IN STRUMENT S R CHE STR A
I talian German
Harmon iumHarm.
C lavicemb alo [Cemb alo]Cemb .
Organ o
Org.
Pian oforte Pian oPfie., P.
- n o. , Pf.
Ten or(s)
VI . STR INGSArchi [S trumen ti a co rde] Co rdes [In strumen ts 1 cordes] Streicher [Saiten in strumen te]Violin o (i) I Violo n (s) I [L ] Violin e(n )
V. I . Viol., Vm Vl. , V. I V0“ I , I . Viol , Viol. 1 , VI. 1 , 1 . VI.Erste Violin e(n )
Violin o (i) II Violon (s)
Viola(e)Vle. , Vla.
,Va.
Violo n cello (i)V.
- Celli, Vcello. , Vcllo Vclli.,
’
Cello (i)
Co n trab asso(i) Co n treb asse(s)C .
- bassi, Ctrb . , Ctb . , Cb i. , C b . , C . B. Kan trab ., Khass. , Ktb . , K .- B. , Kb .
C .—B. , BassiViolon e
I O
ORU S—VO ICESChoeur
Sopran o (i)Sop . , S .
Mezzo - sopran o (i)M.
- S op .
Co n tralto (es)Con t. , C .
Ten or(es)Tén ., T.
Barito n e(s)Bar.
Basse(s)Bs. , B.
Chapter 2
COMPARATIVE TABLE OF R ANGE S
I . BERu o z—STRAUSS2 . GEVAERT, FRANCOIS A.
3 . R IMSKY—KORSAKOFF, NICOLAS4. HOFFMANN, RICHARD
5 . PROUT, EBENEZER
6. KLING, HENRI
7. WIDOR, CHARLES-MARIE
FORSYTH, CECILCARSE, ADAM
JOHNSTONE, ARTHUR EDWARD
HEACOX, ARTHUR E .
ANDERSEN, ARTHUR OLAE
JACOB, GORDONH'IND , HAROLD C .
SCI-ELLINGER, JOSEPH
16. GARDNER, MAURICE
(a) For profession al o rch estras
s
Treatise on Instrumen tation (1882 , 1904)A New Treatise on In strumen tation (1885 ,192
Prin cip les QfOrchestration (1891 )Practical I n strumen tation (1893 )The Orchestra : Vol. I , Techn ique qf theI n strumen ts (1899)Modern Orchestration an d I n strumen tation(1905)
The Techn ique of the Modern Orchestra(1906)
Orchestration (1914)PracticalHin ts on Orchestration (19 16)In strumen ts qf the Modern Symphon yOrchestra an dBan d (1917)
Project Lesson s in Orchestration (1928)PracticalOrchestration (1929)Orchestral Techn ique (193 1 )The Orchestra an d its I n strumen ts (1936)The Schillinger System of Musical
Composition : Boole XI I , Th eory ofOrchestration (1941)
The Orchestrator’s Han dbook (1948)
17. DBFINI ’I’IVB
I I
E . F. Kalmus, In c . , New York
Lemo in e an d Co . , Paris
E. F. Kalmus, In c New York
Augen er an d Co . , Lon do n
Augen er an d Co . , Lo n do n
CarlFischer , In c . , New York
Joseph Williams, Ltd.
,Lon do n
Macmillan Co ., New Yo rk
Augen er an d Co . , Lon do n
Carl Fisch er , In c. , New York
Oliv er Ditson Co ., PhiladelphiaC . C . Birchard Co ., Bo sto nOxfordUn iv ersityPress,Lo n donHawkes an d Son , Lon do n
CarlFischer , In c . , New York
S taffMusic Pub . Co . ,New Yo rk
(b) For n o n -
profession al o rch estras
THE IN STRUMENT S OF THE ORCHE STRA
WOODWINDS
I . Pic c o lo
No s. 8, 9, 12 , 16
Nos. 2 , Nos. 6, 7, 1 1 , 1 3 , 14, 1 5
Nos. 4,
NO. 17 (b)
NB . Th e written ran ge for all in strumen ts is in dicated in white n otes, i.e .
In th e case of tran sposin g in strumen ts, th e soun ding ran ge is given in b lack n o tes, i.e.
THE IN STRUMENT S OF THE ORCHE STRA
4. Ob o e
Nos. 7, 8, 1 1 , 1 3 , 14 Nos. 9 , 10 , Nos. 4, 5
NO . 2 NO. 6
No . 17 (a)
5 . En glish‘Ho rn
No s. 3 , 4, 5 , 7, 9 , 10 Nos. 1 . 6
Nos. 2 , 8, 1 1 , 12 , 14, 16 Nos. 1 3 , 1 5
No . 17 (a) No . 17 (b)
14
COMPARAT IVE TABLE OF RANGE S
6. E - Flat Clarin e t
Nos. 1 , 2 , 4, 8, 12 , 16
No s. 3 , 5 , 6, 7, 9, 10, 1 1 , 1 3 , 14, 1 5 . No ran ge giv en
No . 17 (a)
NO . 17 (b). Not used
7. B - Flat an d A Clar in e t
[it
Nos. 1 , 4 Nos. 2 , 5 , 8, 10, 1 2 , I 3 , 14
Nos. 3 , 6, 9, 1 1 , 1 5 , 16
No . 17 (a) No . 17 (b)
1 5
THE IN STRUMENT S O F THE ORCHE STRA
8. Bass C lar in e t (B - Flat an d A)
Nos. I O, 1 3
Nos. 1 , 2 , 4. 5 , 6, 8, 9 , 1 1 , 12 , 14
Nos. 7, 16
No . 1 5 . No ran ge given
NO. 17 (a)
B- Flat on ly
No . 17 (b)
16
COMPARAT IVE TABLE OF RANGE S
9 . Basso o n
. No . 10
b?
N o s. 3 , 1 1 , 1 5 , 16 Nos. 2 , 5 , 7, 9 , 1 3 , 14
I O. Co n trab asso o n
No . 10
Nos. 4, 16
Nos. 7, 9 , 1 3Nos. 2 , 5
I 7
THE IN STRUMENT S OF THE ORCHE STRA
I I . Saxoph o n e
Nos. 7, 9 , 10 , 1 1 , 12 , 16 No . 14
No . 1 5 Nos. 2 , 5 , 6, 8
No . 1
Nos. 3 , 1 3 . No ran ge given
Bar iton e
NO . 17 (a)
No . 17 (b)
COMPARAT IVE TABLE OF RANGE S
BRA S SE S
I . Ho r n (F)
Nos. 3 , 4, 8, 9 , I o , 1 1 , 1 3 , 14 No s. 1 , 1 2
No . 2 No s. 1 5 , 16
No . 6
No . 17 (a) NO . 17 (b)
19
THE~ INSTR UMENT S OF THE ORCHE STRA
2 . Trumpe t (C an d B - Flat)
NOS. 4, 6 Nos. 3 , 10 , 1 5 No . 16
No . 2 Nos'
. 7, 8, 9 , 1 1 , 12, 1 3 , 14 No . 1
No . 5 . NO ran ge given
No . 17 (a)
3 . Ten o r Tr omb o n e
Nos. 2 , 7, 8, 1 1 , 1 5 , 16 No . I
No s. 3 , 5 , 9. 10, I 2 , 1 3 . I 4
No . 6
No . 17 (b)
20
THE IN STRUMENT S OF THE OR CHE STRA
PERCUS S ION
I . Timpan i
Nos. 12 , 14 Nos. 3 , 1 5 Nos. 4, 6, 8
NO. 16 Nos. s. 7. 9, 10. I I , 1 3
No . 17 (b)
2 . Glo cke n spiel
No . 1 5 No . 16
8“
No s. 2 , 4, 7, 8, I 4
No . 12 No . 6‘
No s. 1 , 9 , 10 . No ran ge giv en8
“
No . 17 (b)
2 2
COMPARAT IVE TABLE OF RANGE S
3 . Xyloph o n e
Nos. 2 , 7, 8
No . 6 No s. 1 5 , 16 No s. 1 1 , 1 3
No . 12
Nos. 1 , 5 , 9 , 10 , 14. No ran ge given
Nos. 17 (a) an d 17 (b)
4. Ch im e s—Bells
Nos. 8, 12 No . 16
No s. 1 , 2 , 3 , 4, 5 , 6, 7, 9 , I o , 1 1 , 1 3 , 14, 1 5 . No ran ge giv en
No . 17 (b)
2 3
THE IN STRUMENT S OF THE ORCHE STRA
5 . Vib raharp
No . 16
Nos. 1 , 2 , 3 , 4, 5 , 6, 7, 8, 9 , 10 , 1 1 , 1 2 , I 3 , 14. No ran ge given
No s. 17 (a) an d 17 (b)
6. Cele sta
Nos. 2 , 3 , 7, 8, I O,12 , 1 3 , 14, 1 5 , 16
No s. 1, 4, 5 , 6, 9 , 1 1 . No ran ge giv en
NO.17 (a)
24
COMPARAT IVE TABLE OF RANGE S
7. Harp
No . 8 Nos. 4, 7, 9 , I O, 1 1 , 1 2 , 1 3 , 14
No s. 3 , 16 NOS » 2 , 5
No . 6 NO. I
No . 1 5 . No ran ge giv en
No . 17 (a) No . 17 (b)
2 5
THE IN STRUMENT S OF THE ORCHE STRA
STR ING S
I . Vio lin
No s. 2 , 3 , 10 , 1 5 No . 8
No . 12 No s. 5 , 1 1 , 14
Nos. 1 , 6, 1 3 No . 16
No . 17 (b)
26
COMPARAT IVE TABLE OF RANGE S
2 . Vio la
NO. 2 No . 8
No s. 3 , 9 , 10, I 4, 1 5 , 16
NO . 6
No . 17 (a) No . 17 (b)
3 . Vio lo n c ello
No s. 2 ,8 No . 6 No s. 3 , 9, I O, 16
NOS. 1 , 4, 1 1 , 1 3 No s. 7, 14, 1 5 No . 1 2
NO . 5 . No ran ge giv en
No . 17 (a) No . 17 (b)
2 74—(G o429)
THE IN STRUMENT S OF THE ORCHE STRA
4. Bass
NO. 2 No . 8
No . 1 5 Nos. 6, 1 3
9, 14, 16 Nos. 7,12
No s. 1 , 5 No . 1 1
No . 17 (a) No . i 7 (h)
28
THE IN STRUMENT S O F THE ORCHE STRABEETHOVEN SCHUEERT BERLIOZ LiszrSymphon y No. 9 in D min or Symphony No. 7 in C major Symphon ic Fan tastique Ein e Faust- Symphon ic(182 3) (1828) (1830) (1857)
2 Flutes (2 n d Fl. alt. Piccolo) 3 Flutes (3 rd Fl. alt. Piccolo )2 O b o es (2 n d Ob . alt. 2 Ob oesEn glish ho rn ) 2 Clari nets
2 Clarin ets 2 Bassoo n s4 Bassoo n s
2 Timpan i
Ch orus : Male Cho rus
Solo Quarte t Ten o r 301°
30
EVOLUT ION OF THE MODERN SYMPHONY ORCHE STRAWAGNER BRAHMS R IMSKY—KORSAKOFF BRUCKNER“G iitterda
’
mmerung Symphon y No . 4 in E min or S cheheraz ade Symphon y No. 9 in D min or
(1872) (1885) (1888)
2 Flutes (zud Fl. alt. Piccolo) 1 Piccolo 3 Flutes (3 rd Fl. alt. Pic colo )2 Ob o es 2 Flutes 3 Ob o es
2 Clarin ets 2 Ob o es (zud O b . alt. 3 Clarin e ts2 Basso o n s En glish ho rn ) 2 Basso o n s1 Co n trab assoo n 2 C larin e ts 1 Co n trab asso o n
2 Bassoo n s
3 Timpan i
1 3 So lo Vo ices
3 1
THE IN STRUMENT S OF THE ORCHE STRADEBUSSY RAVEI.L aMer Symphony No. 8in E b major Daphn is ct Chloé,
Suites Nos. 1 , 2(1905) (1906) (191 1)
8- Par t Cho rus Cho rus : off- Stage3 4- PartMale Cho ruses
5 Solo Voices
3 2
EVOLUT ION OF THE MODERN SYMPHONY ORCHE STRASTRAVINSKY HOLST STRAUSS , R . R ESPIGHIL e Sacre da Prin temps The Plan ets Ein e Alp en sinfon ie The Pin es qfRome
(19 1 3 ) (19 16) (19 18) (1924)
2 Picco lo s 2 Piccolos (zud Picc . alt.
2 Flutes 3 rd Fl.)1 Alto flute 2 Flutes (zud Fl. alt. Alto4 Ob o es (4th Ob . alt.2 n d flute)En glish h orn ) 2 Ob o es
1 En glish ho rn 1 En glish b o rn
1 Eb Clarin et 1 Bass o b oe3 Clarin ets 3 Clarin ets2 Bass Clarin e ts 1 Bass clarin e t(zud BS . cl. alt. 3 rd Cl.) 3 Basso o n s
3 Bassoo n s 1 Con trab assoo n2 Co n trab assoon s(2 n d alt. 4th Bssn .)
8Ho rn s (7th—8th Hn s . alt. 8Ho rn s (5th—8th Hn s . alt.
2 Tub as) 4 Ten o r tub as)1 D Trumpe t 4 Trumpets4 Trumpets (4th Trpt. alt. 4 Tromb o n esBass trumpet) 2 Tu
‘
b as
3 Tromb o n es2 Tub as
players)
6-Part Female Ch o rus, 1 2 Ho rn s,Off- stage 2 Trumpets,
2 Tromb o n es off- stage
3 3
THE IN STRUMENT S OF THE ORCHE STRAHINDEMITH STRAVINSKY SHOSTAKOVICH BARTé icMathis derMaler (Symphon y) Symphon y in C Symphon yNo. 7, Len ingrad Con certofor Orchestra(193 4) (1940) (1943 )
3 Timpan i
34
mit Schwamms ch lage l
ppp con b acoh etta d i spugn a
“ On
Biermn ss th e ses Tempo b ewegter gen ommen warden , ale an den kor r e spon d ieren den S ten en ln er sten
l
8atze
On eata temp o d ev e e’
n ere p or tato p in mon o oh e n e l p r imo mov imen to
MAHLER. SYMPHONY NO. 4
36
E n glJ I r .
0111 1t
C. b an .
Kr . I II
Pian o
Reproduced by permission ofBoosey 8 Hawkes, I n c. , New York, an dBoosey 6} Hawkes, Ltd. , Lon don39
INTR ODUCT ION
HE MOST CASUAL COMPARISON of the woodwin d parts of an y Haydn o rMozart symphon ywith tho se of a work , let us say, by Bartok o r Stravin sky, will illustrate better than an ywords the amazin g developmen t an d expan sion of techn ique made by these in strumen ts
in th e last 2 00 years o r so . This is particularly true in the basic matter of ran ge , fo r the modernin strumen tato r
’
s explo itation of extreme ran ges is a characteristic feature of his craft.
In cludin g o n ly the so - called “stan dard” symphon ic in strumen ts, Chapter 4 lists in stan ces
where the mo st extreme ran ges of each are to b e foun d. In the case of the piccolo this mean s
the highest Ci! to E, an d the lowest D , Db , an d C1
. For the flute these take in the highest CITto Gill (sic!) an d the added low B an d Bb , foun d main ly in German an d Russian sco res. In
the Oboe the examples con sist o n ly of the top F to Ab , as the lowest n o tes are so common lyused—even ifsomewhat difficult an d un certain Ofin ton ation . For the En glish ho rn they in cludethe highest A15; an d B ,
an d the bo ttom E an d option al Eb . In the clarin et they are the highest '
soun din g Girl to Bb on ly, as the lowest ton es of the in strumen t are so extremely commonexceptin g , of course , the rare in stan ce ofa 1OW C h, produced by in sertin g a cardboard exten si onin the bell. For th e bass clarin et the examples in clude low C t] down to Ft] (sici) , used bycomposers for the European in strumen t. In the bassoon they take 111 the highest C to E ,
an d
the added A , Ab , an d G ,produced- ifat all—bymean s of a special exten sion on the in strumen t.
Fin ally, m the co n trabasso on , the in stan ces of extreme ran ge take in the bo ttom B an d Bb ,
an d added A,which are n o t, of course , comparab le 111 ease of execution an d effect to tho se of
the bassoo n . The studen t orchestrato r is warn ed that Whereas these in stan ces of extreme an d
exten ded ran ge certain ly do exist, their use by in experien ced in strumen tato rs is most assuredlyn o t recommen ded
,primarily because the n ovice is n o t very likely to have his work played at
first by tho se majo r , profession al o rchestras capable of producin g such extreme n o tes.
Mo reover , it is n o t at all improbable that some of the extreme examples quo ted are actuallyquite impossible of executio n ,
fo r even the best of composers an d orchestrato rs have at times
called fo r effects o r devices theo retically po ssible b ut so difficult as to b e impracticable .
As in all techn ical matters of in strumen tation , moderation an d caution are required un til
on e’
s o rchestral techn ique has achieved maturity an d suren ess thro righ ac tual experien ce .
The methods ofarticulati on kn own as double an d triple - to n guin g o ccupy Chapters 5 an d 6,as well as the peculiar effect, listed 111 Chapter 7, of flutter- ton guin g ,” a device apparen tlyfirst used by Mahler an d Richard Strauss. Examples of wo odwin d glissan di an d portamen tiare cataloguedm Chapter 8, an d 111 Chapter 9 the direction ,first exten sively called for byMahler ,
of raisin g the in strumen t s bell high in the air—fo r maximum volume . In stan ces of the use ofharmo n ics in the flute , piccolo , obo e , an d En glish horn —the o n ly wo odwin d in strumen ts
capable of producin g them,by mean s of over—blowin g— are given in Chapter 10 . There are a
1 N.B. All examples are referred to atp itch , en harmo n ic spellin gs are giv en fo r mo st pitch es.
40
INTRODUCT ION
few examples of a wo odwin d directed to play off- stage—the effect of which can b e readilyimagin ed—listed in Chapter 1 1
,an d Chapters 12 - 16 are devo ted to miscellan eous in dication s,
such as the echo - to n e”
(a soft, sub - ton guin g soun d) ; th e vibrato—don e , of cour se , with the
ton gue ; a jazz trick o r two (“slap—ton gue ,” an d mutin g the in strumen t by mean s
of a clo th o r Small plug in serted in the bell. The sectio n is completed with a chapter of
miscellan eous termin ology fo r the wo odwin d in strumen ts—directio n s fairly commo n to the
in strumen ts b ut n o t comin g con ven ien tly un der the various headin gs an d sub - heads of the
previous chapters. These terms, of course , refer o n ly to devices, effects, o rmethods of playin g an d producin g soun d—n ever to tempo in dication s o r direction s as to mood or style .
The followin g plan has been adopted fo r presen tation o f the Thesaurus material.
At the head of each chapter will b e foun d the termin ology commo n ly employed fo r thedevice to b e catalogued in the four basic sco re lan guages—En glish, Italian ,
Fren ch, an d German,
an d/or the n o tation used for the effect in question ; fo r exampleHARMONICS
Suo n o (i) flautato (i) Mit Flageo le tt
Plural en din gs are given in immediately followin g each term , an d co n ven tio n al abbreviation s are in dicated with italics below th e term in question . The examples of n o tation are n o t
n ecessarily taken from an y o n e specific sco re b ut are mo re o r less compo site illustration s,design ed to show the mo st commo n ly used fo rms Of n o tation fo r the various effects. Grouped
.
acco rdin g to in strumen t an d combin ation s of in strumen ts in o rder of appearan ce in the sco re,
there follow alphabetical listin gs by compo ser an d work of the specific page an d measure
n umber where the device quo ted may b e located in available study sco res,fo r example
COMPOSER WORK PAGE MEASUREBar tok Dan ce S uite 14 1 2 3
R av el L a Valse 77 1b [57]S trav in sky Fire- Bird Suite (1919) 65 [3 9] 2f
All measure n umbers, whether o r n o t actually prin ted o n the sco re page , are in dicatedWithout brackets. Some sco re edition s con ven ien tly n umber every 5 , 1 0
,o r 2 5 measures
throughout a wo rk, b ut Where these in dicatio n s are n o t foun d the measure n umber is alwayscoun ted from the first of the page bein g quo ted. Thus, after the Bartok wo rk listed above ,measure 1 2 3 refers to th e 1 2 3 rd b ar of the score , which is o n page 14 . An d 1h [57]—followin gthe Ravel sco re—refers to the first measure before rehearsal n umber [3 9] 2f in dicates thatthe seco n d measurefollowing rehearsal n umber [39] is bein g quo ted.
41
WOODW IND S
To fin d out th e publisher o r editio n of each wo rk listed in the Thesaurus the reader mustturn to th e
“List ofComposers an dWo rks,”pages 587- 99. After the title of each work listed
alphabetically ben eath the composer’s n ame will b e foun d a n umber in which correspon dsto that of the publisher , given in the
“List of Publishers” o n pages 583 - 85 . As mo st of the
stan dard o rchestral literature exists in severalvaryin g edition s, it is eviden t that o n ly o n e editioncould b e used fo r quo tatio n in th e Thesaurus. The co rrespo n din g n umbers of the publishersof o ther available imprin ts of such sco res (the Haydn , Mozart, an d Beethoven symphon ies,to cite a few obvious examples) are given in followin g the q uoted editio n n umber .
Thus
RIMSKY—KORSAKOPP, NicolasS cheherazade [7, 1 1 , 3 2 ]
in dicates that E. F. Kalmus, n umber 49 in the“List of Publishers, was the editio n used for
direct quo tation of page an d measure number , b ut that Bela'
i'
eff, Boo sey an d Hawkes, an dEulen burg also publish the same wo rk. In mo st cases the rehearsal o r measure n umbers agreein the several differen t available editio n s of such works, b ut even though the page n umbersmay o ccasion ally vary slightly, it should still b e po ssible to fin dwith little difficulty the quo tedeffect in o ther edition s than the on e used by the author .
To save space certain small libertieswere taken in the listin gs of the devices. If, for example ,on a certain page of the score bein g quo ted the flutes play “
flutter- ton guin g” at measure 8, b ut
the Clarin ets join in simile at measure 10 ,the effect was listed for bo th as ofmeasure 8. And if
in the strin gs the violin s begin at let us say, playin g de’
tache’
, Violas en ter two bars later ,an d
’cello s four bars after all de’
tache’
, again the effect would b e catalogued as Violin.
I,II
,
Viola, an d Violo n cello at Also , if a device was well—illustrated o n page 2 0 of a -certainsco re an d repeated on page 2 1 o r page 2 2 ,
on ly the first such page will b e listed .
The en terprisin g orchestrator will fin d all the Thesaurus listin gs steppin g—sto n esto the discovery of o ther equally fascin atin g
“
uses of in strumen tal colo r devices immen seliterature fo r the symphomc orchestra.
42
Chapter 4“
EXTR EME OR EXTENDED R ANG E S
COMPOSER
Mahle r
Mah le r
Mo or-
an
5
(1) PICCOLOAll n o tes are giv en at actualpitch.
Suite pour Orchestre
Suite pour OrchestreOzark Set
Symphon yNo . 2 172 [2 0] I f
Hungarian Peasan t S ongsPagan in ian a
First Symphon yL a Péri
L’
Appren ti S orcier
Suite pour OrchestreKammermusikNo. 4
El GrecoS ongs ofa WayfarerSymphon yNo. 1
Symphon yNo. 2
SymphonyNo. 3
Le Carn aval de Lon dresS infon ietta
43
Poule n c
S ch reke r
S ch uman , W .
S trav in sky
S trav in skyTch aikov sky
Tch aiko v sky
Suite Primeval, Part 1Overture to
“The
BarteredBride”Petrouchka SuiteRen ardSymphon y No. 2
Symphon yNo. 3
Tango LullabyThe S ein e atNight
Messa da Requiem
73 [68]
DukasIn gh elb rech t El GrecoMah ler Symphon y No. 2
Mah le r Symphon yNo . 3
R e spighi An tiche Dan ze edArie,2“Suite
Verdi Messa da Requiem
WOODW IND S
(I ) PICCOLO (c o n td .)
COMPOSERMah ler
Mo zar t
WORK
Ve rdi
Ce san a
Milhaud I I“Symphon ic 91 1b [85]
Milhaud I I 3 Symphon ic 89 [75]
G ould L atin~American p r okofiefi'
Har san yx Suite pour Orchestre Pr okofiefi'
Pr okofiefi'
C e san a
Prokofiefl’
Prokofiefi'
Violin Con certo No. 2
I [ 8 Symphon ic R e spigh i The Pin es ofRomeSho stako vich Symphon yNo. 9
S iegm eister Frommy Win dowSiegmeister Ozark S et
Bach—R e spighi Siegmeiste r Western SuiteD major 46 2 b [1 5]
The Young Person’
s
Guide to the OrchestraS econ dAmericanSymphony
Suite I n timaLatin - American
Symphon etteSuite
,pour OrchestreSuitefrom “
Colas
Breugn on
WOODW IND S
(2 ) FLUTE (co n td .)
PAGE MEASURE COMPOSERMiasko v skyProkofiefi
'
Pr okofiefi'
Prokofieff
Hin demith
Mahler
Mah ler S ongs ofa Wayfarer
Mah le r
Tchaiko v sky206 147
We in b erger
Mah ler
4 [1 5]
Mah ler
SymphonyNo. 6
Symphon y No . 9
S infcmiettaNo . 4
C e san a
C e san a
R av e l
Riv ier Chan t FunebreR udhyar S infon iettaS ch uman W Symphony No. IV
S trav in sky Con certo en Répour57 5b [45] Violon etOrchestre 60 [12 1] 2f
EXTREME OR EXTENDED RANGE S
(3 ) OBOE (c o n td .)WORK COMPOSER PAGE MEASURE
L e S acre da Prin temps S chmi tt61 2
S ch o n b erg
62 1
S e ssio n s
S trav in sky
92 2
Coplan dProkofiefi
'
Gould
CONGKBBR
Kh r en n iko v
Mah ler
McD o n ald
Prokofiefi'
Prokofiefi'
Pr okofiefi'
Riv ie r
Piston
27“ Suite Symphon iqueSuitefor Orchestra
PAGE
3 0 I
I 4 I
3 1 3
43 3
25 [2 5] 3f
S ch o n b erg
Sch o n b ergS ch uman , W .
S e ssio n s
Strav in sky
An th e il
Con certofirr Pian o an dOrchestra
Symphon yNo. 5
(4) ENGL I SH HORN
Coplan d
DeliusPisto n
R uggle s
S chm i tt
Go le stan
Ho n egger
In gh elb r ec h t
Mah ler
Mah ler
Pisto n
Pisto n
EXTREME OR EXTENDED RANGE S
(4) ENGL I SH HORN (c o n td .)
PAGE MEASURE3 3
3 1
I 7
86
S infon ia cla Requiem 62
Pagan in ian a 1 55
Trois Dan ses Cubain es 50
S infon ia de An tigon a 22
Con certofor Pian o an d
Orchestra 67
First Symphon y 77
Appalachia 1 28
24
Fourth Symphon y 91
8
67
90
66
1 1
76
65
74
34
Istar, Variation sSymphon iques
E l GrecoSymphonyNo. 1
Symphon yNo. 7
Suitefor Orchestra
[2 3] zf
I
[90] 4f
[175] 3f
[43] 3 f
4b [30]
[5] zf
[3 3]
[10] 2 f
COMPOSERPr okofiefi
'
Pr okofi efi’
S e ssio n s
S iegm e iste r
S trauss, R.
S trav in sky
S trav in sky
Vaugh an
Vilk - Lo b o s
Harris
Ho n egger
49
Pastoral Symphon ySymphon y in F min or
Symphon y in D major
Symphon y in E min or
Amazon as
Symphony No. 2
PAGE
I I I
7 5b [C ]
81 1 b [6]
74 [3 ] I f
77 6
WORK
S infon ietta
Feste Roman eS infon ietta
W Symphony No. IV
Chav ez
Kh ach aturian
C in derella Suite No. 1
Romeo an dJuliet, Suite
Pr okofiefi'
Romeo an dJuliet, Suite
Prokofiefl'
Suitefiom the Ballet“Chout”
R evueltas Cuauhn ahuac
Sh o stako v ich SymphonyNo. 6
WOODW IND S
(5 ) CLARINET
S trav in sky
(6) BASS CLARINET
Sh o stako vich
Kh ach aturian
Prokofiefi'
Chan t du Rossign ol
Symphon yNo. 7
S infon ietta
79 [92 ] zf
68 46
EXTR EME OR EXTENDED RANGE S
(6) BAS S CLARINET (c o n td .)
COMPOSER WORKJan ééek S infimiettaKhach atur ian Con certofor Pian o an d
Orchestra
Khachaturian Cayn e Ballet SuiteNo. I - A
Piston 77 3 S infon ietta 70 [5] 4f
58 1h [53 ]
Rav el Bar ték
The CreationCasella
Mahler Symphon yNo. 5
S ch uman , W .
Se ssio n s
62 1
R ivie r
Bar tok
Casella
WOODW IND S
(7) BASSOON (c o n td .)WORK PAGE MEASURE
Suite Proucrrrale 40
Bigm’
ac 1 0 [B] I fI S
Ouverture pour un donQuichotte 3 1
L es PetitsMc‘ticrs 26
Rapsodie Flaman de 45
Mirages pour Orchestre, 59
69
A S urvivorfromWarsaw 8
Symphon y No. II I 42
Un dertow 5
44
4
Oz ark S et 48
Fire- Bird Suite (19 19) 3 9
L e Sacre duPrin temps 3
71
79
49
1 0 [1 5] 2f'
1h [3 5]
52
COMPOSERDe liusDe liusDukelskyElgar
Levan t
Mah ler
S ch o n b erg
S ch uman , W .
S e ssio n s
Tippett
A SurvivorfromWarsaw
Th eme an d Variation sSymphonyNo. II I
Suitefrom The BlackMaskers
Ozark S et
E in e Alpen sinfb n ie
E in Helden leben
Chan t du Rossign ol
COMPOSER WORKS ch uman , W . Un dertow
S e ssio n s
Th om so n
Trapp
Mah ler Symphon y No. 3
WOODW IND S
(7) BAS SOON (c o n td .)PAGE MEASURE5 2 b [30]44 5
WORKDas Lied von der Erde
Mahler SymphonyNo . 9
2 1 3 b [1] £22:Con certo No. 3
S h o stako vitch Symphon yNo. 3
109 [2 0] I f1 7
S trav in sky Symphon y in C
(8) CONTRABAS SOONQ uatriéme Symphon ic
Suitefor OrchestraSketches cf the C ity
R ead Symphon yNo . I
S ch uman , W . Symphony No. I II
Whith o rn e
Bach Fugue in G min orS tokowski The Shorter 20 [1 3]
EXTREME OR EXTENDED RANGES
(8) CONTRABAS SOON (c o n td .)WORK PAGE MEASURE COMPOSER WORK
S ch uman , W. S ymphony No. II I
Symphon y in E min or
In gh elb re ch t El GrecoMahler Symphon yNo. 2
Musso rgsky Pictures atan Exhibition
55
Chapter 5
DOUBL E - TONGU ING'
WORKChan t du Rossign ol
Verdi Messa da Requiem
FluteFéte- Dieu d Séuille Men uetAn tique
Dan ce Suite R av el Shéhérazade
es An tiques
Liado v
S outh Win dSymphon y No. 6
Pictures atan Exhib ition
21> [I 7]Pr okofiefi
'
Prokofiefi'
Pr okofiefi'
R achman in ofi'
The BellsDaphn is et Chloe,Suite No. 2 Zimb alist
DOUBLE - TONGUINGClarin e t
COMPOSER WORK COMPOSER WORKFerr oud AuParcMon ceau S trauss, R . Ein e Alpen sinfon ieRachman in off TheBells
PAGE MEASUREI S 5
Basso o nSch reker The Birthday of the
I nfan ta, Suite 41 2 b [2 20] Pastoral Symphon y 90 5b [F]
Pic c o lo
Britte n Feste Roman e 72 [20] 4f
Cadman Russian Easter Overture 3 2 4
sse n
Flute an d Alto FluteSh o stakov ich Symphony No. 7 99 [97]
Flute an d Ob o e58 2 b [3 2 5] Tan sman
6 [C] 1 5 x
57 1h [34]
Flute- "
an d Clarin e t
Berlio z Ben ven uto Cellin iOverture
Casella
57
Mah ler
de Falla
Kn ipper
R ead
Cadman
Bo ro din
WOODW IND S
Flute an d C lar in e t (c o n td .)PAGE MEASURE COMPOSER46 2 Rav el
WORKIn troduction et Allegro
Tchaiko v sky Manfred- Symphon icTch aiko v sky Nutcracker Suite
PAGE MEASURE
3 3
Ob'
o e an d Clarin et
S ch ellin g A Victory Ball 34
Clarin et an d Basso o nThree Dan cesfrom Men delssoh n
e Th ree- Corn eredHat
”S travin sky
Picco lo , Flute , an d Ob o e
Symphon yNo. 4 98 [1 5] R ead
Pic c o lo , Flute , an d Clarin e t
Prelude an d Toccata 28 [10] 2f R oussel
Flute , Ob o e , an d Clarin etCh ab rier
Dello Jo ioKab alev sky
Tch aiko v sky
Flute , Clarin et an d Basso o n
1
Prelude an d Toccata
Evocation s, II
joyeuse Marche
Variation s, Chacon n e,an d Fin ale
Suitefrorn“Colas
Breugn onFran cesca da R imin i
S ymphony No. 2 1 36 [D] Rim sky Symphony No . 2 ,
Ko r sakofi' “
An tar”
Ob o e , E n glish Ho rn , an d Clarin et
S trauss, R . E in e Alpen sinflmie 120 2
58
57 [2 5]
27 7
DOUBLE - TONGUINGPicc o lo , Flute , Ob o e , an d Clar in et
CONlPOSER WORK PAGE MEASUREHin demith Mathis derMaler 72 [2 1]
Flute , Ob o e , C larin e t, an d Basso o nTchaiko v sky Symphony No. 2 71 [G]
Picc o lo , Flute , Ob o e , E n glish Ho r n , an d Clarin e t
WORK PAGE MEASURE COMPOSER WORKPacific 2 3 1 41 190 In gh elb rech t Rapsodie dc Prin temps
Picc o lo , Flute , Ob o e , Clarin e t, an d Basso o nBliss Con certofor Pian o an d
Orchestra 5 1 2 b [29]
Flute , Ob o e , E n glish Ho rn , C larin e t, Bass Clarin e t, an d Basso o nGliere Russian S ailors
’ Dan ce 30 [195] I f
596
TR IP
WORK PAGE MEASUREImpression s d
’
I talie
99 I
Flute74 Sb [1 1] La Valse
Prokofiefi'
Prokofiefi'
Symphony No. 2 Pierrot Lun aire 75 3b [2 5]Shéhérazade
Basso o nWORK PAGE MEASURE
S cheherazade 170 [F]
Picco lo an d Flute
98 [14 b is] Ra'
v el Rapsodie Espagn oleAu ParcMon ceau 1 1 2 b [4]Gran d Canyon Suite 1 3 1 [10] R oussel Symphon ic en S ol
79 [68] 3f min eur 56 2
Fire- Bird Suite (1919) 1 5 [18]
WOODWIND S
Picc o lo , Flu te , Ob o e , E n glish Ho rn , an d Clarin e t
WORK PAGE MEASURE COMPOSER WORK13" Rhapsodie S trav in sky L e Sacre da Prin tempsRoumain e 88 [4 1]
Pic co lo , Flute , Ob o e , Clar in e t, an d Bassoo nCOMPOSER WORK PAGE MEASURES trauss, R . Don juan 4 4
Flute , Ob o e , E n glish Ho rn , Clarin e t, Bass Clarin e t, an d Basso o nPie rn é Divertissemen ts sur un
ThemePastoral 58 3 b [38]
62
S ch'
o'
n b erg
Bartok
Chapter 7
FLUTTER - TONGU ING
Fren chTrémo lo
Tremolo av ec la lan gue
Trémolo den talTrémo lo en roulan t la lan gueTremo lo roulé
WORK
Flute
de Falla El Retablo de Macse
Ho n egge r
50
Chan t du Rossign olSymphon ic Con certan tepourPian oetOrchestre 1 10
Th rough the LookingGlass
Amaz on as
Chdros No. 8
Mah ler Das Lied von der Erde
Mih alo v ici
Mih alo v ici
Milh aud
Milhaud
Symphon ic
AubadeDeux Marches et un
In termedeR achman in o ff The BellsRav el Con certo pour la main
gauche
S ch o n b erg
Gould
R av el
S ch iin b erg
Theme an d VariationsOz ark Set
S trav in sky Suite No. 1 jb r SmallOrchestra
S zyman owski Symphon ic Con certan tepour Pian o et
OrchestreTaylo r Th rough the Looking
G lass
Th omso n The S ein e atNight
3 1 [29]
Var ése
PAGE
WOODW IND S
Flute (c o n td .)MEASURE COMPOSER
R av el2
[9][ I 4][2 1] 3f
3
[7] 4f
[12] 2f
[17][20] 4f
[28]1
2b [265][3 1][39] 4f
FLUTTER—TONGU INGBass C larin etWORK PAGE MEASURE
Pierrot Lun aire 27 2b [1 5]
Th omso n
3 5 [3 2 ]
PAGE MEASURE
Siegme iste r Sun day in Brooklyn
Ho n egger S iegm e iste r Western S uiteS trav in sky Chan t du Rossign olS trav in sky Le S acre du Prin tempsS trav in sky Petrouchka SuiteS zyman owski Symphon ic Con certan te
Milh aud pour Pian o et
Orchestre 76 [1 3]Prokofieff
Pic co lo an d Clarin e t
S infon ia da Requiem 2 5 [18] Rav el
LaMort d’un Tyran 40 2
Villa- Lo b o s
Flute an d Alto FluteS trav in sky L e Sacre du Prin temps 54 7
Flute an d Ob o e
S injb n ia da Requiem 26 5b [19] Magan in i An Orn ithological SuiteHo n egge r Le Roi David 27 1
Flute an d Clarin et
Violin Con certo 1 1 2b [60] Milhaud L a Création du Mon de 56 2 b [54]70 [100] S essio n s Suitefrom Th e Black 96 [91]
Maskers 106 l b [96]1 2 2b [D] S trauss, R . Symphon iaDomestica 5
Ho n egge r 99 1
WOODW IND S
O b o e an d C lar in e t
WORKEin e Alpen sinfon ie
Clarin e t an d Bass Clarin etS trauss, R . Don Q uixote
Flute , Alto Flute , an d Clarin et
S trav in sky Le Sacre du Prin temps 13 [17].
2s [34]88 [107]1 19 [161]
Flute , Ob o e , an d Clarin e t
PAGE MEASURE COMPOSER WORK181 [26] 7f S travin sky Le Sacre du Prin temps
Picco lo , Flute , Alto Flute , an d Clarin e t
S travin sky L e Sacre du Prin temps 85 [103]
Picc o lo , Flute , Ob o e , an d Clarin e tBritten S infon ia da Requiem 28
‘
[20] Rav el Alborada del Gracioso 3 1 2
Flute , Alto Flute , English Horn , an d Clarin e t
S trav in sky Le Sacre du Prin temps 89 2 b [109]
Flute , Alto Flute , C lar in et , an d Bass Clarin e tS trav in sky Le Sacre du Prin temps 24 2 b [3 3]
Ob o e , En glish Ho rn , Clarin e t, an d Bass Clarin e tGrofé Gran d Canyon Suite 3 3 4
Picc o lo , Flute , Ob o e , Clar in et, an d Basso o nSh o stako vich Symphon y No. 1 68 [14]
Picc olo , Flute , Ob o e , Clar in e t, an d Saxoph o n eBritte n S infon ia da R equiem 48 [3 2 ]
66
FLUTTER - TONGU ING
Picc o lo , Flute , Alto Flute , Ob o e , E n gli sh Ho rn , an d Clar in e t
COMPOSER WORK PAGE MEASUREStrav in sky L e Sacre du Prin temps 87 [106]
Pic co lo , Flute , Ob o e , E n glish Ho rn , Clar in e t, an d Bass Clarin e tGr o fe Gran d Canyon Suite 1 52 [1 5]
Pic co lo , Flute , Ob o e , E n glish Ho rn , Clarin e t, Basso o n , an d S axoph o n eBritte n S infon ia da Requiem 5 1 [34]
C hapter 8
GL I S SAND I AND PORTAMENT I
WORKSymphonyNo. 9
Villa- Lo b o s 46 [10]
Clarin e t
87 [52 ] 4f Ho n egger
28 2 b [28]2 1 Mahler
1 1 [9] 3f61 [Cl S trav in sky
Bass Clarin e tGould Latin~American Pierrot Lun aire
Symphon ette 39 [2] 3f
68
WOODW IND S
Bass Clar in e t an d Basso o nWORK
First Overture
Basso o n an d C o n trab asso o nMah ler SymphonyNo. 3
Pic c o lo , Flute , an d Clar in e tParo di Preludio ad un a
Commedia 36 1h [R ]
Pic c o lo , Ob o e , an d Clarin e t
Gould Philharmon ic Waltz es 43 [500]
Flute , Ob o e , an d Clarin et
PAGE MEASURE COMPOSERR ead
70 [2 ] I f
Flute , E n glish Ho rn , an d C larin e t
S trauss, R . Ein Helden leben 66 [34]
Ob oe , E n glish Ho rn , an d Clarin et
In gh elb rech t E l Greco 2 1b [1]
Ob o e , Clarin e t, an d Bass Clarin etCh év ez S injb n ia I n dia 70 4b [97]
Ob o e , Clarin et, an d Basso o nCesan a S econ dAmerican
Symphon y 1 55 [38] I f
Picc o lo , Flute , Ob o e , an d Clarin e t
SymphonyNo. 55» 72 1
Picco lo , Ob o e , Clarin e t, an d Bassoo nC esan a S econ dAmerican
73 [4] I f
70
PAGE MEASURE18 2
GL I S SANDI AND PORTAMENTIFlute , Ob o e , E n glish Horn , an d Clarin e t
COMPOSER WORK PAGE MEASURE COMPOSER MEASUREHon egger Symphon ic Liturgique 86 1 Jan sse nIn gh elb re ch t El Greco 1 0 [7]
Flute , Clarin e t, Bass C larin e t, an d Basso o nCOMPOSER WORK PAGE MEASUREPike t Curtain Raiser to an
American Play
Picc olo , Flute , Ob o e , E n glish Ho rn , an d Clarin et
Gro fe Gran d Can yon Suite 5 3 1
Picc olo , Flute , Ob o e , Clarin et, an d Bass Clar in e tChav ez S infon ia I n dia 79 4b [106]
Pic colo , Flute , Ob o e , Clarin e t, an d Saxoph o n e
Gould Latin - American
Symphon ette 123 1
Flute , Ob o e , En glish Ho rn , Clarin e t, Bass C larin et, an d Basso onHo n egge r Symphon ic Liturgique 94 1h [10]
71
WORK WORKSymphonyNo. 6
C larin e t
Das Lied von der Erdc 24 [26] 9f Mah le r SymphonyNo. 4
Symphon yNo. 3 16 [12 ]1 50 [1 1] I f
Mah ler SymphonyNo. 5
Pierrot Lun aire
Picc o lo an d Clarin e t
Var ése Hyperprism 17 7
72
German
Mit aufgehob en em Schall
trich terMit aufwirts gerich tetenSchalltrich ter
Schalltrich ter aufl [hoch]Schalltrich ter
'
in die HOheStiirze hoch
S ttirze in die Hohe
NATURAL POSITIONNatureln at.
Ordin aire(men t)ord.
Po sition n aturellepos. n at.
Po sitio n ordin airepos. ord.
Mahler
Mah le r
Symphony No. 3
Symphon y No. 4
SymphonyNo. 2
Symphon yNo. 4
WORKSymphon y No. 5
Mah le r Symphon y No. 6
Mahler Symphon y No. 7
Mahle r Symphon y No. 8
Clarin e t an d Saxoph o n eWORK PAGE MEASURE
Latin - American
Symphon ette 85 [5] I f
Ob o e , E n glish Ho rn , an d C larin et
46 3 Mahler
1 3 3 2 10
73
Symphon yNo. 6 202
BELLS UPOb oe an d Clar in e t
MEASURE COMPOSER[44] Mahler
[5] I f
[2 ]6
[49] 3f
[16][74]I h [24][30]164
[I 6]89
195
Chapter I O
HARMON IC S
Harmon ique(s)
En harmon ique en se servan tdu do igté du Fa grav e
WORK
Musicfor S hakespeare’
s
“Romeo an djuliet”
Pulcin ella Suite
R av el Varése Hyperprism
Ob o e
Ferroud Au ParcMon ceau 18 [4] 9f Th rough the LookingGlass
MEASURE
3 2 [I 7] sf
Picco lo an d Flute
Ravel
74
Chapter 1 1
OFF - STAGE
I talianA calo ttaDietro la scen aI n distan zaIn lo n tan an za ed in visib iliIn tern aLo n tan oNella scen a lo n tan o
PAGE MEASURE3 I
WORK WORKSymphon ic Fan tastique Alexan der Nevsky
Prokofiefi'
Alexan derNevsky Wagn e r , R . In troduction toAct II I ,“Tristan un d Isolde” 6 [2] 10f
7S
7
Chapter 1 2
English
Echo - ton e
C larin e t
PAGE MEASURE COMPOSER WORKMah ler SymphonyNo. 2
3 6 18
Symphony No. 3
Mah ler Symphony No. 4
Slap- to n gue
C oplan d
G ershwin
Chapter I 4
SLAP - TONGUE
I talian
Paean s
Ob o e an d Saxoph o n e
Rhapsody in Blue
German
I talianCon sordin 0 (i) Av ec sourdin e(s)con sord., c.s. avec sourd.
(for complete termin ologysee Chapter 19. page 104)
Ob o e an d Basso o nLiado v The En chan tedLake 1 1
79
Chapter 16
MI SCELLANEOU S E FFE CT S
FluteI
English Italian Fren ch GermanLike a b ird- call Come rich iamo Comme un e voix d’oiseau Wie ein e Vogelstimme
WORK PAGE MEASUREThe Chin ese Flute 10 12
I talian German
NO vib rato Non - vib rato Nich t v ib rieren dWith out vib rato Sen za vib rato
WORKSuitefor Orchestra
Ob o e
Fren ch German
AS ifmuted Comme av ec sourdin e Wie gedfimpft
Symphony No. 1 71 1b [6]
English German
Like a trumpe t "
Comme un e trompette Wie ein e Trompete
On ce Upon a Time,Five Fairy Tales 3 1 1
German
Shrill, pin ch ed ton e To n o squillan te e pizzico tto So n orité aigre , pin cée Schriller, scharfer To n
Varése In tégrales 37 2
Clarin e t
English I talian German
Coarsely b lown Suon are ruvido Son orité grossiere Grob geb lasen
1 16 1
WOODW IND S
Ob o e , E n glish Ho rn , an d Basso o nItalian Fren chSecco Sec
COMPOSER WORK WORKAlb en iz—Ar b é s E lAlbaicin An American in Paris
Picc o lo Flute , Ob o e , an d Clarin e t
Fren chNou- tremolo
WORKSymphonyNo. 2
82
Chapter 17
WOODW IND TERMINOLOGY
English
Change to AChan ge to E hTake A [Eh] Clar .
Chan ge En g. HR . to 2 n d Ob .
[Ob . ll]
Chan ge to P1.
Co n trab asso on chan ge to 3 rd
Bssn .
Piccolo takes Fl.Picc . takes 2 n d Fl. [FL II]2md Fl. takes Picc .
Fl. 2 [11] take Picc .
2 n d Ob . takes En g. Hn .
II Ob . to E H.
Take P1.
The 2 Fls. chan ge to Piccs.
3 rd Cl. chan ge to'
Bs. Cl.
I talianMutan o in AMutan o in B];Pren dero Clar . in A [E h]
Cor . in g. muta in Ob . 2 [Ob II]
Muta in PI.
Ctg. muta in Fag. 3 [Pg III]
Cl. 3 mutan o in C1. b asso3 rd C1. in E h chan ge to Eb C1. C1. 3
° in E hmuta in C1. Picc .
3 rd Fl. altern ates with Picc .
Un ison
in Eb
ll 3 Fl. alte rn a con n u Picc .
A due [2]
Fren chChan gez en La
Chan gez en SibPre n ez la C lar. in La [Sib]
Le Cor An g. pren dra le 24H”
R epren dre la Gran de FlfiteR epren ez la G
‘“Fl.
Le C b” prehd lo 3 B”
La P“Fl. repren d la Gd° Fl.Pice . ch an ge en 2° Fl
La 2° pren d la P“
La 2° pren d le Co r An g.
Les 2 G“ Fls. pren n en t laP‘° Fl.
La 3°chan ge en Cl. b asse
La 3° Cl. en Sib pren d la
P‘° Cl. en Mi b
La 3‘ chan ge avec la P
‘°
A deux [2]
Ko n trafag. n imrn t ein drittesFago tt
Picc . n ehmen gr . Fl.
Piec . n immt zweite Fl.Klein e Fl. v orb ereiten
Zweite Ob . n immt En gl. Hn .
Gro sse Flo te v o rb ereiten
Die 2‘
F1. n ehmen kl. Fl.
RI. 3 n immt B.—Kl.
Die dritte K1. in B n immt EsKlar.
Die dritte Fl. wechselt mitein er klein en FlOte
i .2. gr . Pl.
I
1.x] . (B)
1.2.Pos .
3 . Pos .
8 S olo
die uhr ig.
mit Dampte r
n otier te n S te llen ein d mit Zun ge n s ch lag auszufuh r en .
86
STRAUSS. DON QUIXOTE
L gr . Fl .
E n gl h .
1 . 2 .K1 . (B )
Bl . (B)
1 . Fag .
1.2. Pos .
3 . Pos .
8. Pa ir.
(h er vor tr'cten a')
Reproduced by permission ofthe origin alpublisher, C . F. Peters Corporation , Carn egie Hall, New York, 19 , N.Y.
87 .
E nxiji .
KM! 3 .
m m8.
Pe e
n . Et b a .
Vi ol .
Vi o la .
Vc e lle .
Gr. Fl . I.
mi n B.
Er i n F.
PoeJ .
ViolJ I
Viola.
88
INTRODUCTION '
WEEPING GENERAe IES are usually best avoided, yet it is difficult to resist the temptationto poin t out here the in terestin g developmen t of the choirs of the o rchestra in relation to
co n ven ien t time- span s. In the eighteen th- cen tury o rchestra, that ofHaydn ,Mozart
,an d
Beethoven ,the strin gs were the predomin atin g body of in strumen talists, woodwin ds were
of seco n dary importan ce , an d brasses con siderably less than that.,In the n in eteen th—cen tury
orchestra the win ds were improved to such an exten t that they assumed an equal role with theStrin gs in sympho n ic o rchestratio n , as is eviden ced by the sco res of Berlio z, Fran ck, Brahms,an dWagn er . An d in the twen tieth- cen tury o rchestra it is clearly the brasses that have come tothe fore , as the mo st superficial glan ce at the sco res of Stravin sky, Hin demith, o r Bartok willShow. Even the man y n ew percussion in strumen ts do n o t exhibit such amazin g techn icalresources an d diversity of effect as do the orchestral brasses. For better or fo r worse
, we have “
the jazz,movie , an d radio performers an d arran gers to than k for this prodigious expan sion of
brass techn ique . Un fortun ately fo r the serious composer an d o rchestrato r , however , n o t allsymphon ic brass players have developed their own in dividual techn iques to the same exten tas the popular dan ce o rchestra men . jazz trumpet players, for in stan ce , are quite accustomedto ascen din g to dizzy heights on their in strumen ts
,b ut the serious compo ser does well to
reflect befo re writin g a high CillThe examples In Chapter 18of extreme ran ges fo r the stan dard Orchestral brasses—horn s,
trumpets, trombon es, an d tuba—may n ot, to _the jazz arran ger at least, seem out of the ordin ary.
But, just as with the woodwin ds, it must again b e emphasized to the in experien ced composerthat the use of these exten ded registers should b e essayed with caution an d con siderable restrain t.As far as in ton ation an d lip co n trol are co n cern ed, these extreme n otes are n ot produced easilyan d with certain ty, even by top- n o tch players. Dyn amics are the con trollin g factor , plus themultiple complication s of tempo ,
doublin g an d rein forcemen t, an d spacin g. The examplesin clude : in th e horn ,
the highest E up to AI,an d the bo ttom C down to A ; for the trumpet
top C to Eb , an d the lowest Fit down to C ; in the trombon es, high C to D (ten or an d basstrombon es o n ly), an d the so - called pedal n o tes —C down to F ; an d m the bass tuba, the useof the highest n o tes, middle C up to Bb , an d the bo ttom E down to A.
The impo rtan t subject ofmutes fo r the various brass in strumen ts seems to b e almostunkn ownwhere the average orchestrator is co n cern ed. Apparen tly very few composers for the symphon yorchestra take the trouble to in dicatejustwhat kin d ofamute they had In min d, possibly becausemost of themseemin gly are un aware of the amazin g n umber an d types ofmutes n ow gen erallyavailable—or else they are just lazy ! But there Is certain ly n o excuse for an y composer o r
orchestrato r to con tin ue to in dicate merely con sordin o; on e should in dicate specifically thathe wishes cup mute , fibre mute , Harmon mute , wah - wah mute—or an y o ther o n e of the man y
1 NE. All examples are given atp itch.
90
INTRODUCTION
types n ow at his dispo sal. That each has its own peculiar an d in dividual to n e color should b e ,of course , perfectly obvious. In this respect, at least, the jazz arran ger has the advan tage overhis
“lon g- hair” colleagues, for n o t on ly do es he thoroughly kn ow an d appreciate the differen ce
between the various mute types, b ut he uses them most effectively. Chapter 19 lists the kin dsofbrass mutes gen erally available to the sympho n ic o rchestrato r , with in stan ces of their use in
published study scores. Other muted effects are also catalogued here , in cludin g “echo soun ds”;mutin g (b ut n o t stoppin g) the in strumen t by in sertin g the han d in the bell ; mutin g by placin ga hat over the bell, an d by playin g directly in to the music- stan d.
Closely allied to the gen eral subject of mutes is the device , largely used in the horn s, ofhan d—stoppin g , o r so - called “brassy soun ds.
”The studen t will n o doubt b e surprised at the
n umber of differen t ways this effect has been n o tated, fo r there seems to exist a con siderableamoun t of co n fusion amon g compo sers as to the clear an d proper n o tation to employ fo r suchstopped n o tes. The wo rd “brassy,” fo r example , is used bo th as an in dication fo r an overblown—b ut open— soun d, an d for a han d- stopped , rather sn arlin g metallic ton e . As
‘
the terms
brassy,” “
clo sed ,” “overblown ,
an d their fo reign equivalen ts are used bo th with an dwithoutthe small cro ss : (a sign in ven ted byWagn er), it is obvious that n o stan dardized n o tation hasas yet been established to differen tiate between the two similar , yet dissimilar , effects in question .
At the head of Chapter 2 0 will b e foun d all the termin ology employed fo r these effects, an d
the examples of stoppin g (or brassy soun ds) have been grouped acco rdin g to[
the specificdirectio n an d n o tatio n in the scores. Chapters 2 1 an d 2 2 are devo ted to the co rrelative effect
of immediately followin g a stopped n o te by an open on e , an d the reverse— these are practicalmain ly for the ho rn
,because of the awkwardn ess in han d- stoppin g the trumpet an d trombon e .
As double - ton guin g is so fun damen tal an d commo n to brass in strumen ts n o attempt hasbeen made to in clude such examples, as in the woodwin ds, b ut illustration s of bo th tripleto n guin g an d “
flutter—ton guin g’ f
are catalogued in Chapters,
2 3 an d 24 .
Whereas trills an d tremoli in th e Wo odwin d in strumen ts are gen erally easy o f executio n an d
characteristic of the in strumen ts’
techn ique,they are less common in the brasses. Owin g to
the mechan ical improvemen ts of the modern brass in strumen ts, an d to the players’ developmen t
of techn ique , the effect is n ow mo re widely called fo r , an d n umerous examples are listed inChapter 2 5 . The same is true of th e glissan do , first employed almo st exclusively by the
trombon es ; illustration s of this n ow overworked device are given in Chapter 26 . But the
device of raisin g the in strumen t’
s bell high in the air is assuredly n o t so un usual in the brassesas in the wo odwin d section ,
as is eviden ced by the n umber of such examples quo ted in Chapter2 7. There are n umerous in stan ces, also , ofthe off- stage use ofbrass in strumen ts
,either solo o r in
groups, catalogued in Chapter 28, an d Chapter 29 lists a few of the common jazz effects, such
as the“flare
,
” “growl,”an d
“smear .
”No attempt has been made to in clude o ther radio ,
film,
or dan ce o rchestra “tricks” n o t foun d in published symphon ic study sco res. Then ewer
, still
largely experimen tal,radio an d movie o rchestral devices must for the presen t b e omitted from
the Thesaurus, aswellas the o therjazz'
effects n o t yet commo n ly utilized by the serious compo ser .
Chapter 30 lists a few miscellan eous effects, such as the use of the n atural n o tes of the horn ,
an d Chapter 3 1 , the fin al o n e ofthe presen t section ,gives various brass termin ology n o t in cluded
un der the previous chapter headin gs.
9 I
3 -429)
S trauss, R .
C oppo la
Britte n
Britte nBritte n
Chapter 18
EXTREME OR EXTENDED RANGE S
Symphon ia Domestica
Symphon ia Domestica
Sun TreaderFiiafOrchesterstucke
N.B. All n o tes are giv en at actualpitch.
I 8
24
2
u) H0 RN
Pr okofiefl'
Prok'
ofiefi'
Symphon ic en L amin eur
PAGE MEASURE
C oppo la
DukasI I I l b [145] Fuleih an
Gr o feGrue n b ergHan so n
Sun Treader
A VictoryBall
PunfOrchesterstucke
Sch o n b e rg Theme an dVariation sMaso n S ch uman , W . Symphony No. II I
L e Paeme dc l’
Extase
S essio n s SymphonyNo. I I
Milh aud
Mo eran Symphon y in G min orSh o stako v ich
Mo ro ss
Paro di
Piern é
Po ulen c Strauss, R .
Prokofiefl'
S trauss, R . Symphon ia Domestica
Pr okofiefi'
S travin sky Chan t du Rossign ol
S travin sky
S travin sky Symphon ic dc'
Psaumcs
R oussel Symphon ic en S ol
min eur S trav in sky Symphony in C
94
BRAS SE S
(I) HORN (c o n td .)MEASUREl b [105]1 2
209
COMPOSERR udhyar
R uggle s
S ch e llin g
S ch o n b erg
EXTREME RANGE S
S trauss, R .
Walto n Symphony
Mahle r Symphony No. 3
SymphonyNo. I
Be e th o v en I 1
Symphon yNo. 2
Symphony No. 3
Mah ler Symphon y No. 4
Mah ler Symphony No. 5
Mahler Symphony No. 3
Mah ler Symphon y No. 6
Rav el Mahler Symphon yNo. 8
Mah ler Symphony No. 9
Sh o stakov ich Symphony No . 5
(2) TRUMPET
Symphony No. 8 Britten Four Sea In terlude:Sun - Treader from
“Peter Grimes 28 [4] I f
OR EXTENDED
( I ) HORN (c o n td .)
MEASURE COMPOSER[19] I f R e spigh i
[69] R e spighi
[142 ] zf
[163] R e spighi
4 Riv ier
2 S trauss, R .
6
WORKRoyalFireworksMusic
Parodi
Casella
C e san a
S trauss , R . Ein e Alpen sinfon ie
C oppo la
C owe ll
Kab alev sky Doh n an yi
44 3
Hin demithSun - Treader
29 1
A SurvivorfromWarsaw Ho n egger
Suite from “The Black
Maskers
Ein e Alpen sinfon ie
Kh achatur ian
Nocturn eMcDo n ald Rhumbafrom zud
Symphon y 3 6 [2 10] I fOpusAmcrican umNo . 2 82 2 b [590]
Fétc- Dicu a‘
S évillc I f?“ Symphon ic 40 3
BRAS SE STRUMPET (c o n td .)
MEASURE COMPOSER67 An th e il
4 Bach147 R e spighi
167 Bar tok3
S ch uman n , R .
Brahms
Riv ier
S ch uman n , R .
Symphony No. 3
S infon ia dc An tigon a
BRA S SE S
(2) TRUMPET (c o n td .)PAGE MEASURE18 1
29 1 27
43 207
2 3 [E] «if
101 2 b [Y]2 2 1
81 424
7 [5] sf
COMPOSERHo n egge r
Riegger Symphon y No. 3
Rivier Dan seS ch uman n , R . Symphon yNo. 3
Wagn er , R . Overture to
Tan n ha'
user
Pr okofiefi’
Suitefrom the Ballet“Chout”
S trauss, R .
Pr okofiefi'
Suitefrom the Ballet“Chout”
Prokofiefi'
S uitefrom the Ballet“Chout” 125 [161] rf
EXTREME OR EXTENDED
Symphon yNo. 2
Pagan in ian a
Au ParcMon ceau
Suitefrom the Ballet“Chout
S tar okadomsky Con certofor OrchestraS travin sky L e S acre du Prin temps
Brahms
R av e l
R uggle s Sun - TreaderS ch uman n , R Symphon y No . 3
S tar okadomsky Con certofor Orchestra
S trauss, R . Ein e Alpen sinfon ie
S travin sky L e Sacre duPrin temps
Brahms E in deutsches Requiem
Symphon y No. 3
Symphon yNo. 4
(3 ) TROMBONECOMPOSERCase lla
’
Prokofieff
Pr okofiefi'
Pr okofiefi'
Pr okofiefi'
R av el
S ch o n b e rg
RANGE S
A Victory BallMirages pour Orchestre,No . 2
Funf OrchesterstuckeS c human n , R . Symphon y No. 3
Sh o s tako v ich Symphon y No. ,3
E in e Alpen sinfon ieL e S acre da Prin tempsPetrouchka Suite
Symphon ic No. 4
1b [2 2]
BRA S SES
(3 ) TROMBONE (c o n td .)English Italian Fren ch
Pedal to n e [n o te] To n o di pedale To n de pédaleCOMPOSERBerg
COMPOSER PAGE MEASUREB ch—R hi8 e sp1g Britte nBach—R e spigh i
Bar tok49 8b [5 1]
34 3
Bar ték
S e ssio n s
S trauss, R .
Le S acre du Prin tempsMass
R av el '
Welle sz Symphon y in C
S trauss, R .
Bar ték Con certofor Orchestra
COMPOSERS ch
‘
o’
n b erg
WORKFunf Orchesterstiicke
S ch uman , W . Symphon y No. I II
S h o s tako v ich Symphon y No . 3
S trav in sky
Wagn e r , R .
Doh n an yi
Dukelsky
Dun n
L e S acre da Prin temps
43
4b [160]l b [4]
Milh aud
Pr okofiefi'
Prokofiefi'
S e ssio n s
S essio n s
Sh o stako v ich
S taroka
domskyS travin skyS trav in sky
Tipp e tt
Bax
Doh n c'
myi
Dun n
102
WORK PAGEDeuxiéme Con certopour 3 1
Violon celle ctOrchestre 100
2“ Suite Symphon ique 1 15
I I"Symphon ic 5
80
Q uatriéme Symphon ic 79
85
Curtain Raiser to an
American PlayRomeo an djuliet,S uite No. 2
Symphon y No. 1
BRA S SE STUBA (BASS ) (c o n td .)
MEASURE[5]2
170
[88] 3f
[3 3 ]1b [65]I
3 b [1 1 3][16 1] I f
[100] 3f
[U]
II 4] 6f
COMPOSERMilh aud
Pike t
Suit'e from the Ballet“Chout
SymphonyNo. 5
In gh elb re ch t
Ir elan d
Kab alev sky
Milh aud
Pr okofiefi'
EXTREME OR EXTENDED RANGES
(4) TUBA (BAS S ) (c o n td .)WORK COMPOSER
Kon z ert fu‘r Orchester S tokowski
El GrecoSymphon ic Rhapsody,
“Mai-Dun”
Symphon y No. 2 Kab ale v sky
Sh o stako vich
Petrouchka SuiteA Lon don Symphon y
Pastoral Symphon ySymphon icNo. 4
U
8 b a n s a _
Prelude andFugue in D 1 3 2b [5]major 45 4
Pastoral Symphon y 53
MEASURE
[B] sf
Moms
(1 ) MUTE TYPE S
Sourdin e en carto nDoub le sourdin eSourdin e dc capo c
Il sordin o azz azz”
- dampferSordin o di metallo Metalldampfer
- tran spo sin g
German
Dimpfer an se tzen [aufsetzen ]Dampfer n ehmenDimpfer v o rb ereitenGeda-mpftMit DfimpferMitDmpf. , m. Dpf. , m. D.
Mit Sordin enmit Sord. , m. S ord.
Nehmen DimpferNimmt (such) DimpferSo rdin en
sord.
BRAS SES
(1 ) MUTE TYPE S (c o n td .)
FIBRE MUTE
R o ge rs On ce Upon a Time,Five Fairy Tales
Tromb o n e
SymphonyNo. 5% 17 5 S trav in sky Ebony Concerto
Trump e t an d Tr omb o n e
Symphon yNo. 5% 3 0 [N] 6f S trav in sky Ebon y Con certoDismal Swamp 1 2 1
20 [1 3]
Ho rn , Trumpe t, an d Tromb o n e
Strav in sky Ebon y Con certo 39 [3 3]
JAZZ MUTETrump e t
Coplan d Con certojb r Pian o and 3 6 1b [2 5] C oplan d Musicfor the TheatreOrchestra 59 [45]
Biguin e
METAL MUTE
C or n e t
Villa- Lo b o s 46 [10]
Villa- Lo b o s 30 3
NON- TRANSPOSING MUTE
Ho rn
106
HARMON MUTE
Trumpe t
MEASURE COMPOSER[2 0] S trav in sky
[A] I f Tur n er
3
1
6
(1 ) MUTE TYPE S (c o n td .)
MUTES
ORmNARY (REGULAR , STRAIGHT] MUTE
Trump e t
PAGE MEASURE COMPOSER24 5 S iegm eister
5 3 4 Siegme iste r
4 1
29 [30] S till
57 [64] I f Th om so n
R ogers 14 [1 1 ]57 1b [3 3] Th om so n
5 2 3
1 0 1h [50] Turn e r
Tub a
Milh audS tokowski Komm Susser Tod
Bar tok Dan ce Suite
S injbn ia da Requiem
Elegia Eroica
Billy the Kid Ballet
SuiteC oplan d S tatemen ts
Symphon y No . 5§In gh elb rech t Rapsodie dc Prin tempsLe van t Nocturn e
Trumpe t an d T r omb o n e
Walto n Facade, S uite No . 2
S trav in sky
9—(G -429)
107
41
Deuxiéme Con certopourViolon et Orchestre
I I 3 Symphon ic
Q uatriéme Symphon ic
Pictures atan Exhib itionDaphn is ctChloe,Suite No. 1
A SurvivorfiomWarsaw
Fiinf Orchesterstucke
Un dertow
S un day in BrooklynWestern S uiteDon QuixoteE in Helden lebenL e S acre du Prin tempsThe S ein e atNight
4
I n gh elb r ec h t
R o sen thal
S iegm e iste r
Bar ték
Tu‘
rn e r
C oplan d
Rhapsody in BlueLa Valse RetrouvéeLés PetitsMétiersWestern Suite
Rhapsody in Blue
Walto n
BRA S SE S
(1 ) MUTE TYPE S (c o n td .)Tromb o n e
WORKEbon y Con certo
RAY ROBISON MUTE
Trumpet
Dismal Swamp
SOFT CARDBOARD MUTE
Tromb o n e
Con certofor Orchestra I I 5b [220]
SOLO TONE MUTE
Trumpe t
PAGE MEASURE COMPOSER WORE3 5 [24] Turn e r Fanfare, Chorale an d
Tr omb o n e
Fanfare, Chorale an d14 1
Trumpe t an d Tr om b o n e
Musicfor Radio
Zimb alist
Tr omb o n e
18 4b [14] R o se n th al L es PetitsMétiers
Trumpe t an d Tromb o n e
Pagade, Suite No. 2 3 8 [C ] I f
1 08
BRA S SE S
(3 ) HAND IN BELL (c o n td .)H o rn
COMPOSER WORKS ch uman , W . Prayer in Time of War
WORKThe Sein e atNight
Tr omb o n e
Gillis Symphon yNo. 5% The Alamo 53 4
(4) HAT OVER BELL
German
Hut ub er den Schalltrich terIn ein em Hut
Coplan d 14 [9] I f
C e san a
S trav in sky Ebony Con certoMusicfer RadioFrommy Win dow
C e san a
C oplan d Musicfor Radio
(5) IN STAND
Fren chIn stan d Co n tre le pupitreMute in stan d
Tr omb o n e
Mo o re Symphon y in A major 1 12 4
1 10
MUTE S
(5 ) IN STAND (c o n td .)Trumpe t an d Trom b o n e
WORKLouisiana S tory Suite
(6) OTHER INDICATIONS
English I talian Fren ch German
O pen little b y little Apri poco a po co Ouv rez pen apeu Allmahlich Offn en
Charpe n tie r 45 [10] 3 f
E nglish Italian Fren ch German
Muted, with out stoppin g Co n so rdin o , n o n- ch iuso Avec sourdin e , n o n—cuiv rer Mit Dimpfer , n ich t gestopft
94 2
English Fren chHalf- mute(d) Demi- sourdin e
Ho rn
S ch uman , W. Symphon yNo. IV 3 1 _ 2 5
I I I
Chapter 2 0
STOPPED OR B'
RA S SY TONE S
German
Sign for stopped to n es segn o per ii suon o chiuso so n s Zeichen fur
gestopfte TO’n eEin zeln e gestopfte Ton emit b ezeich n et
Natural (soun ds, to n es)n at.
Open
Bar b e r
Deb ussy LaMer
Bern ste in
OPEN TONES
Naturel(s)n at.
Ouv ert(s)auv .
So n (s) n aturel(s)So n (s) o rdin aire(s)So n (s) ouv er t(s)
(1 ) STOPPED
(Chiuso , Cuivré, Gestopft)
S ch uman , W .
S e ssio n s
Bruckn er
Symphon yNo . I I
T ch aiko v sky
Tchaik o v sky
Tch aiko v skyT chaiko v sky
Th omso n
Wo lf
Rgn ard
S cherz o Fan tastiqueA Negro ParadeDeux Momen tsSymphon iques
Hamlet
Suitcfi'
om the Ballet,“The S leep ingBeauty”
Symphon yNo . 5
Symphon y No . 6,“Pathétique”
Louisian a S tory Suite
PAGE MEASURE
22 71
BRA S SE SHo r n (Co n td .)
MEASURE COMPOSER[ I ] S trauss, R .
9
TONE S
WORK PAGE MEASURE
Ho r n , Trumpe t, an d Tr om b o n e
Mah le r Symphon yNo. 3 1 1 2 Milh aud Saudades doBraz il
Ho rn
Alfv én d e Falla1 5 3
de Falla
Brahm s
Brit te n
Kab alev sky Symphon y No . 2
Kab ale v skyKh ach a tur ian
Kh ach atur ian
Kn ipper Symphon y No. 4
de Falla El Retablo dc Macse
Psalmus Hungaricus
PPED OR BRAS SYHo rn an d Trumpe t
PAGE MEASURE COMPOSERI 6 1 S trauss , R .
1 17 [76]42 193
92 1 0
BRA S S ESHo rn (c o n td .)
PAGE MEASURE COMPOSER WORK1 1 R im sky L e Coq d
’
Or SuiteKo rsakofi
'
Kikimora
An An cien t Greek
Mah le r Das Lied von der Erde
R o ussel
S e ssio n s
Musso rgskyRav e l Sh eph er d Horizon s
Pe scara
Prokofiefi’
Ala etLolly (S cythianS uite)
C in derella Suite No. 1
R omeo an dJuliet,Suite No. 1
R achman in off Pian o Con certo No. 3
R achman in o ff Symphon yNo . 2
Taylo r
Rachman in ofi‘
Rav el T ch aikov sky S ymphon y No. 5
Tch aiko v sky Symphon yNo. 6,“Pathétique” 202 1 26
Th omso n Orchestra S uite fromTh
‘
ePlow thatBroke the Plain s
R av el A Lon don S ymphon yOverture to The
Rav el MaMc‘
rc l’
Oye
BRA S SE SHo rn (c o n td .)
PAGE MEASURE COMPOSER WORKR ead Symphon yNo. I
14 1
New Year’
s Eve in
An An cien t Greek
Mah le rS e ssio n s
S trav in sky Petrouchka Suite
3 2 167
Milh aud
L es Choc’
phorcs ,
S audades do Braz il
62 6
R ead First Overture
Ho rn an d Trumpe t
WORK PAGE MEASUREIéfe Rhapsodie Roumain e 67 [3 3]
(4) MUTED—BRAS SY(Co n sordin o—chiuso ,
Av ec sourdin e—cuiv ré, Mit Dampfer- Ge sropft)
Ho rn
I n gh elb re ch t Pour lejour de la
S iren es premiere n eige auvicuxjapon 3 5 [2 1]
Diam o n d
R iv ier
S ch o n b erg
STOPPED OR BRA S SY TONE SHo r n (c o n td .)
PAGE MEASURE COMPOSERVilla - Lo b o sVilla - Lo b o s
(5 ) MUTED
(Co n so rdin o Av ec sourdin e Mit Dampfer
Ho r n
R ead Prelude an d Toccata
Timon ofAthen s 19 1 2 5 Petrouchka S uite
(6) OPEN—BRASSY(Sen za so rdin o—chiuso
,San s sourdin e—cuiv ré, Oh n e Dampfer—G estopft)
Ho rn
Rapsodie pour Violon celle Ren ard
ct Orchestre Louisian a S tory S uiteKammcrsymphon ie,Op . 9
(7) OPEN
(Sen za so rdin o San s sourdin e Ohn e Dampfer
Rapsodie Espagn oleSuite en Pa
1 19
1 25 [ 107]
BRAS SES
(8) HAND IN BELLItalian Fren ch German
Co lla man o Avec la main Han d im Schalltrich terLa man o n clla campan a La main dan s lc pavilion Mit der Han d
COMPOSER WORKSchuman ,W . American Festival
Overture
Sch uman , W . SymphonyNo. I II
L o efiie r Poem,
'
LaBon n eChan son
18 1 23 [18] 2f
(9) HALF STOPPED(dl chiuso , b ouch é, é» gestopft)
Ho rn
Ib e r t Fe'erique 29 [19] 2f Varese I n tégrales 18 2
(10) OTHER INDICATIONS
English I talian German
Muted—b rassy Co n so rdin o—chiuso Av ec sourdin e—cuivré MitDimpfer—Gestopft
Ho rn
C oplan d Con certofor Pian o an d 56 [42 ] C oplan d Lin coln Portrait 3 6 4b [2 20]Orchestra 61 [47]
Fren chOpen—b rassy Sen za sordin o—chiuso San s sourdin e—cuivré
PAGE MEASURE
17 3
Chapter 2 1
STOPPED - OPEN 0 )
I talianCh iuso (i)—Aperto (i) Av ec so urdin e(s) —Ouv ert(s)Co n so rdin o—Naturale Bouché(s)—Ouv ert(s)Bouch ez—Ouv ert
Cuivré(s)—Ouvert(s)Cuiv rez—Ouv ert
COMPOSER WORKAlb én iz—Ar b os ElPuertoAlb én iz—Arb é s Fétc- Dieu d S e'villeBalakir evCase lla
Bar b e rBar b er
Bar t6k
77 3 b [560]Bar ték Deh us
Dukas Polycuctc, Ouverture
Con certojb r Violon celloan dO rchestra
Bo r o dinBri t ten
Chab r ier
Charp en tie r 3
COMPOSER
Mah le r
I o
Masquerade S uite
Symphon y No. 6
Symphony No . 7
Symphon ic
4 [A] 3f
Rav e l
S e ssio n s
S e ssio n s
Sh eph e r d Horizon s
Sh o stako vich The Golden Age,Ballet Suite
Western Suite
S trav in sky
Mahle r
4
STO PPED - OPEN O)
Ho r n (c o n td .)PAGE MEASURE COMPOSER WORK
5 [2 ] 7f R achman in o fi’
Symphon y No. 2
2 5 4b [1 3]1 3 2 3 Daphn is ct Chloé,
Suite No. 2
MaMc‘
rc l’
Oye
Rapsodie Espagn oleSketches of the C ity
Fire—Bird Suite (19 19)L e S acre da Prin tempsGulliver—His Voyageto Lilliput
S iegfried’s Rh in cjourn cyfrom
“Go'tter
Facade , S uite No. 1
Symphon y
BRAS SESHo rn an d Trumpet
WORK PAGE MEASURE COMPOSER PAGE MEASURETrois Poemesjui/Zs 7 [2 ] Musso rgsky
57 288
Trumpe t an d Tromb o n e
20 1h [J] Ward Jubilation - An
Overture 1 5 1
29 1
1 24
WORK
McDo n ald
Ho n egge r
Ib e r t
An tiche Dan z e edArie,Kh ach atur ian Gayn e Ballet S uite 2
“ Suite 1 2 [4] 1 1—fNo . 2
Symphon yNo. 4 14 1
R o sen th al
Mah le r Symphon y No . 4
Mah le r Symphon y No. 5
S e ssio n s
Mah ler
BRAS SE SHo r n (c o n td .)
PAGE MEASURE COMPOSER1 30 1 Mahle r
27 2 b [3 1] Mah le r
71 1
R e spigh i
Rim skyKo r sakofi
'
Capriccio Espagn olR o ge r
—Ducasse Paeme Symphon ique surlc n om de GabrielFauré
L es PetitsMétiers
OPEN - STO PPED (O
Ho r n (c o n td . )
WORK PAGE MEASURE COMPOSER WORK PAGE MEASURE22 3 Vaugh an S ymphon y in E min or
Western Suite 54 [50] William s
Also Sprach Zarathustra 196 3 Wagn e r , R .
L e Sacre du Prin temps 108 [1 3 5]Petrouchka Suite 87 6
Szyman owski Symphon ic Con certan te Walto npour Pian o et
8Orchestre 3° [2 1
Through the Looking Wal to n
Walto n
Overture to The Whith o r n e The DreamPedlarW illiams Wasps
”
Rapsodie Espagn ole Symphon ic dc Psaumes 2 6 [17]Ebon y Con certo
Ho rn an d T rumpe tWORK PAGE MEASURE
America 1 14 1
T rumpe t an d Tr om b o n eGo uld American Salute 2 0 1b [J]
127
S iegfried’s Rh in eJourn eyfrom G iittcr
dc‘
immcrung”
Con certofor Viola an dOrchestra
Con certofor Violin an d
OrchestraSymphon y
Mah ler
Me n delsso h n
R av el
Mah ler
Chapter 2 3
TR IPLE - TONGU ING
(for n o tatio n see Chapter 6, page 60)
WORKLaBallade de la c le
de ReadingSymphon y No. 2
Symphon y No. 4,“I talian ”
Alborada del Gracioso
Symphon yNo. 2
Philharmon ic Waltzes
Ho rn an d Trumpet
Alborada del Gracioso
PAGE MEASURE73
'
1
Ho n egge r
Ho n egge r
Ho n egger
Bern ste in
Hin demith
Ckap ier 24
FLUTTER - TONGUING(fo r termin ology an d n o tatio n see Chapter 7, page 63 )
Symphon ic pour
Orchestre
KammermusikNo. 1
COMPOSER
Tan sman
Varese
Ho n egger
WORKSymphon y No. 4
E in e Alpen sin/b n icEbony Con certo
COMPOSER PAGE MEASURE
S essio n s
2 1 4b [16]Rav el
Riegge r S trav in sky L e S acre da Prin temps
R iisager
14 1
R o se n th al ~ 34 3
146 [B]A Survivorfrom Warsaw 2 5
14 68
S ch o n b erg Funf Orchesterstucke 26 [9]
Tromb o n e
18 [1 1 1 ] 2f Milh aud14 9 1 2 1 1
Milh aud 3 5 [3 5] sf49 I 5 1 4b [1 3 5]
Q uatrie‘
me Symphon ic 81 1h [30]34 7 A Surv ivorfromWarsaw 1 1 5 1
Oz ark S et 63 3
Tub a
Ho n egger L e RoiDavid Milh aud La Mort d’un Tyran 40 2
Ho rn an d Trumpet0
147 2 Mih alov ici
Ho rn an d Tromb o n e
WORK PAGE MEASURE16 2
1 3 1
FLUTTER - TONGU ING
Trump et (c o n td .)PAGE MEASURE COMPOSER16 2 b [60] S e ssio n s
75 6
1 5
Trumpet an d Tromb o n e
WORK PAGE MEASURE COMPOSER PAGE
S injb n ia da Requiem 44 [30] Mih alo viciNocturn e for Orchestra 42 2 b [2 39]Con certo Roumain pour Nlilh aud
Violon ctOrchestre 3 5 3b [200]McKay S injb n icttaNo. 4 3 2 2
Ho n egger
106 2 b [20]
Tromb o n e an d Tub a
Symphon yNo. 4 5 2 [2 ] I f S chOn b erg Funf Orchesterstucke1m Symphon ic 39 [60] 2f
67 [50] 2f
Ho n eggerTh om so n
Ib er t Varése
4.
Ho rn , Tromb o n e , an d Tub a
Sunday in Brooklyn 94 [120] I f Siegm e ister Western Suite 39
Trumpet, Tromb o n e , an dT ub a
Ho n egger Rugby 20 2
Ho rn , Trumpe t, Tromb o n'
e , an d Tub a
5 1 [34] Milh aud Con certo pour Violoncelle et Orchestre
Sh o stako v ich Symphon yNo. 1
46 [1 0]
Ho rn , Trumpet, an d Tromb o n e
36 [2 5]IMo ro ss
Po o t
R o se n th al
Siegme ister
S trauss, R .
S trauss, R .
COMPOSERIn gh elb rech t
Mah le r
Barték
Caturla
WORKPour lejour de la
premiere n eige ou
vieuxjapon
Rapsodie dc Prin temps
Das Lied von der Erde
Symphon yNo. 9
Symphony No. 2 2
Im Symphon ic
Symphony No. I
Ballata delle-G n omidi
Beyagor, Ouverture perOrchestra
Over the Plain s
BRAS SESHo r n (c o n td .)
PAGE MEASURE COMPOSER
43 7
R e spigh i
Sh eph e r d Horiz on s
S h o stako vich SymphonyNo. 5
W e in gar tn er Lustige OuvertureZimb alist
Hin demith
American Rhapsody
FéeriqueDeuxieme Symphon ic en
S ib 71 I
The Pin es of RomeVetratc di Chiesa
Symphon yNo. 3
Evocation s, ISuite en FaS ymphon ic en S ol
min cur
A Victory BallEtude pour le “
Palais
Han té”d’EdgarPoe 49
Rapsodie Vien n oisc 26
Ron de burlesque 18
A SurvivorfromWarsaw 9
I 4
89
I 3
146
Symphon y No. 3 67
Frommy Win dowAlso Sprach Zarathustra 84
Ein e Alpen sinjb n ie'
87
Bin Helden leben 1 2 1
Symphon ia Domestica 5 3
TillEulen spiegel’
s
Merry Pran ks 60
L e S acre du Prin temps 5 5
Symphon y No. 1 1 30
Cho'
ros No . 8 3 6
Symphon y 54
1 05
171
58
45
59
Be rlio z
Han del
Ho n egger
Mah ler
TR ILL S AND TREMO
WORK PAGEjour d
’
été d la Mon tagn e 27
Masquerade Suite 62
Symphon y No . 1 77
Symphon y No . 3 180
Symphon y No . 6 3 0
Symphon y No'
. 9 1 5 5
Divertissemen t pourPetit Orchestre 3 9
Symphon ic 27
La Valse 96
1 3 1
1 2
3 3
3 3
14
The R oman Carn ival
Overture 59
Rapsodie Espagn ole 77
A Survivor from Warsaw 2
COMPOSER
1
3 1
3 9
101
1 16
Trumpe t (c o n td .)MEASURE COMPOSER[1 2 ] S trauss , R .
1
8 S trauss, R .
8
[ I 8][43 ]
4
4
[73 ][1 0 1][4]7
4b [16]We in gar tn e r
[12 ] Zim b ali st
C o r n e tVilla - Lo b o s
438
Tr omb o n e
Tub a
Dan ses Africain es
Tapiola
Fire- Bird Suite (19 19)
WORK PAGE MEASUREWagn e r , R . Prelude to “
Die
Meistersinger 44
Ho r n an d Trumpe tI Mah le r
3 b [1 5] Mah le r
4 Po o t
2 R av e l
3
Walto n
I
10 [5] 2f
45 z
75 [181 1f
WORK PAGEA lso Sprach Zarathustra 86
1 24
Symphon ia Domestica 3 3
69
S cherz o Fan tastique 61
Through the LookingGlass
Symphon y No. 1
Pin occhio
Fanfare, Chorale an dFin ale
Amaz on as
Con certofor Violin an d
OrchestraLustige OuvertureAmerican Rhapsody
Ho rn an d Tromb o n e
WORK PAGE MEASURE COMPOSERS trav in sky Fire- Bird Suite (19 19) 65 1b [39] Villa- Lo b o s
Trumpe t an d Co rn e t
Mo haupt Town PiperMusic 17 2 b [1 1]
Trumpe t an d Tromb o n e
Ko dély Hdryjdn os Suite
Ho rn , Trumpe t, an d C o rn e t
S travin sky Petrouchka Suite 1 16 [101 ]
Ho rn , Trumpe t, an d Tromb o n e
Fugue in Gmin or—The S trav in skyS horter 2 1 [14] Welle sz
1 36“
Bar ték
Violin Con certoViolin Con certo
60
70 4b [97]74 1h [45] Po ule n c
18 [8]57 I
1 10 5
6 34
Rav e l
Gould
L a Valse
Rapsodie Espagn oleHo n egge r
Ho n egge r
R iv ie r
R o sen thal
Lamb er t The R io Gran de
S ch o n b erg
E vocation Sh o stako v ich
L a C réation du Mon de
Milh aud
MilhaudEbon y Con certoFire—Bird S uite (19 19)
Milh aud
S travin sky
Turn e r
Symphon y No. 7 S trauss, R . Don QuixoteRon de burlesque
Ho rn an d T rumpet
72 1 Sh o stako v ich Symphon y No. 1
61 [C] 2 f S iegme iste r Frommy Win dow1 5 [9] Siegme iste r Sun day in Brooklyn39 4
Bar ték Con certofor Orchestra S en semaya’
27 [28]In gh elb re ch t La Valse Retrouvée Chan t du R ossign ol 3 1
Kn ippe r Symphon y No. 4 L e S acre da Prin temps 91 [1 1 1]1 28 [177]
Mah le r 1 5 3
Po o t 2 5
R e spigh i 1 12 [82 ] 9f
Ho rn an d Tub a
COMPOSER WORKI n gh elb r e ch t E l Greco
K o dély
McKay
In gh elb re ch t
1 3 91 1
G L I S S ANDIT r om b o n e (c o n td .)
MEASUREh 41 2 f
3
[173] sf2 b [184][85] I f
[93 ] sf
4
2 b [9]s
[240]
COMPOSERVarése
Varése
Villa - Lo b o sVilla - Lo b o sVilla - Lo b o sWage n aar
WORK
Mah le r
Jan ssen
Ho rn , T rumpet, an d Tromb o n e
1 3 3 l b [594] I b ert
1 14 2 b [48]5 [2 ] 2 f
5 3 IAmazon as
Ho rn , C o rn e t, an d Tromb o n e
WORK PAGE MEASURECho
'
ros No. 10 5 1 1
Ho rn , Tromb o n e , an d Tub a
In gh elb rech t El Greco 7 3 b [5]
Ho rn , Trumpet, Tromb o n e , an d Tub a
Go uld Parodi Preludio ad un a123 1 Commedia
140
BRAS SESTromb o n e an d Tub a
MEASURE COMPOSER[66] I f Kodély
4
[12 ]
S e ssio n s
S e ssio n s
C asella
C asella
Mahle r
Gould
Mah ler
SymphonyNo. 2
Symphon y No . 3
Symphon yNo . 9
Biguin e
BRA S SE SHo r n (c o n td .)
MEASURE7
COMPOSERS iegme iste r
S trav in skyT chaiko v sky
Milh aud
S ch o n b erg
S ch uman , WVar ése
FeuerwerkL e Sacre du Prin temps
Petrouchka SuiteManfred- Symphon ic
In tégralesSymphony
Symphon yNo. 4
Symphon yNo . 5
Symphon yNo. IV
I n tégrales
Death an d Tran sfiguration
I n tégrales
5 1
BELL S UP
Trumpe t an d Tromb o n e
PAGE MEASURE COMPOSER86 94 C e san a
Ho rn , Trumpe t , an d Tr omb o n eMahle r Symphon y No . 5 43 [18] W e in b e rge r
S ch uman , W . Symphon y No . I I I 43 3 54
S ch uman ,W . Symphon y No. IV 3 0 2 47 64 1b [2 1 5]
Ho rn , Tr omb o n e , an d Tub a
WORK PAGE MEASUREFrommy Win dow 56 2 b [40]
Ho rn , Trumpe t , Tr om b o n e , an d Tub aTan sman DeuxMomen ts
Symphon iques 42 2
143
Chapter 28
OFF- STAGE
(for termin ology see Chapter 1 1 , page 75)
WORK PAGELeon ore OvertureNo . 2 50 3 92
Leon ore Overture No. 3 3 0 272
Symphony No. 1 5 1
Alexan derNevsky 107 4b [61]
2 Trumpe ts
Dv o iék Die Waldtaube 1 5 [5] 2f I Mah ler Symphony No. 2
3 Trumpets
L o effler A Pagan Poem 3 7 [N] 2 f S trauss, R . Ein Helden lebeh 81 [42 ]66 [I] 1f
95 [20]
4 Trumpe ts
Ve rdi Messa da Requiem 43 93
57 [185]
Prokofiefi'
Prokofiefi'
5 3 4b [34]
144
Chapter 2 9
jAZZ E FFECT S
Italian Fren ch German
PAGE MEASURE
40 1h [16]
I talian German
Gould84 10
G ould
96 3b [12 ]
I talian Fren ch
S trav in sky
Go uld
JAZZ EFFECT S
Italian Fren ch German
PAGE MEASURE3
Trump et an d Trom b o n e
WORK PAGE MEASURE COMPOSERPhilharmon ic Waltz es 1 6 Gould
Ho rn , Trumpe t, an d T romb o n e
Gould Latin - American
Symphon ette 1 24 4
Italian Fren ch
5mea l‘
3 1 5
Ho rn , T rumpe t , an d T r om b o n e
Go uld Philharmon ic Waltzes 27 4
I talian Fren chVib rato Faire v ib rer le so n
(for furth er termin o logy see Chapter 1 3 , page 77)
Ho rn
Alb én iz—Ar b é s Evocation 1 3 2 I Mo haupt Town PiperMusic 45 [46]
E n e sc o 2“Rhapsodie Roumain e 14 [9] I n gh e lb r e ch t L aMétamorphose d’Eve 20 1b [17]
147
COMPOSER WORK PAGE MEASUREDelan n o y Figures S on orcsI b e r t Divertissemen tI n gh e lb re ch t La Valse Retrouvée S iegme ister
Mar tin e t Orphée
German
Wie Gelfich ter”
PAGE MEASURE40 3b [85]
Varése 14 [8] 4f
I talian German
wow wow
Symphon yNo. 55 Divertissemen t 60 8b [7]
I 7 5
Trumpe t an d Tr omb o n eSymphon y No. 55> 3 0 [N] 6f
148
Italian Fren ch GermanCoarsely In modo grosso lan o Gro ssier
PAGE MEASURE
37 4
Italian Fren ch GermanDark to n e Suo n o ten eb ro so Timb re somb re Dun kler To n
Pe r sich e tti The HollowMen
English I talian Fren ch German
Muted, in imitatio n of an Co n sordin o , imitan do il Av ec sourdin e , imitan t le Gedampft, ein an tikesan tique co rn e t co rn etto an tico comet an tique Co rn ett n achahmen d
R e spigh i An tiche Dan z e edArie,2“Suite I S 1
German
Nich t vib rieren d
S iegme ister Wildern ess Road
Tromb o n e
I talian Fren ch German
Mordace Mordan t
S trav in sky Ebony Con certo 25 1h [10]
E nglish I talian Fren ch German
In th e jazz style In stilo jazz Dan s le style jazz Imjazzstil
Po o t jazz -Music
E nglish I talian German
Nearly slidin g b e tween th e Quasi glissan do Presq ue glissan t en tre les n o tes Fast gleiten d zwischen den
n o tes No ten
R udh yar S infon ietta 3 2 I
English
No glissan do
English
Push the soun d
English
Quarter- ton es
English
Like staccato—pan tin g
English
Like pizzicato
M I S C ELLANEOU S EFFECT S
Tromb o n e (c o n td .)
I talian Fren ch German
No n -
glissan do No n -
glissan t Nich t glissan do
COMPOSER WORKS ch uman , W . American Festival
Overture
I talian Fren ch German
Av an zare il suo n o Po ussez le so n Den To n fo rcieren
I n gh e lb rech t Rapsodie de Prin temps 45 [2 3] 4f
I talian German
Quarto di to n i Viertelto n e
Varese Hyperprism 1 5 [9]
Italian Fren ch Germanuasi staccato -
palpitan do Comme staccato—haletan t Wie staccato—keuchen d
S infon ietta I 8 2
Tub a
I talian Fren ch German
Quasi pizzicato Comme pizzicato Wie pizzicato
PAGE MEASURE1 2 2
[ 5 1
Chapter 3 1
BRA S S TERMINOLOGY
Italian
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4 Horn s muted Les 4 Cors av ec sourdin es Horn et 1—4 gedimpftSourds. aux 4 Homer [Tromp. ;
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BaRTéK. VIOLIN CONCERTO
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Tamb our i n Pr oven gal
Caiss e Roulan to
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LE CHE UR
Ten or s
Mam a ) . LES CHOEPHORES (IV. PRfiSAGBs)1 56
INTROD UCT ION
F THE BRASS INSTRUMENTS have seemin gly assumed the domin an t role in twen tieth—cen turyo rchestratio n . the percussio n in strumen ts are assuredly n o t far behin d in impo rtan ce , as an yhearin g ofa co n temporary sco re willun mistakably prove . But 1tmust b e stated at on ce that
the use o f the fo rmer is gen erally accomplished with more skill an d in telligen ce than the latter,
fo r the merely “good” in strumen tator in evitably ten ds to over - orchestrate as far as the percussion section is con cern ed. The more restrain ed an d sen sitive employmen t of the coun tless
percussio n in strumen ts n ow at the compo ser’s disposal, however , can quite immeasurablyen han ce the coloratio n an d over- all effectiven ess of a score . It is the in ten tion of the presen tsection to show in stan ces of the diverse an d fascin atin g effects possible—an d by n ow even
commo n— in modern scorin g.
As the timpan i are without question the mo st importan t ofall the percussio n ,the begin n in g
of the section in Chapter 32 is devo ted to illustratio n s of exten ded ran ge (above Pi; an d belowE) ; cho rds—or more properly
,in tervals—produced by o n e player as well as by two o r more ;
dampen in g the to n e quickly ; methods of strikin g—such as playin g o n o r very n ear to the rim,
which gives a soun d of little o r n o reson an ce ; muffled or muted drums ; pedalglissandi effects ;the various kin ds of sticks called for ; rolls (tremoli) o n two drums ; strikin g the drum- head withtwo sticks ; an d finally, various miscellan eous in dication s to the player an d special effects.
Chapter 3 3 is given over to the pitched percussion in strumen ts—bells, glocken spiel,marimba,Vibraphon e an d xylophon e—With examples catalogued ofglissandi an d tremolan di effects ;muffledo r muted soun ds ; off- stage passages ; stick types; an d, lastly, miscellan eous effects, such as a
glissan do across the reson ators ofthe xylophone . The cymbals (pair an d suspen ded), an d the drums
(b ass, sn are , an d ten or) are grouped to gether in Chapters 34 an d 3 5 , with section s given on
dampen in g the ton e quickly, as in the timpan i ; methods of strikin g or clashin g ; mufflin g o r
mutin g ; off- stage ; an d miscellan eous, special effects called fo r in study sco res. It is a rathercurious fact that composers have been far more explicit in des1gn at1n g specific stick types fo rstrikin g the suspen ded cymbal than fo r an y o ther percussion in strumen t, even in cludin g the
The same gen eral pro cedure is followed in Chapter 36, devo ted to gon g, tambourin e , an dtrian gle , an d Chapter 37 lists effects—in cludin g methods of playin g an d stick types—used forthe less frequen tly called- fo r percussion in strumen ts, such as wo od blocks, maracas, an d tomtom . The remain der of the chapter merely lists places in con temporary sco res where the more
un usual percussion in strumen ts have been used—guitar , an tique cymbals, win d- machin e , an dso fo rth. The fin al chapter , as in the precedin g section s, lists termin ology of a miscellan eousn ature .
1 58
Mar tin e t
Jan éEek
S trav in sky
Chav e z
Kodaly
WORKL a Creation daMon de
L a Creation da Mon de
L e Sacre da Prin temps
S injb n ietta
A Victory BallL e S acre da Prin temps 126 2 b [175]
S infon ia de An tigon a
(1 ) EXTENDED RANGE
4 [ I ] 71”
1 03 [10] 2 f
3 0 2
1 14 l b [38]64 607
COMPOSERR e v ueltas
Villa- Lo b o s
R udhyar
Case lla
Jan éb'
ek
Amazon as
S infon ietta
8
I 3
1 9
1 5 3
40
6
2 b [1 5]4
3 b [1 30]3
Go uldHar san yi
I n gh e lb r e ch t
I v e s
SpiritualsSuite pour OrchestreEl GrecoThe Fourth of julyfrom Symphon y,
S infon ietta
PERCU S S ION
(I) EXTENDED RANGE (c o n td .)
PAGE MEASURE COMPOSER WORK12 [6] 7f Mahle r Symphon y No. 8
[3 5] 2f
4
Milh aud
Pr okofiefi'
Pr okofiefi'
Br itten
Fe rn an dez
S owe rb y Prairie
Mah ler
Mah le r Symphon y No. 2
Symphon yNo . 5
Par o di
Strav in sky
Ché'
ras No. I O
Sh o stako v ich
S tokowski Prelude in E—Flatmin or 2 I
Sib elius Pelleas'
an d Melisan de 2 5 3
S ib elius 7 1 15 122
3 5 I
Symphon ic Fan tastiqueThe Plan ets
Mah ler Symphon y No. 2
Be rlio z Ben ven uto Cellin i AutoAcciden t 9 4
Overture L e S acre da Prin temps 109 [1 38]
PERCU S S ION1 Playe r (c o n td .)
MEASURE COMPOSER[3 3] S ib e lius
3 b [266] S ib elius
[19] 6f Sib elius
[12 ]76
I 1 I
3 b [9][C] 2f
[F]Ke lley
5b [AP] S trauss , R .
3 S trauss , R .
‘
I talian
WORK PAGE MEASURE WORKE in e Faust- Symphon ic
Coplan d
44 [T] 8f S e ssio n s
97 426
57 2 b [2 3 5]5 [ I ]27 2
S uitefor Orchestra I I [7]Symphon ic Espagn ole 41 4
62 2
87 [D] S tr av in sky R en ard
(4) METHODS OF STRIKINGEnglish I talian Fren ch German
At (th e) rim of head All’
estremita della memb ran a Au b o rd de la memb ran e Am R an d des FellesAt (th e) edge of (the) h ead Sul b o rdo della memb ran a [peau]Clo se to (the) rim Blouse
’
e
Near (th e) rim BlouserOn the edge o f th e skin Blo usezS truck n ear rim Sur le b o rd de la memb ran e
[peau]
ORDINARY METHOD OF STRIKINGStrike in usualman n er Colpe te al ordin ario Frappées, com e al
’
ordin aire Gewohn lich er schlagenFrappezalaman iére o rdin aire
Bar tok Violin Con certo 66 I f Milh aud89 [182 ] 3f1 2 1b [12 0] Milhaud
Milh aud37 2 22 [105] 36
TIMPANI
4 Playe rs
WORK PAGE MEASUREL e S acre du Prin temps 85 [103] I f
(3 ) DAMPENED
PERCU S S ION
(4) METHODS OF STRIKING (c o n td .)
PAGE MEASURE COMPOSER WORK PAGE MEASURE82 1h [3 5] R ussell Fuguefor E ight96 [95] Percussion In strumen ts 6 8
1 0 9 Villa- Lo b o s Dan ses Africain es 62 [9]37 [5]
Italian Fren ch GermanNelmezzo della memb ran a Au cen tre In der Mittc des Felles
Au milieu de la memb ran e
[9680]
(fo r fur ther termin ology see Chapter 3 5 , page 198)Ge r shwin An American in Paris 79 [65] R ussell Fugue fb r E ight Per
cussion In strumen ts
English Italian GermanR ub b ed in a circle with wire Fregato in circola co n sco volo Pré lez dan s un arc avec b alai Mit ein er Drah tb iirste imb rush di fil di ferro métallique Kreis leich t gerieb en
COMPOSER WORK PAGE MEASUREI n gh elb re ch t LaMétamorphose d’Eve 17 6
E nglish I talian Fren ch German
S trike on copper kettle (o f Golpete sul timb allo di rame Frappez sur la timb ale de An der Seite des Kesselstimpan i) cuiv re schlagen
R ussell Fuguefor E ightPercussion I n strumen ts
I talian Fren ch German
Strike o n me tal rim aroun d Golpete sul o rlo di metallo della Frappez sur le cercle métal Am_Metallran d um Fell
head memb ran a lique de la peau schlagen
R ussell Fuguefor E ightPercussion I n strumen ts 2 [B] 8f
English I talian Fren ch German
Sweep wire- b rush across
h ead n ear rimPassate un o scov olo di fil di Balayez un b alai métalliqueferro sullamemb ran a presso del it trav ers de la peau
Mi t Drah tb iirste n ah demR an d iib ers Fell streich en
o rlo
R ussell Fuguefor E ightPercussion I n strumen ts
I talian Fren ch German
Trill with pen n ies [coin s] Trillo colle mo n e te Trillez av ec des piéces dc MitMun zen trillernmo n n aie
S econ d Symphon y I n the Faery HillsFourth Symphon y
English I talian German
With (th e) fin gern ails Colle un ghie Mit dem Nagel
Bax November Woods Tin tagel 16 [G]Bax S econ d Symphon y The R io Gran de 50 [26] 8fBax The Garden ofFan d
164
Felt stick(s)Felt timpan i stick(s)Half- h ard rub b er stick(s)Hard stick(s)Hard felt stick(s)Hard leather stick(s)Hard rub b er stick(s)Heav y malle t[Wooden hammer]
Iro n stick(s)Kn ife- b ladeLeath er stick(s)Ligh t stick(s)Medium hard stick(s)Medium hard felt stick(s)Medium hard leath er stick(s)Medium soft felt stick(s)Me tal stick(s)Ordin ary [R egular, Usual]b eater(s)mallet(s) ; stick(s) ;striker(s)]
Padded stick(s)Plush stick(s)Quarter- hard rub b er stick(s)Rattan stick(s)R awhide stick(s)R awhide timpan i stick(s)Rub b er (cov ered) s tick(s)Sho rt [small] stickSmall wood stickS n are [side] drum stick(s)Soft stick(s)Soft felt stick(s)Soft felt timpan i stick(s)Soft timpan i stick(s)
ItalianBacchetta(e) di Gran cassa
[Mazza della Gran cassa]Bacch etta(e) di can n aBacch etta di giun co co n la testadi capo c
Bacch etta(e) di co to n eBacchetta di PiattoMazza(e)
Bacchetta(e) di feltroBacchetta(e) di Timpan i afeltro
Bacch etta(e) di gommaelasticamezza- dura
Bacchetta(e) dureBacch etta(e) di feltro duroBacch etta(e) di pelle dureBacch etta(e) di gommaelasticaduraMaglio
[Mazzetta]Bacch etta(e) di ferro
Lama di coltelloBacch etta(e) di pelleBacch etta(e) leggiere
Bacch etta(e) media- duraBacchetta(e) di feltro medicduro
Bacch etta(e) di pelle mediodure
Bacch etta(e) di feltro mediomolle
Bacch etta(e) di me tallo[Battuta(e) me tale]Bacch etta(e) o rdin aria
Bacch etta(e) a b amb agiaBacch etta(e) felpateBacch etta(e) di gommaelastica
quarta- duraBacchetta(e) di can
'
n a
Bacch etta(e) di pelle crudaBacchetta(e) di Timpan i
i
a
pelle crudaBacch etta(e) di gommaelastica
Piccola b acchetta[Mazzette]Piccola b acch etta di legn oBacch etta(e) di Tamb uromilitare
Bacchetta(e) molle
Bacch etta(e) di feltro molle
Bacch etta(e) di Timpan i molle
a feltroBacch etta(e) di Timpan i molle
Gewohn licher Klopper
[Sch lagel]
Wattierterschlagel
Pliischschlagel
Schlagel mit viertelhartern
Mailloche de Grosse Caisse
German
Grosse Trommel Sto ck[Tampo n dc la Grosse Caisse] [Grosse Trommelsch lfigcl]Baguette(s) en can n cBague tte en jo n c atétc de [en ]capocBaguette(s) dc co to nBaguette de Cymb aleMaillo che(s)
Baguette(s) en feutreBaguette(s) de Timb ale enfeutreBaguette (s) dc caoutchoucsemi - durBaguette(s) dur(es)Bague tte(s) en feutre durBague tte(s) de cuir dur
Roh rschlagel
R oh rstii b chen mit Kopf aus
Kapok
BaumwollschlagelBecken schlfigel
KlOpper
[SchléigehTrommelstock]Filzschliigel
Filz Pauken schlagel
Halb harte Gummischlfigel
Schwerer Schlagel
Schlagel mit har tem FilzHartlederschliigelBaguette(s) de caoutchouc dur Har tgummischlagel
Marteau
Baguette(s) en fer[Mo rceau de fr] de fer]Lame d
’
un can if
Bague tte(s) en cuirBaguette(s) légére(s)Baguette(s) assez dur(es)Baguette(s) en feutre a ssez
dur(es)Baguette(s) en cuir assez
dur(es)Baguette(s) en feutre assez
molle(s)Baguette(s) en [de] métalBaguette(s) n ormale(s)[Bague tte (s) o rdin aire(s)]
Bague tte(s) ouateuSe (s)Baguette(s) de pelucheBaguette (s) en caoutch oucquart- durBaguette (s) en ro tmBaguette (s) en peau [cuirb rut]Bague tte(s) de Timb ale enpeauBaguette (s) en caoutchouc
Pe tite b aguette [maillo ch e]Petite b aguette en b oisBague tte(s) de Caisse Claire
Baguette(s) douce (s)Baguette(s) en feutre douce(s)Baguette(s) de Timb ale en
feutre douce(s)Baguette (s) de Timb aledouce(s)
[Hartkautschukschlagel]Holzhammer
Eisen schlagel
Messerklin ge
Lederschlégel
Leich ter SchlagelZiemlich schwerer SchlagelSchléigel mit ziemlich hartemPilz
Schlagel mit ziemlich hartemLeder
Schlagelmit ziemlich weiche nFilz
Metallschliigel
R ohrschlagel
Naturleder SchlagelNaturleder Pauken schliigcl
Gummischlfig’
el
Klein er Schliigel
Klein er Holzschlagel
Klein e Trommel
Sto ckWeich er Schligel
Weich en filzschliigel
Weiche n filz Pauken sch léigel
We ich er Pauken schli gel
Spo n ge stick(s)Spo n ge timpan i stick(s)S teel stick(s)S tick(s) with fib re head[kn o b ]
Switch [R od]
Thick stick(s)Thick timpan i stick(s)Thin stick(s)Thin metal stickThin stick with spo n ge h eadThin wo od stickTimpan i stick(s)Trian gle stick
TIMPANI
(7) STICK TYPE S (c o n td .)
I talianBacchetta(e) di spugn a
Bacch etta(e) di Timpan i aspugn a
Bacch etta(e) d’
acciaio
Bacch etta(e) di capo c
Vergh e (i)Bacch etta(e) gro sseBacchetta(e) di Timpan i gro sse
Bacch etta(e) so ttilePiccola b acch etta di metalloPiccola b acch etta co n la tcstadi spugn a
Picco la b acch etta di legn oBacchetta(e) di Timpan o
[Battuta di Timpan o ]Bacchetta di Trian golo[Ferro del Trian go lo ]
Fren chBaguette (s) d ’
épo n ge
[Baguette(s) en épo n ge]Bague tte(s) de Timb ale enépo n geBaguette(s) d ’
acierBaguette(s) e n capo c
VergesBaguette (s) épaisse(s)Baguette(s) de Timb alesépaisse (s)Baguette(s) min ce(s)Bri to n min ce d ’
acierBague tte min ce ape tite téteen épo n geBague tte min ce en b oisBaguette(s) de Timb ale(s)Baguette de Trian gle[Trin gle du Trian gle]
Two - h eaded stick Bacch etta a due capi Doub le maillo ch e
[Do ub le stick]Very hard stick(s) Bacch etta(e) molto dureVery hard timpan i stick(s) Bacch etta(e) di Timpan i molto
dureVery so ft stick(s) Bacch etta(e) molto molleVe ry soft timpan i stick(s) Bacch etta(e) di Timpan i moltomolle
Sco v olo di fil di ferro
Bacchetta(e) di legn oBacch etta(e) di Timpan i alegn o
Bacch etta(e) di lan a
Bacchetta(e) di Zilafon o
FELT STICKS
PAGE MEASURE COMPOSERHo lst
44 2 Ho lst
Ho ls t19 2
ElAlbaicin
S econ d S ymphon yThe Young Person
’
s
Guide to the Orchestra 68 4
C oplan d El Saldn México 9 5b [1 1 ]44 [41] 6f
PACE MEASURE
Baguette(s) trés dure(s)Baguette(s) de Timb ale(s)trés dure(s)Baguette(s) trés douce (s)Bague tte(s) de Timb ale(s)trés douce(s)
Balai métallique[Bro sse en fr] de me
’ tal]Baguette(s) de [en ] b o isBague tte(s) de Timb ale(s) enb o isBaguette(s) en lain eBague tte(s) de Xylopho n e
German
Schwammsch li gcl
Schwamm—Pauken schlfi gel
Stah lsch lagel
Sch lagel mit Kopf aus Kapok
R ute [R uth e]Dicker Schléigel
Dicker Pauken schlagel
Dun n e RutenDiin n er Meta llschlagel
Klein es S tii b ch en mit klein emSchwammkopf
Klein er Ho lzschli gel
Pauken sch lagel
Trian gelschlfigel
[Metallstfib ch en ]ZweikOpfige Schlz
'
igel
WORKCon certofor Orchestra
R oad Sketches ofthe C ity
HARD FELT STICKS
WORK PAGE MEASUREFuguefor EightPercussion In strumen ts 4 [D] 8f
HARD LEATHER STICKS
Harr is When john n y ComesMarching Home 3 3 [180] 2f
MEDIUM HARD STICKS
L oeflie r Evocation I
MEDIUM SOFT FELT STICKS
R ussell Fuguefor E ightPercussion I n strumen ts 1 8b [A]
Joh n so n I 1
S ch r eker
5 [1 5] 3f
S trav in sky Petrouchka Suite
Pastoral Symphony
PERCU S S IONHARD STICKS (co n td .)
PAGE MEASURE COMPOSER2 3 2 R ev ueltas
29 [3] S ch uman , W .
48 2 S iegm e ister
2 1 1
SMALL WOOD(EN) STICKSTheBirthday oftheI nfan ta, Suite
SNARE DRUM STICKS
89 [185] Fitelb erg
74 [9] 3 f
59 [41 ]
Berlio z
Be rlio z
Be rlio z
Diam o n d
Dun n
de Falla
d e . Falla
Ho lst
Ho lst
Ho lst
Luen in g
Symphon yNo. 4
Ein e Faust- Symphon ic
Two Symphon ic In terludes
WORKBallade un dPassacaglia
PERCU S S IONWOOD(EN) STICKS
PAGE MEASURE1 5 1
1 5 3
75 3 b [75]101 2 b [100]
54 57
12 I ts] I f
COMPOSERMahle r
Mah le r
Mah ler
Mahler
Pisto n
R oger s
S ch r eker
S e ssio n s
S trauss , R .
S trauss , R .
S trau ss, R .
S trauss , R .
S trauss, R .
S trauss, R .
S trav in sky
Tan sman
Symphon yNo. 6
SymphonyNo. 7
27 S
TIMPANI
WOOD TIMPANI STICKS
WORK PAGE MEASUREKon z ertfu
'
rOrchester 5 1 1
(8) 2 - TIMPANI ROLL
Co r r e c t. n ot at i o n
COMPOSER WORKOver the Plain s
S ch ellin g
S chmitt
S e ssio n s Suitefrom The BlackMaskers
S h o stako v ich Symphon y No . 6
S ib elius Symphon y No. 5
S ib e lius
Harris Sib elius
60 2 b [3 3 0] S ib elius
Ho n egge r 8 [3] 3f
46 [2 ] 8f S cén cs dc BalletHo n egger L e Roi David 7 1 Symphon y ia min or
16 1
TheFourth ofjulyfromSymphon y,“Holidays”
Kh achaturian Gayn e Ballet SuiteNo . 2
Symphon y No. 6 2 3 7 [1 52 ] 4fFiin fOrchesterstucke 1 1 1
Die Okean iden 2 1
L e S acre du Prin temps 73 [80]Symphon y 190 3
1 3
WORK PAGEA Pagan Poem 107
Paean s 1 6
Sketches ofthe C ity 7
Ballata delle G n omidi 66
Vetrate di Chiesa 90
Fuguefor E ight 4
Percussion In strumen ts 8
A VictoryBall 64
1 14
1 19
Mirages pour Orchestre, 28
No. 1 36
Le Poéme dc l’
Extase 140
Prométhée, L e Poéme
71
22
65
81
Symphon y No . 7 74
Tap iola 3 9
The Tempest, First Suite 27
5 5
79
PAGE MEASURE
3 3 [27] 3 f
(9) WITH TWO STICKS
Italian Fren ch GermanCo n due [2] b acch ette Av ec deux [2] b aguettes Mit zwei [2] Schliigel
PAGE MEASURE
Diamo n d
(10) OTHER EFFECTSI talian Fren ch German
Go lpete colle marache Frappez av ec lesmaracas MitMaracas schlagen
Bern ste in eremiah Symphon y 44 [3 7]
English I talian German
Two players (o n same part) Due esecutori [suon atori] Deux exe'cu tan ts Zwei Spieler
Mah ler Symphon yNo. 8
172
PERCU S S IONBe lls an d Xyloph o n e
WOR K PAGE MEASUREFuguefor E ightPercussion I n strumen ts 4 [D] 9f
Glo cke n spie l an d Xyloph o n e
PAGE MEASURE COMPOSER94 4 Villa- Lo b o s
(2 ) MUFFLEDE nglish Italian German
Cov er the me tal with a silk Coprire le lamin e co n un Couv rez les plaques avec un e Mit ein em Seiden tuch dieclo th pan n ello di seta v o ile de soie Platten fib erdeekt
Dampen ed with o n e han d ;struck with th e o therMuffled with a piece of clo th Coperto co n n u pezzo di tela Voilée avec un e piece de toile Gedampft mit ein em SeidMuted : o n e player grasps en tuch iib erdeckt
tub eswhile an o th er playerstrikes th em
Bells (Chime s)
Cowell S hort Symphon y 5 1h [B] Mo ore I n Memoriam
1 3 4b [E]
Glo cke n spiel
Sch r eker The Birthday ofthe Gulliver—His VoyageI nfan ta, Suite 18 [70] to Lilliput 88 1
S ch r eker The Birthday of the Gulliver—His VoyageI nfan ta, Suite 27 2 b [1 10] to Lilliput
(3 ) OFF- STAGE
(for termin ology see Chapter 1 1 , page 75)
Symphon yNo . 3 ch aiko v sky Manfred- Symphon ic 179 163
Symphon yNo . 6
BELL S , GLOCKEN SP IEL , MAR IMBA,VIBRAPHONE, AND XYLOPHONE
(4) STICK TYPE S
(for termin ology see Chapter 3 2 , pages 166—7)
DRUM STICK
PAGE MEASURE
64 [66]
HALF- HARD RUBBER STICKS
R ussell
3 [C] 7f
R ussell
HARD STICKS
Coplan d
Xyloph o n e
WORK PAGE MEASURE PAGEShort Symphony (No. 4) 3 3 1
1 5 5b [1 2 ]
HARD RUBBER STICKS
Bells an d Xyloph o n eR ussell
Percussion In strumen ts 8 [G] 2f
I 7S
PAGE MEASURE17 107
METAL STICKS
BellsPAGE MEASURE COMPOSER WORK PAGE MEASURE152 [129] I f R ussell Fuguejb r E ight1 19 [I I I] 7f Percussion I n strumen ts 4 [D] of
Magan in i
QUARTER - HARD RUBBER STICKS
5 [El l f
RATTAN STICKS
R ogers
RUBBER STICKS
Diamo n d Musicfor Shakespeare’
s Timon ofAthen s 23 1 4 1“Romeo an dJuliet” 28 [55] 4f
Chav e z
SOFT STICKS
Siegmeister Sun day in Brooklyn 19 [65] 2f
176
COMPOSER WORK WORKAlb en iz—Ar b 6s Féte—Dicu d S éville Sun day in Brooklyn
Ib er t FéeriqueI n gh elb re ch t El GrecoJan ssen New Year
’
s E ve in
Mah ler
Mah ler
1 25 1
PAGE NIEASURE
101 [1 5] I f
Xyloph o n e19 [17] 5f Lam b ert48 [3 2 ] Liado v5 Liado v18 5 Mih alo v ici
Casella
R oger s
Dukas
Dukelsky Sain t - Sae n s
S chmitt
1 5 2 [20]
On ce Upon a'
Time,Five Fairy Tales
L e Carn aval des
An imauxMirages pourOrchestre, No. 2
A S urvivorfromWarsaw
BELL S ,GLOCKEN SP IEL , MAR IMBA, VIBRAPHONE, AND XYLOPHONE
Xyloph o n e (c o n td .)
PAGE MEASURE COMPOSER WORK PACE MEASUREWage n aar S infon iettafor Small
Orchestra 3 6 [9]Symphon yNumber On e 40 4Pagade, S uite No. 1 5 1 4
62 6
White FiveMin iatures 6 4
Bells an d Xyloph o n eWORK PAGE MEASURE
Fuguefor E ightPercussion I n strumen ts 8 [G] 14f
(6) OTHER E FFECTS
Glo cke n spie l
Deux, si n écessaire(ad lib .)
Symphon y No . 3 1 55 4b [185]
Vib raph o n eI talian German
Vib rato len to Vib rez len temen t Lan gsam vib rieren dGould
101 [1 5] 1 f
English I talian GermanPedal off; n o reso n an ce Sen za pedale ; n on rison an za San s pédale ; n o n réson n an t Ohn e Pedal ; kein e R eson an z
Gould Sp irituals 18 [G] 6f
Xyloph o n eEnglish I talian German
Draw a b ow acro ss sharp edge Suo n are col arco sul taglio del Exécuté av ec un e arch et sur Mi t dem Bogen auf derat en d of b ar legn o la po in te du b ois scharfen Kaute desHolzes
spielen
R ussell
Percussion I n strumen ts 4 [D]
English I talian Fren ch GermanGlissan do acro ss th e reso n Glissan do sui riso n ato ri Glissez sur les réso n ateurs Glissan do fib er die R eso n a
ators torenFuguefor EightPercussion I n strumen ts 4 [D] 9f
179
Casella
Dun n
(for termin ology an d n o tatio n see Chapter 32 , page 163 )
WORKCatalon ia, S uite No. 1
Th ree Piecesfrom“The Damn ation ofFaust”
America
La Don n a S erpen te,I . S eric
L a Don n a S erpen te,I I . S eric
Overture on NegroTh emes 44
Carn ivalOverture 79
I 9”Rhapsodie Roumain e 65Le ChasseurMaudit 50
An American in Paris 4
Symphon yNo. 5 ] I 4
64
Philharmon ic Waltz es 1“MerryMoun t” Suite 42
Ouverture de Féte 43
New Year’
s Eve in
(2 ) METHODS OF STR IKING
I talian
Chapter 3 4
CYMBAL S
(1 ) DAMPENED
Pisto n
R e spigh i
S e ssio n s
S iegme ister
WORK
German
Am Ran dAuf dem Ran d
PERCU S S ION
(2) METHODS OF STR IK ING (c o n td . )
WORK PAGE MEASURE COMPOSER WORKPagan in ian a 61 2 Mar tin e tEspar
'
ta, Rhapsodie 2 5 6 Milh audFour Dan ce Episodesfrom
“Rodeo” 38
Short Symphon y (No 4) 73
Figures S on ores 49
Three Dan cesfrom“The Three- Corn eredHat
’
Ge rshwin Rhapsody in BluePie r n é
S infon iettaGran d Can yon Suite“MerryMoun t S uiteOuverture Symphon iqueSymphony in E—FlatA S omerset Rhapsody
S ch le in
Sh o stako v ich
Pastoral Symphon y 79 4b [V]
English I talianAttach th e cymb . to th e foo t IPiatto un i ti alla (gran ) cassa Accroch ez la Cymb . au piedb eater Piatto fissato alla (gran ) cassa Cymb ale fixée 21 la Gro sse
Cymb al (struck) attach ed to caisse
b ass drum Gro sse caisse é pied avecCymb al, fixed cymb ale
Cymb al alo n e Piatto solo Cymb ale seule
Violin Con certo 42 2 b [2 05] Iv e s Three Places in New
Ouverture Symphon ique 3 3 .,1 b [1 3 5] E nglan d 2 1 1
German
Becken an der grosse Trommelb efestigt (ab er Ohn emel geschlagen )Becken an geb un den—v onEin ern geschlagen
Die Becken an der gro ssen
Trommel an zuh dn gen
Becken allein
(c o n td .)
COMPOSER
Mahler
S trav in skyMah le r Symphon yNo. 5
English I talian Fren ch German
Hit with trian gle Co lpo con trian golo Frappe’
e av ec la trian gle Mi t dem Trian gel geschlagen
PAGE MEASURE34 4
Italian German
In th e air In aria En l’
air In der Luft
Alb en iz—Arb é s ElAlbaici’n
Féte- Dieu d S e'ville
I talian Fren chAu milieuSur la pro tub eran ce
Con certofor Pian o an dOrchestra
I talian Fren chAgitée s l’un e co n tre l’autreFrOlée (s) [PrOlez]FrOlées l
’
un e co n tre l’autreFro ttée (s) [Fro ttez]Fro ttées l’un e co n tre l’autre
Bar ték L es Petits Métiers
Bar tok I n te'grales
Varése I on isation
Williams A Lon don Symphony
57 1h [3 3]
CYMBAL SMETHODS OF STR IKING
PAGE MEASURE COMPOSER81 [6] Mahler
17 6b [1 3] R oge r s
68 1 b [49]93 [70]
PERCU S S ION
(2 ) METHODS OF STR IKING (c o n td .)English I talian German
S truck with th e wo od Golpete co n legn o Mit Holz geschlagenWith (th e) han dle o f (th e) Colman cio dellamazza Mit dem S tiel des Klb’ppelsstickWith wooden en d o f (the) Co ll
’
estremitadi legn o della Ein Becken mit dem Ho lzstick b acche tta schaft des Schligels b eriih ren
PAGE MEASURE PAGE MEASURE
5 3 [4] 3f
41 [ I S] 7f29 [8]3 5 [12 ] I f
Vier Orchesterstiicke 48 [16] 5f
S ix EpigraphesAn tiques 1 1 3
E nglish I talian German
With (th e) han d Co lla man o Avec la main Mit der Han d
WORKDan ce Suite
E nglish I talianWith thick en d o f (the) stick Coll
’
estremitagro ssa della Av ec l’
extrémité gro sse de la Mit dem dicken En de desb acche tta b aguette S tockes
Barb er Bar ték Con certojb r Orchestra
English I talian German
With thin en d of (th e) stick Co ll’
estremita so ttile della Av ec l’
extrémité min ce de la Mit dem diin n en En de desb acch ettta b aguette Sto ckes
Barték Violin Con certo 109 [386]
(3 ) STICK TYPE S
(fo r termin ology see Chapter 3 2 , pages 166 -
7)
BASS DRUM STICKS
Barb er R av e l
PERCU S S IONHARD STICKS (con td .)
WORK PAGE MEASURE COMPOSER WORK PAGE MEASURES un day in Brooklyn 2 3 2 Taylo r BalletMusicfiom
59 [ 10] 3“Casan ova
”
86 [95] I f Th om so n Louisian a S tory SuiteS iegme iste r Western Suite 1 1 1 Th omso n Orchestra Suitefrom
3 9 1“The Plow that Broke
69 [45] I f the Plain s”
Poemfor Orchestra 5 4
Chan t du Rossign ol 20 [2 1] 3 f A L on don Symphony 164 3
HARD RUBBER XYLOPHONE MALLETSCOMPOSER WORK PAGE MEASURES owerb y Prairie 3 0 [176]
HEAVY MALLET [WOODEN HAMMER ]
Lam b e r t The Rio Gran de 3 7 [5] Pick Notturn o e Ron doMan giagalli Fan tastico 19 2
R e spigh i Ballata delle G n omidi Feste Roman e
LEATHER STICK S
Pisto n Suitefor Orchestra 7 [B] Po ulen c Con certo pour deux26 5 Pian os et Orchestre 1 06 [68]
METAL STICKS1 1 1 [100] 2 f S tran g Percussion Music
27 2 b [26] S travin sky L es Noces
88 1b [62 ]
ORDINARY [REGULAR , U SUAL]Catalon ia, S uite No . 1 si [63] I f Casella
I n the Faery Hills 2 3 2
S econ d Symphon y 1 1 3 2‘
S ixth Symphon y 8 4
2 5 2 b [2 1 ]Blo ch America 3 3 5
1 14 1
2 2 [17] 5f
26 IE]
STICKS
L a Don n a S erpen te,I . S eric
S hort Symphon y (No 4)Espah
’
a, RhapsodieJoyeuse Marche
S uitePastoraleThree Dan cesfrom The
Three- Corn eredHat
”
CYMBAL SORDINARY [REGULAR , USUAL] STICKS (co n td .)
WORK PAGE MEASURE COMPOSER WORKAn American in Paris 3 [2 ] Rav e l Con certo pour Pian o et
50 [45] 4f OrchestreCon certo in Ffor Pian o 1 5 2b [1 1 ] MaMere l’Oyean d Orchestra 67 4 Ballata delle G n omidi
90 [9] 4f Feste R oman e
Third Symphony 42 1
A Lon don Overture 5 [2 ]
Dan ce ofthe Bufi'
oon s
27 [1 3 L e Coq d’
o r Suite3 2 2
3 1 2
5 2 [3 1 ] I f 182 2 30
3 5 [H]5 3 269
Piern é
Prokofiefi'
Pr okofiefi'
Pr okofiefi'
Peter an d the WolfS ib elius
Pr okofiefi’
Sib elius
PADDED STICKS
WORK PAGE MEASURE45 3
PLU SH STICKS
Casella Pagan in ian a 1 39 [19] 2 f
RAWHIDE STICKS
Milh aud Les Choéphores 1 3 1 1
RAWHIDE TIMPANI STICKS
Milh aud L es Choe'
phores 101 I187
14—(G -429 )
Bartok
C oplan d
Barb e r
Bar b erBri t tenBri t te n
WORKMedea
Con certofor Orchestra
PAGE
Po ule n c
Pr okofiefi'
Prokofieff
R ussell
S chmi tt
S e ssio n s
SOFT STICKS
38 [2 2 ] 4f C oplan d83 4 C oplan d1 1
1 3 76
3 3 [20]
5 3 2
I I
MEASURE
[8]
Dan ce Symphon yS tatemen ts
Th e Creation
Partitafor Orchestra
PAGE MEASURESNARE DRUM STICKS
PAGE
60
20
75
147
109
26
3 5
61
82
9
38
47
74
MEASURE[36]3
COMPOSERMilh aud
WORKCin q Etudes pour Pian oci Orchestre
Con certojbr OrchestraSymphon ic
Con certo pour deuxPian os et Orchestre
Ala ctLolly (S cythianI
S uite)Romeo an dJuliet,Suite No . I
Fuguefor EightPercussion I n strumen tsMirages pour Orchestre,
Suitefrom The BlackMaskers
”
S uite Primeval, Part IPrairie
Petrouchka S uiteLouisian a S tory S uiteHyperprism
I n te‘grales
1 18
2
7
PERCU S S IONSPONGE STICKS (con td .)
COMPOSER womc PAGE MEASURE COMPOSERKhachatn r ian Gayn e Ballet Suite Milhaud
No. 2 Mo ro ss
The R io Gran deSymphon yNo. 1
Symphon yNo. 2
Symphony No. 3
R av el
Mahler Symphony No. 4 Rav e l
Mah le r Symphony No. 5
Mah ler Symphon yNo. 6
Mah le r Symphon y No. 7
Mahle r
S trauss, R .
Milhaud
STICK WITH FIBRE HEADWORK PAGE MEASURE
Ragtime 4 [2 ] 2f
Bartok
De b ussy
Chav ez
Figures S on orcs
C oppo la Symphon ic en La
min cur,
9 5b [6] Die Waldtaube
G re tch an in ofi’
Hin demith
R o ussel Symphon ic en S ol
min cur
40 5 S e ssio n s
Lue n in gS e ssio n s
S h o stako v ich
S h o stako vi ch
S h o stako v ich Symphon y No. 9
Sh o stako vich The Golden Age, BalletS uite
S ib elius
Chan t du Rossign olPetrouchka S uite
S trav in sky S cherz o Fan tastique
S zyman owski Symphon ic Con certan tepour Pian o et
OrchestreTan sman DeuxMomen ts
Rab an d Symphon iques
Tchaiko v sky Fran cesca da Rimin i
CYMBAL STIMPANI STICKS (con td.)PAGE MEASURE7
20
54
220
I 3
3 9
I 3
1 19
69
3 6
1 18
I 9
[I ]
U4]
[sfl
[28] 2 f
[F]2
I
I
[1 2 5]
3 b lfi9]3 b [6flb ]
COMPOSERRiisage r
R imsky
Ko r sakofi'
COMPOSER WORKTch aiko v sky Manfred- Symphon ic
T ch aiko v sky Mozartian aT ch aiko v sky Nutcracker Suite Wh ite
TR IANGLE STICK
10 1b [55] R ussell
12 1 2,
55 1 Schm itt
82 2b [240]
Th omso n
Wagen aar
R oge rs
57 1h [3 3]
TWO - HEADED STICK
WORK PAGE MEASUREThe R io Grande 26 5b [E ]
VERY SOFT TIMPANI STICKS
Hin demith Symphon icMetamorphosis ofThemesby c er
'
45 2
E l S alon Me'xico
Four Dan ce Episodesfrom
“Rodeo” S iegme ister
E n gel The CreationGer shwin Rhapsody in Blue S trav in sky Ebon y Con certoIn gh elb r e ch t S infon iaBrcvc No . 1
PERCU S S IONTIMPANI STICKS (con td.)PAGE MEASURE COMPOSERI 4 1 Wage n aar
204 3
256 240 Walto n
2 5 3
27 4
PERCU S S ION
(4) OTHER EEPECTS
English I talianDampen ed b y holdin g with Asso rdate col ildita Etoufi
'
ez av ec les do igtsfin gersPAGE MEASURE
20 [6]
Simemen t
S trauss, R . Ein Helden leben 29 4
English I talianHold a wire - b rush again st Ten e te un o scovolo difildi ferro Ten ez un b alai métalliquev ib ratin g cymb al co n tro il piatto v ib ran do co n tre la cymb ale v ib ran te
Russell Fuguejb r EightPercussion In strumen ts
I talianHold cymb als togeth er after Ten e te i piatti in sieme dopo Aprés avoir ftappé les cymstrikin g av en do colputo b ales ten ez- les en semb les
R ussell
Percussion In strumen ts
English I talian Fren chMumed [Muted] Con sordin o Sourdin e
(for furth er termin ology see Chapter 3 2 , page 165)
Varé se
English I talian Fren chR e tain h old o f edge—after Ten e te l
’
orlo dopo av en do R e ten ez an b ord—aprés
stoppin g to n e shake cym asso rdato il suo n o e scuo te te av oir e’
toufi'
é le so n
b al v iolen tly il piatto secouez v iolemmen t
Gre e n Three I n ven toriesofCaseyjon cs 12 I 7
English I talian Fren chS tomp th e b eat”
S iegme ister 66 1
German
Mit den Fin gem gedampfi
German
Ein e Drah tb iirste gegen dasvib rieren de Becken halten
German
Becken n ach An schlag zusammen halten
German
PAGE MEASURE
German
Becken am R an d halten (n achdem Ton ab gedimpft ist)un d leb haft sch iitteln
German
CYMBAL S
English I talian German
Stop [dampen ] half- way, an d Asso rdate amezza, e tutta Etoufi'
ez ademi, et tout afait Halb un d gan z diimpfen
PAGE MEASURE
I I I
English I talian Fren ch German
Strike with b ack of a saw Co lpete col rovescio d’un a lama Frappez av ec l’
en v ers d’un e Mit dem R iicken ein er Sage
b lade on cymb al ; draw saw di sega ; tirate 1a sega'
sopra i] lame dc scie ; train ez la scie auf das Becken schlagen ;acro ss cymb al piatto atrav ers un e cymb ale Sige fib er dasBecken ziehen
R ussell Three Dan ce Move
men ts 18 5b [E]
I talian German
Swishin g Stro scian do Cin glan t Peitsch en d
S trav in sky Ebon y Con certo 39 [3 3]
English I talian German
Tremolo on cymb al with a Tremolo sulla piatto co ll’
arco Tremolo sur un e cymb ale Tremolo auf ein em Becken’
cello b ow di Violo n cello av ec l’
at ch e t d ’un Violo n teller mit ein emcelle Violo n cellb ogen
S ch o n b e rg Funf Orchesterstiicke 45 1
195
Chapter 3 5
BA S S , SNARE,AND TE NOR DRUM S
(1) DAMPENED
(fo r termin ology an d n o tation see Chapter 3 2 , page 163 )
Bass DrumPAGE MEASURE MEASURE
S trav in skyL es Noces
S cherz o d la Russe
Bern ste in ercmiah Symphon y 2 3 [1 3] Symphon ic Espagn ole 152 [M]
Bass an d S n are Drums
C oplan d Dan ce Symphony 56 [3 3] I C oplan d El S aldn lVI c'xico 44 [41] 6f
(2) METHODS OF STR IKING
English German
At th e edge (of the h ead) Sul b o rdo (dellamemb ran a) Au b o rd (de lamemb ran e) AmR an d (des Felles)(for fur ther termin ology see Chapter 3 2 , page 163 )
Bass DrumWORK PAGE MEASURE
L e S acre du Prin temps 93 [1 14]
Bar tok Musicfor S trings, Percussion an d Celesta 28 199
Bar tok S econ d RhapsodyforViolin an d Orchestra 43 [3 2]
Bar t6k Violin Con certo 5 1 [374]66 [106] R usse ll
Parodi Preludio ad un a Percussion I n strumen tsCommedia
PERCU S S IONItalian Fren ch German
Nelmezzo dellamemb ran a Au milieu de la memb ran e In der Mitte des Felles[Pew ]
(for fur ther termin ology see Chapter 3 2 , page 164)
Bass DrumPAGE MEASURE WORK4 [D] 8f Histoire du Soldat7 [F]8 [G] I f
S n are Drum
Barték Con certojb r Pian o an d 7 1h [7] Bartok S econ d Rhapsodyfb rOrchestra 5 2 2
‘
Violin an d Orchestra 44 2
GermanFlam” stroke
S n are Drum
CONIPOSER WORK PAGE MEASURES ch uman , W . Prayer in Time qfWar 26 347
English I talian Fren ch German
Laid o n side Sul lato Place aplat Auf die Seite gedreh t
Bass DrumIn gh elb rech t El Greco
English I talian Fren ch German
Lay 1 Stick o n h ead ofdrum Mettete un a b acch etta . sulla Appuyer un e b aguette sur la Ein SchlagelumFell—mit demstrike with the o th er (stick) memb ran a—co lpetela col altro peau
—frappez—la avec l’autre an dern geschlagen
S n are Drum
Milhaud L a Cre'
ation duMon de 2 5 [27] 6f
I talian Fren ch German
On b o th sides [skin s] Dalle due parti Sur tous les deux COtés Auf beiden Fellen
S ch o n b erg 12 [10]
198
BA S S , SNARE , AND TENOR DRUM SI talian Fren ch German
Sulla cassa Co n tre le pupitre Auf'
dem Ho lzran d derSur la caisse TrommelSur le cadre Auf dem Holzstab chen
Auf den hO'
lzern en R ahmenAufHolz gesch liigen
Bass DrumCOMPOSER WORK PAGE MEASURE
80 [28] H fSymphony No. 6 1 16 [79]
Pictures atan Exhib ition
R oger s On ce Upon a Time,Five Fairy Tales 57 1h [3 3]
Drum
S iegme ister
Siegmeister Western Suite
Varese Hyperprism
2 0 4
R oge rs On ce Upon a Time, I n te’gralesFive Fairy Tales
PERCU S S IONItalian Fren ch German
Drum
Co plan d
C oplan d
Pisto n Symphony No. 2
Dello Jo io S ch uman, W Symphony No. I I I
S chuman , W . Symphony No . IV
S chuman , W . Un dertowS iegme iste r Frommy Win dow
Go uld S iegme iste r Sun day in Brooklyn
Sn are an d Te n o r Drums
WORKThird Symphony
Fren chR oulé avec les do igtsAv ec les po in tes des do igts
S n are Drum
R ussell_Fuguejb r Eight 2 [B]Percussion In strumen ts 6 8
English I talian Fren ch German
Drag with wire- b rush Strisciate con scov olo di fll di Effleurez [glissez] av ec un Mit ein emDrah tb iirste gleitenSlide [swish] with b rush ferro b alai mémllique
S n ar e Drum
R ussell S iegm e ister Sun day in Brooklyn
S iegm eiste r
English I talian Fren ch German
S truck with th e wood Colman cio della mazza Frappée av ec le b ois Mit dem S tiel desKloppels(fo r fur th er termin ology see Chapter 34, page 184)
Bass DrumHin demith Kbhécrtfiir Orchester 3 1 l b [100]
2 00
PERCU S S ION
(4) OFF- STAGE
(for termin ology see Chapter I 1 , page 75)
S n ar e Drum
WORK PAGE MEASURE WORKMacbeth
Islamey Petrouchka SuiteSymphon y No. 3
snare an d Te n o r Drums
WORKSymphon yNo. 4
(5 ) STICK TYPE S
(fo r termin ology see Chapter 3 2 , pages 166—7)
CANE STICK WITH FIBRE HEAD
S trav in sky
S trav in sky
Bass an d T e n
-
o r Drum s
S trav in sky Histoire du S oldat 5 3 [4]
DRUM STICKS
Bass Drum
66 2 b [43 ]
FELT STICKS
Ho lst
BAS S , SNARE , AND TENOR - DRUMSS n are Drum
WORKChan t du Rossign ol
S n are an d Te n o r Drums
Varése Ion isation 6 1b [4]
FELT TIMPANI STICKS
S n are Drum
R ussell
Percussion I n strumen ts 1 [A] 8f
HARD STICKS
Bass DrumPAGE MEASURE WORK107 2 On ce Upon a Time,
50 [29]
HARD FELT STICKS
R ussell
8 [G] I f
S trav in sky 5 1 2
Bass, Sn ar e , an d Te n o r Drums
S trav in sky Histoire du S oldat
MEDIUM HARD FELT STICKS
Bass DrumR ussell
Percussion I n strumen ts2 03
ts
PERC U S S IONORDINARY [REGULAR , USUAL] STICKS
Bass DrumCOMPOSER WORK PAGE MEASUREWein gartn er Lustige Ouverture 22 1
Milh aud 58 [170] ri
Milh aud 25 3
RAWHIDE TIMPANI STICKS
Milhaud 101 1
SHORT [SMALL] STICKS
Piern é 44 1
SNARE DRUM STICKS
Bass DrumPAGE MEASURE WORK
Fuguefor E ightPercussion I n strumen ts 7 [F] 1 1f
S trav in sky L e Sacre du Prin temps 85 [103] I f
Diamo n d Elegy in Memory of On ce Upon a Time,Maurice Ravel 8 [5 5] Five Fairy Tales 46 [27]
SNARE DRUM STICKS , WRAPPED
McDo n ald
3 [10] at”
204
STICK WITH FIBRE HEAD
Bass DrumWORK PAGE MEASURE WORK
Histoire du Soldat 14 1b [1] Ragtime19 [1] I f24 2 b [1 1]
S trav in sky 49 [3 3]
SWITCH [ROD]
Varese I 7 [7] I fSymphonyNo. 7
THICK TIMPANI STICKS
Bass Drum
In gh elb re ch t E l Greco
THIN STICK WITH SPONGE HEAD
S trav in sky
TIMPANI STICKS
America
BAS S , SNARE , AND TENOR DRUM SBass Drum (c o n td .)MEASURE COMPOSER
R oussel
R o ussel
R o usse l
Symphon yNo. 4
2 n d S uite (In dian )
Mar tin e t
Tch aiko v sky
Th om so n Louisian a S tory Suite
Villa- Lo b o s Dan ses Africain esWe in gar tn er Lustige Ouvertiirc
S n are Drum
Bar tok Walto n Facade, Suite No. I
Milhaud
Milh aud
Milh aud2 07
Fin lan diaLemmin kain enjourn eys Homeward
Pcllcas an dMelisan deSymphon y No . 1
The Swan of Tuon elaThe Tempest,First S uite
The Tempest, PreludeThe MoldauAlso Sprach ZarathustraDon QuixoteEin e Alpen sinfon ieLe S acre du Prin tempsSymphon ic Con certan tepour Pian o ct
OrchestreManfred- Symphon ic
PERCU S S IONS n are an d Te n o r Drums
WORKII“Symphon ic
S trav in sky
S travin sky 46 [24]
Bass an d Sn ar e Drums
Walto n Portsmouth Poin tOverture 34 3 b [24]
TWO- HEADED STICK
Bass DrumWORK PAGE MEASURE WORK PAGE MEASURE
L’
Appren ti S orcicr 38 [36] Fire- Bird Suite’ (19 19).
24 1
R ussell
1 5 [A]
R o se n th al
R ussell
2 [B] 8fR ussell
G e r shwin
Gould
The Rio Gran de
Bartok
Barté k
Bar ték
Bartok
Bar tok
Britten
Britte n
Chi v ez
Ch i v ez
Poule n c
I talian German
Mit Sch n arrseite
Drum
WORK
Cre sto n
Kh ach aturian
Percussion I n strumen tsS ch uman ,W . Prayer in Time of War
S h eph er d Horizon s
S iegm eister Frommy Win dowS trav in sky Histoire du S oldat
Ten o r Drum
S in/on ia In dia 24 [27] S trav in sky Histoire du S oldat
Sn are an d Teno r Drum s
S iryb n ia de An tigon a I S trav in sky Les Noces
S n are Drum an d Taro lle (Small S ide Drum)
Con cert Champetre pour 16 [1 1 ] 5f o n len c Con certo pour deuxClavecin ctOrchestre 37 [26] Pian os ct Orchestre
92 1b [16]
BA S S , SNARE , AND TENOR DRUM S
(7) OTHER EFFECTS
Bass DrumGerman
Can n on sho t(s) Comme n u can o n Wie -cin e Kan o n e
Like a can n on
I talian German
Out of tun e (without pitch or Scordata Mal accorde’ Verstimmtreso n an ce)
Ver di Messa da Requiem 208 43
I talian German
Played delicately with th e Ten eramen te , co i quin tupolo Joué délicatemen t av e c les Zart mit den Fin gern gespielt,fin gers, like a fiv e- fin ger dita, come un esercizio doigts, comme un e etude wie ein e 5 - Fin geriib un gexercise pour les cin q doigts
Gulliver—His VoyageKelley to Lilliput
English I talian German
Rub a ro sin ed glov e or clo th Fregate co n un o guan to re sin Fro ttez av ec un gan t résin eux Mit ein em harzigen Han dschuhov er a sn are drum stick with ato sopra un a b acch e tta di sur un e b aguettede tamb our tib er ein emTrommelschlagel
tip of stick pressed again st tamb uro spin gen do la pun ta en pressan t le b out de la reib en mit dem Pun kt descen ter ofdrum head della b acche tta n el medio b ague tte con tre le milieu de Schli gels am Mitte des Fellsdella memb ran a la peau driicken d
R ussell Fuguejb r EightPercussion I n strumen ts 7 [F] 1 1f
I talian German
Two [2] players Due [2 ] esecutori [suo n ato ri ] Deux [2] exe’
cutan ts Zwei [2] Schliger
Berlio z Symphon ic Fan tastique 208 5
S n are DrumI talian Fren ch German
Place a han dkerchief ov er Coprire la memb ran a col Me ttez un mouch oir sur la Mit ein em Tasch en tuch an der
drum head fazzoletto peau Felle b edeckt
R ussell Fuguefor E ightPercussion In strumen ts I 1
2 1 1
Place a piece o fpaper o n th edrum head
English
R oll—b egin n in g at cen ter
gradually going to th e rim
Roll—b egin n in gat the tinfgradually goin g to cen ter
3 Drums
English
Tun ed high
English
With a thin piece of felt o nmiddle ofdrumh ead
PERCU S S IONS n ar e Drum (c o n td .)
I talianCoprire la memb ran a co lla
car taMettez n u papier sur la peau
WORK PAGE MEASUREFuguejb r EightPercussion In strumen ts 3 [C]
Italian Fren ch
G ould Spirituals
I talian Fren chRulIo —dalmedio all’orlo poco R oulez—commen can t an
a poco milieu de la peau en allan tpen apen v ers le b ord
Bar ték Con certojb r Pian oan d Orchestra 59 5b [1 3]
ItalianRullo—dall’orlo almedic poco R oulez—commen can t au b orda poco en allan t pen apen v ers Ie
Bar tok Con certoforPian oan d Orchestra 5 3 [2 ] 3 f
3 Casse 3 Caisses
I : I ; II : mf; III :, p.
A VictoryBall 75 1
I talianAccordato in alto Accordé en haut
Symphony in E min or
I talian Fren chCon un amin uto frammen to di Avec un morceau min ce defeltro n elmedio dellamemb ran a feutre aumilieu de lapeau
Fuguefb r E ightPercussion I n strumen ts I [A] 8f
2 12
German
Mit ein emPapier an der Felleb edeckt
German
German
Wirb el- v on der Mitte all
mfihlich b is zum Ran d
German
"
lioh b is zurMitte
German
3 Trommeln
German
Ho ch gestimmt
German
Mit diin n em Filzstuck auf der
Mitte desFells
PERCU S S IONTamb ourin e (c o n td .)
I talian Fren ch GermanSulle tin tin n ie Efl‘leurez [tin tez] les cliquetis Auf den Schellen
Sur les tin temen ts
WORK WORK PAGE MEASUREThe Rio Gran de Facade, SuiteNo. I 5 5 1
I talian Fren ch German
Co l pugn o L’
accen t in dique le coup Mit der Faustfrappé avec le po in g
Gould Philharmon ic Waltzes C in derella Suite No. 1 1 19 [95]Lieuten an t s ’
é 48 [41]Milh aud La Cre
'
ation duMon de
Fren ch German
Av ec le gen ou Auf dem Kn ie gestreichenFrappez sur le gen ou Mit dem Kn ieLe coup frappé av ec le gen ou
Escales
S essio n s
S e ssio n s
English
On the rim
(fo r fur ther termin ology see Chapter 32 , page 163 , an d Chapter 3 5 , page 197)
R ogers On ce Upon a Time, Percussion Music 23 18
Five Fairy Tales 61 [36]
Gayn e Ballet Suite Lamb ert The Rio Gran deNo. r - A 22 [10] 2f
English
On the skin
COMPOSER
Shake (hoop)
Milhaud
With (the) fin gers
McDo n ald
English
With (the) han d
GONG ,TAMBOUR INE , AND TR IANGLE
Tamb ourin e (c o n td .)
I talianSulla memb ran a
PAGE
22 [10] 2f
I talian
Féerique
I talianCol il dita
Rhumbafrom2 n d
Three PoemsforOrchestra 30 ah [77]
Colla man o
Cockaign e, Con cert
Overture 3 7 [2 1]
Sur la peau
Fren ch
Fren chAv ec les doigts
R oger s
Rii sager
Fren ch
GermanAuf das Fell
GermanSch litteln
German
Schlagen
Q uatriéme Symphon ic 88 2 b [65]L aMort d’un Tyran 27 1 1 3
40 8
L e BalMartin iquais 9
Opus American umNo. 2 3 3 [205] 3 fPictures at anExhib ition 57 [5 3]
German
Mit den Fin gern
On ce Upon a Time,Five Fairy Tales 3 5 [2 2 ]
German
Mit der Han d
Torgot Dan ce 2 5 [1 1 5]
PERCU S S IONTamb ourin e (c o n td.)
English I talian GermanWith (th e) kn uckles Colla n o cce Avec lesjoin tures Mit den Kn Ocheln
PAGE MEASUREI O 2
(3 ) MUFFLED [MUTED](for termin ology see Chapter 3 2 , page 165 )
Bar tok
Mahle r 17 8b [1 3]
Trian gle
PAGE MEASURE COMPOSER PAGE20 [2 ] 7f R ussell Fuguefor Eight34 [I 1] I f Percussion I n strumen ts 4 [D]
(4) OFF- STAGE
(for termin ology see Chapter 1 1 , page 75)
S trav in sky 39 [28]
I n gh elb re ch t Rapsodie de Prin temps I 1 I Mahler Symphon y No. 2 175 [2 2 ]
(5) STICK TYPE S
(fo r termin o logy see Chapter 32 , pages 166- 7)
BASS DRUM STICK
Milhaud Ié’e Symphon ic trauss, R'
. Macbeth 71 4
Percussion Music
2 16
R espigh i
SOFT STICK
Go n gWORK PAGE MEASURE COMPOSER WORK PAGE MEASURE
Gran d Can yon Suite 1 15 3 S tran g Percussion Music 23 18
Siegmeister Ozark S et 80 [80]
Symphony No. 3
SymphonyNo. 6
S ch reker
71 I
THIN METAL STICK
Bartok Violin Con certo 87 [145]
THIN WOOD STICK
Trian gle
Barték Violin Con certo 86 [13 5]
2 18
PERCU S S IONSNARE DRUM STICK
Go n gWORK
Petrouchka Suite
GONG ,TAMBOUR INE ,
AND TR IANGLETIMPANI STICK
Go n gPAGE MEASURE WORK3 3 2
165 [ I 9]46 1
TRIANGLE STICK
Go n g
R oger s S trauss, R . S alomé’
s Dan ceS trav in sky Le Sacre du Prin temps
S trauss, R .
PAGE MEASURE46 [24]
d e Falla1 5 [10] 8f
Bar tok S econ d Rhapsodyjb r 9 [5]Violin an d Orchestra 42 [3 1 ] I f
S travin sky L e S acre duPrin temps 20 [2 9]
(6) OTHER EFFECT SGo n g
I talian German
Kept in vib ration b y fr iction Man ten uto in vib razi on e per Faites vib rer en fro ttan t au Durch R eib un g an der Kan teo n th e edge fregamen to sull
’
orlo b ord in Schwin gun g geh alten
The Pleasure Dome ofKubla Khan
I talian GermanLaid horizo n tal—with out Orizzo n talmen te—senm Place
'
a plat—san s reson an ce Ohn e R eson an z—horizo n talreson an ce riso n an za gelegt
de Falla ElRetablo dcMacse
1 5 [10] 8f
2 19r6
PERCU S S IONEnglish German
R apid glissan do with trian gle Glissan do rapido circolan do sulla Glissez rapidemen t avec la Schn elles Glissan do mitTristick , describ in g an are o n the superficie dcl
’
in strumen to colla b aguette du trian gle , dé an gelschliigel imBoge n ansurface ofthe in strumen t b acch e tta di trian golo crivan t n u arc sur la sur der Ob erfifiche des In stru
face dc l’
in strumen t men tes ausgefuhrt,
WORKL e Sacre du Prin temps
Tamb ourin eI
English I talian Fren ch German
Let drop o n th e floo r Lasciate cadere sulpalco Ten ir (le Tamb . de B.) tout Aufden Boden werfenb as au sol et le faire tomb er
S trav in sky Petrouchka Suite 1 53 2 b [12 9]
English I talian German
Placed on sn are drum Mette te sulla tamb uro militate Mettez sur la caisse Claire Aufder klein en Trommel
S iegme ister Western Suite 94 2 b [75]
English I talian German
Withoutjin gles Sen za tin tin n ie San s tin temen ts Ohn e Schellen
de Falla ElRetablo dc Macse
3 6 [41]
Trian gle
English I talian Fren ch German
Mutile n o tes b y holdin g 1.h . Assorda-te i ton imetten do la Etoufi'
ez les ton s en mettan t To n e durch linke Han d amagain st trian gle m.s. con tra i] trian golo lam.g. con tre la trian gle Trian gel gedampft
R ussell
Pcrcussion I n strumen ts
I talian Fren ch German
Wrapped tigh tly in a clo th In volguto strettamen te in tela Bien en veloppé de toile Fest in S tofi'
gewickelt—fest inb old tigh tly in the han d ten are strettamen te n ellaman o ten ez fermemen talamain derHan d gehalten
85 6b [H]
PERCU S S IONEnglish I talian German
R oll with th e fin gers Rullo col il dita R oulé avec les doigts Wirb elmit den Fin gern
English I talian Fren ch German
With (the) han dle ofth e stick Colman cio dellamazza Av ec laman ch e de lamailloche Mit dem StieldesKloppels(fo r fur th er termin ology see Chapter 34, page
Bar tok6 [2 ] I f
(2) MUFFLED [MUTED](for termin ology see Chapter 32 , page 165)
Wo o d Blo cksGulliver—His Voyage
Kelley to Lilliput 85 [H]
WORK WORKSymphon yNo. 6 SymphonyNo. 7 92 [84]
Harmo n ium
I n gh elb rech t Rapsodie dc Prin temps 1 1
(4) STICK TYPE S
(for termin ology see Chapter 32 , pages 166- 7)
FELT STICKS
Bo n go s [Cub an Drums]Varese Ion isation
2 2 2
(3) OFF- STAGE
termin ology see Chapter 1 1 , page 75)Cowb ells
PAGE MEASURE COMPOSER3 5 [2 1] 2f Mahler
182 [12 1 ]
OTHER PERCU S S ION IN STRUMENT STom - Tom
WORK PAGE MEASUREEbony Con certo 4 [4]
22 [3]
HARD STICKS
Tom - Tom
R e v ueltas S en semayd 38 [36]
HEAVY HAMMER
An v il [o r S te el Pipe ]
R ussell Three Dan ce Movemen ts 18 [E] 4f
S te el Plate
Blo ch America 141 [80] 2f
LEATHER STICKS
Cimb alom
S trav in sky Ren ard
ORDINARY [REGULAR , U SUAL] STICKS
Castan ets
S iegm eister Ozark S et
RUBBER —COVERED) STICKSPop Bo ttles
Gr e en Three I n ven tories ofCaseyjon es 1 2 1
Tom - Tom
Three Dan ce Movemen ts 16 4b [4]
An v il
Blo ch America 128 [73]
2 2 3
PERCU S S IONSNARE DRUM STICKS
T om - Tom
WORK PAGE MEASUREThree Dan ceMovemen ts 17 2
Wo od Blo cksWORK PAGE MEASURE
Three Dan ce Movemen ts 17 2
SOFT WOOD HAMMER
Blo ch 15 5 [89] 1f
SPONGE STICKS
Varése 2 1 [1 3] 4f
TIMPANI STICKS
Milh aud 55 1b [1 55]
TRIANGLE STICK
Gin ger - ale Bo ttleR ussell Th ree Dan ceMovemen ts 17 [C]
VERY HARD LEATHER STICKS
Taro lle [Small S ide Drum ]Poulen c Con cert Champétre
pour C l‘
avecin et
Orchestre 16 [1 1 ] sf
Varese
PERCU S S IONEnglish I talian Fren ch German
Pricked with a pin Pun turato con un o spillo Piquez avec un e épin gle Mit ein er Nadel stecken
PAGE MEASURE2 3 4
English I talian German
(Glass) smashedwith amallet ; Fracassate co n un omaglio ; v uo Ecrasez av ec un maillet ; Mit Hammer zerschlagen ;emptied o n a hard surface tate ilverraio spezzato sopra v idez le verre b risé sur Glas auf hartem Boden
un a superficie un e surface dure ausgeleert
Dav idso n 0 4
(6) OTHER KEYED PERCUS S ION INSTRUMENTS
S criab in
Harmon ium
PAGE MEASURE COMPOSER WORK MEASURE1 2 Sh o stako v ich The Golden Age,
13 9 [106] Ballet SuiteTchaiko v sky Manfred- Symphon ic
(7) OTHER PITCHED PERCUSS ION INSTRUMENTS
An tiq ue Cymb als
2 18 8 R av'
el
27 [10]
5 1 2
C imb alom [Clav ic emb alo ]
Bar t6k R oger s
d e Falla S trauss, R .
OTHER PERCU S S ION IN STRUMENT SC owb ells
PAGE MEASURE COMPOSERMah le r
S iegm e ister
S trauss, R .
Flexato n e
Kh achaturian Con certofor Pian oan d Orchestra 65 [49]
Gram oph o n e R e co rd (Nigh tin gale ’s so n g)
R e spigh i Th e Pin es of Rome
Guitar
Gould Th omso n Orchestra, Suitefrom“The Plow that Broke
Mah ler the Plain s”
15 1
Sain t- Sae n s17 1
ew s
10 [P]
Mahler SymphonyNo. 7 158 [180] Feste Roman e
Musical Tum b ler s (water - tun e d)Dav idso n Auto Acciden t 0 6
41 4 Symphon y No. 4 1 1
Feste Roman e 60 [17]Suite Primeval, Part I I 81 3Hyperprism 3 1
27 II 7] 1 1
PAGE MEASURE
Villa- Lo b o s 87 [z3]
(8) OTHER UNFITC I-IED PERCU S S ION INSTRUMENTS
An v il [Ste el Bar , Plate ]
WORK PAGE MEASURE COMPOSERSpirituals 20 1
Three Dan ce Movemen ts 1 5 5 Varése
Auto [Taxi] Ho rn [C laxo n ]
America 1 26 2 I n gh elb re ch t L aMe'tamorphose d’ ve 2 5 2
An American in Paris 4 [3] 6f17 4b [1 5]88 [72 ]
Ho n egger
27 1
Box filled with san d
KammermusikNo. 1
Var ése I n tégrales
Ch in ese Blo cks [Drums]
Auto Acciden t 6 9 Var ése
Percussion Music 2 1 1 Var ése
Ch o calh o , Xo calh o [Large Gour ds]Guarn ieri Braz ilian Dance 5 [20] 4f I Milh aud Saudades do Braz il 3 2 1
Clav e s [Cub an S ticks]
Gould Latin -American
Symphon ette2 28
R o ger s
Dav idso n
C oplan d
Gershwin
Mahler
Sp irituals
Auto Acciden tKammermusikNo. 1
Savage Dan ce
SymphonyNo. 7
San dpaper (b loCks)
13 [A] 6f S tillman Gulliver—l
His Voyage
18 1h [G] Kelley to Lilliput
S ir en
Varése Ion isation
SlapstickWhip]
52 3b [3 5] Milh audMilh audMilh aud
47 10
R ussell
PAGE
I S 5
S trin g Drum, Cuica [L io n r oar ]
1 4 Varése Hyperprism
Switch e s
202 [242 ] 4f Varése In tegrales2 30
PERCU S S IONR attle [Ratch e t]
MEASUREI
COMPOSERR o se n th al
S ch uman , W .
S iegme ister
Skilto n
Skilto nS trauss, R .
OTHER PERCU S S ION IN STRUMENT STemple Blo cks
PAGE MEASURE COMPOSER WORKHan so n MerryMoun t Suite
Gould S tr an g Percussion Music
Tom - Tom [In dian Drum]Neues vom Tage 1 5 2 Suite Primeval, Part I
In gh elb rech t La Métamorphose d’Eve 29 [2 1] S uite Primeval, Part I I
Th un de r - mach in e
WORKE in e Alpensinfon ic
Win d - mach in e
Don QuixoteEin e Alpen sin fon ie
Wo o d Blo cks3 4 [241 3
’
f R av el
R ogers
R ussell
S tran g
Wo o de n Hammer o n a Plan k
Milhaud Les Choc’
phores 163 3 R espigh i Feste Roman e 1 14 [34]
2 3 1
Chapter 3 8
PE RCU S S ION TERMINO LO GY
- Cymb als
English I talianCymb al hun g b y its strap“ Piatto sospeso dalla sua lasciaCymb al struck with drum Piatto colpo colla mazza
stickHun g cymb al rolled with I Piatto rullo con b acch ette ditimpan i sticks
Le t v ib rate g en tly b y b arely Lasciate v ib rate leggieramen tetouchin g —appen a toccateR oll o n suspen ded cymb al Piatto sospeso rullo con
with sticks b acchetteS tick o n cymb al Piatto colla mazza
Suspen ded cymb alwith stick Piatto sospeso con b acchettaTake th e o ther cymb al Pren de te l’altro piattoWith two [2] stickso n cymb al Con due [2 ] b acch ette a piatto
Drums
On the skin with thin sticks Sulla memb ran a co n b acch ette Sur lapeau avec desb aguettesso ttile min ces
On th e sn ares Sulle corde Sur le(s) timb re(s)Played o n th e sh ell (of th e Esecu
'tato sulla cassa del tam joué sur le cadre du tamb ourdrum) with han dle of Stick b uro colman cio della mazza avec le man che de lamailw
loch e
R oll o n o n e side With so ft Rullo sopra un o lato colle R oulée sur n u seul c6té av ecsticks b acch ette mo lle des b aguettes mollesWell- tun ed Ben acco rdato Bien accordé
Cymb als o r Drum$
Put stick aside Lasciare la b acch etta Laissez la b aguetteR o ll with spo n ge sticks Rullo colle b acch ette di spugn a R oulée avec des b ague ttesépo n gesR oll(ed) with two [2] sticks Rullo con due [2] b acch ette R oule
’
e av ec deux [2] b aguettes
Take drums tick Collamazza Pren ez la mailloch eWith stick(s) Co n b acchetta(e) Av ec b aguette(s)With switch es Colli v erghi Av ec v erges
2 32
Becken freimit Schliigel .
An deres Becken n ehmen
Mit zwei [2] Schlagel a n f
AufdasFellmit diin n en RutenAuf den SaitenMit ein em Holzstab ch en aufdemHolzran d der Trommel
geschlagen
Mit weichen Schlagel auf
ein er Seite rollenGut stimmen
Un e cymb ale suspen due par sacourro ie
1 Cymb ale frappée avec la
maillo che
1 Cymb ale roulée avec
b aguettes de Timb alesLaissez vib rer doucemen t en
efi'leur an t apein e les deuxplateaux
R oulemen t sur un e cymb aleav ec des b aguettesBaguette [mailloche] sur
Cymb ale
Cymb ale lib re avec b aguettePren ez l
’
autre cymb aleAvec deux b ague ttes surun e cymb ale
lBecken am Riemen hi n gen d
Teller mit Schli gel
EinBecken teller mit Pauken
Leich t vib rieren lasseri—leich tb eriihren
Wirb el auf den Becken tellermit Schlagel
Schlagel auf den Becken
Den Schli gel b eiseite legenWirb el mit den Schwammschlfi gel
Wirb el mit zwei [2 ] Schlagel
Mit der Schlz'
igel
Mit SchlfigelMit R uten
Chapter 39
CE LE STA,O R GAN
,
'
AND P I ANO
( I ) GLI S SANDIEnglish I talian Fren ch German
Glissan do o n (the) b lack keys Glissan do sulle t aste n ere Glissez des touches n ou es Glissan do auf den schwarzen
TastaturGlissan do on (the) white keys Glissan do sulle taste b ian che Glissez des touches b lan ch es Glissan do auf den weissen
Tastatu-r
Glissan do over th e en tire Glissan do sopu tutte i taste Glissez sur toutes les touches Glissan do fib er die gauze
keyb oard Klav iatur
PAGE MEASURE1 59 7
Pi an o
Dukelsky
Gould
Prokofiefi’
S e ssio n s
S iegme ister
C ELE STA , ORGAN ,AND PIANO
Paean s
Ala etLolly (S cythianSuite)
Suitefrom the Ballet“Chout”Feste Roman eDichotomyFuguefor EightPercussion I n strumen ts
Symphon yforOrchestra
Frommy Win dow
Philharmon ic Waltz esThree Places in New
Paean s
Fugue.for E ightPercussion I n strumen ts
Pian o (c o n td .)
PAGE MEASURE COMPOSERI 7 1 S iegme ister
86 1
I
I
3
4».
t[C]
6 [2 ] Strav in sky
1 56 [204] zf1 06 4
27 [I I ] 4f
4 [D] 9f
48 [74]66 [104] Taylo r
56 2 b [40]
C ele sta an d Pian o
WORKSun day in BrooklynChan t da Rossign olFire- Bird Suite (19 19)
L es Noces
Th rough the Looking
3 9 [16] 3 f Villa - Lo b o s Uirapuru
I 7 2
85 [18]
(2 ) TONE - CLU STER S
Pian o
R ussell Three Dan ceMove
men ts87 [J] S ch uman , W . Un dertow2 [A] Varese Ion isation
8 [G]
KEYBOARD IN STRUMENT S
WORK
American Sketches
Gran d Canyon Suite
Feste Roman e
(3 ) TREMOLANDI
C ele sta
S ch reker
Pian o
S ch o n b erg
S e ssio n s
S e ssio n s
Pastoral Symphon y
Trittico Botticellian o
Suitefrom“
The BlackMaskers
Sun day in BrooklynChan t da Rossign ol
L es Noces
KEYBOARD IN STRUMENT SPian o (c o n td .)
English I talian Fren ch German
Harmo n ics (keys pressed Armon ici Harmon iques Flageolettdown with out soun din g)Ho ld [press] down keys Sosten ete le taste tacitamen te Baissez les touches san s Tasten stumm n iederdrtickensilen tly son n er
n ied e r d rucke n
PAGE MEASURE
5 3 3
I talian German
Like a harp Quasi arpa Comme un e harpe Wie cin e Harfe
English I talian German
Muffle th e strin gs with the \ Assordate le co rde colla palma Etoufi'
ez les cordes avec la Saiten mit der linken Han d
l.h . palm—playwith the r .h . della man o sin istra—suon ate paume'
de lamain gauch e fiache dampfen—mit de r
Place fin gers o r palm of l.h . colla man o destra jouez av ec la main dro ite rech ten Han d spieleno n strin gsMo r o ss Biguin e R ussell Fuguefor Eight
Percussion I n strumen ts 6 7'
English I talian Fren ch German
Pizzicato o n th e Strin gs with Pizzicato sulle corde colla for Pizzicato sur les cordes av ec Pizzicato auf de n Sai ten mita fo rk—glissan do chetta—glissan do un e fourchette—glissan do ein er Gab el—Glissan do
R ussell Three Dan ce Move
n ien ts 16 6b [B]
English I talian German
Pizzicato o n the strin gs with Pizzicato sulle corde e sulle Pizzicato sur les co rdes avec Pizzicato auf den Saiteh mitth e fin gertips pun te delle dita les poin tes des doigts Fin gerspitzen
R ussell Fuguefor EightPercussion I n strumen ts
German
Pizzicato with b ack offin ger Pizzicato colla un ghia Pizzicato avec l’
on gle Mit dem NagelPizzicaton ail
R ussell
3 [C] 7f
C ELE STA , ORGAN , AND PI ANO
Pian o (c o n td .)
English I talian Fren ch German
R . an d L. pedals Due pedali Deux pédales Zwei Pedale
WORKS cen es de Ballet
English Italian Fren ch German
Scratch strin gs len gthwise Grattate le co rde in lun gh ezza Grattez les co rde s av ec un e Saiten mit ein er Miin ze (wiewith a coin , like a b anjo pick con un amo n eta, come media piece de mon n aie , comme ein em Plektrum) kratzentore un plec trum [médiateur]
R ussell Fuguefor E ightPercussion I n strumen ts 2 [B] 8f
English I talian Fren ch German
Strike th e strin gs with h ard Golpete le co rde co n magli di Frappez les co rdes av ec des Die Saiten mit Hammern aus
rub b er mallets gomma elastica dura b aguettes de caoutch ouc dur har tem Kautschuk schlagen
R ussell Fuguefor E ightPercussion I n strumen ts 4 [D]
English I talian Fren ch German
Tinklin g Pian ola style In stilo Pian o la”
Dan s le style “Pian o la ltn Pian olastil
Gould Philharmon ic Waltzes 1 5 [146]
I talian GermanTremolo b y ro ckin g a b oard Tremolo den do lan do un ’
asse dalle R oulez en b alan can t un e Tremolo durch Holzb rett v onfrom b lack to white keys taste n ere alle taste b ian ch e plan che des touch es n oires schwarzen auf weissen
aux touch es b lan ch es Tasten geschaukelt
R ussell Fuguefor E ightPercussion I n strumen ts 18 [E] 6f
English I talian GermanU se a 4 ft. b oard to play all Suo n ate tutte le taste con un
’Employez un e plan ch e lon gue Tastaturlan ges Brett (um alle
th e keys asse lun ga pour jouer toutes les touches Tasten n iederdriicken zu
kOn n en )
R ussell
Percussion In strumen ts 18 [E]
243
ad" Fl .
Permission for reprin t gran ted by Duran d 8' Cie, Paris, Fran ce ; U S . copyright own ers, Elkan - Vogel Co. , I n c. ,
Philadelphia, Pa.
247
C d‘ s Fl .
Cor A .
Cl 8.
Bar r
Tr amp .
auMouy t
van s
Van es
[ r e
2° e t 3 °03 .
S oli
Ram . RAPSODIE ESPAGNOLE248
INTROD UCT ION
1= THE CONTEMPORARY ORCHESTRATOR do es n ot always employ the percussion in strumen ts in hissco res with rare imagin ation an d skill, his use of the harp is even less adept an d in dividual.It is safe to say that n o o ther o rchestral in strumen t is so gen erally misun derstood
by o rchestrators an d composers an d so - ill—used in the overwhelmin g majority of modernworks. Just why this should b e is difficult to fathom,
for the harp is certain ly n o less availablethan an y o ther in strumen t in the o rchestra, an d harpists are on ly to o glad to explain the techn iqueof the in strumen t to an y gen uin ely curious studen t of sco rin g .
To the average orchestrato r the harp un fo rtun ately mean s b ut on e thin g—glissan do, an dmo re glissan do ! Yet even this most overworked of all harp effects can—in the han ds of asen sitive colorist—create un fo rgettable momen ts of sheer orchestral soun d. Overdon e an d
badly used as they gen erally are , harp glissan di yet remain the mo st characteristic device of the
in strumen t. The presen t section , then , begin s in Chapter 40 with examples of glissan do in
on e an d two han ds, cho rd glissan di in either or bo th han ds, an d combin ation s. C hapter 41 isdevo ted to harmon ics, subdivided in to illustration s of sin gle , double , triple , an d quadrupleharmon ics (the latter three on ly po ssible in the left han d), an d combin ation s, such as a Sin gleharmon ic in the right han d an d a double in the left.Because of the physical n ature of the harp , en harmon ic doublin gs (homon yms) are possible
on two adjacen t strin gs ; i.e .—Fli an d G17. L istin gs of this characteristic an d common harp
device for o n e an d two han ds are given in Chapter 42 . The percussive n ature ofthe in strumen tis best shown in the use of n on - arpeggiato cho rds (played without the customary rollin g of thechord) , illustrated ‘ in Chapter 43 , while two methods of playin g on the strin g : “pres de latable” (n ear the soun din g- board, low on the strin g), which gives a guitar—like ton e ; an d“son s e
’
touffés”
(muffled or dampen ed soun ds, achieved by stoppin g the strin g’s vibrati
on
quickly with the palm), are catalogued in Chapters 44 an d 45 . Chapter'
46 is taken up withexamples of tremolan di an d trills, an d Chapter 47 with in stan ces of sun dry effects, such as playingwith the fin gern ail or a plectrum, o r sweepin g acro ss the strin gs with a stick. Again , as in the
previous section s, the fin al chapter lists termin ology n o t.foun d un der the o ther chapter headin gs.
Fo r a detailed, highly fascin atin g discourse o n some ofthe n ew an d exo tic effects n ow po ssibleon the harp , the compo ser is advised to read Carlo s Salzedo ’
sModern S tudy oftheHarp . On e can
on ly won der why o rchestrators an d arran gers have n o t as yet made some of these colorfuldevices (the
“flux,
” “eolian tremolo ,
” “timpan ic soun ds
,for in stan ce) a perman en t an d
effective part of their o rchestral techn ique .
2 50
Chapter 40
GL I S SAND I
Italian Fren ch German
En glissan t
PAGEAppalachia
Bar ték
Bar t6k Dan ce Suite de Falla
Glazoun o v
Go o ssen s
Han so n
Han so n
Han so n
18
PAGE
62
68
2 2
L’
Appren ti S orcier 2
64
Im Rhapsodie Roumain e 24
Nuits dan s lesJardin s2 1
Three Dan cesfrom The I I
Th ree- Corn ered Hat”
Violin Con certo in Amin or
S injb n iettaThe Pleasure Dome ofKubla Khan
MerryMoun t Suite
HARP
(I ) IN ONE HAND (c o n td .)
PAGE MEASURE COMPOSER WORKRav el Rapsodie Espagn ole
3 9 1
81188011
S uitefrom Colas
Breugn onGayn e Ballet Suite
'No. I - A
Khachatu rian Gayn e Ballet Suite
L o efi er EvocationSymphony No. 2 ,
L o emer“An tar”
Mah ler
Mahle r SymphonyNo. 2
Mah ler
S ch r eker
Pr okofiefi'
Prokofiefi Sib elius
R acl ofi' S trauss, R .
Rav el
Rav el
S trav in sky Petrouchka SuiteS zyman owski Symphon ie Con certan te
pour Pian o et
OrchestreTchaiko v sky Manfied- Symphon ieTh omso n Th e S ein e atNight
2 52
Pizze tti
Pr okofiefi'
R av el
R av e l
R av el
R av el
R av el
R ead
R e spighi
R e spighi
Barték
Vien n oisc
Con certo dell’Estate
(2 ) IN TWO HANDS (c o n td .)PAGE MEASURE
HARP
70 3
1 1 3
1 2
36
55
1 5
10
3 5
34
[ 1 5]2 b [F]1 b [R ]4
3
2 b [4]5
7b
.
[I s]
COMPOSERS ch ellin g
S chmitt
Scriab in
Sib elius
S ib elius
(3 ) CHORD—ONE HAND
2 54
Die Okean iden
Pohjola’
s Daughter
I n the Faery Hills
America
E n esc o
I n gh e lb r ech t
Bar ték
C e san a
Ouverture de Fé'te
Pour lejour de la
premiere n eige au
v ieuxjapon
Four SketchesL e BalMartin iquais
I f?”Symphon ic
R av el
S c riab in
S trav in sky
S trav in sky
(4) CHORD—TWO HANDS
Pizze tti
Po o t
Trittico Botticellian o
Capriccio Espagn ol
L e Coq d’
Or Suite
PAGE MEASURE
5 5 3
GL I S SANDI
(3 ) CHORD—ONE HAND (c o n td .)
PAGE MEASURE COMPOSER29 [2 2 ] I f R av el
1 55 2 b [38]67 2 b [45]3 9 [2 0]
76 [39]
HARP
(5) COMBINATIONS
WORK PAGE MEASUREMusicfor S trings,Percussion an d Celesta 77
Bart6k Violin Con certo 40
95
Casella L a Don n a S erpen te, 5
I I . S erie 26
74
2 56
HARP
(1 ) SINGLE—IN EITHER HAND (co n td .)
WORK PAGE MEASURE COMPOSERFourth Symphony 9 3 b [50]
1 5 1h [85]45 [80]
Diamo n d Rav el Rapsodie Espagn ole
66 [1 1 5] 2f1 3
63 [6] sf16 [3] Rav el
67 6
91 [1] 2f107 3
HOISt The Plan ets 43 [VII] R espighi1 22 [V]2 3 R es i hi36 [3 1] I f
p g
R e s i hi86 2
p g
d’In dy
Russian Easter Overture
Liszt
h tak hPictures atan Exhib ition 58 gib
o
sliusow c
Con certo dell’Estate 83 [32 ] 6f
103 2
1 17 [49]Prokofiefi
'
63 1
81 S trauss, R .
R av el
R av el S travin sky Chan t daRossign ol
R av elS trav in sky Fire- Bird Suite (19 19)S travin sky Petrouchka SuiteSzyman owski Symphon ic Con certan te
pour Pian o et
Orchestre 7 [4] I f
HARMONIC S
(1) SINGLE—IN E ITHER HAND (c o n td .)
PAGE MEASURE COMPOSER PAGE MEASURE1 3 2 b [8] Villa - Lo b o s 43 [9]6 [C] I f 81 1
181 3 Walto n Con certofor Violin an d 75 4
Orchestra 105 4
1 55 l b [9] Idylfor Orchestra 1 2 5
Zim b alist American Rhapsody I 4
(2) DOUBLE
Rav el
Rapsodie Espagn oleS héhéraz ade
R av el
R oger s
SymphonyNo. 3
Daphn is etChloé,Suite No. 2 A Lon don Symphon y 142 [V] 8f
Escales 9 3 b [LlDas Lied von der Erde 80
Rapsodie Espagn ole 73 1 30 [65]
2 59
PAGE MEASURE WORK1 3 9 3 Rapsodie Espagn ole
8 [78]
(5 ) COMBINATIONS—TWO
Fourth Symphon y Rav el Daphn is etChloéSuiteNo. I
R av e l
Petite Suite R av e ]
Metamorphoseon , XI I
S cheheraz adeL es PetitsMétiers
Symphon yNo. 4
S ch o n b erg
Martin et
Symphon y in A major S c riab in
Pictures atan ExhibitionS ib elius
39 3 I
The Bells
Con certo pour Pian o ciOrchestre
Casella
Bar tok
Blo ch
Chapter 42
HOMONYM S (ENHAR MON I C S)
(1) IN ONE HAND
R av e l
R av el
R av el
77 [43]126 [19]
H 4 [56]
Pictures atan Exhib ition 96 [78] 4f
Alborada del Gracioso 2 2 [17] 2 f
(2) IN TWO HANDS
Musicfor S trings,Percussion an d Celesta 85 [65]
S chelomo 38 [2 2] 3f
Ma Il/Iére l’Oye
Rapsodie Espagn ole
MEASURE
HOMONYMS (ENHARMONIC S)
(2) IN TWO HAND S (co n td .)WORK PAGE MEASURE COMPOSER PAGE MEASURE
3 5 [2 2 ] Prokofiefi'
13 6
25 [10]25 1 Rav e l
25 [18]40 [5] Rav el Daphn is etChloé,2 2 Suite No . 1
1 2 7
R av e l
R av el
Ho lst
R ead
86 2
S trav in sky
263
Charpe n tier
WORK
Chapter 43
NON - ARP E GG I ATO
Fren chN
’
arpéger pasNejamais arpéger les accordsNon arpégéSan s arpégerSec
de Falla
In gh elb r e ch t
Kh ach atur ian
Kh achatur ian
Mahle r
German
Immer un geb roch enNich t arpeggierenNich t b rechen [geb ro che n ]Nicht]harpeggi(e)rtOh n e Brechun g
PAGE MEASURE
47 [s]
WORKNuits dan s lesjardin sd’
Espagn e
Three Dan cesfi om“The Three- Corn eredHat
”
Partitafor Orchestra“MerryMoun t
”Suite
L a Ballade de la G edlede Reading
Pour lejour de la
premiére n eige nu
uieuxjaponNewYear
’
sEve in
Chapter 44
PRES DE L A TABL E
German
R eson an z(tisch )
Natural (soun ds) Modo o rdin ario(fo r fur th er termin ology
WORK PAGE MEASURE MEASURE
ElAlban ia
Navarra Fe rr oud
Escales
Bar ték
In gh elb rech t
BrittenIn gh elb re ch t
Das Lied von dcrErdeSymphonyNo . I
Mah ler
Par odi
NATURAL SOUNDSSon (s) n aturel(s) Gewohn lich
see Chapter 9 , page 72 , an d Chapter 20, page 1 12 )
WORK PAGEThree Dan cesfrom 2
The Three- Corn ered 15
Hat”
25
Au ParcMon ceau 4
12
I S
20
40
8
16
PRES DE LA TABLE
S travin sky
S zyman owski
Th om so n
Walto n
267
WORKS cherz o d la Russe
Symphon ic dc Psaumes
Symphon y in Three
Movemen tsSymphon ic Con certan tepour Pian o et
Orchestre
Chapter 45
S ON S ETO U EPES
I talian Fren ch
WORK
Britte n S iegme ister
Britte n
S trav in sky
S trav in sky
JeuxTh ree Dan cesfromThe Three- Corn ered
S tr kHat
” avms y
L aMe’tamorphose d’Eve
Symphon ic Espagn ole
L o emer Evocation
S zyman owski
Th om so n
Walto n
Rav el
We in gar tn er Lustige Ouverture
268
HARPWORK PAGE MEASURE
Also Sprach Zarathustra 74 6
Don juan 73 [V]Symphon ia Domestica 67 [84] I f
2 70
Chapter 47
MI SCE LLANE OU S E F FE CT S
English Italian Fren ch German
Glissan do with an appro Glissan do con un a b acchetta di Glissez av ec un e b aguette de Glissan do mit ein em zweck
priately shaped wooden (if legn o (di metallo se Si’
3 b ois (dc'
métal Si c’
est mi ssig gefo rm ten Holz
possib le metal) stick po ssib le) co n v en ev olmen te po ssib le) de forme co n v en schliigel (Metallschlfigel
fo rmata ab le wen n mO'
glich )
WORKCon certofor Orchestra
I talian German
L .h . n ear Soun din gb o ard ; M.s. sulla tavola ; m.d. o rdin M.g. pres de la tab le ; m.d . au L .l—I . R eson an ztisch ; R .H.
r .h . n ormal ario n aturel gew’
o’
h n lich
S trav in sky S cherz o cl la Russe 10 [10]
English I talian Fren ch German
Pedal glissan do Glissan do coIla pedale Glissan do avec le lev ier Glissan do mit Pedal
R oge r s On ce Upon a Time,Five Fairy Tales 45 3
English I talian German
Pin ch th e strin g Pizzicato la corda Pin cer la corde Die Sai te kn eipen
S travin sky Symphon ic de Psaumes 45 1b [14]
E nglish I talian Fren ch German
Place apiece ofpaper b e tween Mettete n u frammen to di carta Me ttez un papier en tre les Ein StiickPapier zwischen denthe strin gs fra le corde cordes Saiten stecken
Alb en iz—Arb é s E lAlbaicin
English I talian German
Tun e lowest strin g to E h Accordate 1a co rda la piub assa Accordez la co rde laplus b asse S timmt die tiefste Sai te n ach Bin Sib en Sib
Th ree Excerp tsfrom“Wozzeck
”42 [3 1 5] 4f
271
HARPEnglish Italian Fren ch German
With plec trum Co n mediatore Avec médiateur MitMediato r
Mah le r
English I talian Fren ch GermanWith the fin gern ail Colla un ghia Son s d’o n gles Mit demNagel
17 1
Bar ték Violin Con certo 5 5 [I o]
S trav in sky Petrouchka S uite 1 34 [1 14]
2 72
INTRODUCT ION
N SPITE OF the domin an t role assumed by the win ds an d brasses in twen tieth- cen tury in strumen tation ,
an d n o twithstan din g the ever - growin g impo rtan ce of the percussion , the harp ,an d the keyed in strumen ts to the co n tempo rary o rchestrato r , for the composer at least, the
strin gs still remain the solid n ucleus of the modern sympho n y o rchestra. judgin g from the
sympho n ic literature of the past the reaso n is n o t difficult to discover , for it may b e stated intwo wo rds—ton al toleran ce . By this is mean t that the ear do es n o t tire of the ton e color an d
son o rity of the strin g in strumen ts, either sin gly o r as an en semble , as rapidly an d as tho roughlyas ofbrass an d woodwin d, to say n o thin g of the percussio n . It is n o t surprisin g, therefo re , thatthe Strin g section of the sympho n ic o rgan ization today is almo st the same—at least in make- upif n o t in size—as itwas in the earliest days of orchestral developmen t. A glan ce at the charts o npages 29- 34 showin g the evolution ofmodern o rchestral balan ce will bear th is statemen t out.
To the go od,”o r even to the merely“av erage
”o rchestrato r , the un derstan din g an d gen erally
comprehen sive mastery of strin g techn ique from the stan dpo in t of the various devices at theplayer ’s comman d
,an d effects possible , is an absolute n ecessity. It is doubtful, in deed, if an y
o n e sin gle in strumen t in the rest of the o rchestra can produce such a diversity of effect an damazin g ran ge of to n e cOlo r as do es an y o n e of the four differen t string in strumen ts. An d it is
a certain ty that no o ther cho ir or section as a whole can duplicate the extraordin ary ran ge an dhomogen eity ofsoun d which the strin gs alo n e are capable ofproducin g. Proofis to b e foun d inthe large n umber of chapters devo ted to strin g devices an d techn ique —almost a third of the
to tal n umber in the Thesaurus . For that very reaso n a thorough kn owledge ofthe various effectspossible an d devices common ly employed by the strin gs should b e the first goal an d achievemen t
of an y studen t of the craft of in strumen tation .
In asmuch as extreme ran ges in the strin gs, in dividually an d collectively, are common ,
characteristic , an d fairly easy of execution , n o attempt has been made to parallel those in the
win d an d brass sectio n s ofthe bo ok. Therefo re Chapter 49 , the first ofthe sectio n on the strin gs,is co n cern ed with examples of the various bowin g techn iques. For the sake of bo th simplicityan d practicality the n umerous (an d to the n o n - strin g player , co n fusin g) variatio n s of bowin ghave been reduced to four basic types : de’tache—literally, detached o r separate bows ; legatosmoo thly con n ected sin gle bows, o r groups of n o tes slurred together ; marcato an d martelé
accen ted bowin g , with varyin g degrees ofpressure on the strin g ; an d spiccato an d staccato—n o t
iden tical, of course , b ut closely allied in the separation of each n o te . The strin g player willn o doubt fin d groun ds for violen t objection to such seemin g over - Simplification , b ut fo r the
o rchestrator the more subtle refin emen ts an d ramificatio n s of these four basic types are largelyun n ecessary to his sco rin g techn ique. It must likewise b e added that o rchestral strin g playersseldom con scien tiously observe the composer ’smarkin gs an yway, n o matter how pain stakin glyan dmeticulously in dicated in their parts ! Nor do con ductors an d co n certmasters always see eye
2 78
INTRODUCTION
to eye , even in routin e bowin g matters. Perhaps, then ,it is n o t to b e wo n dered at that so few
o rchestrators go to the trouble of carefully markin g all b owmg in their scores, for the fruits ofsuch devoted labo r all too often are futility an d frustration !Con cludin g the chapter o n bowin g techn ique are such devices as saltan do—sho rt n o te
groups taken with a “boun cin g” b ow ; directio n s to play at the heel of the how (an talon ) , fo rsharp accen t an d “bite ,” an d with the tip of the b ow (pun ta d
’
arco), to produce lightn ess an ddelicacy ; strikin g the strin gs sharply with the b ow ; playin g with the full b ow—from tip to
n ut, an d also usin g o n ly the middle part of the b ow ; the employmen t ofwhatmight b e termedreverse” bowin g—that is, the accen ted beat or beats o f th e b ar , n o rmally taken with the downb ow H ) are in stead played with the up- b ow (V), followed on the weaker beats by the n aturallyheavier down—b ow ; an d fmally the con secutive use ofbo th down - bows an d groups ofup- bows—used respectively for maximum
, stron g accen t, an d fo r the direct opposite .
In this, as in all o ther strin g chapters to come , the examples are catalogued acco rdin g tosection—Violin I, II , Violin I an d II, Viola, Violon cello , Bass, an d all combin ation s of the fiv ecompo n en t parts ofth e strin g group . S olo an d S oli strin gs refer , of course , to playerswithin th egroup , n ot to soloists in con certo works. In fact, n o devices as used an ywhere in con certo solo
parts have been in cluded in the Thesaurus, as it was n o t th e purpose of the volume to Showexamples ofvirtuoso , soloistic writin g .
Two common an d con trastin g methods of playin g o n the strin g o ccupy Chapters 50 an d 5 1 .
In addition to the mo re con ven tion al uses of pizz icato—arpeggiated,o r deliberately rolled ;
in rapid chords ; taken with the left han d (usually o n open strin gs, played while the right han dis o ccupied with bowin g) ; o n harmon ics ; an d with exaggerated vibrato—some of the n ewerplucked effects have been listed. These in clude the “n ail”pizz icato (the strin g actually plucked bythe fin gern ail) ; the
“sn ap”pizz icato—achieved by pluckin g the strin g with such fo rce that it
reboun ds again st the fin gerboard,an d like the
“n ail
”
pizz icato in ven ted by, o r at least first
exten sively used by Bartok ; the jazz “slap” pizz icato, don e with the palm ; the
“thumb”
pizzicato, produced by softly strokin g the strin g with the fleshy part of the thumb—the mo st
delicate soun d imagin ab le l; piz z icato with two fin gers, which n early approximates to th e
sn ap”pizzicato ; an d fin ally, piz zicato glissan do, where the finger Slides up (o r down ) on the
Strin g immediately after pluckin g the n o te o r cho rd. The chapter is con cluded with examplesofpizz icato an d n on—pizz icato combin ed ; that is, cellos arco an d basses piz z icato on the same
part—a most frequen t an d effective strin g device .
The chapter on tremoli in cludes the familiar b ow an d fin ger tremoli the simultan eous
b ow- fin ger tremolo (actually, a kin d ofdetached trill) ; tremoli playedglissan di an d on harmon ics,
an d the employmen t ofhow an d fin ger tremoli combin ed—that is, Violin I playin g b ow tremolo
an d Violin II playin g the same n o tes fin ger tremolo. Examples ofmeasured tremoli (properlyspeakin g , n o t a true tremolo as the n o te values for the repetition s are in dicated) arequite commonin classical an d roman tic orchestral literature , an d illustration s of the use of tremoli combin edwith n on - tremoli are plen tiful m the sco res of all periods.
Three rather closely allied ton al effects are n ext catalogued in Chapters 52 , 5 3 , an d 54cal legn o (playin g with the back or wooden part of the b ow) ; sulpon ticello (playin g on or veryn ear to th e bridge) ; an d sul tasto (played on the fin gerboard). All thr ee methods are used in
279
STR ING S
tremoli, n on - tremoli, glissan di, for harmon ics, an d th e latter two ln pizz icati. Examples are alsocited of th e combin atio n of o n e effect with the o ther , such as the cellos playin g sul pon ticello,area, an d the basses duplicatin g the same n o tes col legn o. Although n ot catalogued , men tionmight b e made of the author's use i n his Sympho n y No . III of the strin g str1'1ckwith the ivo rytip ofthe b ow, which .produces a kin d of super- refin ed col legn o effect.Mutin g in the strin g o rchestra, either as a whole section o r by groups, is so common as to
preclude an y listin g in this Thesaurus ofin stan ces ofsuch a familiar device . Chapter 5 5 , however ,gives a few illustration s ofthe use ofcon sordin i an d sen za sordin i combin ed Violin Imuted,an d Violin II unmuted—an d two co rrelated mutin g devices : the players are directed to put ontheir mutes stan d by stan d (o r player by player) in succession , so that there is n o
' cessation of
soun d b ut on ly a gradual soften in g ofthe strin g timbre . The reverse pro cedure , quite n aturally,is bo th feasible an d effective .
No facet of strin g techn ique is more mysterious an d bafflin g to the un in itiated than that ofharmo n ics—bo th n atural an d artificial. There seem to b e almo st as man y ways used to n o tate
harmo n ics as there are available n o tes to b e so played . Some of the best composers - an d
orchestrators, even in cludin g that master craftsman , Ravel, have at times taken the easy wayout of the dilemma by writin g the n o te desired at actualpitch, an dmerely in dicatin g by mean sof a or the wo rd , “harmo n ic,
”the effectwished . But thismethod is n o t o n ly slipshod an d
careless—it is also actually in accurate . A sin gle n o te , for example ,may b e soun ded as a harmon icin three o r four differen t ways, each by mean s of a separate strin g , fin ger , an d place o n th e
strin g to b e con sidered, an d each method produces a subtly differen t to n e color . This D
for in stan ce , may b e produced as a n atural harmon ic on bo th the G an d D strin gs of the violin(see page an d as an artificial harmo n ic on the G strin g—in two differen t ways (see page
an d o n the D strin g (see page Thus this '
on e n o te alo n e can b e taken as a harmon icsoun d in fiv e differen tways. The studen t should askan y competen t strin g player to demon strate
this for him . He should then b e able to perceive the slight b ut n on etheless importan t variationin timbre ofeach—aswell as the relative degree ofdifficulty in so playin g—an d resolve hereafter '
to n o tate all harmon ics bo th specifically an d accurately. Chapters 56 an d 57, then , are groupedaccordin g to the exact an d in dividual n o tation as foun d in the various sco res, an d each group isprefaced with an example of the n o tation in question an d the resultin g soun d.
Chapter 58is con cern ed with illustration s ofmultiple divisi, which is the subdivision ofan yon e of the fiv e compon en t parts of the strin g section in to thr ee o r more vo ices. The stan darddivision in to two parts is so commo n
,of course , that there is n o po in t in attemptin g to list the
placeswhere they o ccur . These multiple divisi examples, from 3 up to an d in cludin g 12 separatevoice s, are grouped accordin g to the specific combin ation s called“ for .
With a smaller n umber ofin dividualwin d an d brassmstrumen ts in the o rchestra’smake- up,
all are frequen tly called upon to perform solo roles. But this is equally true Of the strin gs, forn o twithstan din g the n umerical superiority of these in strumen ts their employmen t as solo an d
soli voices is an importan t part of the o rchestrator ’s ton al palette . Chapter 59 is given over to
280
STR ING S
n otes lower than E, bass players have been n o toriously in differen t to the adjustin g of theirin strumen ts acco rdin gly. It is Stran ge , in deed , th at the developmen t of bass techn ique has n o tkept pace with that o f the o ther strin g in strumen ts. For all its size an d bulk -
the bass does n o tco n tribute proportio n ately in sheer weight an d mass of soun d to the body of strin g to n e , owin gn o t a little. to the players’ reluctan ce to develop the lowest ran ge of their in strumen t.
Chapter 69 deals with sen za v ibrato, which is playin g with a dead, expression less ton e , an dChapter 70 lists v arioUs miscellan eous effects fo r the strin gs, such as tappin g on the back of
the in strumen t with the fin gertips, or the employmen t of quarter ton es. The fin al chapteragain lists miscellan eous termin ology fo r sectio n n o t in cluded in the previous chapters.
282
(1 ) DETACHE
I talian Fren ch German
De’ tach e’ (a la co rde) Gestrich en
S trich fur S trich
WORK PAGE MEASURE
Beeth o v e n
Ko r sakofi'
Le Coq d’
o r SuiteS cheheraz ade
Haydn
12 145
Mo zar t
Berlio z 18 1
Smetan a
Dv o‘
r‘ék 41 398
28320
L a S cala di S eta,Overture
S ch uman n , R . Symphony No . 2
Sh o stako vich Th e Golden Age, BalletS uite
Petrouchka SuiteMign on Overture
Mo zart
Mozar t
Pisto n
R achman in o ff
Russian Easter Overture
Sh o stako v ich Symphon y No.9S travin sky PetrouchkaSuite
Haydn
93 [22]
Bach - R e spigh i Prelude an d Fugue in Symphony No. 40 in
D major G min orOverture to PrometheusSymphon y No. 8
Th ird Symphon yKo r sakofi
'
De b ussy 81 1 Con certofor Violin inA min or 86 285
PAGE MEASURE
90 64
Vio lin I an d Vio la75 [62] 8f1 1
71 [9]
STR ING SVio lin 1 an d II
MEASURE COMPOSERah [24] Lisz t50
2 1
[24]4
[J[59]2 48
242
85
43 5
STR ING S
Vio lin II , Vio la, an d Violo n celloCOMPOSER WORK PAGE MEASURES ch ub e rt Symphony No. 8
Unfin ished 57 244
Vio lin I , I I , Vio la, an d Vio lo n celloPAGE MEASURE COMPOSER PAGE MEASURE94 {126} Pisto n
1 3 [ I 4]1 2 2 1
38 3 27
R ab an d
1 50 z S ch uman , W .
45 1 Tch aiko v sky
Violin II , Vio lo n c ello , an d BassMah ler Symphony No. 3 167
Viola, Violonc ello , an d Bass
3 1 [57] Mohaupt Town PiperMusic 40 8b [36]75 3 3 Rim sky '
Ko r sakofi'
Capriccio‘
Espagn ol
28 1 0 1 S ch uman n , R . Symphon yNo. 2
2 0 [16]
Vio lin I I , Vio la , Vio lo n cello , an d BassBe e th o v en Pian o Con certo No. 4
l
79 49 Tchaikov sky SymphonyNo. 6,“Pathe
’
tique”
Vio lin I , ll , Vio la, Vio lon cello , an d BassS aison s 49 [2 7] Be eth o v en Leon oreOverture No. 3 3 0 268
Leon ore Overture No. 2 48 382 5 0 S30
286
Be eth o v e n
Beeth ov e n
Be e th o v e n
Be e th o v enBe e th o v enBe e th ov enBerlio z
Bruckn er
Dello Jo io
Glin ka
Haydn
Symphon y No. 5
3 5'
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14 1b [E]
3 5 1 38
Mo zart
Mo zart
Mo zar t
Mo zar t
Mo zar t
Musso rgsky
Sm e tan a
5 3 I 9
BOW ING
II , Vio la , Vio lo n cello , an d Bass (c o n td .)
24
71
57
1 52
171
MEASURE2 49
3 7
3 7
302
439
COMPOSERHaydn
WORKSymphon y No. 6 in
G major,“Surprise
Ouverture de Féte
S infon ia Breve No. 1
S infon iettaSymphon y No . 5
Ruy Bias OvertureS infon iettafor S tringOrchestra
S infon iettaSymphon y in G min or
Bassoon Con certo in3 17 major
Symphon yNo. 28in
C majorSymphon y No. 3 5 in
D major,“Hagn er
Symphony No. 40 in
G min or
Symphon y No. 41 in
C major,‘
jup iter”Night on the BaldMoun tain
Con certofor OrchestraPrelude an d FugueSymphon ic
S emiramide, OvertureSymphon y No. 4
Symphon y No. 7
Symphon yNo. 1
Symphon y No. 4
FromBohemia’s Woodsan d Fields
Overture to “The
BarteredBride”Tabor
Fren ch
5° 5
Rav el
Men delssoh n Overture to “A Mid The Foun tain s of Rome I 1
summerNight’sDream” 54 [H]
3 5 1
Mo zart
24 102
Mozart
2 1 30 1
Dv o fék Mo zar t
Mo zar t
Web er
Bee th o v en Symphon y No. 6, Symphon y No. 2 1 24 I“Pastoral” 1 18 80
Vio lo n c elloLe ChasseurMaudit man , W . Symphony No. I II 10 89
Das Lied von der Erde288
Vio lin IPAGE MEASURE COMPOSER WORK
3 I 5 Men de lsso h n SymphonyNo. 4,
2 3 7 655“Italian
”
1 3 47 Daphn is et Chloe,3 9 1 Suite No . 2
1 39 [ I 3]
STR ING SViolin I , I I , Vio la , an d Vio lon c elloPAGE COMPOSER46 260 Diamo n d
Dv o i‘ak
Be eth o v e n
Berlioz40 279
Bize t
Brahms
R achman in ofi'
Brahms Sme tan a
Chausso n
85 [D]Deb ussy
17 1 34 ZI Q
Vio lin I , I I , Vio lo n cello , an d Bass
COMPOSER WORK PAGE MEASURES ch uman n , R . Symphony No. 2 1 1
Vio la , Violo n cello , an d Bass2 [3 5] Brahms
u s [450] Haydn20 2 17 1 10
Vio lin 1, n , Vio la , Vio lo n cello , an d BassBart6k Musicfor S trings, Per Bee th o v e n Symphon y No. 5
cussion an d Celesta Beeth o v e n Symphony No. 7
S oun dp iece No. 2
Pian o Con certo No. 1
Be eth o v e n SymphonyNo. 4
BOW ING
Vio lin I , I I , Vio la, Vio lo n c ello , an d BassWORK PAGE MEASURE COMPOSER PAGE MEASURE
Overture to“The Mo zart
S ecretMarriage
Musicfor the TheatreDv o i ék Con certofor Violin in
A min or
Symphon yNo. 4 in
Dmajor,“Clock
”1 3 [E]
Mo zar t Overture to The
Marriage ofFigaro 1 1
Mo zar t Symphony No. 3 5 in
D major,“Hag
'
n er 43 1 34 1 1 5
(3 ) MARCATO—MARTELEI talian Fren ch German
Markiert (gestrichen )
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C major,‘
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91 5 R achman in o ff Symphony No . 2
S trauss,R . Death an d Tran sfiguration 47 2
Charpe n ti er 34 9
3 3 I
Violin II an d Vio lade Falla The Birthday of the
I nfan ta, S uite 23 [95] I f27 2
STR ING SS o li Vio lin II an d Vio la
WORKPulcin ella Suite
Walto n
Vio lin I , I I , an d Violo n c elloRim skyKor sakofi
’
L e Coq d’
Or Suite
Vio la and Vio lo n c elloTheme an d Variation s 42 2 05 Wellesz Symphon y
\
in C 27 2 b [200]Wagn e r , R . Tan n ha
'
user Overture 41 2 57
Vio lo n c ello an d Bass1 17 [12 1 ] I b ert
Th omso n
14 [D] 2 f Wagn e r , R .
Vio lin I , Viola, an d Vio lo n celloWagn e r , R . Ein e Faust—Overture 37 303
Vio lin 11, Vio la , an d Vio lon c elloDukas L
’
Appren ti Sorcier 55 [47] Jam es
6 [D] sf
Vio lin I , II , Vio la , an d Vio lo n celloBiz e t Ch asin s Rush Hour in Hong
Britten18 1 1
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II , Vio la , Vio lo n c ello , an d BassPAGE162
3 1
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1 20
1 14
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MEASURE[61][ I s]4
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COMPOSERR o ussel
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ItalianS taccato '
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S ch ub e r t
Fren ch
Sh o stako v ich Symphon y No. IS ib elius Symphon yNo. 3
Gulliver—His Voyageto Lilliput
Messa da Requiem
PAGE MEASURE7 2
88 [34]
BOW ING
PAGE MEASURE MEASURE
Mozart
I I
Par o di
Hin demith
First SymphonyCon certofor Orchestra 74 284
Mo zart
2 14 [U]
R o ssin i
S ch ub e rt
3 2 [N]Wagn er , R .
Mo zar t
22 2 29
S econ d Symphony rahms Symphony No. 1
SymphonyNo. 1 S infon ietta295
R achman in o ff
Ko rsakofi'
STR ING SVio la (c o n td .)
PAGE MEASURE COMPOSERR o ssin i
S chub ert
1 57 30
I 4 [E]
S oli Violo n c elloWORK
A SurvivorfiomWarsaw
Vio lin I an d Vio la100 [37] S trav in sky
50 105 S trav in sky
78 [B] I fS trav in sky
78 [71 ]
Vio lin I II , an d Vio la8 3 Bee th o v en45 1 3
66 69 Be e th o v e n
100 [ I 4]
3 2 1 38
44 2 b [45]
STR ING SVio lo n cello an d BassMEASURE COMPOSER144 Mahle r
2 b [3 1 ] Me n delssohn[2 3] 75
'
2
[61] R achman in off
94 2
3 2 1 S chmitt
42 4
Symphony
Vio lin I , Vio la, an d Violo n celloCOMPOSER WORK PAGE MEASUREBrahms Symphon yNo. 3 72
Vio lin II , Vio la , an d Violo n celloS econ d Symphony 1 5 [9] S chuman , W . American FestivalSymphony No. 2 105 [43] 3f Overture
To ch Pin occhio
Vio lin Vio la,Bar b er 172 3
Nic o lai
7 3 2
Pr okofiefi'
Pr okofiefi'
Ballet Suite 16 1b [L]
95 392
2 3 2
Haydn
an d Vio lon c elloLiszt Ein e Faust- Symphon icMe n de lssoh n Symphon y No. 4,
“I talian ”
Overture to The
Merry Wives ofWin dsor”
Ala etLolly (S cythianSuite)
Romeo an dJuliet, Suite
PAGE NIEASURE
16 [10]
Vio lin I , II , Vio lo n c ello , an d BassWORK PAGE MEASURE COMPOSER PAGE MEASURE
Pian o Con certo No. 5 57 3 1 3 Haydn2 5 1 1
Vio la , Vio lo n c e llo , an d Bass7 56 Mo zar t
2 1 1
20 1
Vio lin II , Vio la , Vio lo n cello , an d BassBar tok Divertimen tofor S tring Lisz t E in e Faust- Symphon ic
Orchestra S trav in sky S cen es de BalletBruckn e r Symphon yNo. 6
Vio lin I , II , Vio la, Vio lo n c ello , an d BassBee th oven Brahm s 101 1 20
80 [12 ]Britte n
Bee th o v en SymphonyNo. 3 ,“Eroica
”
75 7
Bee th o v en Symphony No. 4 Fran ck
79 2
Beeth o v en
Bee th o v e n500 7
Beeth o v e n2 2 2
Gretry—Mo ttl
Brahms
1
Haydn
Haydn
Haydn
Pie rn é
STR ING SVio lin I , II , Vio la , Vio lo n ce llo , an d Bass (co n td .)
WORKSymphon yNo. 4 in
D major,“Clock
"
Symphony No.5 in
D major
Balzato
PAGE MEASURE
I 9
22
279
I 4
49
59
27
59
I talian
208
[H][A][50]l b [2 10]1
[30] 1 2f149
100
COMPOSER WORKPisto n First SymphonyPisto n Prelude an dFugueRachman in ofi
’
2d Con certo pourPian o
et Orchestre
R achman in off Symphony No. 2
Sain t- Saén s Dan seMacabre
S chub er t Rosamun de OvertureS chuman n , R . Pian o Con certo in
A min or
S h o stako v ich Symphon yNo. 3
S iegmeister Ozark Set
Smetan a Blan ik
S trav in sky FeuerwerkS trav in sky FourNorwegian MoodsS travin sky Oedipus RexWalto n Facade, Suite No. 1
We b er DerFreischiitz Overture
We b e r Oberon Overture
(5) SALTANDO
Coll’
arco slan ciato e saltan teGe ttan do l’arcoGettatoSaltan doSaltan teSaltarelloSaltatoSaltellato
Philharmon ic WaltzesFéerique
Cin derella Suite No. 1
S cheherazade S trav in sky
300
Barték
Chasin s
Go uld
Britte n
G lazoun o v
Pr okofiefi
R av el
S ib elius
WORKAmerica
Symphon y No. 2
R omeo an dJuliet,Suite No. 1
Symphon y No. 5
S olo Vio lin I an d So li Viola
A S urvivorfromWarsaw 4
S trav in sky
WORKSymphon ic en S i bémol
majeurFire- Bird Suite (1919)
WORK PAGE MEASURE
Vio lin II an d Viola3 0 [45] Pr okofiefi
'
146 [86]
S trav in sky
S ib elius
Th om so n
Vio lin I an d Vio lo n c ello1 14 [G] S trav in sky
3 02
18
Chan t du Rossign ol
PAGE MEASURE
87 [E]16 1
STR ING SVio lin I an d Viola
PAGE MEASURE COMPOSER89 [52] Ch ausso n
13 2 1
MacDowe ll
S ib elius
Rav e l
BOW ING
Vio lin I I an d Violo n celloWORK PAGE MEASURE COMPOSER WORK
24 [16] T ch aiko v sky Nutcracker Suite17 102
Vio lin I , II , an d Vio lo n c elloWORK PAGE MEASURE
2 5 [I]
Vio la an d Violo n cello2 n d Suite (In dian ) 61 [M] S trav in sky Fire-Bird Suite (19 19) 52 [26]Das Lied von der Erde 71 3 S trav in sky L e S acre du Prin temps 76 [86] 3 fSymphon y No . 1 93 [G] 5f
S ib elius
Vio lo n c ello an d BassSymphon y No . 3 79 [57] S ib elius
C in derella Suite No. I 85 [65] 59 4b [Q]99 [80] S trav in sky
Alborada del Gracioso 3 9 [3 2 ] 2 3 [26]
Vio lin I , Vio la , an d Vio lo n celloBritte n S infon ia da Requiem 24 5
Vio lin I I , Vio la , an d Vio lo n c elloRomeo etjuliette 177 7 Prokofiefi
' Lieuten an t Kije 54 [46]Symphon y No . 2 69 [9]
Vio la ,
S olo Vio lin I , II , Vio la , an d Vio lon c elloBr itten Les I llumin ation s 1 2 [6] I f
303
an d Vio lo n c elloRimskyKo r sakofi
'
Capriccio Espagn ol
R o ussel Evocation s, I IS ib elius
'
En S aga
S trav in sky Fire- Birds Suite (19 19)Tch aiko v sky SymphonyNo. 6,
“Pathe
'
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STR ING SVio la, Vio lo n c ello , an d BassPAGE MEASURE COMPOSER WORK PAGE MEASURE2 2 [246] R imsky122 [1 18] zf Ko rsakofi
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S cheherazade 227 [W]
Vio lin II , Vio la , Vio lo n c ello , an d BassSymphon yNo. 6 3 1 5 Tch aiko v sky Capriccio I talien 3 3 3
L e Sacre du Prin temps 1 1 5 [149]120 [162 ]
Violin I , II , Vio la , Violon c ello , an d BassGould Mar tin e t Orphée
Mo eran S infon iettaR achman in ofi
’
2d Con certo pour Pian oCaucasian Sketches etOrchestreSymphon yNo. 2 Sh o stako v ich Pian o Con certo
Sh o stako v ich SymphonyNo. 7
(o) STRIKE WITH BOW
I talian German
Hit [strike] with (the) b ow Battuto coll’
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WORK
Mahler
Vio lin I I an d Vio laMahler Symphon yNo. 4 158 42
Violin II , Vio la , an d Vio lo n c elloMah ler Symphony No. 4 174 10 1
177 1 16
Vio la , Violo n cello , an d BassMah ler Symphony No. 1
Vio lin I , II , Vio la,Violo n c ello , an d BassMah ler Symphon yNo . 2 38 [19] 4f Mah ler Symphon yNo. 5 5 1h [1 ]
304
STR ING SVio lin I an d Vio la
WORK PACE MEASURE COMPOSER PACE MEASUREHo n egger 24 1 38
PAGE MEASURE
Walto n
Vio la an d Vio lo n c e lloThird Symphony 57 [43] 2f R ead Symphony No. I
1 17 2b [1 17] S iegm eiste r Frommy Win dowSymphon ic 5 1 4
Vio lo n c ello an d BassDeb ussy L aMer 102 [50] S trav in sky
1 34 [62 ] S trav in sky14 88
77 [4]
Violin I I , Vio la, an d Vio lo n celloR achman in o ff Rapsodie pour Pian o
etOrchestre 48 6b [36]
Vio lin I , II , Vio la , an d Vio lo n celloChab rier 22 2
5 5 [375] Chausso n
Britte n 30 [2 1 ]44 [30] I f C oplan d
Ce san a E lgar
39 4b [30] Ho n egger Pacific 2 3 1
306
BOW ING
Vio lin I , II , Vio la , an d Vio lo n c e llo (c o n td .)PAGE MEASURE COMPOSER17 [3 2 ] 3f Pisto n
Pr oko fiefi'
S trav in skyS trav in sky
Pisto n Wal to n2 2 [16]
Vio la , Vio lo n c ello , an d Bass20 2 S iegm eister Sunday in Brooklyn 24 [20]
27 S
Vio lin I , II , Vio la , Vio lo n c ello , an d BassPr okofiefi
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Navarra 1 1 S iegm e ister
S econ dAmerican 98 4
Symphon y 152 [36] S trav in skyIn gh elb re ch t L aMétamorphose d’Evc 40 2
Mahler Symphon y No. 8 39 [43] S zyman owski Symphon ic Con certan te
Poule n c Con‘
cert Champétre pour Pian o et
pour Clavecin ct Orchestre 1 1 1 4
Orchestre 87 1b [12 ]
(8) PUNTA D ’
ARCO
I talian Fren chAI pun to A la poin teA pun ta d'arco Av ec Ia poin te (dc l’atch et)Colla puma De la poin te (de l’at chet)Colle pun te dell’arco Du b out de l’atch e tColl
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Bar b e r
Bar tok
Chasin s
Chausso n
Symphon ic en UtmajeurPhilharmon ic Waltz esIstar, Variation sSymphon iques
Symphon y No. 2
C lassical Symphon y
Symphon yNo. 3
Prométhée, L e Poéme
du Feu
Jeu dc CartesL e Sacre duPrin tempsOde
Petrouchka SuiteRen ardFacade, Suite No. I
STR ING SS o li Vio lin I
PAGE MEASURE COMPOSER PAGE MEASURE3 4 2 50 R oge rs
Islamey 1 5 [1 1] 18 I
Con certojbr Orchestra 79 [8]Third Symphon y 1 15 [103] 2fSymphon ic en Utmajeur 94 [E]
Bar ték
Bruckn erChav ez
R oussel
Coplan d
Gould
ViolaCharpen tier Impressions d
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I n gh elb re ch t Rapsodie de Prin temps
Violo n c elloS trav in sky Pulcin ella S uite
Symphon y No. 4
Vio lin I an d Vio laBruckn er Symphony No. 7 156 [W] I S trav in sky Dan ses Con certan tes 5 1 [83 ] I f
308
STR ING SS o li Vio la , Vio lo n c e llo , an d Bass
COMPOSER WORK PAGE MEASURES ib elius Violin Con certo 86 [3]
Violin I , II , Vio la , Vio lo n cello , an d BassWORK PAGE MEASURE COMPOSER WORK
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S o li Violin I , II , Vio la , Vio lo n c ello , an d BassWh ith o rn e FataMorgan a 47 [50]
(9) FULL BOWI talian
Co n Farm in tutta la sua Av ec toute la lo n gueur delun ghezza l
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Co n molto arco l’
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Gran de arcata Tout l’atch et sur cheque n o teTutto l’arco
S trav in sky Ragtime
S trav in sky
Vio lin I , II , an d Vio laR e spighi Mctamorphoseon ,
XII Modi 73 3
Vio lin I , II , Vio la, an d Vio lo n c elloVaughanWilliams Pastoral Symphony 99 1 b [L]
Violin II , Vio la, Violo n c ello , an d BassBar t6k Con certofor Pian o an d
Orchestra 87 [28]
3 10
BOW ING
( I O) MIDDLE OF THE BOW
I talian Fren chA metaarco Au [du] milieu de l
’
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Orpheus
Vio lin I , I I , an d Vio laS trav in sky Ode
(1 1) REVERSE BOWING
H V H V
Vio lin IPAGE MEASURE COMPOSER WORK57 1 b [6] Rachman in o ff Pian o Con certo No. 3
48 [3 1] I f Sh o stako v ich Symphon y No. 6
28 7
Tchaiko v sky Manfred- Symphon ic
3 [1 ] I f
S travin sky
Casella 91 1 b [1 ]
Vio lin HBar ték S econ d Rhapsodyfor S trav in sky Apollon Musagétc
Violin an d Orchestra
Symphony No. 2
S audades do Braz il
Kab alev sky Symphon yNo. 6
STR ING SVio la
PACE MEASURE PAGE MEASURE
Pe rsich e t ti R oussel
Miasko v sky1 3 [38]
Musso rgsky
2 1 2
R av el Turn er
3 37
Vio lin II an d ViolaBar t6k de Falla ElAmorBrujo
S trav in sky Fire- Bird Suite (19 19)Coplan d
Vio lin I , II , an d Vio lo n c elloSib elius Symphon yNo. 6 40 1
Vio la an d Vio lo n c ello75 [54] Symphon yNo. 4
3 3 [2 3 ] T chaiko v sky
2 1 1
Vio lin I , II , Vio la , an d Vio lon celloBe cke r Con certo Arabesquefor Britten
Pian o an d Orchestra I 4 1
Con certojb r Pian o an d Coplan d
Orchestra 7 2b [6]
Ge r shwin
Bo rodin
Bar ték
Hon egger
Coplan d
Vio lin I an d IIWORK PACE MEASURE COMPOSER
RimskyKo r sakofi
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S essio n s
Dichotomy
Polovetz ian Dan cesfrom
“Prin ce Igor 49 91
Vio lo n c ello43 [2 28] Ger shwin16 [1 5] S iegmeister
1 1 1 [100] 2f
Secon d RhapsodyforViolin an d Orchestra 2 1 1
Vio lin I an d Vio laPacific 2 3 1 24 1 3 8 R dussel
Vio lin I , II , an d Vio la22 2 E n e sc o
103 [G] de Falla
91 [X]
WORK PAGE MEASURE
Espana, Rhapsodie
An American in Paris
Sun day in Brooklyn
Rapsodie Espagn ole 88 [3 1 ]
Symphon ic en S ol
min cur 39 [2 5] 3 f
1m Rhapsodie Roumain e 67 [3 3] 6fThree DancesfromThe Three- Corn eredHat
”
Russian Sailors’ Dan ce
KammermusikNo. 1
BOW ING
Vio lin I , I I , an d Vio la (c o n td .)
PAGE MEASURE COMPOSER29 3 R o usse l
Sh o stako v ich
R e v ueltas
Vio lin I an d Violo n celloStrauss, R . Also Sprach Zarathustra 70 1 S trav in sky Symphon y in C
Vio lin I , II , an d Vio lo n celloWORK PAGE MEASURE
Symphon ic en Sol
min cur 3 2 [19] 2 f
Vio lin I , II , an d BassProkofiefi
'
SymphonyNo. 6 148 [109]
Vio la an d Vio lo n c ello5 [3] S iegme iste r
71 3 Hamlet43 3
Vio lo n c ello an d Bass1 1 3 [3 17] Ib ert
98 4 R iv ier Ouverture pour un donC oplan d 28 3 Quichotte
Vio lin I , Vio la , an d Vio lo n celloRapsodie Espagn ole 5 [4]
Vio lin II , Vio la , an d Vio lo n cello2 9 S trav in sky Le Sacre du Prin temps
Whith o rn e FataMorgan a
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STR ING SVio lin I , II , Viola, an d Vio lo n cello
WORK PAGE MEASURE COMPOSER PAGE MEASURE85 1b [26] Prokofiefi
'
3 9 [27]22 2 Pr okofiefi
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S ch uman , W .
Han so n S trav in sky
Strav in sky Symphony in C
Tch aiko v sky Capriccio I talienTchaikov sky Manfied- Symphon ieTch aiko v sky SymphonyNo. 5
T ch aiko v sky Symphon yNo. 6,“Pathétique” 62 297
PAGE MEASURE
3 1 [18]
Violin I , I I , Violo n cello , an d BassBritten S eren ade for Ten or, Walto n Portsmouth Poin t
Horn an d S trings 22 [17] 2f Overture
Mussorgsky
Ho n egger
Vio lin I , Vio la, Vio lo n cello , an d BassS trav in sky
“Dumbarton
‘
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Con certo 27 [53] 2 f
Violin I I , Vio la , Vio lo n cello , an d BassHin demith Symphon ische Tan z e 1 3
3 16
Viola , Vio lo n cello , an d Bass64 [93] Ho n egge r
3 2 5
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I 9 [20]
1 1 [6]
STR ING S
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PAGE MEASURE
Scriab in
Istar, Variation s Sym Sh o stako v ich
phon iques 26 [L] 2f
Vio lin IIC oplan d Third Symphony 128 [1 12 ] Strav in sky Symphony in C 41 2
So lo Vio lin II5 1 [45] I f
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57 [184]
Vio lin IMEASURE COMPOSER[9] 3f Miasko v sky120
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7b [55]I
2
BOW ING
COMPOSER WORK PAGE MEASURE COMPOSER WORKJac o b i MusicHallOvertureRachman in o ff Symphony No . 2
Vio lo n celloLes Illumin ation s Un dertow 3 9 [480] 4fC in derella Suite No. 1
S o lo Vio lo n c elloWORK PAGE MEASURE
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Britte n Four S ea In terludes Symphon yNo. 4
from“Peter Grimes 76 [10] L e Sacre du Prin temps
Vio lin I an d Vio la30 2 S trav in sky 58 [92 ]18 [7] Walto n
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S o lo Vio lin I an d Vio laC oplan d E l Saldn México 2 3 2
Vio lin II an d Vio laPr okofieff
Pr okofiefi'
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S trav in sky
S trav in sky
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STR ING SVio lin I an d Vio lo n cello
WORK PAGE MEASURE COMPOSER WORK PAGE
Das Lied von der Erde 1 34 [57] 9f S criab in L e Poéme dc l’
Ext'
ase 34 [5] I f
Vio lin II an d Vio lo n celloDiam o n d Roun dsjb r S tring Prokofiefi
’ Lieuten an tKtjé 95 [63]Orchestra 19 3 b [270]
Vio lin I , I I , an d Vio lo n celloS ib elius Pcllcas an d Melisan de 3 1 [B] 9f Walto n Portsmouth Poin t
Overture 2 3 [17] 1f
Vio la an d Vio lo n c ello59 [45] 4f Walto n Portsmouth Poin t
Overture 3 5 5b [2 5]I 4 [8]
S oli Vio la an d Vio lo n celloWORK PAGE MEASURE
L a Valse 63 [46] 3f
Violon cello an d BassBritten Pr okofiefi
'
Classical SymphonySho stako v ich Symphony No. 6
Tchaiko v sky Symphon y No. 6,
“Pathétique”
Vio lin I I , Vio la, an d Vio lo n c elloProkofiefi Pian o Con certo No. 3 65 [48] I f Walto n Portsmouth Poin t
74 [57] Overture 4 [3] I fS travin sky Petrouchka Suite 1 3 1 [1 12 ]
Vio lin I , II , Vio la , an d Vio lo n c elloC oplan d Con certo for Pian o an d Sh o stako vich Symphon y No. 7 89 [88]
Orchestra S tillman NewEnglan dThird Symphon y Kelley 95 1
Roun dsjb r S tring S trav in skyOrchestra
I r elan d Symphon ic Rhapsody, S trav in sky“Mai- Dun
”1 3 1
Symphony No. 5 Taylo r
Pian o Con certo No. 3
Symphon y“
No. 6
Chapter 50
P IZZICAT I
I talian Fren ch German
Pizzicato
Bow
With (the) b ow
(1 ) ARPEGGIATO
Arpeggiato Arpe’
gé HarpeggiertBen arpeggian do gli accordi Arpégez le pizzicatoQuasi arpa
PAGE MEASURE
Po o t S travin sky
Vio lin IIMidsommarvaka 60 [24] 2f RimskyLa Ballade dc la Gedie Ko rsakofi
'
dc Reading 44 [30] Villa- Lo b o sRussian Easter Overture 36 1
74 8
Ko rsakofi'
Le Coq d’
Or Suite 47 [32 ] S cheheraz ade
Petrouchka Suite
WORKDeuxMarches ct un
I n terméde 6
L e Tombeau dc Couperin 41
Rapsodie Espagn ole
Le Sacre duPrin temps
3 7
70
76
[10]2 b [10][10] I f
[20] I f11> [87]
WORK PAGE MEASUREL a Valse 94 1
Capriccio Esp agn ol 49 [N]
27 5
R av e l
R av e l
Doh n an yi
Dv o i‘ék Con certojb r Violon celloan d Orchestra
Elgar Symphon y No. 2
Grétry—Mo ttl Ballet Suite,“CéphalectProcris
”
An An cien t Greek
Symphon yNo. 9
Bataan
S eren adefor Ten or, S zyman owski Symphon ic Con certan teHorn an d S trings 12 1b [9] pour Pian o et
Orchestre 3 3 [18]
Vio lin I an d Vio laDaphn is ct Chloé, I n troduction ctAllegro 3 5 [27] 4fSuite No. 2 45 [176]
Violin I I an d Vio laR av el
Rav el
S ch iin b e rg
P IZZ ICATI
Vio laPAGE MEASURE70 [D]3 [A]43 [U]
WORK PAGE MEASURE
3 2 3 b [ I s]To ch
R av e l Daphn is et Chloe'
, 3 PastoralesS uite No. 2 40 1
Vio lin II an d Vio lo n c elloWORK PAGE MEASURE
First Overture 2 3 [8] I f
Vio lin I , I I , an d Vio lo n c elloL a Viole tte Largo Lyrico
Vio la an d Vio lo n celloS trav in sky
Walto n
Vio lin 11, Viola, an d Vio lo n c elloRapsodie Espagn ole
I 3 [ I I ]Mo r o ss 2 [A] Capriccio Espagn ol
S o li Vio lin II , Vio la , an d Vio lo n c elloI
S trav in sky Pulcin ella Suite 29 [39]
Vio lin I , II , Viola , an d Vio lo n cello5 8 Rav el
5 1 [26]41 [10] Rimsky
Ko r’
sakofi’
‘
91 2 b [104] R espigh i Metamorphoseon ,
79 [68]R o se n th al
98 [65] Walto n
29 1 5 1 5
R av el
5 2 2
STR ING SVio lin I , II , an d Vio la
PAGE MEASURE COMPOSER5 3 509 Rim sky83 [72 ] Ko r sakofi
'
S chmitt
59 4b [40]89 [66]
2 2 [ I 9]
Vio lin I an d Vio lo n c elloRiv ie r
PAGE MEASURE
Vio lin I I an d Vio laWORK PAGE MEASURE COMPOSER WORK
Le S acre da Prin temps 22 [3 1] S trav in sky Petrouchka Suite
Vio lin I , II , an d Vio la108 3 Magan in iI I [77]1 26 [19] McKay
Prokofiefi'
Vio lin I , II , an d Vio lo n celloS tillman Gulliver—His Voyage
Ko rsakofi'
Capriccio Espagn ol 5 3 1h [0 ] Kelley to Lilliput
Vio la an d Vio lo n c elloCon certofoi’ Orchestra 79 5 S ib elius Symphon yNo. 1
L es I llumin ation s 18 1
Vio lo n c ello an d BassR ie n ek Symphon ic Elegy 1 1 245
Vio lin II , Vio la, an d Vio lo n c elloBoléro 54 [16] Szyman owski Symphon ic Con certan te
pour Pian o ct
Ko r sako fi'
Capriccio Espagn ol 68 8 Orchestre
Vio lin I , I I , Vio la, an d Vio lo n c elloGershwin Con certo in Ffor
Islamey 60 [61 ] Pian o an d OrchestraMusicfor S trings,Percussion an d Celesta 95 1 Symphon yNo. 1
Deb ussy Iberia 88 [56] The Tempest,102 [64] First Suite
Tch aiko v sky Symphon y No. 4
Vio lin I I , Vio la, Vio lo n cello , an d BassS ch ellin g A VictoryBall 34 3
3 2 6
Po o t
Ren ard
Vio laPAGE MEASURE COMPOSER
8 [3 ] S trav in sky60 1
Strav in sky
S trav in sky
S o lo Vio lo n c elloS ch o n b erg Pierrot Lun aire
Bar ték
Deux EsquissesSymphon iques
Tan sman
Barték
R ead1 0 2b [C]
Vio lin I , I I , an d Vio laS on atin e Tran satlan tique, I I
Vio lin II an d Vio lo n c elloDan ce Suite
3 27
WORKRen ard
Chan t du Rossign ol
58 3 b [57]
Symphony No. I
3 2 3
103 I b [39]
STRING SVio la an d Vio lo n c e llo
Ren ardWORK
Vio lo n cello an d BassCOMPOSERR ead
Vio lin I , II , Vio la, an d “Vio lo n c elloS trav in sky Ren ard 29 [18]
Vio lin I , II , Vio la , Vio lo n cello , an d BassBar tok Musicfor S trings, 1 1 1
Percussion an d Celesta 25 169
segn o per il
man o sin istra
Pierrot Lun aire
60
70
54
43
50
Le sign e in dique le pizz.
exécu te’ par lamain gauch eLe sign e v eut dire pizz.
av ec lamain gaucheLes n o tes marquées pizz.
avec la m.g.
Les n o tesmarq isées sero n tjouées pizz. de la m.g.
Germ'
an
Lin ke HandMit Zuhilfen ahme dcr lin kenHan dZeich en ffir ein pizz.mit
der lin ken Han d
m.s .
Vio lin I[24] 2f Gould[31 3f
[10] 4f
[ I 8] 4f
[29] I f
3
S o lo Vio lin[1 5] S trav in sky Histoire du S oldat
English I talian Fren ch German
With (th e) n ail Colla un gh ia Avec l’
o n gle Mit demNagelO pizz. with the fin ger O pizz. coll
’
un ghia al capo O pizz. avec l’
on gle 3 0 O Pizz.mit demNagel amn ail at th e extreme upper della co rda tirata so tto il dita b out extreme supérieur dc aufstersten En de der Saiteen d o f th e strin g drawn toccan do la corde tiré au- dessous du kn app un terhalb des Griffb elow the fin ger which do igt touchan t fin gers gerissentouch es it
Vio lin I , II , Vio la , an d Vio lo n c elloCOMPOSER WORK PAGE MEASUREBar ték Musicjb r S trings,
Percussion an d Celesta 24 1 57
(6) ON HARMONI C S
English I talian German
Pizz. o n harmo n ics Pizz. sull’
armon ici Pizz. auf Flageolett
Vio lin I I
Ko r sakofi'
Scheherazade 64 194
Vio la
S cheherazade 67 22 1
Night on the BaldMoun tain
R o ger s
S trav in sky
PIZZ ICATI
S o lo BassPAGE MEASURE WORK20 [14] 2f Histoire du S oldat29 3
PAGE
36 5b [2 3]
Vio lin I , II , an d Vio laMahler Symphon yNo . 9 60 2 0
Vio la an d Vio lo n c elloI n gh elb rech t S injb n ia Breve No. 1
‘
36 2 Strav in sky Pulcin ella SuiteJan sse n New Year
’
s Eve in
60 1
S o lo Vio lo n c e llo an d BassS trav in sky Chan t du Rossign ol 15 [1 3] S trav in sky Pulcin ella Suite 12 [1 3] 2f
Vio lin II , Vio la , an d Vio lo n celloIn gh elb r ech t S infon ia Breve No . 1 58 [34]
(7) SLAP
I talian GermanSlap (a lajazz) Colpo colman o (allajazz) En frappan t la tab le de la Mit dem Han d schlagen—imS trike with the han d paume—i Iajazz Jazzstil
Balogh Portrait qfa City 17 [M] 3f I n gh elb rech t S injb n iaBreve No . 1
Vio lo n c e llo an d BassCe san a Riisage r Torgot Dan ce 16 [75] I f
15 1 [3 5] 4f
2 3—(G -429)
English I talian Fren ch German
Le t Strin g sn ap Fate scappicro la co rda Faites claquer la corde Die Saite schn appen lessenLe t strin g strike fin gerb oard d) in dica un o pizz. fo rte dimodo (D in dique un ferme ct v ig d) b ezeich n et ein Pizz. b ei
d) in dica tes a stro n g pizz. so che la co rda rib alza dalla o ureux pizz. faisan t reb o n welchem die Saite auf das
that the strin g reb oun ds ofi‘ tastiera dir 1a co rde sur la touche Grifi'
b rett an schliigt
the fin gerb o ard (b in dique n a pizz. auquel la 6) ein starkesPizz.
Pizz . allowin g th e strin g to t orde frappe h touch eslap th e fin gerb oard d) pizz. fo rtjusqu’
acc que
la corde frappe la touche
WORK PAGE MEASUREDivertimen tofor S tring 26 [103] 61
"
Orchestra 3 5 [403]Barték Musicfor S trings, 12 5 175
Percussion an d Celesta 1 38 [H] Diamo n d Timon ofAthen s
S o lo BassWORK PAGE MEASURE
Musicfor S trings,Percussion an d Celesta 20 1 16
Vio lin I , II , an d Vio laDiamo n d Timon ofA then s 12 77
Violin I , II , an d Vio lon c elloB arték Violin Con certo 66 [105]
Vio lo n cello an d BassBart6k Diamo n d
Diamo n d Ger‘
shwin
Vio lin I , II , Vio la, an d Vio lo n celloBartok Musicfor S trings, Diamo n d Fourth Symphony 47
Percussion an d Celesta 28 199
Viola , Vio lon c ello , an d BassBar tok Music for S trings,
Percussion an d Celesta 81 49
I
German
Vib rieren lassen
Vio lin I
COMPOSER WORKI n gh elb rech t S infon iaBreve No. 1
S o lo Vio linS trav in sky Histoire du S oldat 2 1 [5]
Br itten
45 3
COMPOSER WORKC h év e z S infon ia In diaI n gh e lb r e ch t LaMétamorphose d’Eve 3 5 4b [N]
Vio lonc ello1 2 b [3]
Par o di
R oger s
S ch uman , W . Symphon y No. IV
S e ssio n s Symphony No. II
S trav in sky Chan t du Rossign olS trav in sky Oedipus Rex ]
Diam o n d S trav in sky Suite No . 1 for SmallOrchestra
G o uld
Gould Spirituals 1 3 [A]2 1 [C ]
Harris Third Symphony 3 [6]94 2
An Orn ithological Suite 42 1 3h [E]Preludio ad un aCommedia 45 IV]
Diam o n d
Po ulen c
PAGE MEASURE48 [32 ]
C oplan d41 [2 5] 4f
Vio lin I , II , an d Vio laR o se n th al Les PetitsMé'tiers 1 3 3 [E]
Vio lin H an d Vio lo n c e lloStrav in sky FireQBird Suite (19 19) 8 [ I I ] i f
Vio lin I , H, an d Vio lo n c elloIn gh elb re ch t La Métamorp hose d’Eve 19 4
jo liv e t6 [2 5] I f
Vio lo n c ello an d BassL aMer 100 3 S trav in sky Chan t du Rossign ol 18 [18] I fPreludio ad un a S trav in sky Fire- Bird Suite (19 19) 20 [7]Commedia S zyman owski Symphon ic Con certan te
Pisto n Symphon y No. 2 pour Pian o ct
S h o stako v ich Symphon y No. 9 Orchestre 2 5 1
S ib elius The Tempest,First S uite
Vio la , Vio lo n cello an d BassB e rn ste in eremiah Symphon y When john n y Comes
Marching Home 29 [160 ] 3 f
3 3 5
P IZZ IC ATI
Bass (c o n td .)MEASURE COMPOSER44 S ch uman , W .
143 S ib e lius
1 S trav in sky[3 3 ] S trav in sky
STR ING S
So li Vio la , Vio lo n c e llo , an d BassCOMPOSER WORK PAGE MEASUREChi ve z S infon ia In dia 27 [3 5]
Vio lin H, Vio la, an d Vio lo n c elloWalto n Facade, Suite No. I 3 5 [B]
Vio lin I , II , Vio la , an d Vio lonc elloPAGE MEASURE COMPOSER WORK PAGE MEASURE
S ib elius The Tempest,S econ d Suite , 50 7
Diamo n d Fire- Bird Suite (19 19) 1 1 [1 3] ,1f
Oedipus Rex 1 12 [162 ]5 1 5
Vio lin H, Vio la , an d BassHarris When John n y Comes
Marching Home
Vio lin H, Vio la , Vio lo n c ello , an d BassSuitefor Orchestra 67 [74] S ch uman , W . Symphonyfor S trings 15 95
Vio lin I , II , Vio la , Vio lo n c ello , an d Bass3 2 1 S ch uman , W . Symphony No. II I
2 1 [120] 3 f Sh o stako v ich Symphony No. 9
15 2 b [16]
(12 ) WITH TWO FINGER S
I talian German
Pizz. with two [2] fin gers Pizz. col due [2] dita Pizz. avec deux [2] do igts Pizz.mit zwei [2] Fin gem
S ch o n b erg
41 [38]
S travin sky 9 2 b [20]
Mah le r
Biz et
De b ussy
ElAlbaicin
STR ING SS o li Vio lin I div isi (pizz. an d n on -
pizz.)
COMPOSER WORK PAGE MEASURES zyman owski Symphon ic Con certan te
pour Pian o et
Orchestre 1 3 [7] 2 f
Vio lin H pizz.—Vio lin I n on -
pizz.
PAGE NIEASURE COMPOSERMah ler
Mahle r
Mahler
Miasko v skyR e spighi
Vio lin H div isi (pizz. an d n o n -
pizz.)
Symphon ic Elegy 5 1 24 R ieti S infon iaNo. 5
Vio lin H pizz.—S o lo Vio lin I an d H n on -
pizz .
S trav in sky Pulcin ella Suite 3 6 [56]
Vio lin I I pizz.—Vio la n on -
pizz.
R av el Daphn is ctChloé,Suite No . 2
Vio lin H pizz.—Vio lin I an d Vio la n on -
pizz.
d’
In dy Deuxic‘
me Symphon ic
en S i[7 15 4
Vio lin H pizz.—Vio la an d Vio lo n c ello n o n—pizz.
Mar tin e t Orphée 7 [3]
Vio lin I an d H div isi (pizz . an d n on -
pizz.)
S trauss, R . TillEulen spiegel’
s
Merry Pranks
Facade, Suite No. 1
46 [53]
59 [18611
Bar b e r
Casella
Biz e t
Pagan in ian a
PIZZ ICATI
Vio lin I an d H pizz.—Vio la n o n -
pizz.
COMPOSER WORK PAGE MEASUREde Falla Nuits dan s lesJardin s
1 5 2
Vio lin I an d H pizz.—Vio la an d Vio lo n c ello n on -
pizz.
Ch ab rier Bourre’e Fan tastique 1 1
Vio la pizz.—Vio lin H n on -
pizz.
PAGE MEASURE COMPOSER164 63 R o sen th al
19 [1 3 ] I f S ib e lius
5 3 b [I s]
Vio la pizz.—Vio lin I an d H n o n -
pizz.
S trav in sky Chan t da Rossign ol 27 [28]
Vio la div isi (pizz. an d n o n -
pizz.)
De b ussyIv e s
S o li Vio la divisi (pizz. an d n o n -Ipizz.)
1 00 [7] I f I Chév ez S infon ia I n dia
Vio la pizz.—Vio lo n ce n o n -
pizz.
42 2 9 Szyman owski Symphon ic Con certan te5 3 1 2 2 pour Pian o ct
5° Orchestre18 [16]
Vio lo n cello pizz.—Vio lin H n on -
pizz.
R o se n thal L es PetitsMétiers 78 [A]
Vio lo n c ello pizz.—Vio la n o n -
pizz.
5 [2 ] Hill
41 I
41 2 b [6]
3 1 [I 7]
25 [29]
45 [24] I f
Prokofiefi’
Rachman in o fi’
STR ING SVio lo n c e llo div isi (p '
WORK PAGE MEASURE
S e ssio n s
Vio lo n c e llo pizz .—Bass n on -
pizz.
40 1 R oger s
S ch uman , W.
S e ssio n s
Vio lo n c ello pizz.—Vio lin H an d Vio la n on -
pizz.
COW OSER WORK PAGE MEASUREElgar Con certojb r Violon
cello an d Orchestra 100 [70] 4f
Vio lo n ce llo pizz.—Vio lo n cello an d Bass n on -
pizz .
Britte n Les I llumin ation s
Vio lo n cello pizz.- So lo Vio lon c ello an d Bass n on -
pizz.
S trav in sky Con certo en Re'
pour
Orchestre d Cordes 26 [81]
S o lo Vio lo n c ello pizz.—Vio lo n c ello n on -
pizz.
Jam e s Suitefor S tringOrchestra
340
122 . an d n on -
pizz.)
COMPOSER WORKKab alev sky Symphon y No. 2
Kalin n iko v Symphony No. 1
Liado v Baba—YagaMah le r Symphon y No. 5
R ev ue ltas Cuauhn ahuac
S chOn b e rg Fu‘
nf OrchesterstuckeS ch uman , W. Symphon yNo. IV
S c riab in Pian o Con certo inF1: min or
Suitefrom The BlackMaskcrs
L e Sacre du Prin tempsCon certo for Viola an d
Orchestra
STR ING SBass pizz.
—Vio lo n c ello n o n -
pizz . (c o n td . )
PAGE MEASURE COMPOSER MEASUREVaughanWilliams 93 4
Walto n
Trian a
Pr okofiefi'
Prokofieff
De b ussy
Deb ussy
de Falla
G laz o un o v
Harris
81 I
S trav in sky
S trav in sky
Con certo dell’EstateC lassical Symphon y
Coplan d
Blo ch
de Falla
PIZZICAT I
So li Bass divisi (pizz. an d n o n -
pizz.)
COMPOSER WORK PAGE MEASUREDiam o n d Timon ofAthen s 2 3 147
Vio lin I an d Vio la pizz.—Vio lin II an d Vio la n o n -
pizz .
An th e il Symphon y No. 5 1 02 [2 1 ]
Vio lin II an d Vio la pizz.—Vio lin I n on -
pizz .
PAGE MEASURE COMPOSER WORK
S trav in sky Fire- Bird Suite (19 19)62 [50]
Vio lin II an d Vio la div isi (pizz . an d n o n -
pizz.)
Deuxteme Symphon ic 5 5 5 C oplan d Appalachian SpringMali de Festa a Puig Deb ussy JeuxG racios
Vio lin I I an d Vio la pizz.—Vio lin I an d Vio lo n c ello n on -
pizz .
Third Symphon y 77 1 b Ko daly Calan ta Dan ces
Vio lin 1, n , an d Vio la pizz.—Vio lin n an d Vidla n o n -
pizz.
Deb ussy Premiere Rhapsodie I 8 3
Vio lin I , I I , an d Vio la div isi (pizz. an d n o n -
pizz .)
Trois Poémesjufis 3 7 2 S ch on b erg Fifnf OrchesterstuckeSymphon yNo . 4 87 [140] 3 f S c h uman , W . Symphon y No. IV
ElAmor Brujo 9 [3 ] 3f S c r iab in Prome’
the’
e, L e Paeme
I 9 4'
The En chan tedLake I 1 Tan sman
On ce Upon a
'
Time,2 0 [14] I f
Vio lin I an d Vio lo n c ello divisi (pizz. an d n o n -
pizz . )
Mah le r Symphon y No. 8 1 5 5 [127]
Vio lin II an d Vio lo n c e llo pizz.—Vio lin I an d Vio la n o n -
pizz .
S trav in sky Con certo in Ré pourOrchestre aCordes I I
Vio lin II an d Vio lo n c ello pizz.—Vio lin I I an d Vio la n o n -
pizz .
Barb e r 43 1h [3 5]
343 .
2 1 [181 ]
74 4b [56]
STR ING SVio lin II an d Vio lo n ce llo pizz.
—Vio la an d Vio lo n c ello n on -
pizz.
COMPOSER WORK PAGE MEASUREBlo ch Trois Poémesjuifs 1 3 4b [6]
Vio lin II an d Vio lo n c ello pizz.—Vio la an d Bass n on -
pizz.
S trav in sky Oedipus Rex 101 [139]
Vio lin I , I I , an d Vio lo n c ellopizz.—Vio lin I , II , an d Vio la n o n -
pizz.
S iegmeiste r Western Suite 1 04 I
Vio lin I , I I , an d Vio lo n c ello pizz.—Vio lin II , Vio la , an d Vio lo n c ello n o n -
pizz.
WORK PAGE MEASURE COMPOSER WORK PAGE MEASUREThird Symphony 98 [90] Deb ussy La Damoiselle Elue I I
Vio lin I an d Bass pizz.—Vio lin II an d Vio lo n cello n on -
pizz.
S ixEpigraphes de Falla
An tiques
Vio la an d Vio lo n c ello pizz.—Vio lin I an d II n on -
pi'
zz.
Gould Philharmon ic Waltz es I 7 [172 ]
Viola an d Vio lo n c ello div isi (pizz. an d n on -
pizz.)
Nocturn e jb r Orchestra 2 1 [1 14] I f Pr okofiefi'
Pian o Con certo No. 3 128 [98]L e Dit desjeux da R oge rs On ce Upon a Time,
34 4 Five Fairy TalesWashington ’s Birth S ch ellin g A Victory _Ballday
”fiomSymphon y, S ch uman ,W. Prayer in Time of War
“Holidays” Siegme ister Ozark S et
Vio la an d Vio lo n c ello pizz.—S o li Vio la an d Vio lo n c ello n on -
pizz.
NI ilh aud Saudades do Braz il - 68 I
Vio la an d Bass pizz .—Vio lin I , II , an d Vio lo n c ello n o n -
pizi.
Blo ch America 1 39 [79]
Vio lo n c ello an d Bass div isi (pizz. an d n o n -
pizz.)
103 [71] Dukas3 4 2 Fitelb e rg S ymphon yNo. I
6 [30] I f Harr is Third Symphon y
STR ING SVio lin II , Vio lo n c e llo , an d Bass pizz .
—Vio lin I , Vio lo n c ello , an d Bass n on -
pizz.
COMPOSER WORK PAGE MEASUREPr okofie ff C lassical Symphon y 40 24
Vio lin I , II , Vio lo n c ello , an d Bass pizz.—Vio lin I , II , Vio la, an d Vio lo n cello n on -
pizz.
De lius Three OrchestralPieces 24 1h
Vio la , Vio lo n c ello , and Bass div isi (pizz. an d n on -
pizz.)
WORK PAGE MEASURE COMPOSER WORK PAGE MEASURES un day in Brooklyn 41 1 b [90] Tan sman S on atin e TransCon certo en Ré pour atlan tique, I I 3 2
Violon etOrchestre 1 3 [27] Tan sman S on atin e Tran satlan tique, I I I [9] 7f
Vio lin I , II , Vio la , Vio lo n c e llo , an d Bass pizz.—S o lo Vio lin I , II , Vio la, an d Vio lo n cello n on -
pizz.
Britten S infon ia da Requiem 62 [43]
Vio lin I , ll , Vio la , Vio lo n c ello , an d Bass divisi (pizz. an d n on -
pizz.)
S chuman , W . Symphony No. II I 79 408
Tutti pizz.—S o lo Quin te t n on -
pizz.
S trav in sky Orpheus 30 [77]
346
Chapter 5 1
TREMO L I
I talian Fren ch German
(1 ) BOW
Vio lin I an d 11PAGE MEASURE COMPOSER PAGE MEASURE89 168 Musso rgsky89 9b [10] 2 3 1 2 0
L e Coq d’
Or Suite 72 1
S cheherazade 99 416
Be rlio z Symphon ie Fan tastique 57 1 S ea Drift 3 0 9
PAGE MEASURE
14 2 b [D]
Vio lin I an d Vio laBritten Passacagliafrom Peter Mathis derMaler 66 [17]
C rimes”
2 1 9
Vio lin II an d Vio la3 2 287 Dv o iak
3 2 6
26 277
98 [C ] Lisz t77 I
Ko r sakofi'
Scheherazade 245 607
34724
Be e th o v e n
I b e r t
Fran ck
Bartok
Bar tok
Deb ussy
Deb ussy
Symphony in D min or
Vio lin I , I I , Vio la , an d Vio lo n c elloCén certoNo . 3 forPian o an d OrchestraMusicfor S trings,Percussion an d Celesta
Fy'
th Symphon yThe Garden of Fan dViolin Con certo inD major
L aMer
S iren es
Pian o Con certo inA min or
2
Vio lin I , Vio la, an d Violo n cello
STR ING SVio lin I , I I , an d Vio laMEASURE COMPOSER6 Liado v
Vio la an d Vio lon c ello1 3 Wagn e r , R .
PAGE
Istar, Variation sSymphon iques
Lisz t72 [500] 16f Pr okofieff
8 78 R av e l
141 [37]47 1 Ko r sakofi
'
Wagn er , R .
Prelude an dL ove Deathfrom Tristan un d
2 1 1 12
86 3 28
d ’In dy
B ar tok
Bar tokBar tokB ar ték
WORK
Pian o Con certo No. I
S lavon ic Dan ces,
Con certofor Orchestra
Vio lin IPAGE MEASURE8 1
3 0 I 3
5 47
146 6
COMPOSER WORKL o effl e r E vocationRim skyKo rsakofl
'
Wagn e r , R .
Walto n
Violin Con certo inA min or
G rue n b erg The En chan ted IsleMe n delsso h n Fingal
’
s Cave Overture
Mo zar t
Musso rgskyI
WORK PAGEMusicfor S trings,Percussion an d Celesta 1 22
Pian o Con certo No . 5 5
Three Piecesfrom“The
Damn ation q aust”
Sain t- Sae n s
Symphony No. 2
Symphon y No. 4 S ib elius
Symphony No. 5 ,“FromtheNewWorld
d e Falla Nuits dan s lesjardin s
S infon iettaThe En chan ted Lake
Vio lo n c e llo60 4b [3 5] S c r iab in 2 1 1
1 08 I S trauss , R .
1 1 2 8 165 1
6 26
Bar tok Musicfor S trings, Flo towPercussion an dCelesta 45 370
De b ussy L eMartyre de S ain tS ébastien 62 1
Violin I an d Vio laViolin Con certo 104 [3 3 3] Ko daly Psalmus Hungaricus 5 1 1
Symphony No. 2 1 16 [280]
Vio lin II an d Vio laPian o Con certo No . 4 2 0 Hill LilacsSymphon y NO 4 1 2 2 Me n delsso h n Fingal’s Cave OvertureAmerica I Me n de lsso h n S ymphon y No . 3 ,Symphon y NO. I 7b [I I O] “
S COtCl’l”
38 3 5 5S ymphon y No . 7 1 50
S ymphon ie en S i bémolmajeur
Dv o iak Con certofor Violon celloan d Orchestra 5
SymphonyNo. 4 96
Symphon yNo . 5 , From 1 5
the New World 1 17
de Falla Three Dan cesfrom The Wagn e r , R
Three- Corn eredHat”
Deb ussy
Bartok
Bar tok
WORK PAGEI n the Faery Hills 4
Third Symphony 42
Syn rphon ie Fan tastique 2 05
Symphon yNo. 1 102
Symphon yNo. 2 124
Espana, Rhapsodie 53
Prélude d l’aprés—midid’
un Faun eRapsodie pour Orchestre
et Saxophon eL
’
Appren ti S orcier
Nuits dan s lesjardin se S ib elius
S ib elius Karelia- SuiteSib e lius Symphon y No. 6
S ib elius Violin Con certoS trav in sky S cherz o Fan tastiqueTch aiko v sky Manfred- Symphon ic
Vio lin II an d S o li Vio laWORK PAGE MEASURE
Sketches ofthe C ity 17 [5] 2f
Vio lin II an d Vio lo n c elloCon certoNo. 3 forPian o R av el Tz igan ean d Orchestra
Con certofor Orchestra Pian o Con certoNo. 1
74 1 1 1
“Die Walkure
Vio lo n c ello an d BassSymphon yNo. 1 in S ib elius
E b major,“Drumroll 30 4
MaMere l’Oye 3 6 [2 ] 4f
PAGE MEASURE
18 [16]
1 00'
[0 ] 2 f
20 !
STR ING SVio lin I , II , an d Vio laMEASURE COMPOSER5 Liado v[43] I f
4
[B] I f2 34
[M]
[10]
68 [452 ]
Vio lin I , I I , an d Vio lo n c ello8 [1 3 5] I Liszt
Vio la an d Vio lo n c ello1 1 1 [408] Dv o i‘ék
4 3
3 37
20 [G]
170 5
64 [3]1 3 1
Fite lb e rg
Mah le r
Dv o‘
fék
STR ING S
(3 ) BOW - FINGER (DETACHE TRILL OR INTERVAL)Italian Fren ch
No n - legato Détaché
Vio lin IPAGE MEASURE COMPOSER
S trav in skyVer di
Vio lin IIMih alo v ic i
Mo zar t
S ch r eker
Welle sz Symphony in C
Vio lin I an d IISymphonyNo. 2 143 3 97 S ch ub e r t Symphony No. 2
Suite Algérien n e 9 2 Wh ith o rn e FataMorgan a
Figures Son ores
Po ulen c .
38 [N]
Vio lo n c elloS eren adefor S trings S trav in sky Petrouchka Suite
PAGE MEASURE
5 [H] si
3 54
PAGE MEASURE
TREMO L IVio lin I an d Vio la
PAGE MEASURE COMPOSER WORK PAGE MEASURE54 [R ] Skilto n Suite Primeval, Part I I 80 2
2 3 [N] 4f
Vio lin II an d Vio laHaydn Symphon yNo . 14 in S ch uman n , R . Con certofor Violon cello
D major an d OrchestraMe n delsso h n Calm S ea an dPros Symphon y No. 7
perous Voyage, Petrouchka S uiteOverture 3 2 275
Vio lin I , H, an d Vio la149 4 S travin sky4 9 Ve rdi
Wagn e r , R .
The Lan d ofSuspen se 3 1 [E]Symphon y No. 8, Wagn e r , R .
“Unfin ished
Sh o stako v ic h Symphon yNo . 3 Wagn er , R .
S travin sky Petrouchka Suite
Vio la an d Vio lo n celloWORK
Symphon y No. 1
Vio lo n cello an d BassGould Spirituals 40 [L]
Vio lin I , Vio la , an d Violo n celloS trauss, R . Dan ce Suite after
Fran cois Couperin
S trav in sky
STR ING SVio la , Vio lo n c e llo , an d Bass
WORK PAGE MEASUREThe Ballet from The
Perfect Pool” 2 5 [22 ] I f
Vio lin I I , Vio la, Vio lo n c e llo , an d BassMilh aud Con certo pour Pian o et
Orchestre 46 [65] 3 f
(4) GLI S SANDO
Vio lin IWORK PAGE MEASURE COMPOSER WORK MEASURE
78 2 b [52 ] Mahler Das Lied von der Erde 95
6 [3 ] R oge rs CharactersfromHan sChristian An dersen 15 4
9 [40]
S travin sky 5 5 10
Britten
Vio lin I I an d Vio laDe b ussy 3 1 [18] I f I In gh elb r ech t S infon iaBreve No . 1 6 [4] 2 f
Vio lin I , I I , an d Vio laI n gh elb re ch t S infon ia Breve No. 1 1 2 5 R ead Sketches of the C ity
De b ussy Premiere Rhapsodie 3 9 3 Ron des de Prin temps 3 1 [17] 3f
Jan ssen NewYear’
sEve in Mc ro ss Paean s 5 4b IE]3 1 [12 ]
PAGE MEASURE
Vio lin I an d Vio la10 I
19 2 Prokofiefi'
40 2 S c riab in
Vio lin I I an d Vio la3 I s Haydn
d’In dy
L ekeu
Mo zar t
Bruch68 1
Cadman
40 3 Pictures atan Exhib ition 75 2
Dv o iék Romeo an djuliet, SuiteNo. 2 60 [3 9]
M skyKo r sakofi
’
Russian Easter OvertureS ch ub er t Symphon yNo. 5
Sh o stakov ich Pian o Con certoFran ck S ib elius Symphon y No . 5
PAGE MEASURE
70 487
R o ssin i
18 16
Vio lin I I an d Vio lo n c e lloWORK PAGE MEASURE
Symphon y No . 9 I I
Vio la an d Vio lo n c elloDv o i ék Ho n egger
I v e s
91 [5] 8f 1 Milhaud
Vio la an d BassGluck Overture to “
Alceste 2 1 2
Vio lo n c e llo an d Bass54 108 Bo r o din15 1 Dv o i‘ék
R im sky56 174 K o rsakofi
‘
78 [K]
Vio lin I I , Vio la , an d Vio lo n c e llod ’I n dy Deuxiéme Symphon ic
en S ib 106 I
Vio lin Vio la ,Becke r S uitefor Orchestra
L es Preludes
Fran ck
Vio lin I , I I , an d Vio la (c o n td .)
PAGE3
1 5 2
1
2 1
42
40
3 0
1 3 6
TREMOL I
MEASURE COMPOSERI2
6
4
[ I I ]2
[B]
[7]
Lisz t
T ch aiko v sky
3 59
Pictures atan Exhib itionCon certofor OrchestraSymphon y No . 3
Etude pour le Palais
Han té” d’Edgar PoeSymphon y No . 2
87 [71 ]22 3
58 3
STR ING SVio la , Vio lo n c e llo , an d BassPAGE MEASURE COMPOSER MEASURE70 3 R o ssin i
1 2 98 10 2
Sme tan a
41 398
Haydn
Vio lin H, Vio la, Vio lo n c ello , an d BassBe e th o v e n 2 1 2 Haydn
82 1 19
S ch ub er t
3 2 47 S ch ub er t
Sib elius
12 [D]
Vio lin I , I I , Vio la , Vio lo n cello , an d BassConcerto jbr Orchestra 14 [2 58] Mo e ran Symphon y in G min or 47 6b [24]Musicfor S trings, Pisto n Con certin aforPiaa orte
Percussion an d Celesta 5 6 449 an dChamberOrchestra 64 [442 ]Pian o Con certo No . 3 2 24 R achman in o ff 2 d Con certo pour Pian oSymphon yNo. 3 , et Orchestre 108 1
“Eroica
”
Symphon yNo . 4 Russian Easter Overture 3 8 1
Violin Con certo in The ThievingMagpie,
D major OvertureBen ven uto Cellin i S ch ub ert S ymphon y No . 4
OverturePian o Con certo in S ch ub er t
A min or 54 99
Symphon yNo. 1 in 42 14
E b major,“Drumroll 52 9
KammermusikNo. 1 69 1 148 3
E in e Faust- Symphon ic 287 1
A Midsummer Night’s 18 1
Dream OvertureMe n delssoh n Ruy Blas Overture 3 1 2 00
Men delsso h n Symphon y No. 3 ,“S cotch” 1 1 5 [B]
360
WORK WORK PAGE MEASUREPacific 2 3 1 I 1
SymphonyNo . 7 45 4
Fire- Bird Suite (1919) 70 [9] I f
PAGE MEASURE
Prokofieff Lieuten an t Kyé
Vio lin I , II an d Vio laS infon ietta 54 2 S iegme iste r
Sketches ofthe C ity 4 [1] 3f S trav in sky
Vio lin I an d Vio lo n c e lloS trav in sky Fire- Bird Suite (19 19) 2 3 [14] 7f S trav in sky L e S acre du Prin temps 74 [82 ] I f
83 [100]
Vio lin I an d BassBar tok Deux Images 20 1
Vio la an d Vio lon c ello69 1 Ferr o ud AuParcMon ceau 37 2
61 [2 7]
l
S o li Vio la an d Vio lo n c elloCase lla Pagan in ian a 1 10 [1 3 ]
Vio lo n c ello an d BassSymphony No. 8 1 24 [2 3] Paro di Preludio ad un a
Commedia 3 6 [R ]Pictures atan Exhib ition 95 [77] I f Chan t du Rossign ol 41 [42 ] 3 f
Fire- Bird Suite (1919) 71 [1 1 ]
STR ING SVio lo n c e llo
PAGE MEASURE COMPOSER77 [5 1 ] 2 f Ho n egge r
S ib e lius
12 1 S trav in sky
TREMOL IVio lin II , Vio la, an d S o lo Vio lo n ce llo
COMPOSER WORK PAGE MEASURER oger s On ce Upon a Time,
Five Fairy Tales 2 1 5
Vio lin I , II , Vio la, an d Vio lo n c elloWORK COMPOSER
Villa- Lo b o s
60 2
Vio lin I , II , Vio la , Vio lo n c ello , an d BassS ib elius Pcllcas an dMelisan de 9 [A]
(7) BOW AND FINGER COMBINED
Vio lin I Bow—Vio lin II Fin gerBlo ch America 17 2 b [9] I Ko dély Ha
’
ryja’
n os Suite
Vio lin I Bow—Vio lin II an d Vio la Fin gerBlo ch America 24 3
Vio lin II Bow—Vio lin I Fin gerBar b er Szyman owski Symphon ic Con certan te
pourPian o et
Orchestre
Vio lin II divisi (BDelius 140 5 CharactersfromHan s
Christian An dersen 16 2 b [9]
Vio lin II Bow—Vio la Fin ger2 1 [9] Ko dély Psalmus Hungaricus
38 4
25—(G4 29)
STR ING SVio lin I an d II div isi (Bow an d Fin ger)
COMPOSER WORK PAGE MEASURER avel L a Valse 3 1
Vio la Bow—Vio lin II Fin gerPAGE MEASURE COMPOSER
9 [3] 2f Mah ler
16 [8] S trav in skyS trauss, R .
15 106
Vio la Bow—Vio lin I an d II Fin gerDelius 3 2 [28] I f
Viola divisi (BS criab in Prométhe
'
e, Le Paeme Chan t du Rossign ol
Vio lo n c ello Bow—Vio la Fin gerDeb ussy RapsodiepourOrchestre
ct S axophon e 5 3 1
Vio lin I an d Vio la divisi (BS trauss, R . E in Helden leben
Vio lin 11 an d Vio la Bow—Vio lin 1an d Vio la Fin gerHo n egger L e Roi David 87 [3] 2f
Vio lin II an d Vio la div isi (BS trauss, R . Ein Helden leben
Vio lin I , Vio la, an d Vio lo n c ello div isi (Bow an d Fin ger)Strav in sky Fire- Bird Suite ( 1919) 5 [o]
3 64
STR ING SVio lin II div isi (trem. an d n on - trem.)
PAGE MEASURE COMPOSER PAGE MEASURES cr iab in
Th om so n
Vio lin II trem.—Vio la n o n - trem.
jeux 99 [68] I f Rachman in ofi'
Pian o Con certo No. 3 88 [49] I fSymphony No. 1 5 in
Bb major,“La Rein e 3 1 [B] 2 f
Vio lin II trem.—Vio lin I an d Vio lo n c ello n on - trem.
COMPOSER WORK PAGE MEASUREBalakir evCasella 1 5 [1 1]
Vio lin I an d II div isi (trem'
. an d n on - trem.)
de Falla Nuits dan s lesjardin s Ho n egger L e Dit dcs jeux dud’
Espagn e Mon deHo n egge r Horace Victorieux L a Ballade de la Gedie
dc Reading
Vio lin I and I I trem.—S o li Vio lin I an d II n on - trem.
Dukas 1 28 [19 b is]
Violin I an d II trem .—Vio la n on - trem.
9 2 b [80] Haydn
1 28 2
Me n de lssoh nHaydn
Mo zar t
Haydn SymphonyNo. 17 in
C major,“L
’
Ours”
Vio lin I an d II trem.—Vio la an d Vio lo n cello n on - trem.
Beeth o v e n S ymphony No. 2 71 97
Violin I an d I I trem .—Vio lo n c ello an d Bass n on - trem.
En e sc o Ii“ RhapsodieRoumain e 82 3b [39]
366
TREMO L IVio la trem.
—Vio lin II n on - trem .
WORK PAGE MEASURE COMPOSER WORK PAGE MEASURE2 de Falla Nuits dan s lesjardin s
S trauss, R .
Vio la div isi (trem. an d n on - trem.)
Blo ch Evocation s 1 3 2 S travin sky L c S acre du Prin temps 81 [94] 2fS h o stako vich SymphonyNo. 1 73 [20]
ElPuerto
Vio la trem .—Bass n o n - trem.
WORK PAGE MEASUREDivertissemen t 5 [4]
Vio la trem .—Vio lin I , I I , an d Vio lo n cello n on - trem.
d ’In dy Istar, Variation sSymphon iques 40 [R ] 2 f
Vio la trem .—Vio lo n c ello an d Bass n on - trem .
Bee th o v en Con sccran'
on of the Liszt E in e Faust- Symphon ic 2 19 6
House Overture Men delssoh n Symphon y No. 3 ,Be e th o v e n Coriolan us Overture “S cotch”
S ch uman n , R . Symphon yNo. 4
d ’ln dy Deuxiéme Symphon ic
en S ib'
179 1
Vio la trem.—Vio lo n c ello n o n - trem .
7 [B] Liszt26 [J] 2f Lisz t
Mahle r
14 [10] I f Prokofiefi'
86 89 R o ssin i
66 5
Deb ussy
Brahms
de Falla
Ho n egge r
d ’In dy
d ’In dy
L ekeu
STR ING SVio lo n c e llo div isi (trem. an d n on - trem.)
PAGE MEASURE
102
[n o] 3 f
COMPOSERDukasde Falla
ass n o n - trem.
Tch aiko vsky
Vaugh an
Wagn er , R .
FromBohemia’s Woods
S uitefrom the Ballet,“The S leep ing
Beauty” 45 1
177 I
so 277
STR ING SVio lin II an d Vio lo n cello trem .
—Vio lin I an d Vio lo n c e llo n on - trem.
COMPOSER WORK PAGE MEASURES criab in Dcuxiémc Symphon ic 1 1 2 l b [66]
Vio lin I I an d Vio lo n c ello divisi (trem. an d n o n - trem.)
De b ussy S ix Epigraphes
An serm e t An tiques 59 3
Vio la an d Vio lo n c ello trem .—Vio lin I n on -
“trem.
Blo ch S chelomo 57 4
Vio la an d Vio lo n c ello trem.—Violin I an d I I n on - trem.
Bar tok Con certofor Orchestra 141 [573 ]
Vio la an d Vio lo n c ello divisi (trem. an d n on - trem.)
WORK PAGE MEASURE COMPOSER WORK1 12 3 Fitelb erg Nocturn efor Orchestra
61 [27] I f
Vio la an d Vio lo n cello trem.—Bass n on - trem.
Bee th o v en Symphon yNo. 9 75 5 1 3 Bize t L’
Arlésien n e Suite No. 1 4 1
Vio lo n c ello an d Bass trem.—So li Vio lo n cello n on - trem.
Mo eran Symphony in G min or 30 3b [1 5]
Vio lo n cello an d Bass div isi (trem. an d n on - trem.)
An th e il Symphon yNo. 5 74 3 b [3 ] I Mah le r Symphony No. 5 30 [1 1]
Vio lo n c ello an d Bass trem.—So li Vio lo n c ello an d Bass n on - trem .
Mo eran Symphon y in G min or 173 [1 17] I f Szyman owski Symphon ic Con certan tepour Pian o ct
O rchestre 65 6b [3]
Vio lin I , Vio la , an d Vio lo n cello div isi (trem. an d n on - trem.)
de Falla Nuits dan s lesJardin s
370
TREMO L IVio lin I , Vio la , an d Violo n c ello trem.
—Vio lin I I , Vio la , an d Bass n o n - trem.
COMPOSER WORK PAGE MEASUREPizz e tti Con certo dell’Estate 64 [2 3]
Vio lin H, Vio la , an d Vio lo n c ello divisi (trem. an d n on - trem.)
de Falla Nuits dan s lcsjardin sd’
Espagn e 69 [3 5]
Vio lin I , H, Vio la , an d Vio lo n c ello div isi (trem. an d n on - trem.)
WORK PAGE MEASURE COMPOSER PAGE MEASUREViolin Con certo 86 [1 3 5] Ho n egger
Th reeDan cesfrom The
Three- Corn eredHat”
71 [18]
Vio lin I , Vio la , an d Bass divisi (trem. an d n on - trem. )
De b ussy Premiérc Rhapsodie 43 4
Vio lin H, Vio lo n c ello , an d Bass div isi (trem. an d n on - trem.)
Halfi'
te r Deux EsquissesSymphon iques 1 3 3
Vio lin I , Vio la , Vio lo n c ello , an d Bass divisi (trem. an d n o n - trem.)
de Falla Nuits dan s lcsjardin sd’
Espagn e , 30 [2 3]
3 7I
Chapter 52
CO L LE GNO
English Italian GermanDrawn [tapped] with (the) Col legn o [lign o] C01 legn o gestrichenb ow stick C01legn o b attuto [tratto ] Mit demHolz zu StreichenWith (the) b ack of (the) b ow Co n la b acche ttaWith hair an d stick at poin twith stick towards player
NORMAL
GLI S SANDO
PAGE MEASURE
27 3
Har san yi 69 [1 2 5] I f
(2 ) ON HARMONICS
BassS trav in sky Fire- Bird Suite (19 19) 3 5 [10]
372
BOWINGA la cordeA I
’
ordin aire
Au n aturelJeu ordin airejeu ord.
Natureln at.
Po sitio n n aturelle [n ormale]pos. n at. , p .n .
Po sition ordin airePos‘m 0rd”, pos. ord.
So n n ormal
STR ING SVio lin H (c o n td .)
PACE MEASURE COMPOSERS ch iin b ergSkilto n
S ch o n b e rg Wagen aar
Trian a
Ballade un dPassacagliaMusicfor S trings,Percussion an d Celesta 1 1 1 90
Be rg Three Excerptsfrom“Wozz eck
”50 2
C o plan d Third Symphony 57 [43 ] 2 fIn gh e lb r e c h t L aMétamorphose d ’Eve 3 3 [2 3 ] 4fMah le r Symphon y No. 4 3 7 185
1 62 53
L e Coq d’
o r Suite 46 [3 1 ]
Vio lo n celloBar tok R achman in off The Bells
R im sky
Ko r sakofi'
Prokofiefl'
So li Vio lo n c elloThree Excerp tsfrom Gulliver—His Voyage“Woz z eck
”14 [365] 2 f Kelley to Lilliput 77 [A]
A SurvivorfromWarsaw 8 3 5
S audades do Braz il 70 2
A SurvivorfromWarsaw 4 1 6
374
C OL LEGNOVio lin I an d Vio la
COMPOSER WORK PAGE MEASUREA SurvivorfromWarsaw 7 3 2
Vio lin
S trav in skyS zyman ow ski
76 [1 3 ]
Symphony No. 4
Mahle r Symphony No . 6
Malipiero Imp ression i dalVera,I“Parte
Pr okofiefi'
C in derella S uite No . 1
Prokofiefi'
Peter an d the WolfPr okofiefi
'
Pian o Con certo No. 3
R achman in ofi'
Rapsodie pour Pian o ciHo lst Orchestre
Ho lst
Liszt Todten tan z fu'
r Pian o 3 4 2 46
un d Orchester 62 1
S o lo Vio lin an d Vio lo n c elloWORK PAGE MEASURE
Pierrot Lun aire 3 1 1
S o li Vio lin I an d Vio lo n celloThree Excerp tsfrom“Wozz eck 17 [385] 4f
Vio lin I , H, an d Vio lo n celloFirst Symphon y 93 [D] I f I Mah ler Symphon y No. 4 3 3 172
3 75
Vio la an d Vio lo n c elloPAGE MEASURE COMPOSER28
“
2 b [18] L o efl’le r
8 [45] Mah ler
5 1 [1 1]In gh elb r e ch t
1 2 [6] I f
S o lo Vio la an d Violo n c elloS ch o n b erg PierrotLun aire 3 5 [5] 2f
Pisto n 16 [F]
S o li Viola an d Vio lo n c elloSuitizfor S tringOrchestra 22 3 82
Vio lo n c ello an d Bass14 [5] I f Par odi3 6 3
S e ssio n s
I b er t S tr in gfleld
Vio lin I , Vio la , an d Vio lo n celloTin tagel 22 4 I Mahler Symphony No. 3 159 [18] 3f
Vio lin H, Vio la , an d Vio lo n cello5 3 4 Ib er t
R achman in ofi'
Symphony No. 2
376
STR ING SVio lin I , H, Vio la , Violo n c e llo , and Bass
WORK PAGE MEASURE COMPOSERDivertissemcn tpour 17 1 Prokofiefi
’
Petite Orchestre 29 3 b [L]47 1 1
Po ule n c Con cert Champétre pourC lavecin ctOrchestre 19 [1 5]
Dan ce Suite
(5 ) COL LEGNO AND PIZZICATO COMBINEDc o l l egn o
Vio lin I col legn o—Vio lin H pizz.
COMPOSER WORK PAGB‘
MEASUREMah ler Symphony No. 2 85 [3 1 ] 8f
Vio lin H col legn o—Vio lin I pizz.
Mah le r Symphon y No. 3 1 17 1b [9]
Vio lin H div isi (col legn o an d pizz.)
S ch ellin g A Victory Ball 54 [14]
Vio lin H col legn o—Vio la pizz.
S iegme iste r Frommy Win dow 40 [2 5] if
Vio lin I an d H col legn o—Vio la pizz.
Hon egger Con certin apour Pian o ctOrchestre 2 3 [14] I f
Vio lo n cello divisi (col legn o an d pizz.)
Ho n egger Con certin o pour Pian oct Orchestre 42 [27]
Vio lo n cello col legn o—Bass pizz.
6 [4] Gould .
November Woods 5 1 4
C OL LEGNOBass col legn o—Vio lo n c ello pizz .
PAGE MEASURE COMPOSER MEASURE5 [2 ] Musso rgsky
36 184
Bass divisi (col legn o an d pizz.)
WORKAmazon as
Vio lin I an d Viola col legn o—Vio lin H an d Vio lo n c ello pizz .
S ch iin b erg A SurvivorfromWarsaw 7 3 2
Vio lin H an d Vio la col legn o—Vio lin I an d H pizz.
B o sman s La Vie en Blcu 8 8
Vio lin I , H, an d Vio la diVisi (col legn o an d pizz .)
Po o t jazz -Music 10 [5] Symphon ic 47 [2 5 ]18 [8]
Vio lin H an d Vio lo n c e llo col legn o -Vio lin I an d Vio lo n c ello—pizz.
Mah ler Symphony No. 3 1 3 5 1
Vio lo n c ello an d Bass div isi (col legn o an d pizz.)
Par o di Preludio ad un aCommedia 24 [N]
Vio lin I , I I , Vio la, an d Vio lo n c ello divisi (col legn o an d pizz.)
De b ussy 58 4b [40] I Mo r o ss Biguin e
(6) COL LEGNO AND MODO ORDINAR IO (AR CO) COMBINED
Vio lin H col legn o—Vio lin I arco
Benjamin From San Domingo 1 5 [F]379
z6
STR ING SVio lin I an d H divisi (col legn o an d arco )
COMPOSER WORK PAGE MEASURESib e lius The Swan of Tuon ela 14 [H]
Vio la col legn o—Vio lin H arco
Mah ler Symphon yNo. 3 165 [22 ] 4f
Bass col legn o—Vio lo n c ello arco
Ho n egger Con certin apour Pian octOrchestre 24 [1 5]
Vio lin H an d Vio la col legn o—Vio lin I an d H arco
I b er t L aBallade de la G ec’ilede R eading 59 [41]
Vio lin H an d Vio la divisi (col legn o an d arco)
Paro di Preludio ad un aCommedia
Vio la an d Vio lo n c ello c_ol legn o—S o li Vio lin I arcoS trav in sky L e S acre du Prin temps 17 [24]
Vio lin I , H, Vio la, an d Vio lo n cello divisi (col legn o an d arco )
WORK PAGE MEASURE COMPOSER WORK MEASUREElAmor Brujo 14 [B] Mihalo vic i Toccatapour Pian o ct
Orchestre 99 I3 30]
380
Milhaud
Vio lin I I an d Vio laI n gh e lb re ch t S infon iaBreve No. 1 6 [4] 2f
Vio lin I , H, an d ViolaCOMPOSER WORK PAGE MEASURE COMPOSER PAGE MEASUREIn gh elb re ch t S in ib n iaBreve No. 1 1 2 5 Iv es
Vio lin I , H, an d Vio lon c elloS trav in sky Petrouchka Suite 15 3 4b [129]
Vio la an d Vio lo n celloR av el Rapsodie Espagn ole 40 2
Viola , Vio lo n cello , an d BassBar tok Violin Con certo 1 2 3 [5 57]
(3 ) ON HARMONI C S
Vio lin ILe Sacre duPrin temps 74 [82 ] I f
S o li Violin Ide Falla ElRetab lo dcMacse
Vio lin I an d HVilla- Lo b o s Amaz on as
Paro di Preludio ad un a
Commedia 14 [G]
SU L PONTICELLOS o li Bass
COMPOSER WORK PAGE MEASUREDeux EsquissesSymphon iques 19 1
Vio lin H an d Vio laMilh aud Ié'eSymphan ie 7 1 b [2 5]
Vio lin I , I I , an d Vio laR ead Sketches of the C ity 4 [1] 3f
Vio lo n c ello an d BassMiasko v sky SymphonyNo. 8 1 24 [2 3 ]
Vio lin I , Vio la, an d Vio lo n c elloThree Excerp tsfromWozzeck
”5 6 l b [380]
Vio lin I , H, Viola , an d Vio lo n c elloHo n egger Pacific 2 3 1 1 1
(4) PIZZICATOVio lin I an d H
De b ussy Gigues 24 4b [14]
Vio lo n c elloI n gh elb re ch t LaMe
’tamorphose d’Evc 17 2
Vio lin H an d Vio lo n c elloAn th e il S eren adefor S tring
Orchestra 2 [3 ] 4f
Vio la an d Vio lo n c elloI n gh elb r e ch t
'
S infon iaBreve No. 1
Vio lin H, Vio la, an d Vio lo n c elloI n gh e lb r e ch t S infon iaBreve Na. 1 58 [34]
Vio lin I , H, Vio la , an d Vio lo n c e lloViolin Con certo 77 [ 12 5]
38'
s
STR ING SVio lin I , H, Vio la, Vio lo n c ello , an d BassPAGE MEASURE COMPOSER WORK
S iegmeister Sun day in Brooklyn
(5) TREMOLO
Bar tok
S chmitt
G rofé
R oge r s
S ch o n b ergFerr oud
S e ssio n s
Ho n egger
Ho n egger
Le v an t
COMPOSERS ch iin b e rgSkil to nS tr auss , R .
STR ING SVio la (c o n td .)
S zyman owski Symphon ic Con certan te
Deb ussy_Deb ussyI n gh elb r e ch t
De b ussy
PAGE MEASURE14 2
3 9 5
S en semayd
PAGE MEASURE
WORK PAGE MEASURE COMPOSERFunfOrchesterstucke 27 1h [10] Th omso n
Suite Primeval, Part I I 7 I VaughanSymphon iaDomestica 63 [81 ] I f William s
pour Pian o et
Orchestre
Th omso n
I beria
L aMer
El Greco
Vio lin I I an d Vio la “
50 8_
Dukas27. I O
3 3 [I 9] si“
2 I I
9 6b [E]1 27 3
27 3 b [1 5]
A SurvivorfromWarsaw 6“
26
Pcllcas an dMelisan de 9 3
Vio lo n c ello[36] 4f R ev ueltas
[2 ] R imsky1b [80] Ko r sakofi
'
[1 ] Sh eph er dS till
[B] 2 f S tillman
[74] Ke lleyS trauss, R .
[40] S trav in sky
COMPOSER WORKI n gh e lb r e ch t S infon ia Breve Na. 1
Impression i dal Vera,. 1“Parte
Symphon yNo. 6
Violin Con certo No. 2
Symphon y No . I
Suite en Fa
Vio lin I , H,
An th e il
De lius
d e Falla S e ssio n s
de Falla
Ge r shwin
Go le stan
A Lon don Symphon yOverture to “
The
Con certo for Viola an d
Orchestra 1 3 2
Vio lin H an d Vio lo n c elloI n troduction an dAllegro Ko dély
for S trings 2 5 [1 5] 3 f NIiasko v sky
Vio lin I , II , an d Vio lo n c elloMagan in i S outh Win d 5 10 Rim sky
Ko r sakofi'
L e Coq d’
Or Suite 20 [I 4]
387
SU L PONT IC ELLOVio lin H an d Vio la (c o n td .)
PAGE MEASURE6 [4] 2f
80
1 5 3
86
3 1
83
[3][I I 5][82 ][1 3 ][43]
COMPOSERS e ssio n s
S trauss , R .
S trauss , R .
Tan sman
Suite from The BlackMaskers
Sh o stako v ich Symphony No . 1
S iegm e iste r Frommy Win dowS iegm eister Oz ark S et
S trin gfie ld A Negro ParadeTaylo r Through the Looking
Glass
Bar ték
Deb ussy
Gould
Bar tok
De b u ssy
A tterb e rg
Musicfor S trings,
62 1
17 [L]
S o lo Vio la an d Vio lo n c elloWORK PAGE
Pierrot Lun aire 43
Vio lo n c ello an d Bass
Percussion an d Celesta 68 17
L aMer 104 [5 1] Th omson
S o li Vio lo n c ello an d Bass145
Vio lin H, Vio la, an d Vio lo n c e lloProkofiefi
'
R imskyKo r sako ff
S ch r eke r
MEASURE[30] 3 f
[145]
Alexan derNevsky
29 2 12
STR ING SVio la an d Vio lo n cello
PAGE MEASURE COMPOSERGouldG rofé
Kab ale v sky
Vio lin I , H, Vio la, an d Violo n c ello28 3 Ho lst129 [482 ] Kn ippe r
5 2 [53] I f R ead1 1 1 2 b [29] R e spigh i
108 [63 ] Sain t- Saén s
1 3 7b [10]
PAGE MEASURE
40 [3 1 ]
Vio lin HPAGE MEASURE COMPOSER
R oussel
5 1 [AB]S ch o n b erg
5 5 [345] zf
Vio laIn gh elb re ch t La Valse Retrouve
’
c 4 [37]Mahler Das Lied van der Erde 44 [1 1] 4fProkofiefi
’
Alexan derNevsky 50 [32 ] 2fWalto n Facade, Suite No. 2 3 [A]Walto n Symphon y 92 8
2 1 1h [A]
Vio lo n c ello66 [65] 6f Mah ler 3 5 180
2 19 9 R im sky81 1 Ko r sakofi
'
25 1 619
60 2
1 3 s 85 [30]
Vio lin H an d Vio la124 2 Fitelb erg
77 [50] Kab ale v sky1 34 [62 ] Prokofiefi
’
49 [2 5] R ousse l
so [42 ]
Vio lin I an d H4 [3] 3 f R oger s .
1 1
2 [B] R udh yar
40 [42 ] S ch r eke r
68 1
38 1b [2 5]
Parodi
Prokofiefi’
SUL PONTICELLOVio lin I , H, an d Vio la
PAGE MEASURE COMPOSERPr okofiefi
'
I 4 2 b [370]Prokofiefi
'
42 [3] Prokofiefi’
7 1b [2 5] S ch ellin gS travin sky
3 0 1b [P]
S o li Vio lin I, II , an d Vio la
WORKC in derella S uite No. 1
COMPOSER WORK PAGE MEASURENewEnglan d
Ke lley Symphon y 125 14
Vio lin I an d Vio lo n c elloBlan cafo rt Mali dc Festa a Puig
Gracias
So lo Vio lin an d Vio lo n c e llo1h [1 5]S ch o n b erg Pierrot Lun aire 3 2
Vio lin H an d Vio lo n c elloS trav in sky L e Sacre du Prin temps 108 [1 3 5] 2f
Vio lin I , H, an d Vio lo n celloS travin sky Petrouchka S uite 1 5 3 4b [129]
Romeo an djuliet, SuiteNo. 1
Vio la an d Vio lo n c elloL o efile r
Prokofiefi'
Prokofieff
S olo Vio la an d Vio lo n c elloPierrot Lun aire 3 5 [5]
Vio lo n c ello an d BassS ch ellin g
1 24 [79] S trav in sky
39 1
A Victory BallPetrouchka Suite
STR ING SVio lin I , Vio la, an d Vio lo n ce lloPAGE MEASURE COMPOSER PAGE MEASURE
Walto n 101 r
1 1 1 [143]
S o li Vio lin I , Vio la, an d Vio lo n c elloCOMPOSER WORK PAGE MEASURES trav in sky Orpheus S7 [143]
Vio lin H, Vio la , an d Vio lo n celloBar tok Dan ce Suite 3 4 26 I Prokofiefi
’
Peter an d the Way 22 [18] I f
Vio lin I , H, Vio la , an dViolon c elloBartok Musicfor S trings, Jo liv e t
Percussion an d Celesta 24 1 5 5
Be cke r Con certofor Horn an d Mahler
Orchestra Mah le r
Pr okofiefi'
GouldWalto n
In gh elb rech t
Vio lin H, Vio lo n c ello , an d BassMacDowell 2 n d Suite (I n dian ) 46 [D]
Vio la ,Violo n c ello , an d BassProkofiefi
'
Alexan derNevsky 53 [34] Walto n Con certofor Viola an d
Orchestra 24 3
Vio lin I , H, Vio la, Vio lon cello , an d BassTh ree Excerp tsfiam Prokofiefi
’
Romeo an dJuliet, Suite“Wozz eck
” No. I
Alexan derNevskyCin derella Suite No. 1 Sun day in Brooklyn
Chapter 54
SUL TA STO
English I talianFin gerb oardFlute—likeOn [ov er] th e fin gerb oard
NATURAL POSITIONNatural (position ) Modo o rdin ario Jeu o
'
rdin aire Gewoh n lich
Non sul tasto(for further termin ology see Chapter 52 , page 372)
PAGE
1 5 [H]
COMPOSER
Halfi'
te r Deux Esquisses Daphn is ci Chloé,Symphon iques Suite No. I
S o li Vio lo n c ello an d BassRav el Rapsodie Espagn ole 59 2 b [12 ]
Vio lin I , Vio la, an d Vio lo n c elloR av el Rapsodie Espagn ole 61 [1 3] I f
Vio lin H, Vio la, an d Vio lo n celloMusso rgskyRav el Pictures atan Exhibition
394
COMPOSER
Milhaud
Vio lin IWORK
S héhe'
raz ade 50 1b [3 ]
Saudades do Braz il 77 5 Symphon y No. I
Rav el 23 [12]
Jeux
SUL TASTO
Vio la, Violo n c ello , an d BassPAGE
3 [73 ]
(2 ) ON HARMONI C S
Vio lo n cello an d BassCasella
Vio lin I , Vio la , an d Vio lo n c elloS trav in sky Le Sacre du Prin temps 73 1h [81 ]
Deb ussy 3 5 [2 1]
Vio lin H an d Vio lo n celloMah le r Symphony No. 6 226 [145]
41 [305] I f
Vio lin I , H, Vio la , an d Vio lo n celloViolin Con certo 77 [12 5]
de Falla
La Damoiselle Elue
PAGE MEASURE
70 [71]
104 1
26 [19] I of
Ch ausso n
Poulen c
R av el
Bloc h
WORK
jeuxDas Lied von der Erde
Symphon ic en S i b i‘m
'
ol
majeur
Trois Poémesjui/s
[93[ I I ] 4f
Vio la
PAGE MEASURE
14 {u }
Con certo for Viola an d
Orchestra
17 [ 1 5]
STR ING SVio lin I (c o n td .)
PACE MEASURE COMPOSER22 5 R ou
’
ssel
S trav in skyWalto n
Daphn is etChloé,Suite No. 1 4 [74]
MaMere l’Oye 7 5
Rapsodie Espagn ole 67 [18]Fire- Bird Suite (19 19) 68 [4]Le S acre da Prin temps 83 2 b [ IOO]Con certo for Viola “
and
Orchestra
WORKPetrouchka Suite
Bar ték Musicfor S trings,Percussion an d Celesta 73 36
Deb ussy Prelude a l’
aprés-midi
d’
un Faun eS iren es
NewYear’
s Eve in
Vio la, Vio lo n c ello , an d Bass7 [1 ] Walto n
Wh ith o rn e
Vio lin H, Viola, Vio lo n c ello , an d Bass12 2 Prome
'
thée, Le Paeme
5 5 3 b [2 2 ]
Vio lin I , H, Vio la , Vio lon cello , an d BassDe b ussy S iren es 104 2 Halfi
'
ter Deux EsquissesSymphon iques
Ch asin s
Ch ausso n
57 2
R o ssin i
Das Lied von der Erde Symphon yS ongs ofa Wayfarer
STR ING SVio lin H, Vio la, an d Vio lo n celloPAGE MEASURE COMPOSER1 1 1 [41 5] S trav in sky
‘
3 [ I ]
Violin I , H, Vio la, an d Violon celloR av el
R av el
R ead
S ib elius
S ib elius
S ib elius
S trav in sky
I H, Violo n c ello , an d BassWORK PAGE
The DreamPedlar 22
SUL TA STO
S o lo Vio linPAGE MEASURE COMPOSER WORK3 1 1h [5] S trav in sky
S o li Vio lin II beria 94 2 b [59] R e spighi Metamorphoseon , XI I
Philharmon ic Waltzes 29 [3 39] Modi 42 [2 1 ]
Vio lin HJo liv e t
24 [G]83 2 b [160] Mahle r
3 2 [16] Mah ler
20 1 R udh yar
S travin sky
Deb ussy
R av el
Mah le r
S o li Vio lin I an d HCOMPOSER WORK PAGE MEASURES zyman owski Symphon ie Con certan te
pour Pian o et
Orchestre I 3 [7] 2f
5 3 75
Walto n
Rav e l
S o li Vio laS trav in sky L e S acre du Prin temps 72 [79] 4f
399
Deb ussy
R udh yar
Deb ussy
Mah ler
Ib ert
Premiere Rhapsodie
Ron de burlesque
Ron des de Prin temps
SymphonyNo. 8
La Ballade de la Gedlede Reading
Premiere RhapsodieDas Lied von der ErdeS injb n ietta
I O I
R av el
Vio lin I an d ViolaFive S tan z as
Violin H an d Vio la16 3 R av el
Vio lin I , H, an d Vio laS ch reker
Walto n
62 [44] 2f
Vio la an d Vio lo n cello3 3 [9] S travin sky
75 [14] S trav in sky
29 4 Walto n
I 7 Wfl sf
Rapsodie Espagn ole
On ce Upon a Time,Five Fairy Tales
Fire- Bird Suite (1919)Orpheus
Facade, Suite No. 1
64. [1 5] 2 f
23 2
22 [12 ] 4f'
16 [3 sl42 3
STR ING SVio lo n c ello
MEASURE COMPOSER[ 16] Mahle r
[46] R av e l
2 Riv ier
1
-Vio lin I an d Violon c ello15 [8] R ogers
3 6 3
23 [2 1]
Vio lin I ,H , an d Vio lo n c elloMahlerMahler
STR ING S
(6) SUL TASTO AND SUL PONTICELLO COMB INED
Vio lin H sul tasto—Vio la sul pon t .WORK PAGE MEASURE COMPOSER MEASURE
De b ussyTrian a 24 [G] An se rme t
Vio lin I an d H sul tasto—Vio la an d Vio lo n cello sul pon t.COMPOSER WORK PAGEVaughanWilliam$ Pastoral Symphon y 90 5b
402
English
Half [Q] muted—half open
Chapter 5 5
MUTE S
(for termin ology see Chapter 19 , page 104)
(1 ) MUTED AND OPEN COMBINEDI talian
La prime [10] metaco n sord. La premiere [1m] mo in e
la secun da [20] meta sen za av ec sourd.—la deuxiemesord. [2 7716 ] mo itié san s sourd.
Vio lin I div isi (co n an d sen za so rd .)
COMPOSER WORK PAGE MEASUREBliss Con certojbr Pian o an d
Orchestra 1 15 [63] 5f
Vio lin I con sord.—So lo Vio lin I sen za sord .
Vio lin H co n sord.—Vio lin I sen za sord .
Mahle r Symphon y No. 3 1 3 5 [2 ]172 ,
r
Violin H con so rd.—S o lo Vio lin I sen za sord.Mahle r Symphon y No. 3 2 3 [18] 4f
'
Vio lin H con sord .—Vio la sen za sord .
Mahler Symphon yNo. 8 1 5 3 l b [124]
Vio lin I an d H divisi (con an d sen za sord .)
Dukas Polycuctc, Ouverture 3 6 [R ]
S o li Vio lin I an d H divisi (co n an d sen za sord.)Alb en iz
Arb é s ElAlbaici’
n
403
German
Die erste [1] HalftemitDamfer—die zweite [2] Ha te
Ohn e Dimpfer
WORK PAGE MEASURE COMPOSER WORK73 [49] I f Mahle r Symphon yNo. 7
3 1 [C ] I f
STR ING SSo li Vio la co n so rd .
—Vio la sen za sord .COMPOSER WORK PAGE MEASUREMah ler Symphon yNo. 8 164 2 b [148]
Vio lo n c ello con so rd .- S o lo Vio lo n c ello sen za so rd .
James Suite for S tringOrchestra
Vio lo n c ello co n so rd.—S o li Vio lo n cello sen za so rd.Deb ussy S ixEpigraphesAn serme t An tiques 24 1
S o li Violo n cello divisi (co n an d sen za sord .)Walton Facade, Suite No. 1 40 4
Bass co n sord .—S o li Bass sen za so rd.
Féte- Dieu d Seville 41 2
Vio lin I an d Vio lo n c ello div isi (con an d sen za sord .)
Alb en iz_
Arb OS Fé'
te- Dieu d S éville I 6 1
S o li Vio lin I , Vio la , an d Vio lo n ce llo con sord .—Vio lin I , H, Viola, an d Vio lo n c e llo sen za sord .COMPOSERBerg
WORK PAGE MEASURE COMPOSER WORKThree Excerp tsfrom De b ussy“Wozzeck
”22 2 b [5]
Vio lin I , H, Vio la , an d Vio lo n c ello divisi (co n an d sen za so rd.)
Mah ler SymphonyNo. 4
19 [H] R eger Variation s on a Theme
ofMozartS cho n b erg Funf Orchesterstucke
PAGE MEASURE2f
S o li Vio lin I , H,Vio la , an d Vio lo n c ello con sord .
—Vio lin I , H, Vio la , an d Vio lo n c ello sen za so rd .
Dukas 128 [19 b is]
Vio lin I , H, Vio la , Vio lo n c ello , an d Bass div isi (Con an d sen za sord .)E lgar Con certojb r Violin an d
Orchestra 88 [10 1]
STR ING S
(3 ) MUTE S OFF GRADUALLYEnglish I talian Fren ch German
Gradually remo v e mutes c an o successivamen te i Les Vo n s. [Altos, Velles, Allmahlich Sordin en abMutes off gradually [o n e b y sordin i C .Bs.] en levero n t leurs alim. S ord. ab
b y o n e] Sen za sordin i po co a po co sourds. l’un aprés l’
autre Dampfer allmahlich abR emove [take off] mutes Sen za sord. leggio a leggio Otez les sourdin es petit a Dampfer n ach un d n ach
gradually [o n e b y o n e] Togliere successivamen te le petit [un e aun e] ab n ehmenR emov emutes imperceptib ly so rdin e Otez progressivemen t les Nehmen n ach un d n ach die
sourdin es Dampfer ab
PAGE MEASURE
5 3 3b [3 3]
Mah le r
S ib elius 5 1 5 1 5
MEASURE WORKSun day in Brooklyn
43 l b [240]
Vio lo n c elloEvocation s 5 [5] 2f Deb ussyRon doArlecchin esco 7 [7] 5f An serme t
Vio lo n cello an d BassR av el Daphn is etChloé,
Pictures atan Exhibition 46 [38] Suite No. 2 I [1 55]
Vio lin H, Vio la, an d Vio lo n c elloC oplan d Musicfor Radio 3 6 2
Violin I , H, Viola, Vio lo n celloGulliver—His Voyage Th omso n The S ein e atNight 3 3 [17] 3f
to L illiput 141 [N]
Vio la , Vio lo n c ello , an d BassMah ler Symphon yNo. 8 2 10 [205] I f
406
COW OSER
Rav el
Wagn er , R .
407
8 82
MUTES
H, Vio la, Vio lo n c ello , an d
MEASURE COMPOSER[36] Tan sman
[1 3] I f
[K]
Harmon ic on G [C ; D ; A ; E]strin g
NATURAL HARMON IC S
Chapter 56
(for termin ology see Chapter 41 , page 2 57)
(1 ) HARMONI CS
I talianArmon ico sul G [C ; D ; A ; B]corda La ;Mi]
Harm . Arm. Ha rm.
Barték
Vio lin HS trav in sky Le Sacre duPrin temps
Vio lin I an d HBarték Secon d Suite
Wagn er , R .
R e spigh i
Stravin sky
408
Harmo n ique a Sol [Ut ; R 6
5 [3] 9f
27 1
77 [87]
9 2 b [8]
41 6b [10]
62 [12 5]
German
Flageolett auf der G—[C ; DA ; E] Saite
V’ORK
Ko rsakofi’
RimskyKo r sakofi
'
L e Coq d'
o r SuiteRimsky S cheherazade
Ko r sako fi'
1 16 [70] 3 t“
39 [185]
Toccata,Bourrée, etGigue 7 8b [9]Le Poéme de l’Extase 29 1
Prome'
thée, L e Poéme da
Prokofiefl'
S trauss , R .
S trav in sky Ren ardS travin sky S ce
‘
n es de BalletR ead Tchaiko v sky Symphon yNo . 6,
“Pathétique” 74 22
S o lo Vio lin IS trauss, R . Ein Helden leben 49 2 S trav in sky Chan t du Rossign ol
Dan ce Suite Apollon Musagéte
Violin Con certo4 10
STR ING SVio lin I (co n td .)
MEASURE COMPOSER2 b [9] R eger
1
9
NATURAL HARMONIVio lin H
PAGE MEASURE COMPOSER29 97 R oger s
12 4b [5]5 3 2 b [8]4 [4]19 [F] 84 [521 2f
41 1 S trauss, R .
40 6
2 5 1
1 54 [ I 9]
2 1 [17]104 1
5 5 [2 5] 2f
Bar tok
R e spigh i
Br itte n
Vio la
Bar tok Britte n
28
STR ING SBass (c o n td .)
WORK PAGE MEASURE COMPOSER MEASURETrois Poémesjutfs 60 10 R av e l
74 IBritten
S trav in sky
S trav in sky
Britten S injb n ia da Requiem 57 5 Histoire du S oldat
S o li BassI b er t LaBallade de la Gedie Gulliver—His Voyage
95 5b [71] Kelley to Lilliput
Vio lin I an d Vio la40 [12] S travin sky Dan ses Con certan tes 41 [65]108 3 Tchaiko v sky Variation s on a Rokoko
2 2b [10] Theme 2 1 171
NATURAL HARMONIC SVio lin H an d Vio la
COMPOSER WORK PAGE MEASURE COMPOSER83 3 Fe rro ud
Bar tok Ko dély1 03 7
Pisto n
Bar tok 64 2 b [47]
103 1
S o lo Vio lin I an d Vio lo n c elloWORK PAGE MEASURE
Don Quixote 61 3
Ri egger
S cheherazadeS cén es de Ballet
S o li Vio lin I , H, an d Vio lo n celloBo ro din Polovetz ian Dan cesfrom IVliasko v sky Symphony No. 8 127 [27] I f
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STR ING SVio la an d Vio lo n cello
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In gh elb re ch t L aMétamorphose d’Eve 8 [7]In gh elb rech t S infon iaBreve No. 1 58 [34] R av el
Vio la an d BassBlo ch S chelomo S trav in sky L e Sacre duPrin temps 77 [87]
Vio lo n c ello an d Bass90 [96] E n e sco 2
° Rhapsodie Roumain e 23 2
44 1 R av e l MaMére l’Oye 7
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Vio lin I , Vio la, an d Violo n celloCon certofor Orchestra 3 1 [52 ] Rav el
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Vio lin H, Vio la, an d Vio lo n c elloCOMPOSER WORK PAGE MEASUREMusso rgskyR av el Pictures at an Exhib ition 10
Vio lin I , H, Viola , an d Vio lo n c elloLiado v Baba—Yaga
4 [5] Pis to n Suitefor Orchestra59 2 b [2 6] Pisto n Prelude an dAllegrofor18 [H] Organ an d S trings75 1 S trav in sky Pulcin ella Suite
Tchaiko v sky S eren adefor S trings50 [191 2 f
20 3
Vio lin I , Violo n cello , an d BassCo plan d Third Symphon y 90 2 b [83]
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PAGE MEASURE
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Daphn is et Chloé,Suite No . 2
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R av e l MaMére l’Oye
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STR ING SS o lo Vio lo n cello
PAGE MEASURE COMPOSER PAGE MEASURE1 12 [14] 3 f R ogers
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Con certofor Orchestra 69 [3 1 ] R av el
Divertimen tofor S tringOrchestra 1 5 [171] I f R av e l
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An tiques 58 2 Rav el
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Vio la an d Vio lo n c ello1 5 [ 10] R av el Rapsodie Espagn ole
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STR ING SS o li Vio lin I
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Dan ce SuiteL es I llumin ation s
Impression s d’
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L e Tombeau de Couperin 6 1
WORKL e Festin de l’Araign ée
26 3 b [9]
S cheherazadé 2 5 3 627
Also Sprach Zarathustra 74 3
Chan t da Rossign ol 78 [90]Feuerwerk 1 1 [10] I f
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Chan t du Rossign ol 41 [42 ] 3fL e Sacre du
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PAGE MEASURE
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R av el
BrittenR av e l
S trav in sky
Casella 34 [5 1 ]
I 4 [9] 4f
Blo ch 85 [18] 4f
Milh aud S audades do Braz il Valses Nob les et
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S o li Vio lin I an d Vio lo n c elloCasella Pagan in ian a 1 12 [14] 3 f
Vio lin I , H, an d Vio lo n c elloBlo ch Trois Poémesjufls 3 2 1
Vio lin I an d BassE lAmorBrujo 40 1 Con certo pour la main
gauche 59 1
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Vio lin H an d Vio laTrois Poémesjuzfs
Vio lin I an d Violo n cello58 1 1 R av e l
PAGE MEASURE
5 5 I
Vio la an d Violo n celloPAGE MEASURE COMPOSER WORK PAGE MEASURE69 [6] I f S trav in sky Dan s
'
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49 [178] I f
Vio la an d BassBlo ch Trois Poémesjui s 49 [5] I Rav el La Valse
Violo n cello an d BassBlo ch Evocation s 49 2
Vio lin I , Vio la , an d Vio lo n celloBlo ch Voice in the Wildern ess 5 3 2 R av el Rapsodie Espagn ole 73 [22 ]
Vio lin H, Vio la , an d Vio lo n c elloS trav in sky Le S acre du Prin temps 84 [101]
Vio lin I , H, Vio la, an d Violo n celloBritten L es I llumin ation s 17 3 Par odi Preludio ad un a
Commedia
Vio la, Vio lo n c ello , an d BassR av el S héhérazade 9 1 S trav in sky Petrouchka Suite 49 [37]
Vio lin I , H, Vi o la , Vio lo n c ello , an d BassROussel Suite en Fa 88 [47]
Alborada del GraciosoLa Valse
COMPOSER MEASURE WORK
R oussel
S trav in sky
Rav el
3 18ac tual p i tc h
Bar té k Dan ce Suite 27 75 MaMere l’oye 3 4 [1 ] 5f30 102 Suite en Pa 88 [47] I f
L es I llumin ation s I 6 4 Con certo en Ré pour
E lAmor Brujo 41 I Violon etOrchestre 3 9 [84]L e Tombeau de Couperin 4 [3 ] 6f S trav in sky Fire- Bird Suite (19 19) 27 [2 ]
S oli BassWORK PAGE MEASURE
L e Sacre du Prin temps 62 1h [72 ]80
Vio lin I an d Vio lo n c elloDan ce Suite 43 [3 1 ] R av e l Valses Nobles er
S audades do Braz il 58 1 1 Sen timen tales
Vio lin 11 an d Vio lon c ello3 1 1 1 1 R av e l 14 [9] 4f
59 1
NATURAL HARMONIC SViolin I , n , an d Vio lo n c e llo
WORK PAGE MEASURE
Pictures atan Exhib ition 1 10 [9 1]
COMPOSER WORK PAGE MEASURETz igan e 8 6
Valses Nobles et
Pictures atan Exhibition 5 3 5 S en timen tales 22 [20]Rapsodie Espagn ole 1 1 [9] 7f
Vio lin I , Vio la , an d Vio lo n c elloR av el Rapsodie Espagn ole 74 1
Vio lin H, Vio la, an d Vio lo n c elloTrois Poémesjuifs 3 2 1 Rav el Tz igan e 12 [I 1]
S o lo Violin I , H, Vio la, an d BassS travin sky Pulcin ella Suite 36 [56]
(8) MAJOR 6th
a c tu a l p it c h i s 8
45 [1] 2 f Rav e l
58 1 1
R o ussel
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Vio lin I an d IIMilh aud Saudades do Braz il i
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427294 6 4 29
Vio la an d Vio lo n c elloMEASURE COMPOSER[1 1] Rav el
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Vio lo n c ello an d BassRav el
STR ING S
a c tu a l p it c h i s 8
COMPOSER WORKMilhaud L e BalMartin iquais
Le Tombeau de
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R av e l
a c tu a l p i t c h i s 8
Musso rgskyRav el Pictures atan Exhib ition 95 [77] I f
R av e l Tz igan e I 6 1
a c tu a l p it c h i s 8
A lborada del GraciosoL e Tombeau de
Vio lin I an d Vio lo n celloCOMPOSER WORK PAGE MEASURE COMPOSER PAGE MEASURE
Alborada del Gracioso 14 [9] 4f R av e l
59 IVio la an d Vio lo n c ello
Alborada del Gracioso 17 [12 ]Pictures atan Exhib ition 96 [78] 5f
428
STR ING SVio lin H
COMPOSER WORK PAGE MEASURE COMPOSER WORK PAGE MEASUREd ’In dy Jour d
’
étéd laMon tagn e 47 [20]Ar b é s ElPuerto 3 5 [0 ] I f Mahle r Das Lied von der Erde 37 4b [47]
Vio lin I an d H2 Idilli S iraalsan i Ho n egger L e Chan t de Nigamon 2 2 b [7]
Vio laCoppo la Symphon ie en L a trav in sky Orpheus
min eur 70 4b [9]
Vio lo n c elloMah ler Das Lied von der E rde 80 [2 2 ] 7f
92 [1 1]Verklarte Nacht 28 1
27 2 25 7“
S o li Vio lo n c elloS trauss, R . S alomé
’
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18 1
S o li BassKo dély Psalmus Hungaricus ~ 43 [26]
Mah ler 17 [12 ]
Vio lin H an d Vio laLiszt Hungarian Rhapsody
Vio la an d Vio lo n c elloVerkldrte Nacht 5 1 3 Salomé
’
s Dan ceE in e Alpen sinjb n ie 46 [42 ] Amazon as
NATURAL HARMONIC SS olo Vio la an d Vio lo n c ello
WORK PAGE MEASUREThree Excerp tsfromWozzeck
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S o lo Vio lo n c ello an d BassCharpen tier Impression s d
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Italie 125 [32 ]
Vio lin I , H, Vio la , an d Vio lo n ce lloCOMPOSER WORK PAGE MEAS COMPOSER WORK PAGE MEASURE
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Vio la, Vio lo n c ello , an d BassS ib elius 3 2 [K] 7f
Vio lin I , H, Vio la, Vio lo n c ello , an d BassMah le r Symphony No. 1 3 1
Blo ch 18 4b [10]
Ha rm.
S o lo Vio lin IS ch o n b erg A SurvivorfiomWarsaw
S o lo Vio lon c elloPierrot Lun aire
43 1
PAGE MEASURE WORK PAGE MEASURELe Sacre da Prin temps 77 [87]
22 I
Ha rm.
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S o li Vio lin I
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Vio lin HIn gh elb rech t Rapsodie de Prin temps
Violin I an d HR oussel Le Festin de l’Araign ée 5 5 3
1 1 3 [3 3]90 [E] LaProcession Nocturn e 30 3
2 2 b [7] Evocation s, I 1 1
S o lo Vio laWalto n Con certojb r Violin an d
Orchestra 5 1 5
R oger s Villa- Lo b o s Dan sesAfricain es
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43 2
Vio lo n celloS trav in sky Fire- Bird Suite (19 19) 27 [2 ]
So lo Vio lo n celloWORK PAGE MEASURE COMPOSER WORK
S infon ia da Requiem 57 3 S ch iin b erg A SurvivorfiomWarsaw
S o li Vio lo n c elloS trav in sky Le Sacre du Prin temps 80 [9 1 ]
Blo ch Trois Poe‘
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Evocation 19 [H] 3f
Vio lin I an d HMilh aud S audades do Braz il
Ch arp en tier Impression s d’
I talie 154 [52 ] 4 1 Villa - Lo b o s 89 [2 5]
Vio la an d Vio lo n c elloVilla- Lo b o s 78 [20]
S ch o n b e rg 5 1 3
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434
NATURAL HARMONIC S
COMPOSERVilla- Lo b o s
Fauré
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S ch o n b e rg
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Vio lin H an d Vio laDan ses Africain es
PAGE MEASURE9
88
26
3 3
Vio lo n c e llo an d S o li BassFunf Orchesterstucke
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Vio lin IPAGE MEASURE COMPOSER WORK45 9b [10] Villa- Lo b o s Dan sesAfricain es9
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88 [771 2f
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Villa- Lo b o s 1 23 [17]
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S o lo Vio lo n celloS ch o n b erg Pierrot Lun aire 26 [10] I f
436
COMPOSER WORKCasella Pagan in ian a
In gh elb r e ch t La Valse Retrouvée
S infon ietta
S oun d
Notat ion
S t r in gs
Ferroud AuParcMon ceau
S ou n d
Notat i on
S t r i n gs
Vio lin HPAGE MEASURE COMPOSER1 16 [3 ] I f In gh e lb rech t
12 14 Nlilh aud
24 3 b [49]
Vio lin I an d H81 [47] I f Guarn ieri S avage Dan ce54 2
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I n gh elb re ch t El Greco
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In gh e lb rech t LaMétamorphose d’EveS trav in sky Pulcin ella Suite
24 3
NATURAL HARMONIC SS o lo Vio lo n c elloWORK PAGE MEASURE
Pulcin ella Suite 2 2 [2 7]
S o li Vio lo n c elloCasella Pagan in ian a 107 1
S oun d
Notat io n
S tr in gs
Bar tok Divertimen tojb r S tringOrchestra 19 [2 5] I f
S o lo BassS trav in sky Con certo en Ré pour
Orchestre d Cordes 17 [60] I f
Vio lin I an d Vio laToccata, Bourre'e, etGigue 26 [19] I f
Vio lin H an d ViolaDeb ussyAn se rmet An tiques 37 [A]
Vio lin I , H, an d Vio laBlo ch America
Vio lin I an d Vio lo n c elloKo dély Galan ta Dan ces 2 1 [181]
439
STRING SVio lin H an d Vio lo n c ello
PAGE MEASURE COMPOSER WORK5 [3] Sf R av el Alborada del Gracioso
Vio lin I , H, an d Violo n c elloWORK PAGE MEASURE
S chelomo 8
Vio la an d Vio lo n c ello59 2 2 Deb ussy Ron des de Prin temps
Vio lin I , Vio la an d Vio lo n c elloFerro ud AuParcMon ceau 23
Vio lin H, Vio la, an d Vio lo n celloBarték Dan ce Suite 38 46
440
PAGE MEASURE
20 1 39
PAGE MEASURE
2 3 1 56
1 3 [44] 21"
Ko dély 41 [2 5]
Vio lin I an d Vio laR udh yar Five S tan zas '
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Vio lin I , H, an d Vio laMah ler Symphon yNo. 6 1 30 [92 ] 4f
Prokofiefi'
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S o lo Vio lin IKo dély Summer Even ing 52 [3 30] 7f S trav in sky Le Sacre da Prin temps 75 [83 ]
442
ARTIF IC IAL HARMONIC SS o li Vio lin I
WORK PAGE MEASURE COMPOSER WORKThree Places in New R achman lu
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Vio lin HProkofiefi
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Romeo an dJuliet, Suite Tchaiko v sky Variation s on a Rokoko
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Barb er
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Deb ussy
Vio lin I an d Vio lo n c elloStrav in sky Fire- Bird Suite (1919) 15 1 Strav in sky Le Sacre da Prin temps 74 [82 ] I f
Vio la an d Vio lo n c elloHo n egger Symphon ie Liturgique 109 [17] S trauss, R . E in e Alpen sinfon ie 5 1 1
Vio lin I , Vio la , an d Vio lo n c elloS trav in sky Le Sacre du Prin temps 73 [80] 2f
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443
30
STR ING SVio lin I , H, Vio la, Vio lo n cello , an d Bass
COMPOSER WORK PAGE MEASURES trav in sky Fire-Bird Suite (1919) 14 [17]
(3 ) MINOR 3 rd
Vio lo n c e llo an d BassS trav in sky Fire—BirdSuite (19 19) 71 [1 1 ]
(4) MAJOR 3 rd
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S trav in sky 1 1 1b [10]
(5 ) PERFECT 4th
Vio lin IWORK MEASURE COMPOSER
83 3 Blo chCon certo
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Violin Con certo 57 [32 ]
STR ING SVio lin II (c o n td .)
PAGE MEASURE COMPOSER WORK PAGE MEASURE22 4 S iegme iste r Western S uite 5 1 [ I 5] I f
S till Dismal Swamp 4 [3 ] 8f2 3 [24] S trav in sky L e Sacre du Prin temps 91 [1 1 1]
The DreamPedlarAmerican Rhapsody
MEASURE
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63 [43 ]24 4
H 4 [79]De b ussy
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19 I
Fourth Symphon y 96 2
L e Roi David 2 26 I
S o lo Vio lo n c elloWORK PAGE MEASURE
Fire- Bird Suite (19 19) 69 6
S o li Vio lo n c elloR o se n thal L es PetitsMétiers
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Vio lin I an d Vio laVoice in the Wildern ess 5 3 2 Mo o re
Pupazz etti 37 [4] Pizz e tti
Symphon icMeta S trauss, R .
morphosis qt Themes 74 3
by Weber Turn e r
Milh aud L e BalMartin iquais 15 185
Vio lin II an d Vio la1 05 [95] 2 f Riv ier
S trav in sky165
'
[L] S trav in skyHo n egger 9 5
Vio lin I , II , an d Vio laA Legen d of the Case lla 29 2 b [6]Skerries 42 [ I 6] De b ussyDan ce Suite 43 [3 1 ] An serme t
Voice in the Wildern ess 87 I Diamo n d447
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So li Vio lin I an d Vio lo n c elloS trav in sky
Vio lin I , II , an d Vi o lo n cello
29 [50] 3f
Vio la an d Vio lon cello
S o li Viola an d Vio lo n c elloFéerique
Vio lin I , Vio la, an d Vio lo n c ello
Deb ussy
Miragespour Orchestre,No. I
448
Louisian a S tory Suite
PAGE MEASURE
2
Litan ies des Femmes
Le Sacre du Prin temps
Horace VictorieuxAlborada del Gracioso
62 1h [72 ]
STR ING SVio la
PAGE MEASURE PAGE MEASURE
74 [75] I of
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Vio lin II an d Vio lo n c e lloWORK
Dan ce Suite
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Psalmus Hungaricus Divertissemen ts sur n uTe Deum Theme Pastorale 1 1 1
Vio lin IIC oppola Symphon ic en La Suitefor S tring
min cur 70 4b [9] Orchestra 23 [X]
Vio lin I an d IIViolin Con certo 77 [12 5] S ch iin b erg Verklarte Nacht 5 1 3
Suite I n tima 3 1 1
Vio laA Legen d of the Ein e Alpen sinfon ie 80 5b [74]Skerrics
Deb ussy Le Martyre de S ain tSebastien 12 1
Das Lied uon dcr Erde 80 [2 2 ] 7f1 5 [1 1] 4f
Symphon y No. 1 I 3 [8] 2f
ARTIFIC IAL HARMONIC SS o lo Vio lo n c elloWORK PAGE MEASURE
Con certo pour deuxPian os et Orchestre 34 [27] 2f
Vio lin I an d Vio laMahler Symphon y No. 3 182 2
Vio lin I , II , Vio la, an d Vio lo n c elloMahler Symphon y No. 3 188 4
S o li Vio lin I , II , Vio la , an d Vio lo n c e lloMah le r Symphon yNo. 8 207 [199]
Vio lo n c e lloWORK PAGE MEASURE COMPOSER WORK PAGE MEASURE
S chOn b e rg A S urvivor fromWarsaw 1 2 52
An tiques 2 1 2
S o lo Vio lo n celloS ch o n b erg A SurvivorfromWarsaw
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Evocation 22 [J] 3 fImpression s d
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Vio lin I IWORK PAGE MEASURE COMPOSER WORK PAGE MEASURE
Ho n egger Musique pour le
Evocation “Phaedre
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Milh aud 2m”S uite -Symphon ique 90
Ho n egge r Musique pour le“Phaedre
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S o li Vio lo n c ello ‘
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Vio lin I an d ViolaHo n egger Le Chan t de Nigamon 2 2 b [7]
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Vio lo n c elloPAGE MEASURE COMPOSER WORK PAGE MEASURE
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Vio lin I an d ViolaS ib elius Pcllcas an dMelisan de 29 1 1
Vio lin II an d Vio lo n c elloS ix Ep igraphesAn tiques
Vio la an d Violo n c elloSch o n b erg A SurvivorfromWarsaw 12 52
Ha rm.
S ch o n b erg.
Mohaupt 3 3 [26]
Vio lin I , II , an d Vio laHo n egger L e Dit desjeux dv
Mon dc 3 2 [4] 5f
454
Chapter 58
MULT IPLE D IV I S I
I talian Fren ch German
Dm sx a 2
Div isé en deux [2 ]Div . en 2
En 2
Tous divisés en 2 par ties égales
2 °mo itiéLa mo itié
So lamen te 1“metadi leggiI] I . di ogn i leggio
L’
altra me taImpari leggi
Pari leggi
10 di leggi
All’
o gn i leggio soltan to ii I0so n atore
I della I “metfi
(I ) DIVI S I a 3I talian
Divisi a tre [3]Div . a 3 ; a 3
Divisi in (r e [3] partiDiv isi 3 partiDivisi in [ II parti
Div ided in th ree equal parts Divisi a tre parti uguali Divisés en 3 par ties égalcs Zu 3 gleichen Th eile n
All the remain in g Vln s. Tutti gli altriVui. [V1e . ; Vclli Tous les autres [Alto s ; Simtlich fib rige Vio l. [Br[Vlas. ; V1c . ; Bs.] div . in 3 Ch i.] div . i11 3 parti uguali C B ] divisés en 3 Vcll. ; Kb .] in 3 gleich starkequal parts parties égales b esetzten Pattieren
Zweifach ge teilt2 -fach get.2 11 2
Alle in zwei gleichen Hi lfte n
ge teiltDie erste [I.] Hi lfteDie zweite [IL] Hi lfteI “Hi lfte
Die 1. Spieler
2“ I -lilfteDie 2 . Spieler
Die Hilfte
Nur die Hi lfte
Seulemen t 1" mo itié des Nur fie erste Hi lfte
pupitres der PulteL
’
autre in o itie Die an dere Hilfte(Les) Pupitres impairs U n gerade Pulte(Les) Pupitres pairs Gerade PulteLe s chefs des pupitres Ein e Spieler
Les (settles) An jedem Pulte n ur die erste1" dc chaque pupitre Spieler
Um[1] par pupitre
C oplan d
Deb ussy
Dukas
Glier e
WORKCon certofor OrchestraCon certo No. 3
for
Pian o an d OrchestraDan ce S uiteS econ d Rhapsody forViolin an d Orchestra 42
Vier Orchesterstucke 8
First Symphony 1 2
Fifth Symphon y 26
Evocation s 67
Schelomo 1 3
Symphon yNo. 8 6
Pagan in ian a 141
175
19
2 3
16
44
50
1
3 5
1 5 3
Short Symphony(No . 4) 3 2
I beria 3 7
48
63
Mah ler
Mahle r
Prokofieff
Pr okofiefi'
R ab an d
R achman in o ff
R e spighi
S e ssio n s
Polon aisefrom BorisGodun ov” 26
I O
C asella
De b ussy
Deb ussy
Fifth Symphony
STR ING SVio lin II (co n td .)
PAGE MEASURE148 63
53 3
64 [28]
41 [G]
COMPOSERWalto n
Walto nWh ith o rn e
Han so n
Ko d'
aly
Psalmus Hungarian s
SummerEven ing
The E n chan tedLakeS outh Win d
Magan in i Tuolumn e
Martin e t
Miasko v sky
Pictures atan Exhib ition 148
Po o t Symphon ic 36
Pr okofiefi’
C in derella S uite No. 1 147
R achman in off TheBells 96
R av el Con certo pour lamain 13
gauche 64
81,
[128]
[s][3 5]
MULTIPLE DIVI S IVio lin I an d II (c o n td .)
COMPOSER PAGE MEASURE COMPOSER PAGE MEASURES trauss , R .
Rav e l S travin sky
R av e l S trav in sky
R av el
S trav in sky
S trav in sky
S trav in sky Le Sacre dv Prin temps
Prométhée , L e Poémc
S 9 53 10 115S zyman owski Symphon ic Con certan te
pour Pian o et
OrchestreSymphon y in D maior
COMPOSERSh o stako v ich 85 [75]
Bar tok
Barb er
459I—(G4 29 )
Britten
Ho n egger
Mahler
Milhaud
Piz ze tti
Prokofieff
WORKTrois Poémesjuifis
Voice in the Wildern essEin deutsches Requiem
R achman in o ff 2d Con certo pourPian o
R achman in o ff
Rachman in off
R av e l
R av el
Sh o stako v ich
Walto n
Welle sz
460
etOrchestre
SymphonyNo . 1
S cherz o Fan tastique
Symphon y in C
72
7 74
STR ING SVio la (co n td .)
MEASURE COMPOSER[9] R achman in o ff
II 4]2 b [17][6] I f1
2
146
S travin sky
S travin sky Symphon ic de Psaumes
S zyman owski Symphon ic Con certan tepour Pian o et
OrchestreTan sman DeuxMomen ts
Symphon iques
d e Falla
Fitelb erg Symphon y No. 1
In gh elb rech t Pour 1cjour de la
premiére n eige au
vieuxJapanThree Places in New
Mah ler Das Lied von der Erde
Bar tok
2 1
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52
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Alborada del Gracioso
Ballata delle Gn omidiL
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S ch uman , W . American Festival
1h [73]
Vio lin I an d Vio laMahler
Musso rgskyR av e l
Rav el
R e spigh i
R e spigh i
462
Overture
STR ING SVio lo n c ello (c o n td .)MEASURE COMPOSER[1 1 ] 4f To ch
1b [2 1] Vaughan4 Williams
[88] Vaugh an[7] I f Williams
7 Vaugh an4b [7][22 ] Vaughan
Williams
Villa - Lo b o sWagn er , R .
S trauss, R .
Bar ték
Ho n egge r
Also Sprach Zarathustra
R e spighi
Symphony No. 6
Symphony No. 8
Q uatriéme Symphon ie
Vio lin I , II , an d ViolaKab alev sky
EvocationKab ale v sky
Rab an d
R av e l
Symphon ic pour Cordes
H 4 4
MULTIPLE D IVI S IVio lin I an d Vio la (c o n td .)
MEASURE COMPOSERS trauss , R .
S trav in skyS trav in skyWalto n
MEASURE
56 [6] 2fWagn er , R .
S criab in
34 3 3
Vio lin I an d Vio lo n c ello24 3 Mahle r Symphon yNo. 4
4 [2 ] I f McKay S infon iettaNo . 4
69 3 Rachman in ofi’
The BellsR ege r Requiem
Villa- Lo b o s Uirapuru
Vio lin II ‘
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’
Extase
I beria S I [34] 4fDas Lied von der E rde 2 3 [2 5] Wagn e r , R .
Alborada del Gracioso 3 9 [3 3 ]L a Valse 70 1 3 3 3 1
82 [61 ]
Vio lin I , II , an d Vio lo n c elloBar b er Bax
Milh audWagn er , R .
8 82
PAGE MEASURE
55 1
Vio lin I , II , an d BassLue n in g Two Symphon ic I n ter
7 [2 5]
464
STR ING SVio lin I , II , an d Vio la (co n td .)
PAGE MEASURE COMPOSER65 [192 ] S c riab in
76 1
48 3
STR ING SVio lin II , Vio la , an d Vio lo n c ello (co n td .)
WORK PAGE MEASURE COMPOSERE in Helden leben 70 [3 5] Wein b erger
Le S acre dv Prin temps 1 17 [1 56]The S ein e atNight 7 1b [4]
1 1 oh [7]
Vio lin I , II , Vio la, an d Violo n c elloRimskyKo rsakofi
'
S c riab in
FeuerwerkThe S ein e atNight
Pastoral Symphony
Wage n aar S infon iettafor SmallOrchestra
Vio lin I , Vio la, an d BassWORK
Symphony No. 8
Vio lin I , II , Vio la, an d BassIn gh elb rec h t Rapsodie dc Prin temps 2 3 I Mah ler Symphon yNo. 2
Vio lin ‘
I , I I , Vio lo n c ello , an d BassMahler Symphon yNo. 2 141 4b [4]
Vio la , Vio lo n c ello , an d BassSymphony No. 4 176 1 1 3 S ch r eke r The Birthday of the11° Symphon ic 27 [50] I f Infan ta, Suite
Vio lin I , Vio la , Vio lo n c ello , an d BassMiasko v sky SymphonyNo. 2 1 50 [49]
Vio lin II , Vio la , Vio lo n cello , an d BassS ch uman , W . Prayer in Time of War 26 2 68 S ch uman , W . Symphon yfor S trings
466
PAGE MEASURE
36 ih [n o]
28 4b [1 ]
183 [27]
19 3 b [75]
I S 95
MULTIPLE D IVI S I
(2) DIVI S I a 4
WORK PAGE PAGE MEASURE
S eren ade for S tringOrchestra
Mah le r
De b ussy
R av el
Deb ussy R av el
R av el
R eger
Deb ussy L e Martyre de Sain tS ébastien
Deb ussy
Ron des de Prin tempsS iren es
Dukas Sain t- Saen s
Go o ssen s S inflmietta
Violin IMEASURE COMPOSER
Haydn
Hin demithd ’In dy
d ’In dy
I n gh elb re ch t
Ko dalyLiado v
COMPOSER PAGE WORK PAGE MEASURE
Pastoral Symphon yAmaz on as
Daphn is etChloé,Suite No. 2
Te Deum L e Poéme de l’
Extase
Prométhée; L e Poémc
S trauss, R .
59 18
7 74
1 30 [65]
1 15 [80] I f
De b u ssy
Ron d‘
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STR ING SVio lin I (c o n td .)MEASURE COMPOSER
VaughanW illiams
Villa- Lo b o s
WORK PAGE MEASUREMagic Fire Musicfrom 48 I
“Die Walkure
”50 2
Con certofor Violin an d
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Vio lo n c elloBar b er Prokofiefi
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R achman in o ff Symphony No. 2
R achman in ofi’
The BellsR av el Alborada del GraciosoR av el Rapsodie Espagn oleR e spighi Con certo Gregorian o
per Violin o e
OrchestraR e spigh i The Foun tain s ofRome
Doh n an yi The Pin es ofR ome
Dun nL e Coq d
’
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Horiz on s
Symphon y No. 7
S ib elius The Bard
S trauss, R .
Liado v1 3 1
Das Lied von der Erde 3 5 [44]Symphony No . 6 228 4b [147]
1 1
77 [65] 4f
76 4b [6] S trauss , R . E in Helden leben
I 7 7
Mo e ran
STR ING SVio la (c o n td .)
PAGE MEASURE COMPOSER3 5 Wagn e r , R .
Walto n
Blo ch
Ho n egger
Mahler
Trois Poémes ] uifi
Appalachia
Symphon y No. 5 ,“From theNewWorl
Symphon ic LiturgiqueSymphon y No. 9
R achman in o ff Die Toten in sel
Mah ler
Bar ték
Symphony No. 6
Symphon yNo. 5
S econ d Suite
Wagn e r , R .
40 2
S trauss, R .
S trauss , R .
S tr auss, R .
Vio lin I an d Vio la183 9 S trauss, R .
Vio lin II an d Vio laProkofiefi
’
Vio lin I , II , an d Vio la102 [2 1] De b ussy24 [2 1] 3f85 [5] I f Deb ussy
TillEulensp iegel’
s
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Fire- Bird S uite (1919)Petrouchka S uiteAmazon as
Also Sprach Zarathustra
Also Sprach ZarathustraSymphon iaDomestica
L aMer
Ron des de Prin temps
2 1 1 12
55 1h [38]67 2 b [2]86 75
75 2
3 1
37 2
66 3
63 [81] I f
MULTIPLE D IVI S IVio lo n c ello (c o n td .)
PAGE MEASURE COMPOSER85 l b [1 17] Villa - Lo b o s97 [84] Wagn er , R .
62 [102 ] 3f2 3 1
72 1
92 [H]
WORK
50 [49]de Falla ‘
91 5
d’I n dy
Vio lin I an d Vio lo n c elloBar tok S econ d Suite 71 5b [34]
Ar b 6s Féte- Dieu d S e'ville 16 1
Vio lin II an d Vio lo n c e lloDeb ussy 84 2 I Mah ler 184 [28]
Vio lin I , II , an d Vio lo n c elloWORK PAGE MEASURE
S econ d Symphon y 10 2 b [4]
Vio lin I an d BassVilla- Lo b o s Amazon as 27 [10]
Vio la an d Vio lo n c elloRoma 5 5 1 1 Rim sky
Symphony No. 4 7 2 Ko r sakofi'
L e Coq d’
Or Suite44 [38] S ib elius, Symphon yNo. 7
Symphony No. 8 2 1 3 [2 1 1] S trauss, R . Also Sprach
Rapsodie Espagn ole 4 [3 ] 2f Zarathustra
Vio la an d BassIn gh elb re ch t Rapsodie dc Prin temps 7 2 b [3 ]
Vio lo n cello an d 'Bas'
s
Delius In a Summer Garden 14 5b [12 ] R avel 1 1 [9] 7fMahler Symphon y No. 7 42 [3 5] S trauss, R .
Rachman in o ff The Bells 102 [106] 62 1
Violin I , Vio la , an d Vio lo n c elloHo n egger
Ar b 6s ElAlbaicin 37 5b [Y]22 [6]
STR ING SVio lin I , I I , an d Vio la (c o n td .)
PAGE MEASURE COMPOSERMartin e t
R av e l
R av el
R av el
R av el
STR ING SVio lo n cello
PAGE MEASURE COMPOSER WORK MEASURES tillman Gulliver—His VoyageKelley to Lilliput 1 3 6 lOb [K]
Mah ler S trauss, R . Also Sprach Zarathustra 62 6
Vio la an d Violo n c e lloWORK
Amazon as
(4) DIVI S I a 6
Deb ussy In gh elb re ch t 7 1 b [3]Pick
Man giagalli Piccola Suite 2 3 1
S trauss, R . Also SprachZarathustra 152 5
29 [B] S travin sky L e S acre du Prin temps 84 [10 1]
Bartok Vier Orchesterstucke L e Divin Poéme 292 4
Vio lin I an d II94 [59] I f Iv e s
3 1
R av el
Vio laStr auss, R . S alomé
’
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Vio lo n c elloPsalmus Hungaricus S trauss, R . Salomé
’
s Dan ce 19 1
Tuolumn e
Vio lin I I an d Vio lo n celloScriab in Le Divin Poéme 254 3
474
MULTIPLE D IVI S I
(5 ) DIVI SI a 7
Vio lin IWORK PAGE MEASURE COMPOSER WORK PAGE MEASURE
L e Divin Poémc 298 1 S trauss , R . Also Sprach Zarathustra 145 1
1 54 5
2 16 14
Vio lin IIWORK PAGE MEASURE
Also Sprach Zarathustra 1 3 5 3
Vio lin I an d IIS trauss, R . Also Sprach Zarathustra 1 37 4
S trauss, R . 1 10 5
Vio lin I , II , an d Vio laThe
"Fourth of] ulyfrom Symphon y,“Holidays”
S trav in sky
Villa- Lo b o s
(7) DIVI SI a 9
Vio lin IIS trauss , R . Also Sprach Zarathustra 140 2
Strauss, R . 1 3 4
3 2—(G -42 9)
STR ING S
(8) DIVI SI a 10
Vio lin ICOMPOSER WORK PAGE MEASURES trauss, R . Also Sprach Zarathustra 1 38 I
(9) DIVI S I a 1 1
(n o examples)
(10) DIVI S I a 12
Vio laS trauss, R . Don Quixote 5 3 2
476
WORK
Deb ussy LaMer Ho n egger
De b ussy
De lius
Delius
d ’I n dy
Delius
De lius
Kh achaturian Masquerade SuiteSymphony No. 1
Symphon y No . 4
Marossze'
kDan cesSummer Even ing
G er shwin The R io Gran deEin e Faust- Symphon ic
Magan in i
Mahler S ongs ofa WayfarerHerrman n
Mahler Symphony No. 2
Hin demithMahler Symphon yNo. 3
Hin demith
1 5 1b [1 3]
STR ING SVio lin (I o r I I) (c o n td .)
PAGE MEASURE COMPOSER69 1 Ho lst
79 4
97 [61]1 3 [6]46 [24]
20 4
25 [200] I f88 [U] I f1 28 5 59
s [2 5] 3f
5 1 [41 ] I f29 [16] 2f
47 2 b [26]19 12 3
44 2 48
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Mahle r
Milh aud
Milh aud
Prokofiefi'
Pr okofieff
Pr okofie if
WORKSymphon yNo. 4
I d”Symphon icI I“Symphon ic
OpusAmerican umNo. 2
Two Marches
Village Music
Prospice SymphonyOverture to “
TheMerryWives ofWin dsor”
TibetSymphon ic
Con cert Champétrepour Clavecin et
OrchestreRomeo an djuliet,Suite No . 1
Romeo an djuliet,Suite No. 2
Suitefrom the Ballet“Chout”
LaProcession Nocturn eDie Toten in selPian o Con certo No. 1
Rapsodie pour Pian o etOrchestre
i h [24]
Ko rsakofi'
Ko rsakofi'
Ko r sakofi'
R o ussel
R o zsa
Russian EasterOverture
S cheherazade
S OLO PART SVio lin (I o r II) (c o n td .)
PAGE MEASURE COMPOSER19 [8] I f R achman in ofi
'
61 [2 1] 2 f R achman in o ff
73 6 R av e l
1 22 10 1
70 [12 ]12 3 [84] 2f
49 [3 3 ] 4f1 3 7 [146] 7f2 1 2 b [20]1 1 3 1h [69]149 [1 18]59 2 5
3 2 197
WORK WORKLe Divin Poéme Dan ses Con certan tes
S criab in L e Poéme dc l’
Extase
S ti'av in sky PetrouchkaS uiteScr iab in Pro
'
méthée, L ePoémc da
Feu
S e ssio n s Symphon yflir Orchestra S trav in sky S cen es dc Ballet
S e ssio n s SymphonyNo. I I S trav in sky S cherz o Fan tastique
Sh o stako v ich Symphon yNo. 1 Szyman owski
Tan sman
Sh o stako v ich
To ch
S trau ss, R .
S trauss, R .
S trauss, R .
81 1
S trauss , R . E in Helden leben
S trauss, R .
S trauss , R .
Wage n aar
3 0 [5] I f
480
STR ING SVio lin (I o r II ) (c o n td .)
PAGE MEASURE80
1 57
188
226
3
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3 2
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101
1 15
165
1 1
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47
50
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20
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1 16
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2 17
4
COMPOSERS trav in sky
L ekeu
S trauss , R .
Mahle r
Mah le r
S travin skyMartin et
NorfolkRhapsody,No. 1
S e ssio n s Symphon yAmerican Rhapsody
Vio lo n cello
STR ING SVio la (co n td .)
PAGE MEASURE COMPOSERSh eph e rd
Sib elius
WORK PAGE MEASUREPian o Con certo No. 4
G lazo un o v
Be eth o v e n Pian o Con certo No . 5
G riffe s
Symphony No. 1
Delius Ha'
ryja'
n os Suite
L ekeu
Liszt
SeaPicturesS h N
Variation s, “E n igma[422133 NZSymphon yNo. 8
The C reation Symphon y No . 9
S OLO PART SVio lo n cello (c o n td .)
MEASURE12 3
290
1 1
170
3 68
1 58
2 05
463
ah [1 50]
[100] I f
[45]3
[s][6][18] 4f
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[105] I f
[2 2 ] 5f2
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[12 ]6
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COMPOSERde Falla
WORKNuits dan s lesjardin s
Violin Con certo inA min or
Pian o Con certo inA min or
Thc'
Pleasurc Dome ofKub la Khan
Third Symphon yA lleluiafor OrchestraSymphon y No. 1 2 in
E h majorThe Balletfrom The
Perfect Pool”The Plan etsCon certin a pour Pian o
ctOrchestreL e Roi DavidSymphon ic LiturgiqueSymphon ic pour CordesPéerique
Deuxiéme Symphon icen S ib 174
] our d’e’td (3 laMon tagn e 88
A S et ofPieces 2 2
Third Symphony 76
Con certin ofor Pian oan d S tring Orchestra
S uitefor OrchestraSymphon y No. I
Gayn e Ballet Suite
WORK PAGE PAGE MEASURECon certo pour Pian o ct 27
Orchestre 3 1
Opus American umNo . 2 49
Symphon y in G min or 70
190
In Memoriam 2 3
Prospice Symphon y 64
Con certin ojb r Pian oforte Pohjola’
s Daughteran d Chamber Raleastava
OrchestraCon certofor OrchestraCon certo dell’EstateSymphon ic
AubadeCon certo pour deuxPian os etOrchestreLieuten an t KijéRomeo an djuliet,Suite No. 2
Violin Con certo No . 2 S ib elius
L a Procession Nocturn eThe BellsAlborada del GraciosoSymphon y No. I
Feste Roman eMetamorphoseon , XII
R e spighi The Foun tain s of Rome ’
S trauss, R . Don Quixote
S cheheraz adeKo r sakofi
'
R ogers On ce Upon a Time,
Five Fairy Tales 14 3 b [1 1 ]A Survivor fromWarsaw 8 3 5
The Birthday of theIn an ta, Suite
S ch uman n , R . Manfred OvertureS criab in Le Poéme dc l
’
Extase
S trav in sky
L e Sacre du Prin temps
STR ING SVio lo n c ello (c o n td .)MEASURE COMPOSER1b [40] S c riab in
1h [75]l b [290] S h eph er d3 b [37] Sh o stako v ich
3 b [124][0 ]2
Diam o n d
Grue n b e rgIn gh elb r ech tJac o b iMah lerMiasko v sky
Britten
Harriso n
Hin demith
WORK
Three ExcerptsfromWozzeck
The En chan ted IsleE l GrecoMusicHallOvertureSymphony No. 4
S infon iettafor S tringOrchestra 26 [2 1 ]
47 2
Vio lin (I o r I I) an d Vio lo n c ello3 [A] I f
79 I
43 z
Milh aud
R av el
S ch r eker
Sh eph er d
Strauss, R .
Milhaud
Pr okofiefi'
Sh eph erd
Dello Jo io
Don Quixote
PAGE MEASURE
STR ING SViolin (I o r II ) an d Vio la
PAGE MEASURE COMPOSER1 3 [12 ] Milh aud15 3 b [375]2 5 1h [2 0]59 2
3 9 [185] I f
58 [12 ]
37 [26] 2 f17 2 b [9]4 5
1 1
42 2
H [5]1 3 5
2 1 1
29 [60] I f2 [1] 4f
49 3 b [44]1 1 1
2 5 [2 2 ]29 [18]93 160
WORKE lAmorBrujoPhilharmon ic WaltzesThe En chan ted IsleSuitefor S tring OrchestraAn dan te pour OrchestreaCordes
E in e Faust- Symphon icOrphée
S infb n icttafor S tringOrchestra 19
Prospice Symphony 79
MaMére l’c 44
Sketches of the City 20
Ballata delle G n omidi 58
The Foun tain s ofRome 56
Con certofor S tringOrchestra Wagn er , R .
Satie—De b ussy Gymn opédics 70 3
Vio lin I , I I , an d Vio lo n c elloWORK PAGE MEASURE
FunfOrchesterstucke 60 [1 5] I f
Vio lin (I o r I I) an d BassIn the Faery I;Iills Milh aud Q uatrieme Symphon ic 82 1 b [3 5]El Saldn México
Vio la an d Vio lo n c e llo1 [1] S ib elius
20 1b [12 ]12 3 S trauss, R .
Vaughan
S criab in .
S OLO PART So r I I) an d Vio lo n c ello (c on td .)MEASURE COMPOSER WORK PAGE[45] S criab in Le Poéme de l
’
Extase 37
[3 39] 2f S e ssio n s Symphon y No . I I 17
2 b [275] Sh o stako v ich Symphon yNo. 1 73
2 S ib elius Rakastava 1 1
Sib elius The Swan of Tuon ela 12
S trauss, R . Also Sprach Zarathustra 48
S trauss, R . Don Quixote I I38
87
Symphon ia Domestica 46
Con certo en Ré pourOrchestre aCordes 19
Orpheus 3
Through theLookingGlass 5
Fiinf S tiicke fiirKammcrorchcster
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Milhaud
S trav in sky
Magan in i S trav in sky
Vio lin (I o r II ) , Vio la , an d Vio lo n c elloS eren adefor S tring Mah ler SymphonyNo. 4
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COMPOSER WORK PAGE MEASUREWh ith o rn e FataMorgan a 47 [50]
(48) 1 0—10—6—6—4Bar ték Dan ce Suite 43 [3 1 ]
5 3 1
Chapter 6 1
CHORD NOTAT ION
Mozar t
17 192
Mozart
19 160
Be e th o v e n R av el
S chuman n , R . Con certofb r Violoncello an d Orchestra
S ch uman n , R . Symphon yNo. 1
S ch uman n , R . Symphon y No. 2
S ch uman n , R . SymphonyNo. 3
Ho n egge r
Mah ler S criab in
Me n delssoh n
Mozar t
Mo zart
Mozar t
1 1
S o loViolin IWORK PAGE MEASURE
Also Sprach Zarathustra 1 28 7
Symphon y No. 7Das Lied van der Erde
WORK PAGE MEASURESymphon ia Domestica 123 [160] SfL e S acre du Prin temps 130 [181]Symphony in Th ree
Movemen ts 120 [195] 2f
1
66 455
Vio lin I , Vio la, an d Vio lo n c e lloPassacaglia an d Fugue Mah ler Symphon yNo. 9
in C min or Tchaiko v sky Symphony No. 2
Vio lin I , I I , Vio la, an d Vio lo n c elloPrelude an d Fugue in R e spighi
D major 4 5
Das Lied von dcr Erde 2 1 [2 3] S ib elius
Symphon y No. 5 1 10 [3 2 ] Walto n
Symphon y No. 7 1 2 [7]
1 1 DeuxMarches ct un
I n termédc 20 6
18 1 28 Rimsky
Dello Jo io K o r sakofl'
S cheherazadeS ch uman n , R . Symphon yNo. 2
S trauss, R . Dan ce S uite afterFran cois Couperin
W ellesz Symphon y in C
Vio lin IIS ch uman n , R . Symphon yNo. 1 1 18 5
S trauss, R . Dan ce Suite afterFran cois Couperin 14 1
Ein e Alpen sinfon ie 87 [85]Ko rsakofi
’
Le S acre du Prin temps 56 [64]
STR ING SVio lin I , II , an d Vio la (c o n td .)
PAGE MEASURE COMPOSER1 1 1 [30] S trauss, R .
S trav in sky3 5 3 1 5 S trayin sky
Brahms
Britte n
Mo zart
Casella
Bo ro din
CHORD NOTATIONVio lin I an d II
WORK PAGE MEASURE COMPOSERBen ven uto Cellin i Musso rgskyOverture
Violin Con certo inD major
The Young Person’
s
Guide to the Orchestra 26
Symphon y No. 1 2 1
The Comedian s 102
SymphonyNo. 4 98
1 39
Marossz ékDan ces 71
A Suite ofMusic byRoyalty
Symphon yNo. 8
Con certofor 2 Pian osin E b major
Overture to “The A Lon don Symphon y
Marriage ofFigaro
Vio laWORK PAGE MEASURE
The Young Person’
s
Guide to the Orchestra 5 4
S trauss , R .
Vio lin I an d Vio laR e spighi An tiche Dan ze edArie,
2“ Suite
Vio lin II an d Vio laSymphon yNo. 3 7 1 Brahm s Symphon y No. 1
24 8b [24]
PAGE MEASURE
5 3 2 b [ I s]
160 409
Vio lin I , II , an d Vio laHo n egge r
R e spighi
Tchaiko v sky Mozartian aTchaiko v sky Symphony No. 2
STR ING SVio lin I , I I , an d Vio lo n c elloPAGE MEASURE COMPOSER WORK77 [34] I f Tch aiko v sky Symphony No. 5
Vio la an d Vio lo n c elloR e spigh i Feste Roman e 1 3 2 [41] I Tchaiko v sky Hamlet
Vio lin I , II ,Vio la , an d Vio lo n c elloMusso rgsky Pictures atan Exhib ition 1 29 [105] R e spigh i Con certo Gregorian o
15 1 [122 ] per Violin o e Orchestra 60 [3 5] 3fTch aiko v sky Symphony No. 5 193 469
5 36
Mo zar t
Par o di
R av el
Bac h , J. C .
Coplan d
Mo zar t
Bar tok
Shéhéraz ade
Overture to I I Seraglio
Musicfor S trings,
Walto n
Pian o Con certo (No.26) inDmajor,
“Coron ation ”H 6 3 73
Mo zar t Symphon y No . 3 5 in I I
D major,“Hafin er 14 1 29
Mo zar t Symphon y No. 40 in 2 I 6
G min or 16 180
62 246
Mozart
R achman in ofi'
R av e l
o 4 o 4
S infon ia da Requiem
5 38
STR ING SVio lin I I (c o n td .)
MEASURE[7s][1 1 ] 2f
'
1 3
[F]
I 7
COMPOSERR e spigh i
Riisager
R o se n thalR uggles
S ib e lius
S trav in skyS travin skyTch aiko v sky
ONS
PAGE MEASURE
Coplan d
Diamo n d
S zyman owski
Tur n e r
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Daphn is ci Chloé,Suite No. 2.
Vio lo n c ello
Pr okofiefi'
R av el
Diam o n d
Bar tok S econ d Rhapsodyfor Harr is When John ny ComesViolin an dOrchestra 2 ! I Marching Home 60 2b [3 30]
36—(G -429)
UBLE - STOPPED UNI S
Vio la (c o n td .)PAGE MEASURE COMPOSER
RimskyKo r sakofi
'
R uggles
S e ssio n s
STR ING SBass (c o n td .)
PAGE MEASURE COMPOSERPr okofiefi
'
3 5 [8]
PAGE MEASURE
2 3 2
Violin I an d Vio laBach—R e spigh i Prelude an d Fugue in Orpheus 47 [12 5]
D major 12 1
Vio lin II an d Vio laBar tok Con certofor Orchestra 76 [12 2] Musso rgsky Night on the Bald
82 [3 6] Moun tain 59 2 b [R ]
Vio lin I , II , an d Vio laAtte rb erg The Wise an d the Mo zar t
Foolish Virgin s Mo zar t
Bo ro din Symphon y No. 2
March an d Orien tal Mo zar t
Dan cesfrom“Russlan ‘
un dLudmilaWhen john n y ComesMarching Home
Symphon ic Espagn ole
Deuxiéme Con certo pourViolon celle etOrchestre 82
Vio lin I an d Vio lo n c elloG o le stan R oge r s On ce Upon a Time,
Five Fairy Tales I 3 3
Vio lin II an d Vio lo n c elloR oger s 5 [4] 3f
Vio lin I , II , an d Vio lo n c elloI , I L o patn ikofi
'
S infon iettaR imskyKo r sakofi
'
Russian EasterOverture 105 5
Kab alev sky S ib elius The Tempest,First Suite I 7 4
Overture to I I S eraglio
Symphony No. 3 8in
Dmajor,“Prague
”
Violin Con certoNa.IVin
D majorSymphony No. 4
Chan t du Rossign olSymphony in Fmin or
Chapter 63
GL I S SAND I AND PORTAMENT I
I talian Fren chGlissan do cromatico Chromatique glissan doGlissan do su un a sola corda Glissez sur un e co rdeGliss. col un o dita Glissez av ec le méme do igtS trisciare il dita En glissan t le doigt
(for further termin ologysee Chapter 8,page 68)
(I ) ORDINARY G I JS SANDO
WORKDan ce SuiteDivertimen tojb r S tringOrchestra 3 2 Mahler
S econ d Suite 69
Fifth Symphony 40
Rush Hour in HongKong 7
Dan ce Symphon y 46
I beria 56
63
75
36
27 R av el
R av el
Ferr o ud
S e ssio n s
1 2 1
Mahler Das Lied von der Erde
Symphon y No. 2
Symphon yNo . 3
GL I S
COMPOSER WORK PAGE MEASURET ch aiko v sky Capriccio I talienVilla- Lo b o s Amazon as
Villa - Lo b o s Chdros No. I O
Villa- Lo b o s Uirapuru
S o lo Vio lin IEar ték S econ d Suite 71 [34] 4f S trauss, R . TillEulen spiegel
’
s
S ch iin b erg Pierrot Lun aire 8 [3 5] 2f Merry Pranks 20 3
S h o stako vich Symphon y No. 5 64 [57] 2f
S o li Vio lin IL o efi’ler Evocation 47 [52 ] 4f S trav in sky L e S acre duPrin temps 29 [39] I f
Con certofor OrchestraFirst RhapsodyforViolin an d Orchestra
Bar té k Musicfor S trings,Percussion a ndCelesta 69 [22 ]
Ho n egger Suite cl’Orchestre,“L
’
Impératrice aux
Rochers”
5 5 2
Symphon yNo. 4
Pr okofiefi’
R ead
Mah ler Symphony No. 2
S e ssio n s Suiteflom The BlackMaskers 76 [72 ]
SANDI AND PORTAMENTIVio lin I (c o n td .)
PAGE MEASURE COMPOSER34 5 Wage n aar
3 4 4
27 [2 ] Welle sz
45 I
WORK WORKSymphon y No. II Ein e Alpen sinfon ie
Sh o stakovich Symphon y No. 1
Sh o s tako v ich Symphon y No. 5 S trauss, R .
S h o s tako v ich Symphon y No. 9
S iegm e ister Oz ark S et
S lo n im sky My Toy Balloon
Prokofieff
R av el
Milhaud
Prokoliefl'
He rrman n
2 2b [B]2 1 [16]
Das Lied von der Erde 47 [ I 7] R o se n th al
Symphon y No. 1 2 1 4b [16] R udh yar
544
STR ING SVio lin I an d II (c o n td .)
PAGE43
MEASURE3
1b [Pp]617 [3 5]5
[89][10]2
COMPOSERS trauss, R .
WORK
Vio lin I , II , an d Vio laBach—R e spighi Mah le r Symphony No. 9
OpusAmericanumNo. 2
Herrman n R o se n thal
S e ssio n s Suitefiom The BlackMaskers
Sh o stako v ich Symphony No. 1
Shostako vich Symphon y No. 5
S trav in sky RagtimeSzyman owski Symphon ie Con certan te
pour Pian o ci
Orchestre 2 3 [ I 3]
Vio lin I an d Vio lo n c elloDiam o n d R av e l Rapsodie Espagn ole
Tch aikovsky Symphon y No. 6,“Pathétique”
Vio lin I an d S o li Vio lo n celloWOR K PAGE MEASURE
L e S acre da Prin temps 62 [72 ] I f
546
STR ING SVio lin II an d Vio laMEASURE COMPOSER3 Mah le r
[3 3] Mahler
6b [A] Pisto n
Prokofiefi'
Stravin skyS trav in sky
Britte n
Bar tok
Mah ler
Benjamin
Britten
Deb ussy
GL I S SAND I AND PORTAMENTIVio lin II an d Vio lo n c ello
PAGE MEASURE COMPOSER3 0 3 2 R av e l
I 7 [7]S travin sky
S injb n ia da Requiem
Vio lin I , II , an d Vio lo n c ello5 1 [34] 6f
Das Lied von der E rde 1 1 5 1
S trav in sky L e Sacre du Prin temps
S o lo Vio lin I , II , an d Vio lo n c e lloCOMPOSERMilh aud
S ch o n b erg
WORK PAGE MEASURES audades do Braz il
Vio la an d Vio lo n c e llo
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Mahle r
Mahle r
Mih alo v ici
S zyman owski Symphon ic Con certan te
We iss
15 9
42 [20]
pour Pian o et
OrchestreAmerican Life
MEASURE
96 [1 17]
Bar tok
Mahler
R av el
WORK PAGE MEASUREFive S tan zas 16 [V] I fL e Sacre du Prin temps 91 [1 1 1]Uirapuru 3 1
Vio lin I I , Vio la, an d Vio lo n c elloBar tok
3 2 z 2 3 3b [24]Con certoNo. 3 forPian o an d Orchestra 5 3 l b [200]
Vio lin I , II , Vio la , an d Vio lo n celloPassacaglia an d Fugue Mah le r Symphony No . 7 100 1
in C min or 3 5 [141 ] I fMih alovici Toccata pour Pian o et 7 [1 5]
Dan ce Suite Orchestre 30 [80] I fPictures atan Exhibition 106 l b [88]
1 23 1b [101]Vier Orchesterstucke 22 1
S infon ia da RequiemThe Young Person
’
s
Guide to the Orchestra 48 2
E legia Eroica [8] Rav el
Suite I n tima 57 I
86 4 R o sen th al L es PetitsMe’tiers
Sain t- Sae n s L ajeun esse d’
Hercule
Sh o stako v ich Symphon y No. 5
S trauss, R . E in e Alpen sinfon ie
S travin sky Petrouchka Suite
Vio lin I , Vio lon c ello , an d BassGran d Canyon Suite 5 3 I S essio n s Symphony No. I I
88 [M]
Vio lin I , II , Vio lo n c ello , an d BassDaphn is etChloe, Sh o stako v ich Symphony No. 3 76
Suite No. 2 1 2 3 3
548
STR ING SVio lin I , Vio la , an d Vio lo n celloPAGE MEASURE COMPOSER55 [2 9] R udh yar
S trav in skyVilla- Lo b o s
English
Measured gliss. in quar terto n es
English
Glissan do in harmo n ics
STR ING SVio lin I , II , an d Vio la
WORK PAGE MEASUREKammermusikNo. 1 65 [100] I f
Vio lin II , Vio la , Vio lo n c ello , an d BassGo uld Latin - American
Symphon ette 5 3 4
I talian Fren chGliss. misurato in quarto di ton i Gliss.mesuré en quart dc to n s
Vio lin I , II , an d Vio laRiegger Dichotomy 50 4
(3 ) IN HARMONICS
I talian Fren chGlissan do in armo n ici Glissez des so n s harmo n iques
En l’
eflieuran t du do igt, lesson s harmon iques n o tés seproduiron t alo rs automatiquemen t
Jan sse n60 1
R av el
Vio lin I an d IIPAGE MEASURE COMPOSER
R oge r s
26 2
Siegme iste r
Trois. Poémes ] ui sWestern Suite
5 50
German
Gemessen er Gliss. int6n c
Glissan do aufden Flageolett
PAGE
L e S acre du Prin temps
GL I S SANDI AND PORTAMENTIVio lo n c elloWORK
Amaz on as
S trav in sky Ren ard 1 1 2 l b [72 ]
Vio lin II an d Vio lo n c elloDaphn is etChloe,S uiteNo. 1 8 [78]
Vio la an d Vio lo n c elloPAGE MEASURE COMPOSER4 [4] R av e l
R e spigh i
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Vio lo n c ello an d BassVilla - Lo b o s Chdros No. 1 0 26 1
Vio lin I , II , Vio la , an d Vio lo n c elloS trav in sky Chan t du Rossign ol 73 [81 ] I S trav in sky Fire—Bird Suite (19 19) 3 [3] I f
(4) TO A HARMONI C
S trauss, R .
R av el S trav in sky91 l b [206] S trav in sky
R ead 36 [1 5] 2 f
S trauss, .R . Don Quixote Symphon y No. I 1 3 3 [19] 7
5 5 1
COMPOSER WORK WORKGo uld Spirituals Toccata pour Pian o etKh ach atur ian Masquerade Suite Orchestre
Par odi Preludio ad un a
Mah le r Symphony No. 6 CommediaSh o stako v ich Symphon yNo. 5
0
PAGE MEASURE
1 3 2 b [3]
Vio lo n c elloBar tok R av el La Valse
R av el Rapsodie Espagn oleR o se n th al Les Petits MétiersSh o stako v ich Symphony No. 5
S o lo Vio lo n celloR av el Alborada del Gracioso 3 6 [29] 4f
La Valse
S trav in sky 60 [4] 2f
R av el
105 2 b [2 12 ]
Vio lin I , II , an d Vio laBritte n S infon ia da Requiem 52 [3 5] I f
S o li Vio lin I , II , an d ‘Vio laStrauss, R . Also Sprach Zarathustra 120 8
Vio lin I an d Vio lo n c e llo64 [3 3] Rav el MaMere l’Oye
1 03 1h [2 1 1]
7 [5] I f
STR ING SVio lin I an d IlMEASURE COMPOSER5 Mih alo v ic i6
4
3 b [49]
Chapter 64
O F F - STAGE
(for termin ology see Chapter 1 1 , page 75)
S o lo Vio laWORK PAGE MEASURE COMPOSER WORK
Impression s d’
I talie 17 [1 5] 7f In gh elb rech t Rapsodie de Prin temps
S o li Vio lin I , II , an d Vio lo n c elloCOMPOSER WORK PAGE MEASUREBerli o z Harold en I talie 195 4
5 54
Glin ka
3 7—(G4 29
Chapter 65
O P EN STR ING S
Vio lin I
WORK PAGE MEASURE
Deux ImagesRuman ian FolkDan cesViolin Con certoSymphon y No. 8
Violin Con certoEvocation sThe Young Person
’
s
Guide to the OrchestraJourn al de BordRoun dsfor '
S tringOrchestra
Polyeucte , OuvertureViolin Con certo inA min or
Con certofor Violoncello an d Orchestra
March an d Orien talDan cesfiom
“Russian
an d Ludmila
Dan seMacabre
Histoire du S oldat
C oplan d
5 5 5
Russian Easter OvertureL e Poéme de l
’
Extase
S injb n iettafor SmallOrchestra
41 1 5
28 4
1 1 1
25 1
30 [6] I f
My ToyBalloonGulliver—His Voyage
Kelley to LilliputS trav in sky Symphony in Three
Movemen tsTchaiko v sky Symphon y No. 6,
“Pathétique”
Bart6k
Bar tokBar tok
Brahms
E n esco
Britten
Féte- Dieu d S éville
Navarra
Musicfor S trings,Percussion an d Celesta 59
Symphon y No. 4 1 34
1 37
L es I llumin ation s 29
Appalachian Spring 63
Roun dsjb r S tringOrchestra
In troduction an dAllegrojb r S trings 2 3
ImRhapsodie Roumain e 4858
PAGE MEASURE
Vio lin I an d IIGo ldmark
Gr ofe
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R av el
Viola
L o efiler
Milhaud
3 1 I
PAGE MEASURE
Vio lin II an d Violo n celloWORK PAGE MEASURE
Don Quixote 59 1
Violin I , II , an d Vio lo n c elloC oplan d Two Piecesfor S tring
Orchestra 1 3 3 b [12 5]
Vio lin I , II , an d BassE n e sc o 2
"Rhapsodie Roumain e
Vio la an d Vio lo n celloViolin Con certo 98 260 Diamo n d Roun dsfor S tringSymphon ic Fan tastique 26 5 Orchestra 37 [1 30] 6f
E n e sc o ImRhapsodie Roumain e 75 [36]
Vio lin I , II Vio lon cello , an d BassNewEnglan dSymphon y 1 1 [C]
Vio lin I , II , Viola, Vio lo n cello , an d BassPer sich e tti The HollowMen 10 1 b [H]
STR ING SVio lin I , II , an d Vio laMEASURE5b [16]
COMPOSERRiisager
S tillman
Ke lleyVaughanW illiam s
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Chapter 66
S PE C I F IC STR ING S
I talian German
A [La] corde A- Saitc
Sur (le) A [La] Auf A
Auf dcr A- Saite (zu spielen )Vio lin I
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R uggle s
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S trauss, R .
Joliv e t
STR ING SVio lin I an d II
PAGE MEASURE COMPOSER WORK PAGE MEASURES trauss, R . Rosen leavalier Waltzes
18 1 —First S equen ce 2 2 [22] I f203 2 b [102] S trav in sky Fire-Bird Suite (19 19) 14 [17]
Italian Fren ch German
4 [1 5] Pictures atan Exhib ition 1 10 [91] 2 f
Vio lo n celloI talian German
14 corda I ére cordeR imskyKo rsakofi
'
S cheherazade
R ogers
Sh o stako vich Pian o Con certo
I talian Fren ch German
3 9 corda 3 6 corde '
III .
L e Sacre du Prin temps 80 [9 1 ]
Vio lin I , II , an d ViolaWORK PAGE MEASURE
Suite from “The Black
Maskers 79 1h [77]
Vio lin I , I I , an d Vio lo n c elloMusso rgskyR av el Pictures atan Exhibition 1 10 [91]
R av el
2 5 6b [8]
560
I talian GermanD strin gO n th e D strin g
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PAGE MEASURE
Rachman in o ff
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3 9
64
5 2
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Mah le r 126
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SPEC IFIC STR ING SVio lin I an d II
PAGE MEASURE COMPOSER PAGE MEASURES c riab in
[12 0] 2f
Vio laI talian Fren ch German
2 ? co rda 2 6 co rdeAn dan te pour Orchestred Cordes 4 [1 5]
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Vio lo n celloFren ch German
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Bar té k Dan ce Suite R apsodie Espagn ole
S cheheraz ade 1 10 3 8
CharactersfromHan s
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S ib elius The Bard
Italian German
2 0! corda
PAGE MEASURE
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Sib e lius 27 [R ] I f
STR ING SViolin I , II , an d Vio la
PAGE MEASURE COMPOSER1 1 1 3 S ib elius
79 2 b [77]
Vio lin I an d Vio lo n c elloWORK PAGE MEASURE
Symphony No. 1 80 [Q]
Vio lin I , II , an d Violo n c ello
Pictures atan Exhibition 1 10 [91] Scheherazade 148 193
Vio la an d Vio lo n c elloBritten Les Illumin ation s 16 3 S trav in sky S cén es dc Ballet
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Vio lo n c ello an d BassPisto n Symphony No. 2
Violin II , Vio la , an d Vio lo n c elloS trav in sky Fire- Bird Suite (19 19) 3 [3] I f
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E strin gOn th e E strin g
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cordeI ére cordeSur la 1. [I ére] corde
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STR ING SVio lin I (c o n td .)
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Pr okofiefi’
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Rav el
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Symphon y No. 5
S ch r eke r The Birthday of theI nfan ta, Suite
Sh o stako v ich Pian o Con certoSh o stako v ich Symphon y No. 7
Malipiero Pause del S ilen z io
S econ da S infimia
McPh e e Four I roquois Dan cesS infon ietta
Symphony No. 5
Violin Con certo No. 2
Die Toten in selRapsodie pour Pian o
et Orchestre2d Con certo pour Pian oci Orchestre
Daphn is cl Chloe,Suite No. 2
I n troduction etAllegro
L a Valse
S trav in skyS trav in skyTchaiko v skyTch aiko v sky
Turn er
Bar ték
Bar ték
Herrman n
WORKEin Helden leben
L e S acre du Prin tempsOrpheus
Symphon y No. 5
Symphony No. 6,“Pathétique”
Gregorian Overturefi n
S tring Orchestra
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E lPuerto
ElAlbaici’
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30 170
4 49
28 [4] I f
18 [I] 71“
S e ssio n s
S trauss, R .
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Symphony
ElPuerto
1h [3 1]
Britte n
Britten
Bruckn er
Diam o n d
Vio lin I an d I I (c o n td .)
STR ING S
PAGE MEASURE
Dan ce SuiteDeux ImagesHungarian Peasan tS ongsMusicfor S trings,Percussion an d Celesta
4
29
5 5
92
61
6
56
88
48
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1b [18]
COMPOSERE lgar
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Mah ler
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Das Lied von der ErdeS ongs ofa Wayfarer
Symphony No. 3
Symphony No. 5
PAGE MEAS
Vio lo n c elloItalian Fren ch German
3 6! corda 3 c corde
Con certofor Orchestra KammermusikNo. 4
Dan ce Suite L e Tombeau dc
Couperin
Britten Sh o stako v ich Pian o Con certo28 1 Sh o stako v ich Symphon y No. 5
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d ’In dy 40 191
105 1
Vio lin I I I , an d Vio la24 4b [16] Pisto n
22 7 Pisto n
5 2 [3 5] I f S e ssio n s
44 7
Pisto n
Vaugh an
Pisto n Wagn e r , J.
STR ING SVio la (c o n td .)
MEASURE COMPOSER3 Vaughan7b [U] Williams
[17] R uggle s
S
3 8—(G -429)
SPEC IF IC STR ING SViolin I an d Vio lo n c ello
WORKSymphon yNo. 1
Vio lin I , II , an d Vio lo n cello ISch o n b erg Verklcirte Nacht 2 3 [K] 1 3 f
Vio la an d Vio lo n c elloWORK PAGE MEASURE COMPOSER WORK
L es I llumin ation s
Mah ler
16 3 Pisto n
Vio lin I , II , Vio la , an d Vio lo n cello
Symphony No. 2
9 60 20
571
PAGE MEASUREI 3
Chapter 67
REVER S E ARP E GG IO
English I talian German
Down ward [rev erse] arpeggio Arpeggio discen den te Fallen 'des ArpeggioHold(in g) the in strumen t Ten en do l’in strumen to al Das In strumen t riickwi rtsb ackwards rovescio halten dWith th e b ow held b ack Col
’
arco al rovescio Den Bogen r iickwi rts haltenwards
Vio lo n c elloMEASURE COMPOSER WORK
Deb ussy I beria
Pisto n Suitefor OrchestraBarté k
Vio lin I , II , an d Vio laCOMPOSER WORK PAGE MEASURE
Mirages pour Orchestre,3 2 ah [1 5]
Mo zart
66 1 65
572
Haydn
(3 ) VIOLONCELLO [SOLO VIOLONCELLO]
WORKLe Sacre duPrin temps
STR ING S
COMPOSERR e spighi
S ch o n b ergS trauss, R .
S trav in sky
Ho n egger
(4) BAS S—Classical
Coriolan us OvertureLeon ore Overture No. 2
Leon ore Overture No . 3
Pian o Con certo No. 2
Pian o Con certo No. 4
Pian o Con certo No. 5
Symphon y No. 3 ,“Eroica
Symphon y No. 4
Symphony No. 5
Symphon y No . 6, PastoralSymphon y No. 7
Symphon y No . 9
Symphon y No . 1 in
E b major,“Drumroll
Symphony No. 3 in E b majorSymphony No . 7 in
Symphon y No. 1 1 in
Gmajor,“Military
Symphon y No. 1 2 in Bb majorSymphon yNo. 1 5 in
Bb major,“L a Rein e
Ruy Blas OvertureSymphony No. 3 ,
“S cotch
Three Piecesfrom“A
MidsummerNight’s DreamSymphony No . 39 in E b majorSymphony No . 40 in G min orSymphon yNo. 4 1 in
C major,“
jup iter”Violin Con certo No. I in Bb majorSymphon y No. 2
Haydn
Haydn
Tragic
Unfin ished
an d Early R oman tic Orch e stra
S ch ub er t SymphonyNo. 4,
S ch ub ert Symphony No. 5
S ch ub ert Symphony No. 6
S ch ub ert Symphony No. 7
S ch ub ert SymphonyNo. 8,
S chuman n , R . Symphony No. 1
S ch uman n , R . Symphon y No. 2
S ch uman n , R . Symphony No. 3
Coriolan us Overturc
Pian o Con certo No. 4
Symphony No. 4
Symphon y No. 5
Symphony No. 6,“Pastoral
Symphon y No. 7
Symphon y No . 9
An akreon OvertureMusicfor the Royal FireworksWaterMusic in FSymphon y No. 2 in
Dmajor,“Lon don
Symphony No. 3 in E b majorSymphony No. 4 in
Dmajor,“C lock
”
Symphon y No. 5 in DmajorSymphon yNo. 6 in
Gmajor,“Surprise
Symphon y No. 7 in
C major,“L eMidi
Symphon yNo. 1 1 in
Gmajor,“Military
Haydn
Me n delssoh n
Mo zar t
Mo zar t
S ch o n b erg
S CORDATURA (UNU SUAL TUNING )
(4) BAS S—Classical an d Early R oman tic Orch e stra (c o n td .)
WORKSymphon y No. 1 3 in G majorSymphon y No . 14 in DmajorSymphon y No. 17 in
C major,“L
’
Ours”
Symphony No. 18 in
F1; min or,“Farewell
Calm S ea an d a
Prosperous Voyage, OvertureFingal’s Cave OvertureRuy Blas OvertureSymphon y No. 3 ,
“S cotch
Symphon y No . 4 , I talianThree Piecesfrom
“A
MidsummerNight’s DreamPian o Cpn certo (No.26) inDmajor,
“Coron ation ”
Symphon y No. 3 9 in E ], majorSymphon y No. 40 in G min orSymphon y No. 41 in
C major,“
jupiter”L a Gazz a Ladra, OvertureSymphon y No. 2
Symphon y No . 5
Symphon y No. 7
Symphon y No. 8, Unfin ishedSymphon yNo . 1
Symphon yNo. 2
Symphon y No. 6, PastoralSymphon y No . 7
Symphon yNo. 9
Symphon y No. 1 in
E1, major,“Drumroll
Symphon yNo. 39 in E b major
(5) BAS S—Mo dem Orch e stra
S infon ietta
Funf Orchesterstucke 28 2b [1 1]
COMPOSERMo zar t
S ch ub ert
S ch ub er t
S ch ub er t
WORKSymphon yNo. 41 in
C major,“jup iter”Rosamun de OvertureSymphon y No . 2
Symphon y No . 8, Unfin ishedS ch uman n , R . Symphon y No. 2
Haydn
Haydn
Villa- Lo b o s575
Leon ore Overture No. 2
Symphon y No . 1
Symphon y No. 4
Symphony No . 5
Symphon y No. 6, PastoralSymphon y No . 7
Symphon y No . 8
Symphony No.
‘
9
An akreon OvertureWaterMusic in FSymphon yNo. 1 in
E b major,“Drumroll
Symphon y No . 6 in
Gmajor,“Surprise
Symphon yNo. 7 in
C major,“L e M idi
Symphon yNo. 17 in
C major,“L
’
Ours
Ruy Blas OvertureSymphon yNo. 3 ,
“S cotch
Symphon y No. 40 in G min orSymphon y No. 41 in
C major,“
Jup iter”Symphon y No. 2
Symphon y No. 4 , Tragic
Symphon y No. 8, Unfin ishedSymphon y No. 2
Chapter 69
S ENZA VIBRATO
German
Nich t v ib rieren d
S o lo Vio lin IPAGE MEASURE COMPOSER PAGE MEASURE56 6 S trav in sky
75 [83] 28 [3 3] I f
Coplan d 45 [3] 2f
Vio lin I an d IIViolin Con certo I Magan in i S outh Win d 2 I
80 [1 3 5]
Vio lo n celloCoplan d S tatemen ts 49 [7] I f I Fitelb erg Nocturn ejb r Orchestra 2 3 b [12]
S o li Vio lo n c elloS cén es dc Ballet 60 [96] I f
Vio lin II an d Vio laViolin Con certo 6 2 b [30]
576
Chapter 70
MI S CE LLANE OU S E F FE CT S
Vio lin IEnglish I talian Fren ch German
Pizz. an d arco at th e Same Pizz . ed arco simultan eamen te Pizz. et l’
at che t aumeme Pizz. u. Bogen imgleichen Zeitume
PAGE MEASURE41 4
I talian German
At th e poin t, like col legn o Pun ta d’arco , quasi col legn o A la poin te , comme col legn o Spitze des Bogen s, wie col legn oWalto n Con certojb r Violin an d
Orchestra 19 [1 1]
S o lo Violin IEnglish Fren ch German
Slow v ib rato Vib rez len temen t Lan gsam vib rieren d
R oger s CharactersfromHan sChristian An dersen
Violin I an d I I “
I talian German
Coun try- fiddle style Comme un crin crin Wie cin e Fiedel
Siegmeister Ozark S et
I talian German
Pluck open strin g (D) an d Pizz. la corda aper ta (D) e po i Arrachez la corde ouv erte Die ofi'
en e Saite (D) reissen
th en stop E vigo rously pressate I ’H vigoro samen te (R é) et puis pressez Mi un d dan n E kraftig an greifen
at o n ce with out fur ther sub ito sen za pizz. di piil v igoureusemen t, tout R Oh n e wieder reissenpluckin g coup san s plus arrach er
Villa- Lo b o s 71 [18]
578
M I S C ELLANEOU S EFFECT S
Vio lin I an d II (co n td .)
Italian German
S tart o n the poin t (of b ow) In comin ciate alla pun ta (d’arc0) Commen cez au b out (dc Am Spitze (des Bogen s)l’
at chet) b egin n en
S o lo Vio lo n c ello
Doppelgr it’
f es [Eb] [B]
S ch o n b erg Pierrot Lun aire
E nglish I talian Fren ch German
Quar ter to n es Quarto di ton i Quart de ton s Viertelton e
Mo ro ss Paean s 5 1b [B]
English I talian German
Trill : b roken rumb le Trillo : in terro tto sordo b arb ug Trille zroulemen t b risé Ttiller : geb rochen es Drahn en
Th ree Places in New
Englan d 57 [R ]
Vio lin I an d Vio laI talian German
Near th e b ridge , like trumpets Poco sul pon t., quasi tromb e A peu pres du ch evalet, Nah e zum S teg, wie Tromcomme trompettes petten
Britte n L es I llumin ation s
Vio lin I , II , an d Vio laEnglish I talian German
Tap with b ow o n b ack (of Percuo tete co l arco al dorso Frappez légeremen t av ec Mit dem Bogen auf die R iickin strumen t) (del in strumen to) l
’
atch et au do s (de l’
in seite (des In strumen tes)strumen t) leich t klopfen
Fern an dez Batuque 9 [8] I f
So lo Vio la an d Vio lo n c elloI talian Fren ch German
Nasal ton e To n o n asale To n n asillard Nasaler Ton
Villa- Lo b o s Chdros No. 8 3 3 [14]
579
English I talian Fren ch GermanWith the b ow—like Ar co-
q uasipizz . Archet—comme pizz. Bogen—wie Pizz.
PAGE MEASURE
Vio lin I , II , Vio la , an d Vio lo n celloEnglish I talian German
l ike an accordio n Quasi fisarmon ica Comme uh'
accordéon Wie ein e Han dharmon ika
R o sen th al L es PetitsMétiers 17 7b [B]
English I talian German
Tap o n th e b elly (of in stru Percuo te te sul lato superio’
re Frappez légéremen t sur le cOté Mit Fin ger auf der Ob erseitemen t) with fin ger (del
’
in strumen te) col un a supérieur (dc l’in strume n t) (des In strumen tes) leisedita avec n u do igt klopfen
Fuleihan Mediterran ean
Vio lin I , Vio la , Vio lo n c ello , an d BassEnglish I talian German
Quarter to n es sharp Quarto di ton i acuti Quart de ton s aigus Viertelton e ho ch
Mo r o ss Paean s
Violin I , II , Vio la, “Vio lo n c ello , an d BassGerman
Spiccato o n th e n ut Spiccato al talo n e Spiccato au talo n Spiccato am Frosch
S ch ellin g A Victory Ball 79 1
Outs ide : upper b owi n gI n s idezlowe r b owi n g
COMPOSER WORK PAGE MEASURE COMPOSER WORKPer sich e tti The HollowMen 6 [E] Sch uman , W . Un dertowS ch uman , W Symphony No. IV 60 4b [290] Sib elius Symphon yNo. 7
580
2 3
24
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L I ST O F COMPO SER S AND WORK S1
ALBENIZ, Isaac BARBER, SamuelCatalon ia, Suite No. I (2 5) Essayjb r Orchestra
Ai EEl —Amaos First SymphonyE lAlbaicin
E lpug,” Musicfor a Scen efrom Shelley
Evocation [72 ]Overture to The S choolfor S can dal
Féte- Dieu d S éville S econ dEssayfor OrchestraS econ d Symphon y
Navarro (3 1) BARRAINB, Elsa
m ’ Hugo Deuxiéme Symphon ic (50)A Legen d ofthe Skerries (39)Midsommarvaka (42 ) Ba n k , Béla
Am , pgdl.
0 Humb erto Con certojb r Orchestra (I r)Con certofor Pian o an dOrchestra (No. I ) (78)T d o3 an d as (7 l [73 ]Con certo No. 3 for Pian o an dOrchestra (1 r)
M KDan ce Suite [1 1 , 81 ]
c on ey 5 erry Deux Images [1 1 ]Over the Plains Deux Portraits [ I I ]
Divertimen tofor S tring Orchestra (1 I )First Rhapsodyjb r Violin an d Orchestra
S eren adefor S tring OrchestraSymphon yNo. 5 (52)
Am ,Richard Hungarian Peasan t S ongs (I I) ; [78]Smjbma (3 ) Musicfor S trings, Percussion an d Celesta [ I r]
ATTERBBRG, KurtM. Ruman ian FolkDan ces (I I )Ballade an dPassacaglia (32 ) Secon d Rhapsodyfor Violin an d Orchestra [78]The Wise an d the Foolish Virgin s (39) S econ d Suite (1 I ) ; [81 ]
AUBBRT, Louis Vier Orchesterstucke (78)Saison s (2 5) Violin Con certo (r 1)
BACK , CarlPhilip Emanuel—ST
EINEEEG BAX, Sir Arn old
Con certojb r Orchestra in D major First SymphonyBACK »Johan n Christian S econ d Symphon y
Th ird Symphon yFourth Symphon y
BACH, Johan n Seb astian—REsmcr-n Fifth Symphon yPassacaglia an d Fugue in C min or S ixth Symphon yPrelude an dFugue in D major I n the Faery Hills
BACH—STOKOWSKI Mediterran ean (58)Chorale- Prelude, Wir Glauben All’An Ein emCott Novembe' WoodsFugue in C min or—The Shorter The Garden q an d (18)Komm Sa
'
sser Tod Tin tagel (58)BALAKIRBV, Mfli—CASELLA BEc h, John J.Islamey (47) Con certoArabesqueforPian o an dOrchestraBALOGH, Ern o Con certofor Horn an d Orchestra (60)Portrait ofa City (29) Soun dp iece No. 2
i In recen t years some pub lish ers ofmin iature scores hav e sold out their catalogues to o ther firms . in such cases it has b een though tdesirab le to in clude th e n umb ers ofb o th th e former an d the presen t firms ofpub lishers, sin ce lib raries an d similar collec tion smightpossess on ly th e older issues.
5873 9—(G o4e9l
L I ST OF C OMPO S
BEEr n ovnN, Ludwig vanConsecration ofthe House, Overture [1 3 ]Coriolan us Overture [1 1 , 1 3 , 44, 49, 64, 65 , 81 ]Egmon t Overture [1 1 , 44, 49, 64, 65 , 72 , 81]Fidelio Overture [1 1 , 1 3 , 64]Leon ore Overture No. 2 [1 3 ]Leon ore Overture No. 3 [6 , 1 1 , 1 3 , 44, 49, 64, 65 , 81 ]Overture to Prometheus [1 1 , 1 3 , 49 , 64, 81 ]Pian o Con certo No. 1 [1 1 , 1 3 , 3 2 , 63 , 64]Pian o Con certo No. 2
Pian o Con certo No. 3[1 1 , 1 3 ’ 3 2 ’ 63 ]
Pian o Con certo No . 4 [1 1 , 1 3 , 3 2 , 63 , 64, 81 ]Pian o Con certo No. 5 [1 1 , 1 3 , 16, 3 2 , 63 , 64]Symphon y No. 1 [6, 1 1 , 1 3 , 2 5 , 49, 64, 65 , 81 ]Symphon y NO 2 [1 1 , 1 3 . 16; as. 49. 64. 65. 81 ]Symphon y No. 3 ,
“Eroica
”[6, 1 1 , 1 3 , 2 5 , 44, 49 ,
64. 65 . 81]Symphon y No. 4 [1 1 , 1 3 , 16, 2 5 , 49 , 64, 65 , 81 ]Symphony No. 5 [6, H . 1 3 . 2 5 . 3 2 .44.49. 64. 65]
gympz
on y 6, Pa toral[6, I I : I 3 : 2 5 , 44:
ymp ony o. 7
Symphon y No. 849’
‘
64’ 65 ’ 81 ]
Symphony No. 9 II I . 1 3 . I 6. 2 5. 49. 64. 65 . 81 ]The Ruin s ofA then s, Overture [1 3 , 81 ]Violin Con certo in D major [1 1 , 1 3 , 16, 3 2 , 44, 49,63 , 65 , 81 ]
BENJAMIN, Ar thurFrom S an Domingojamaican RhumbaOverture to an I talian ComedyBERG, Alb anThree Excerp tsfrom Wozzecle
Violin Con certoBERGSMA, WilliamMusic on a Quiet Theme (2 )BERLIOZ, Hec torBen ven uto Cellin i Overture (3 2 )Harold en I talie (3 2) [1 3 , 45]Roméo etjuliette [1 3 ]Symphon ic Fan tastique [1 3 , 49]The Roman Carn ival Overture [1 1 , I 3 , 44, 49, 81 ]ThreePiecesfrom The Damn ation ofFaust [1 3 , 44,49]
BERNSTEIN, Leon arderemiah Symphony (43 )
BIZET, Geo rgesIn termezz ifrom Carmen (49)L
’
Arlésien n e Suite No. I
L’
Arlésien n e Suite No. 2[13 ’ 49]
Prelude to “Carmen ” (49)
Roma (3 2)Symphony No. 1 [81 ]
BLANCAI-‘ORT, Man uel
Mati de Festa a Puig- Gracias [73 ]
ER S AND WORK SBuss, ArthurCon certoforPian o an d Orchestra (61)
Brocn , Ern estAmerica
Con certo GrossoEvocation s
Hiver—Prin tempsS chelomo
Trois PoémesjuijfsVoice in the Wildern essBORODIN, Alexan derOn the S teppes ofCen tralAsia [32 , 49, 65]Polovetz ian Dan cesfrom
“Prin ce Igor
”[1 1 ,
81 ]SymphonyNo. 1 [1 1 , 32 , 81]SymphonyNo. 2 [8, 1 1 , 49 , 81]Symphon yNo 3 [3 2 . 52 ]
BOSMANS , ArthurL a Vie en bleu [73 ]BRAHMS, Johan n esAcademic Festival Overture [1 1 , 49, 75]Con certoforViolin an dViolon cello in Amin or [45 , 75]E in deutsches Requiem [16, 45 , 49, 81 ]Pian o Con certoNo. 1 [1 1 , 3 2 , 45 , 63 ]Pian o Con certo No . 2 [6, 1 1 , 32 , 65 , 75]S ong ofthe Fates [49]SymphonyNO I (6. I I . 3 2 . 75. 81]Symphony No. 2 [6, 1 1 , 3 2 , 44, 64, 65 , 75 , 81]Symphon yNo. 3 [6. H . 3 2 . 64. 65 . 75 . 81]Symphony No. 4 [6. 1 1 , 3 2 . 75. 81]Tragic (
Overture [1 1 , 49, 64, 75]Variation s on a Theme by Haydn [6, 1 1 , 3 2 , 75 , 81]Violin Con certo in Dmajor [1 1 , 3 2 , 44, 49, 64, 65 , 75]BRITTEN, BenjaminFour S ea I n terludesfrom “
Peter GrimesL es I llumin ation sPassacagliafrom
“Peter Grimes
S eren adefor Ten or, Horn an d S tringsS injb n ia da RequiemS infon iettaThe YoungPerson
’
s Guide to theOrchestraBEUCH, Max
Violin Con certo in G min or [49]BRUCKNER, An tonS m hon No. 1
SimihoniNo. 2(I 7) [78]
Symphony No. 3 [81 ]Symphony No. 4 [49, 78, 81 ]SymphonyNo. 5 [78]SymphonyNo. 6 [17]Symphony No 7 [ I 7. 3 2 . 49]Symphony No. 8 [17]Symphon yNo. 9 [17, 3 2 , 78]
L I ST OF COMPOS
DBBUSSY—BUSSERPetite Suite (2 5)DELANNOY, Marcel
Figures S on ores (3 1)DELIUS , FrederickA Dan ce Rhapsody (No 1) (5 [81 ]A Dan ce Rhapsody, No. 2 (4)Appalachia [81 ]A S ong Before S un rise (4)A Song ofSummer (1 1 )Brigg Fair (81 )Even tyr, On ce Upon a Time (4)I n a Summer Garden (5 3 )North Coun try Sketches (4)Paris—Bin Nachtstiick (78)Prelude to “
I rmelin”(1 1)
S ea- Drift (81 )S ummerNight on the River [49]The Song of the High Hills (78)Th ree OrchestralPieces (1 1)DELLO JOIO, Norman
Variation s, Chacon n e, an d Fin ale (3 3 )DIAMOND, Dav idElegy in Memory ofMaurice Ravel (76)Fourth Symphony (71)Musicfor Shakespeare
’
s“Romeo an dJuliet”
Roun dsfor S tring Orchestra (29)Timon ofAthen s (52 )DOHNANYI, Ern st V0 nRuraliaHungarica (68)Variation s on aNursery S ong [32 ]DUKAS , Paul
L’
Appren ti Sorcier [45 , 49]Polycuctc, Ouverture (2 5)Symphon ic en IItmajeur [67]
DUKELSKY,VladimirSymphony No. 3 (3 3)
DUNN, James P.
Overture on Negro Th emes (34)DVORAK, An ton inCarn ival Overture [1 1 , 49, 75]Con certofor Violin in A min or [75]Con certofor Violon cello an d Orchestra (32 )
S eren adefor S trings [12 ]S lavon ic Dan ces, Nos. 1—4 [75 , 81]Symphony No. 2 (75) [81]Symphon y No. 4 [3 2 , 49]Symphony No. 5 ,
“From the NewWorld [6, 1 1 ,
75 . 81 ]
ER S AND WORK SDYSON, GeorgeOverture, “At the Tabard Inn (62)
EGGE, KlausPian o Con certo No. 2
Symphon yNo. 1
ELGAR, Sir EdwardCockaign e, Con cert Overture (1 1)Con certofor Violin an d OrchestraCon certofor Violon cello an dOrchestraFalstafi
”
[3 2 ]I n the S outh, Con certOverture (61)I n troduction an dAllegro tb r S trings [32 ]S eaPictures (1 1)Symphony No. 1
61)Symphon yNo. 2
Variation s, “E n igma [1 1 , 32 , 49]
ENEsco , GeorgesI f?”Rhapsodie Roumain e [6, 49]2“Rhapsodie Roumain e [49]
ENGEL, LehmanThe Creation (3 )
de FALLA, Man uel
ElAmorBrujoE lRetablo deMacse Pedro [3 1 ’ 72 ]
Nuits dan s lesjardin s d’Espagn e (3 [72 ]Three Dan cesfrom
“The Three - Corn eredHat”
72 ]
FAURE, Gab rielPcllcas ctMe
'
lisan de (41)Pen elope, Pre
'
lude (44)FERGUSON, HowardPartitafor Orchestra (1 1)FERNANDEZ, Oscar Loren zoBatuque (60)
FERROUD , Pierre 0 .
AuParcMon ceau [67]FITELEERG, JerzyNocturn efor Orchestra (3 )Symphony No. 1 (55)
FLOTOW, Friedrich v on
Alessan dro S tradella Overture [32 ]FRANCE , C ésarL e ChasseurMaudit (3 2 )LesBolides [32]Symphony in D min or [6, 1 1 , 49, 64]Variation s Symphon iques [1 1 , 30, 49]
FULEIHAN, An is
Mediterran ean (71 )GEMINIANI, Fran cescoCon certo Grosso in C min or (32)
L I ST OF COMPO S
GERSHWIN, GeorgeAn American in Paris
Con certo in Ffor Pian o an d OrchestraRhapsody in BlueGILLIS , Don
Symphon y No. 5 ] (1 1)The Alamo (18)
GLAZOUNOV, Alexan derViolin Con certo in A min or [7, 1 1 ]GLIERE , R ein h oldRussian S ailors
’ Dan ce (49)GLINRA, MichaelKamarin skaia [7]March an d Orien tal Dan cesfrom Russlan un d Ludmila
[47] (3 [9]
Russlan un dLudmila, Overture [49, 72 ]GLUCK, Christoph W.
Overture to“Alceste” [1 3 ]
Overture to “Iphige
'
n ie en Aulide [1 3 , 49]GOLD, Ern estAllegoricalOverture (3 )GOLDMARK, CarlOverture, I n Springtime [72 ]GOLESTAN, S tanCon certo Roumain pour Violon ctOrchestre (70)GOOSSENS, Eugen eS infon ietta (20)GOULD, MortonAmerican SaluteLatin - American Symphon ettePhilharmon ic Waltz es (38)Spirituals (57)
GRAENER, Paul
Comedietta (32 )
Three I n ven tories ofCasey] on es (60)GRETcrIANINorP, Alexan derTroisiéme Symphon ic (7)GRETRY, An dré= M0mBallet Suite , Céphale etProcris [49, 63 ]GRIEG, EdvardNarwa ian Dan cesPeer G
g
yn t Suite No . 1(49) [63 ]
Pian o Con certo No . 2 in A min or [1 1 , 16, 32, 49 , 63 ,64. 81]
Suite or S trin s, FromHolher ’
s Time
TheEast Spring8 (49) [63 ]
GRIFFBS, Charles T .
The Pleasure Dome ofKubla KhanThe Wh ite Peacock
GROEE, FerdeGran d Can yon Suite (66)
ER S AND WORK SGRUENBERG, LouisThe E n chan ted Isle (9)GUARNIERI, GamargBraz ilian Dan ceNegro Dan ceSavage Dan ce
HALPPTER,Ern esto
Deux Esquisses Symphon iques (3 [72 ]HANDEL, George FrederickMusicfor the RoyalFireworks [1 1 , 1 3 ]WaterMusic in F [1 1 , 1 3 , 44]
HANSON, Howard“MerryMoun t” Suite (43 )Symphon y No. 1 ,
“Nordic
Symphon y No. 2,“Roman tic”
HARRIS , R oyThird Symphon yWhen john n y ComesMarching Home
HARRISON, Lou
Alleluiajb r Orchestra (60)Suite No. 2 for S tring Orchestra (56)
HARSANYI , Tib or
Ouverture Symphon ique [73 ]Suite pour Orchestre (70)
HAYDN, Fran z JosephCon certo in D majorforPian o an d Orchestra [45 , 49]Symphon y No. 1 [103 ] in E b major,
“Drumroll”
[1 1 , 1 3 , 32 , 63 , 64, 65 , 81]SymphonyNo. 2 [104] in Dmajor,
“Lon don [1 1 , 1 3 ,
SymphonyNo . 3 [99] in E l; major [6, 1 3 , 65]Symphon yNo. 4 [101 ] in D major,
“C lock
”[1 1 , 1 3 ,
Symphon yNo. 5 [93 ] in Dmajor [1 3 ]Symphon yNo. 6 [94] in G major,
“Surp rise [6, 1 1 ,
Symphon yNo. 7 in C major,“LeMidi [1 1 , 1 3 , 64,
Symphony No . 7 [97] in C major [65 , 81]Symphon yNo. 1 1 [100] in G major,
“Military” (49) [1 1 ,Symphon yNo. 1 2 [102 ] in Bb major [1 3 , 49]Symphon yNo . 1 3 [88] in Gmajor [1 3 ]Symphon y No. 14 [96] in D major,
“Miracle [1 3 ]SymphonyNo. 1 5 [85] in Eh major,
“La Rein e (32)
Symphon yNo. 16 [92 ] in Gmajor, Oxford [1 1 , 1 3 ,
Symphon yNo. 17 [82 ] in Cmajor,“L
’
Ours [1 3 , 65 ,81]
Symphon yNo. 18 [45] in F1: min or, Farewell [1 3 ,
Violon cello Con certo [1 3 , 16, 49 , 63 ]
L I ST OF C OMPO S
HERRMANN, Bern ardS infon iettafor S tring Orchestra (60)
HILL, Edward Burlin gameLilacs (2 2)S infon iettafor S tring Orchestra (2)
HINDEMITH , PaulBallet Overture, Cup id an dPsyche (3 )KammermusikNo. 1 (Op. 24, NO. 1)KammermusikNo . 4 (Op. 36, NO. 3 )Kon zertfu
’
r OrchesterKon zertmusikfiir S treichorchester un d [3 1 ]Blechblalscr
Mathis derMaler
Neues vom Tage
Nob ilissima Vision e (72)Symphon icMetamorphosis ofThemes by Weber [72 ]Symphon ische Ta
'
n ze
(72 )Symphony in E—flatTheme an dFourVariation s, The Four Temperamen ts (3 )
HOLST, GustavA
'
S omersetRhapsody (1 1)Ben iMora, Orien tal Suite (2 3 )The Balletfrom“
The PerfectFool (61)The Plan ets [2 3 ]
HONEGGER, Ar thurChan t dc ] oieCon certin o pour Pian o ctOrchestre.
Horace Victorieux [73 ]Le Chan t dc NigamonL e Dit desjeux duMon de
L e Roi David (36)Mouvemen t Symphon ique No. 3
Musiquepour la“Phaedre
”dc G .D
’
An n un z io [73 ]
Pacific 2 3 1 [73 , 81 ]Prelude, Fugue, Postlude (70)Prélude pour “La Tcmpétc”Rugby (70) [73 ]Suite d’Orchestre, “L ’
Impératrice auxRochers
Symphon ic LiturgiqueSymphon ic No. IV
Symphon ic pour Cordes
Symphon ic pour Orchestre [73 ]
LaBallade de la C eci le dc ReadingOuverture de Féte
ER S AND WORK SD’
INDY, Vin cen tDeuxiéme Symphon ic en S ib (2 5)Istar, Variation s Symphon iques [49]jour d’etd d laMon tagn e (2 5)Symphon y on a Fren ch Moun tain Air (45)Tableauocdc Voyage (5 1)
INGHELBRECHT, DesireEmileE l Greco (70)
[73 ]
Pour lejour de lapremiérc n eige au vieuxJapan (70)Rapsodie dcPrin temps (70) [73 ]S injb n iaBreve No. 1 (70)
Ippom ov—IVANOV, MichaflOViChCaucasian Sketches [45 , 47]
IRELAND, JohnA Lon don Overture (1 1)Symphon ic Rhapsody, “Mai-Dun (4)
IVES, Charles E.
A S et ofPiecesLin coln , The Great Common erThe Fourth ofJuly”fiomSymphon y, HolidaysThird Symphony (2)Three Places in NewEnglan d [56]“Washington
’
sBirthday”fromSymphony, Holidays (60)JACOBI, FrederickCon certin afor Pian o an d S tring Orchestra
MusicHallOverture (52 )JAMES , PhilipSuitejb r S tring Orchestra [49]
JANACEK, Leo sS infon ietta (78)JANSSEN, Wern er
New Year’
s Eve in New York (9)
JOHNSON, Horace
JOLIVET, ‘
An dréAn dan te pour .Orchestre d Cordes (44)
KABALEVSKY, DmitriSuitefrom “
Colas Breugn on”Symphon y No. 2
The Comedian sKALINNIKOV, BasileSymphon y No I [47]
KAY, Ulysses
Suitefor Orchestra (1 5)KERR, Harriso nSymphonyNo. 1 (2)
LI ST OF COMPO S
MIASKOVSKY, NikolaiFragmen t Lyrique (60)S infon iettafor S tring Orchestra [78]
(78)
Symphon y No . 2 12)SymphonyNo. 2 25
Mn -IALOVI CI , Marcel
Divertissemen t pour Petit Orchestre (3 1)Toccata pour Pian o etOrchestre (44)
MILHAUD, DariusCin q Etudes pour Pian o etOrchestreC in q Symphon ies pour Petit OrchestreCon certo pour Pian o ct OrchestreCon certin a dc Prin temps [24]Con certo pour Violon celle etOrchestreDeuxiéme Con certo pour Violon et
Orchestre
Dcuxiéme Con certo pour Violon celle
etOrchestre2“ Suite Symphon ique (2 5)Four Sketches (56)I n troduction ctMarche Fun ébrc (28)L a Création duMon de (3 1)LaMort d’un Tyran (28)Le BalMartin iquais (52 )L e Carn aval dc Lon dresL es Choéphores (44)Opus American umNo. 2 (
“Moses
Ia”Symphon ic (44)I I”Symphon ic (44)Q uatriéme Symphon ic (70)Saudades do Braz il (3 I )S e
'
re'
n ade pour Orchestre (78)S uite Frangaisc (52 )Suite Proven galc [24]TwoMarches (71)
MOREAN, Ern est J.
Symphony in G min or
MOHAUPT, R ichardTown PiperMusic (3)
MOORE , DouglasI n Memoriam (29)Symphon y in A major (71)Village Music (59)
MORo ss, Jerome
MORRIS HaroldProspice Symphon y (1)
ER S AND“
WORK SMOZART, Wolfgan g AmadeusBalletmusic,
“LesPetitsRien s,
”K m (3 [I 3 ]
Bassoon Con certo in Bb major, K.19 1 [49]Clarin et Con certo in A major, K.622 [1 3 , 49]Con certofor 2 Pian os in E b major, K.365 [1 3 , 45 ,49]
Horn Con certoNo. II in E b major, K. 417 [1 3 , 49]Overture to
“Costfan Tutte," K.588 [6, 1 1 , 1 3 , 32
49. 81 ]Overture to Don Giovan n i, K.527 [1 1 , 1 3 , 3 2 , 44,49. 65 . 81 ]
Overture to“I I S eraglio, K.3 84 [1 1 , 1 3 , 3 2 , 81 ]
Overture to The Impresario, K.486 [13 , 16, 3 2 , 81]Overture to
“The Magic Flute,”K.620 [1 1 , 1 3 , 32 ,
44. 64. 65. 81 ]Overture to TheMarriage qfFigaro, K.492 [6, 1 1 ,I 3 . 32 . 44. 64. 65 . 81]
Pian o Con certo (No. 2 3 ) in A major, K.488 [1 1 , 1 3 ,I 6. 3 2 . 44. 49. 65. 81 ]
Pian o Con certo (No. 26) in Dmajor, Coron ation , K.5 37
[ I L 1 3 . 16.
SymphonyNo. 28in C major,K.200 [1 3 , 16, 32 , 81 ]SymphonyNo. 3 5 in Dmajor,
“Hafin er,
”K.385 [I I
I 3 . 81 ]Symphony No. 3 6 in C major,
“Lin z , K.42 5 [1 1 ,1 3 . 81 ]
SymphonyNo. 38in D major,“Prague, K.504 [1 1 ,
1 3 . 44. 65 . 81]SymphonyNo. 39 in E bmajor, K.543 [6, 1 1 , I 3 , 16,
81 ]SymphonyNo. 40 in G min or, K.5 50 [6, 1 1 , 1 3 , 16,3 2 .
Symphony No. 41 in C major,“
jup iter, K.55 1 [6,H . 1 3 . 16. 64. 65. 81 ]
Titus Overture, K.62 1 [1 3 , 49]Violin Con certoNo. I in E hmajor,K.2 07 (32 )Violin Con certo No. I I I in G major, K.2 16 [1 1 , 1 3 ,49. 65 ]
Violin Con certo No. IV in D major, K.2 18 [1 1 , 1 3 ,16. 65]
Violin Con certoNo. Vin A major, K .2 19 [1 1 , 1 3 , 16,49. 65]
MUSSORGSKY, ModesteIn troduction to “Khovan chtchin a [ 1 1 , 45 , 49]Night on theBaldMoun tain [1 1 , 45 , 81 ]Polon aisefi om
“Boris Godun ov” [8, 26]
MUSSORGSKY—RAVELPictures at an Exhibition [27]
NICOLAI, O ttoOverture to
“TheMerry Wives ofWin dsor [1 1 , 12 ,
I 3 . 32 . 81 ]
NYSTEDT, Kn utThe Lan d ofSuspen se (54)
L I ST OF C OMPO SE
PARODI, R en atoPreludio ad un a Commedia (70)
PERSICEETTI , Vin cen tThe HollowMen (29)
PESCARA, Aurelio
Tibet, Symphon ic Sketch (3 )PICK—MANGIAGALLI , RiccardoNotturn o e Ron do Fan tasticoPiccola S uite
PIERNE, Gab rielDivertissemen ts sur un ThémePastoralVien n oisc
PIRET, FrederickCurtain Raiser to an American Play (3)
PISTON,WalterCon certin ojbrPianoforte an dChamberOrchestra (2 )Con certofor Orchestra (2 2 )First Symphon y (71)Prelude an dAllegroforOrgan an d S trings (2 )Prelude an d FugueS uitefor Orchestra (2 2)
SuitefromtheBallet, Th e In credibleFlutistSymphon yNo. 2
PIZZE'
I‘
TI , lldeb ran doCon certo dell’EstateI n troduz ion e all’ “Agamen n on e diEschilo
POO'
I‘
, Marcel
Jazz -Music
Symphon ic
PORTER, Quin cyMusicfor S trings (59)
POULENC, Fran cisAubadeCon cert Champétrepo
'
ur Clavecin ctOrchestreCon certo pour deux Pian os etOrchestreDeuxMarches et un In termede
PROKOFIEPF, Serge
Ala etLolly (S cythian Suite) [40]
(52)
C lassical Symphon y [1 1 , 16, 40 , 49]Lieuten an t Kije [16, 49]March an d S cherz ofrom
“The Love ofthe Three Oranges
(H ) ; [27]Peter an d the Wolf(52 ) ; [1 1 , 64]Pian o Con certo No . 3 [40]Romeo an dJuliet, Suite No . 1
Romeo an djuliet, Suite No. 2(52 )
Suitefrom the Ballet “Chain ” [40]Summer Day Suite (52)SymphonyNo 5 [49]Symphon y No. 6 (52 )Violin C on certo No. 2 (6)
R S AND WORK SKARAUD, Hen ri
Divertissemen t sur des Chan son sRusscs (30)La Procession Nocturn e (2 5)
RACHMANINOFF, SergeiDie Toten in sel [1 1 , 40, 45]Pian o Con certo No. 1 [40]2d Con certo pour Pian o etOrchestre [ I 1 , 16,Pian o Con certo No. 3 [40]Rapsodie pour Pian o ct Orchestre [3 1 ]Symphon yNo. 2 [4c ]The Bells [1 1 ]
RAMEAU,Jean Philippe- Mom
Ballet Suite [49, 63 ]RAVEL, Maurice
Alborada del Gracioso (3 1)Bolero
Con certo pour lamain gaucheCon certopourPiano ctOrchestreDaphn is etChloc
'
, SuiteNo. 1
Daphn is ctChloé, SuiteNo. 2
I n troduction ctAllegro
L a Valse
Le Tombeau dc Couperin
MaMe‘
re l’
oye
Men uetAn tique (30)Rapsodie Espagn oleS héhe
'
razade
Tz igan e
ValsesNob les ci S en timen talesR EAD, Gardn erFirst Overture (2 1)Prelude an d ToccataSketches of the C itySymphon y No. I (1)
R EGER, Max
Requiem [75]Variations on a Theme ofMozart [12 ]
RESPIGHI, O ttorin oAn tiche Dan ze edArie, 2“ SuiteBallata delle Gn omidiBelfagor, Ouverture per OrchestraCon certo Gregorian o p er Violin o e Orchestra (78)Feste Roman eMetamorphoseon , XII ModiThe BirdsThe Foun tain s ofRomeThe Pin es of RomeToccataperPian ojb rte e OrchestraTrittico Botticellian oVetrate di Chiesa
REVUELTAS, Silvestre
L I ST OF C OMPO S
R IEGGER,Wallin gfordDichotomy (60)Symphon yNo. 3 (3 )
R IETI, VittorioL
’
Arca diNoe(78)S eren ata (70)S infon iaNo. 5
S injb n ia TripartitaR IISAGER, Kn udage
Torgot Dan ce (54)R IMSKY—KORSAKOFF, NicolasCapriccio Espagn ol [7, 1 1 , 3 2 , 64]Dan ce ofthe Buflb on s [8]L e Coq d
’
o r Suite [47, 81]Russian Easter OvScheherdzade (49) [7’ H ’ 3 2 ]
SymphonyNo. 2 ,“An tar [8, 1 1 , 3 2 , 81 ]
Re R, JeanChan t Fun e‘breDan seOuverture pour un don Quichotte [73 ]Rapsodie pour Violon celle ct Orchestre3 Pastorales
ROGER- DUCASSE, Jean JulesL ejolijcu dc FuretPoéme Symphon ique sur le n omde GabrielFaure' (2 5)S araban de
R OGERS , Bern ardCharactersfromHan s Christian An dersen
On ce Upon a Time, Five Fairy Tales (49)ROPARTZ, J. GuyS oir sur les Chaumes (2 5)
R OSENTHAL , Man uel
Les PetitsMétiers (46)R OSSINI, Giacomo
L a Gazza Ladra, Overture [1 3 , 81 ]L a S cala di S eta, Overture [1 3 , 49]L
’
I talian i in A lgeri, Overture (32 )S emiramide, Overture
[1Tan credi, Overture 3
The Barber ofS eville, Overture [1 3 ,William Tell, Overture [1 3 , 3 2 ]
R OUSSEL, Alb ertEvocation s, IEvocation s, IIEvocation s, I IILe Festin de l’Araign éePour un e Fé
'
te dc Prin temps4me Symphon ic
Rapsodie Flaman deSuite en FaSymphon ic en S olmin eur
ER S AND WORK SROZSA, MiklosCon certofor S tring Orchestra (52)
R UDHYAR, Dan eFive S tan zasSinfon ietta
R UGGLES , CarlSun Treader (60)
RUSSELL, WilliamFuguefor E ightPercussion I n strumen tsThree Dan ce Movemen ts
SAINT- SAENS, CamileDan se Macabre (2 [1 1 , 49]L ajeun esse d
’
Hercule
L e Carn aval des An imaux (2 5)
Omphale’
s Sp in n ing Wheel (2 [1 1 , 49]S uite Alge'rien n e3 c Symphon ic en Utmin eur
(2 5)
SAMINSKY, LazareLitan ies des Femmes (70)
SATIE , Erik—DEBUSSYGymn opédies [49 , 70]
SCARLATTI, Domen ico—CASELLAToccata, Bourrée, ct Gigue [73 ]
SCHELLING, Ern est.A Victory Ball (5 3 )
SCI-HEN , Irv in gDan ce Overture (3 )
SCHMIT’I‘, Floren tEtude pour le “Palais Han té d’EdgarLa Tragédie dc S alome’Mirages pour Orchestre
Rapsodie Vien n oiscRon de burlesque (44)
SCHONBERG, Arn oldA SurvivorfiomWarsaw (10)Fu
'
nf Orchpstcrstucke (63 )Kammersymphon ie, Op . 9
Pierrot Lun aireSuitefor S tring OrchestraThemean d Variation sVerklarte Nacht [45]
SCHREKER, Fran zThe Birthday of the I njh n ta, Suite (81)
SCHUBERT, Fran zRosamun de Overture [1 1 , 1 3 , 3 2 , 81 ]SymphonyNo. 2 [1 3 ]Symphon y No. 4,
“Tragic
”[1 1 , 1 3 , 64]
Symphon y No . 5 [I L I 3 . 3 2 . 81]Symphon yNo . 6 [1 3 ]Symphon y No
Symphony No
7 [I L I 3 . 81 ]8,
“Unfin ished [6, 1 1 , 1 3 , 3 2 , 44 ,
49. 63 . 64. 65]
L I ST OF C OMPO
STRAUSS , Rich ardAlso Sprach Zarathustra [81 ]Dan ce Suite after Fran gois Couperin [81]Death an d Transfiguration [1 1 , 32 , 61 , 81]Don juan [1 1 , 32 , 61 , 63 , 81 ]Don Quixote [3 2 , 49, 6 1]E in e Alpen sinfon ie (5 [3 2 ]Bin Helden leben [3 , 5 3 ]Macbeth [32 , 63 , 81 ]
Rosen kavalier Waltzes—First S equen ce [37]S alomé
’
s Dan ce [1 1 ]S uitefrom“
LeBourgeois Gen tilhomme [37, 81 ]Symphon ia Domestica [3 , 32 ]TillEulen speigcl
’
sMerryPranks [1 1 ,'
3 2 , 61 , 81 ]
STRAVINSKY, Igor
Con certo en RépourOrchestre dCordes (I 1)Con certo en Répour Violon ct Orchestre (72 )Dan ses Con certan tes [72 ]“Dumbarton Oaks” Con certo (72)Ebony Con certo (19)Fire- Bird Suite (1919) [1 1 , 2 0, 49, 72 ]FirebirdBallet Suite (1945) (52 )Feuerwerk (Fireworks) [3 1 , 45]FourNorwegian Moods [72 ]Histoire du S oldat [2 0,
] eu dc Cartes [3 1 ]L e S acre da Prin temps [1 1 , 49]L es Noces [81 ]Mass (1 1)Ode (72 )Oedipus Rex [2 7]Orpheus (I I )Petrouchka Suite [1 1 , 49 , 64]Pulcin ella Suite [20 , 27]Q uatre Etudes pour Orchestre [2 7]Ragtime [72 , 81 ]Ren ard [20]S cén cs dc Ballet (3 )S cherz o d la Russe [3 ]S cherz o fan tastique [3 1 , 47]S uite No. 1for SmallOrchestra [72 , 81 ]Symphon ic dc Psaumes (1 I ) ; [27]Symphon y in C (72 )Symphon y in Three Movemen ts [72 ]
STRINGFIELD , Lamar
A Negro Parade (34)S e ANOWSIcI , Karol
Symphon ic Con certan tepourPian o ctOrchestre (3
SER S AND WORK STANSMAN, Alexan dreDeuxMomen ts Symphon iques (3 1)Short Suite (52 )Son atin e Tran satlan tique (5 1)
TAYLOR, DeemsBalletMusicfrom Casan ova
Through the Looking GlassTCHAIKOVSKY, Pe ter IlyitchCapriccio I talien [1 1 , 3 2 , 64]Fran cesca da R imin i [12 , 45 , 49]Hamlet [3 2 ]Manfred- Symphon ic [47]March S lay [3 2 . 47]Mozartian a [47]Nutcracker Suite (No. 1) [6, 1 1 , 64]Ouverture S olen n elle, 1812 [1 1 , 3 2 , 64]Pian o Con certoNo . I in Bbmin or [1 1 , 3 2 , 64]Romeo an djuliet (49) [6, 1 1 , 12 , 32 , 64]S eren adefor S trings [32 ]
Q
SuitefromtheBallet, The S leepingBeauty [47]Symphony No . 2 [49]Symphon y No. 3 (I 7) ; [47]Symphony No. 4 [1 1 , 3 2 , 64, 81 ]SymphonyNo. 5 [6, 1 1 , 3 2 , 49 , 64]SymphonyNo. 6,
“Pathétique” [6, 1 1 , 49 , 64, 81 ]
Variation s on a Rokoko Theme (3 2)
THOMAS, Amb roiseMign on Overture [44]
THOMSON, VirgilLouisian a S tory Suite (71)Orchestra Suitefrom ThePlow thatBroke thePlain s (59)Tango Lullaby (56)The S ein e atNight (71 )
TIPPETT, Mich aelSymphon y No. 1 (72 )
TOCH, Ern stFu
'
nf S tuckefur Kammerorchester (72)Hyperion (52 )Pin occhio (3 )The Chin ese Flute (72)
TRAPP, Max
Symphon ic No. 4 (32 )
TURINA, JoaquinLaProccsidn delRocio [67]
TURNER, GodfreyFanfare, Chorale an d Fin ale (2 )Gregorian Overturefor S tring Orchestra (3 )VARESE, EdgarHyperprism
I n te'gralesIon isation (60)
L I ST OF C OMPO SER S AND WORK SVAUGHANWILLIAMS , R alph
A Lon don Symphony (77)Con certo Accademicofor Violin an d S tring Orchestra (62)Fan tasia on a Theme by Thomas Tallis (1 1) ; [2 3 ]
(62)
Overture to The Wasps [1 1 , 72 ]Pastoral Symphony [2 3 ]Symphony in Fmin or (No. 4)Symphon y in D major (No. 5)Symphon y in E min or (No. 6)The LarkAscen dingVERDI, GiusseppeI Vespri S icilian i Overture [65]Messa da Requiem [16, 45 , 49, 81]Overture to
“La Forza delDestin o” [65]
VILLA- LOBOS, HeitorAmazon as 1ChdrosNo. 8
ChdrosNo. 10
Dan sesAfricain esUirapuru(3 )
WAGENAAR , Bern ardS infon iettafor Small Orchestra (2 2 )WAGNER, Jo sephSymphon y Number On e (1)
WAGNER, RichardBacchan alefrom Tan n hauser [2 5 , 3 2 ]Ein e Faust- Overture [13 ]En tran ce ofthe Gods in to Valhallafrom Das Rheingold
[72 ]En tran ce ofthe Guestsfiom Tan n hauser [1 3 ]ForestMurmursfrom
“S iegfried” [72 ]
Fun eralMusicfrom“Go
'
tterddmmerung”
[32 , 72 ]Good Friday Spellfrom“
Parsifal”
[72 ]I n troduction toActI I I , Tristan un d Isolde” [1 3 ]MagicFireMusicfrom DieWalkiire
”[32 , 72 ]
Prelude an d Love Death from “Tristan un d Isolde
”
[ I L I 3 . 65 . 81 ]Preludes toAct I an d II I , “Lohengrin [I 1 , I 3 , 2 5 , 32 ,44. 64. 81 ]
Prelude to DieMeistersinger von Numberg”
[1 1 , 44,72 . 81]
Rien z i Overture [1 3 , 3 2 ]
S iegfried’s Rh in e journ ey from “Die G iittcrddmmerung
[72 ]Tan n hauserOverture [1 1 , 1 3 , 2 5 , 3 2 , 44, 64, 65 , 81 ]The Flying Dutchman Overture [1 1 , 2 5 , 3 2 , 64]Th e R ide ofthe Valkyriesfrom “
D ie Walkiire [1 1 ,65 . 81 ]
Con certofor Viola an d OrchestraCon certojb r Violin an d OrchestraFagade, S uite No. 1
Pagade, S uite No. 2
Portsmouth Poin t OvertureSymphon y
WARD , R ob er tjub ilation—Ah Overture (3 )WARLOCK, Pe terCapriol Suite (1 I )WEBER, CarlMaria v on
Der Freischu'
tz Overture [6, 1 1 , I 3 , 3 2 , 44, 81]Euryan the Overture [1 1 , 1 3 , 3 2 , 81 ]Kon z crtstiickfiir Klavier un d Orchester [1 3 , 16]Oberon Overture [1 1 , I 3 , 3 2 , 44 , 81 ]
WEBER—BERLIOZI n vitation to the Dan ce [1 3 , 65]
WEINBERGER, JaromirPolka an dFuguefrom S chwan da, theBagpiper [78]
WEINGARTNER, FelixLustige Ouverture (1 3 )WEISS , AdolphAmerican Life (60)WELLEsz , Ego n
Symphony in C (72 )
WI-n TE , Paul
Five Min iaturesIdylfor OrchestraWHITHORNE , Emerson
FataMorgan a
Th e DreamPedlarWOLF, HugoDer Feuerreiter (81 )ZIMBALIST, EfremAmerican Rhapsody (71)
599
INDEX OF ABBREVIATIONSHr . , see Horn
see Harpsee Horn
see HarpHs. , see Ho rn
Hib , see Ob o e
J. de T . , see Glo cken spieljeu o rd . , see No rmal b owin g
Kast . , see Casta ne tsK .
- B . [Kb . ; see Bass(es)K. D. [Drs. ; Drum] , see TiK.
- Fag. see Con trab assoonKielfi . , see HarpsichordKl. see Clarin e tKlav . , see Pian o
K1. Fl. , sce Piccolo
K1. in D [Es] , see D [Eb] Clarin e tKl. Mtr . see Sn are DrumKo n trab . , see Bass(es)Kon trafag. , see Co n trab assoonKtb . , sec Bass(es)L. H. sec Left- han d pizzicato1. V. , see Vib ratoma] . tr . , see Trills
m. D . , see Left- han d pizzicato8cMutes
m . [mit] Dmpf. secMutesm. Dpf., seeMutesm . g., sec Left- h an d pizzicatoMil. dr ., see Sn are Drummin .
~tr ., see Trills
modo ord . , seeMuffle Off 8cNaturalpositio n 8c Open ton es
m . s., see Left—han d pizzicatoM .
- Sop . , sec Alton at. [n at. sec Mufile off 8c
Natural po sition 8c No rmal b ow
in g 8c Open to n esn ich t trem . see Measured Tremolo
8cNou- tremolo
n on - arpegg., see Non - arpeggiaton on - div . , see Un ison
n o n - trem . , see Measured Tremolo 8c
Non - tremoloOb . c
’
alt0 . , scc En glish Horn
see Ob o e
0 . D . [Dpf] , see Mutes OffOhn e Dmpf. , see Mutes 06ord . [ord . see Mutes 03
"
8c
Natural position 8cNormal b owin gOrg. , sec Organ
Ott . see Piccolo
ouv . , see Open Ton es
P. see Cymb als 8c Pian oPar . dr ., sec Ten o r Drum
Pauke ., see Timpan iPavon en l
’
air , see Bells UpP. F., see Piccolo
Pf. see Pian o
Piat . , see Cymb alsPic . see Piccolo
Pist. , see Co rn e tpizz., see PizzicatoPk. , see Timpan iPn . [P.
- n o . ; see Pian o
p . 11 see No rmal b owin gPn s. , sec Corn e tp0rt. , see Glissan doPos., see Tromb o n e
pos. n at. , sec Natural position 8c
Normal b owin g
po s. o rd . [Posfm 0 rd'6] , see Naturalpo sitio n 8c Normal b owin g
Pie Cl. , sec D [Eb] Clarin e tP“cm cl , see Small Side DrumP“FL, sce PiccoloPie tamb ., sec Small Side DrumPtti. , see Cymb als
(R), see At [on ] the rimrrr , see Flutter- ton guin gR . Tr . , sec Ten or Drum
S ., see Sopran o
san s sourd. , seeMufile Off 8: Mutes 03
Sam , see Sarrusophon e
Sassaf. see Saxoph on eS . C . [Cymb ] , see Suspen ded Cymb alSch tr . , sec Tamb ourin e
S . D . , sec Sn are Drumsen za sord., see Mufile Off 8c Mutesoff
Sf. , see Xyloph on eSm . FL, see Piccolo
Sn . dr . , see Sn are DrumSop . sec Sopran o
sord. , sec MutesSord. ab 1, see Mutes ofi'
Sourd. , seeMuffled 8cMutesSpd . Gym . , see Suspen ded Cymb alsprin g. Bog. , see Saltan dosul pon t. , see Sul pon ticellosul tast., sec Sul tastoT see Ten or
Tab . , see Tab or
Tam . [Tam- L ; sec Tam- tamTamb . , see Sn are Drum 8c Tab or 8c
Tamb ourin e 8c Ten o r DrumTamb .B. [de seeTamb ourin eTamb . gr ., sec Bass DrumTamb . P., sec Tab or
Tamb . picc . , see Small Side DrumTamb . r . , see Ten or Drumtast. , sec Sul tastoTb . , sec Trumpe t 8c Tub a
602
T . b . , see Tamb ourin eTb a. , see Trumpe t 8c Tub aTb . B ., see Bass Tub aTb e . , see Tromb o n e 8c Trumpe tTb les. , see Timpan iTb n es. see Tromb on eT .
- b o n es, see Tromb o n eTb r . b . , see Tamb ourin eTb res., sec Glocken spielTb . ten . , see Ten or Tub a
T’
b uro mil. , Sec Sn are DrumT . D ., see Ten o r DrumT . de B . , see Tamb ourin eT . de P. , see Tab or
Ten . , see Tenor 8c Ten utoTen . dr . , sec Ten or DrumTen p ., see Tromb on eTen . Tb . see Ten or Tub a
Timb . see Timpan itkt., see Triple
—Ton guin gT . M . see Sn ar e DTmb . gr . , see Bass DrumTmb on i. , see Tromb on eTmb . r . , see Ten or DrumTmbm0 . , sec Tamb ourin eT .
- n i., see Tromb on eT. p . , see Tab or
Tp ., see Timpan iT .—P0 s., see Tromb on e
Tps. [Tpt(s) see Trumpe ttr . , see Trills
Tr . see Tromb on e 8cTrumpe tTr . b . [Trh . see BassTrumpTr .
‘Basse , sec Bass Trumpe tTrb n . sec Tromb on eTrb n . b . , sec Bass Tromb on eTrb n s., see Tromb on e
trem. , sec Flu tter- ton guin g 8cTremo
lan do 8c Tremolo
Trg. [Trgl. ; Trian g. see Trian gle
tr . mag. [maj see Trills
tr . min . , see Trills
Trmp . , see Trumpe tTrn i . , see Tromb on e
see Tromb on eTromp . , sec Trumpe tTrp . sec Trumpe tT . T . [T . see Tam- tam
T . Trh . , see Tromb on e
Tymp . , see Timpan i
un is , see Un ison
V. I . [II] , scc Violin'
see ViolaVc . , see Violo n celloVcell. [V.
- Celli. ;Violo n cello
Vcl(1) . [Vcllo . ; seeViolon celloV611“, see Violon celloVib ., see Flutter- ton guin g 8cVib rato
INDEX OF ABBREVIATION SVib raf. [Vib rahp . ; see Vle ., see Viola Xf. see Xylophon eVib raph on e see Violin Xyl. [Xylph ] , sec Xylophon eViol. [W] (I ; II) , see Violin Vlo s. , sec Violon celloViolo n c ., sec Violon cello see Violin Zilf., see Xyloph on e
see Viola Vn i . see Violin zus. , see Un ison
Vlc . , see Violon cello Zymb . , see Cymb al
60340
INDEX OF NOTATION
see Flutter- to n ‘
guin g Growl“Wah - wah
”; Wow
”
see Flutter- ton guin g ; Tremolan do ;Tremolo see L .h . pizzwato
see Legato b owin g; Vib rato
see Marcato b owin g
see Glissan do
see Measured Tremolo
seeMiscellan eous Effec ts (Harp)
see Nail pizzicato
sec Glissan do; Wah - wah
seeNon - arpeggiato ; Pizzicato with 2
fin gers
see Glissan do to a harmon icsee Open
—S topped
see Pian o Harmon ics
see Han d in b ell
see Portamen to ; Rip”
see Harmon ics
see Quadruple Harmon ics
sec Harmo n ics ; Natural n o tesOpen ; Open S trin gs ; With Quarter ton esthe fist
606
V fl V fl
C 2 “
fl fl fl fl
V V V V
4
INDEX OF NOTATION
see R everse Arpeggio
see R everse Bowin g
see Rub b ed together
see Saltan do
see Separate Bowin gs
see Slide (Wire - b rush o n Cymb al,etc .)
see Smear
see Sn ap pizzicato
see Spiccato b owin g
see Staccato b owin g
see S topped—Open
sec Stopped (ton es)
see Successive Down - b ows
see Successive Up- b ows
see Timpan i Chords
607
see To n e- clusters
see Tremolan do ; Trills
sec Tremolan do ; Trills
sec Tremolan do ; Tremolo ; Trills ;2- Timpan i R oll
see Tremolan do ; Tremolo ; 2 -Timpan i
R 011
sec Tremolan do ; Tremolo ; Trills
see Tremolo glissan do
see Trian gle
see Trills ; 2 - Timpan i R oll
see Triple Harmo n ics
sec Triple- to n guin g
see Up- b ow
2 Tub as, 30 , 3 32 Violin en (etc .) soli [allein ] , 4912 [due] Violin i [Viole ; Violon celli ;Bassi] solamen te , 4912 Violin i (etc .) soli, 49 12 Violin s (etc .) so lo , 491
2 Violon s (etc .) soli [seuls] , 49 1
II . 559. 563II .C . [corda] , 5 59II . co rde , ‘
5 59
II [an d] Ob . to E . H., 83En d Orch estra, 40511 par te. 45 5II - Saite , 5 59II Violin e (n ) , 10
3? corda, 560, 562 , 569- 70
3 Basso o n s, 3 1—33 Buccin e [R oman Trumpets] , 1453 Caisses [Casse] , 2 12 r
3 Clarin e ts, 3 1—43 Drums, 2 1 2
36 corde , 560 , 562 , 569—703 (I to Viol. , etc .) allein , 491
3 ~ fach get. , 45 5
3 (1st Vln s. , etc .) Solo , 49 13 Flutes, 30—1 , 343 4—Par t Male Choruses, 3 2
3 Ob oes, 2 9 , 3 1—33 Players, 162 , 172
3 (I ém VOW , etc .) Soli [seuls] , 49 13 rd Cl. chan ge to B. Cl., 83
3 rd C1. in B b chan ge to E b CL, 83
3 rd Fl. altern ates with Picc ., 83
3 rd strin g, 5623 R oman Trumpe ts [Buccin e] , 145
610
RALS
6 Harps, 3 1
6- Part Female Chorus, 3 36 R oman Trumpe ts, 3 36 Timpan i , 3 2—36 Tromb on es, 3 26 Trumpets, 3 2
9 Basses, 30
10 Ho rn s, 3 2 , 3 310 Violas, 3 0
1 1 Violon cellos, 30
1 3 Solo v oices, 3 1
1 5 Violin I , ll, 30
16 Violon I , II, 3 1
INDEX OF NUME
3 Timpan i, 3 1—4
3 Tromb on es, 29—34, 1453 Trommeln , 2 12
3 Trumpe ts, 29—34, 1443 (Vln . I , e tc .) Soli, 491
III ., 560 , 562 , 569—70III .C . [corda] , 562III . co rde , 562III- Saite , 5624? co rda, 561 , 5654 Bassoon s, 30 , 3 24 Bayreuth tub as, 3 246 corde , 561 , 5654 ein zeln e Viol. 491
4- fach get. , 467
4 Flutes, 29 , 324- Han dig, 2 2 5 , 241
4 Han ds, 2 2 5 , 2414 Harps. 3 2
4 Horn s, 30—44 Horn s muted, 1 524 Piccolo s, 3 2
4 players, 163 , 491
4 Soli [Spieler] , 4914 Solo Vln s. 491
4 Ten or tub as,.
3 3
4th strin g, 561 , 5654 Timpan i. 30—3 34 Tromb on es, 3 3
4 Trumpe ts, 3 2—3 , 144—54 Tub as. 3 L 3 3
4 Violin s, 29IV 561 , 565
N C . [corda] , 561 , 565IV. corde , 561 , 565IV- Saite , 561 , 565
IND EX O F NOME NC LATURE AND
A an dl
B -Flat clarin e t, 1 5Ab b assa la IV. co rda al Si, 573Ab dfimpfen , 165 , 268
Ab gesto ssen , 294A calo tta, 75Accen ted (b ows) , 291Acco rdate A in Ga, 573Accordate C in B, 573
Accordate G in Fit [G b ; Gli]. 573Acco rdate il G co rda come di solito ,
573
Accordate la corda la piu b assa inSib , 271
Acco rdato in alto , 2 12
Acco rdé en haut, 2 12Acco rdez en Failmin eur , 273Acco rdez 1a corde la plus b asse en
Sib, 2 71
Acco rdez le Sol comme d’ordin aire ,S73
Acco rdez So ] an Solti, 573Accro chez la Cymb . au pied, 182A corda [La corde] , 5 59Actual pitch [soun d] , 2 73 , 409Add mu te (s) , 104A deux 83
A due 83 , 181 , 45 5
Agitare , 2 1 5Agitées l’un e con tre l’autre , 183Agité(ez) , 2 1 5A la corde , 288, 372A la guitarra, 2 66, 3 2 5A lajan te , 197A la poin te , 307A la poin te , comme col legn o , 578
Al b anjo , 3 2 5
All. 45 5Alla chi tarra [Clav ecin ] , 266Alla co rda, 283Alla man iera striden te , 149Alla stessa corda, 581All desks muted, 581All divided, 455All divided in 2 equal parts, 455Alle. 45 5Alle die An dere , 581Alle die BfissemitAusn ahme 581
Alle ersten [zweiten ] Viol. mitAusn ahme 581
TE R M INO L O GY
Alle ge teilt, 45 5Alle in den Bli sern 63
Alle in zwei gleich en Hfilften ge teilt,45 5
Alle Pulte mit Dampfer , 581All
’
estremita, 180, 197
All’
estremiti (della memb ran a) , 163
Allméihlich die Dampfer aufse tze n ,
40 5
Allmih lich Of‘
fn en , 1 1 1
Allmahlich Sordin en ab [an ] , 40 5 ,406
All’
ogn i leggio soltan to il 10 son atore ,45 5
Allow to Vib rate , 2 3 3All th e b asses except th e I St
'
player ,
581
All th e 1 st'[2 n d] Vln s. put on
mutes 581
All th e o th ers, 581All th e remain in gVln s.
A l’
octav e re’
elle , 273 , 409A l
’
o rdin aire , 181 , 372
Al o rdin ario , 72
Al po n ticello , 381
Al pun to , 307
Al solito , 3 72
Al tallo n e , 305A1t(e) , 1 0AltflOte , 6
Althob oe , 6
Alto Flute , 6 , 1 3 , 3 2—4, 57, 61 , 65—7Alto (i) , 10Alto (s) , 1 0Alto solo , 477
Alzate so rdin o (i) , 104Amb oss, 9A me taarco , 3 1 1
Am Fro sch , 305
Am Griffb re tt, 394AmMetallran d um Fell schlagen , 164Am R an d (des Felles) , 163 , 180 ,
196
Am Spitze (des Bogen s) b egin n en ,
579Am S teg, 381A n ach E tief, 2 3 3A n ach Gis h erun terstimmen , 573An ch e n asale che possib ile , 81
An deres Becken n ehmen , 2 3 2
An der gleich en Saite , 581‘
61 1
An der Seite desKessels schlagen , 164
An der Spitze des Bogen s, 307An der Spitze gestrich en , 307
An jedem Pulte n ur die erste Spieler ,45 5
An tike Zimb eln , 8
An tique Cymb als, 8, 3 2—3 , 1 58, 2 2 6
An v il [Steel Bar , Pipe] , 9 , 2 2 3 , 2 28A pein e frOlé, 181 , 197Aperta(e) 104, 1 1 2
Aperto (i) 1 2 5
A peu pres du Ch evale tA pied(e) , 20 1Appen a to ccata, 181 , 197Appuyer un e b ague tte sur lapeau
198
Apres av o ir frappé les cymb ales194
Apri po co a poco , 1 1 1
A pun ta d’arco , 307
a 4. 467A 4 main s (man i) , 22 5 , 24 1Arche t, 3 2 2Arche t—comme pizz. , 580
Ar chi [S trumen ti a corde] , 10Arco , 3 2 2
Arco per ar co , 283
Arco—quasi pizz, 580Armo n ica, 9Armo n ici : come ascritto , 2 73Armo n ici : n o n un
’
o ttav a piu alta,273
Armon ici : suon o , 273Armon iCOG). 41 . 74. 2 2 5 . 2 42 . 2 57.2 73
Armon ico sul A [C ; D ; E ; G] corda,408
Ampahfi. 9Arpégé , 3 2 2Arpege descen dan t, 572Arpe
’
gez le pizzicato , 3 2 2 .
Arpeggiate , 3 2 2Arpeggiated, 279Arpeggiato , xviii , 2 79 , 3 2 2 - 5Arpeggio discen den te , 572Ar rach ez la corde ouverte (Re)S78
Artificial Harmon ics, xv iii , 280, 44154
A—Sai te , 5 59As ifmuted, 80
” 579
INDEX OF NOMENC LATURE AND TERM INOLOGYAS n asal as po ssib le , 81Assordate a mezza, e tutta, 195Assordate co l il dita, 194Assordate i to n i 2 20
Assordate le corde colla palma242
A suin g. 5 59A [au] talo n , 305At h eel (of b ow) , 305A to low E, 2 3 3At pitch , 2 73 , 409a 3 . 45 5Attach the cymb . to th e foo t- b eater ,182
At (th e) edge [rim] , 180At (the) edge of (the) h ead, 163 , 196 '
At the en d of th e b ow, 307At (the) frog, 305At [on ] th e n ut, 305At th e poin t, like col legn o , 578
At th e poin t [tip] (of th e b ow), 307At (the) rim (of h ead) , 163 , 180, 197At th e tip [poin t] (of th e b ow) , 3 07Au b o rd, 18oAu b ord (de la memb ran e
Au cen tre , 164Au chev ale t, 381Auf A. 5 59
Auf b eiden Fellen , 198
Auf C , 561
AufD, 562
Auf das Fell, 199, 2 1 5Auf das Fell mit diin n en Ruten , 2 32
Auf dem Holzran d (den Trommel) ,
Auf dem Holzstab ch en , 199
Auf dem Kn ie gestreich en , 2 14
Auf demR an d, 180Auf dem S teg, 381Auf dem Th eater , 75Auf den Boden werfen , 2 20
Auf den hOlzern en R ahmen , 199
Auf den Saiten , 2 3 2
Auf den Sch ellen , 2 14
Auf den Vier Saiten 3 81
Auf der A—Saite (zu spielen ) , 5 59Auf der Biih n e , 75Aufder O - Saite (zu spielen ) , 561Auf der D—Saite (zu spielen ) , 562Auf der E - Saite (zu spielen ) , 564Auf der G—Saite (zu spielen ) , 565Auf der klein en Tromme1, 2 2 0
Auf der mi tte des Bogen s, 3 1 1Auf die Kuppel, 183Auf die Seite gedreh t, 198Auf E , 564Auf ein er Saite , 581Auf G, 565AufHolz geschliigen , 199
Auf zwei [2 ] Saiten , 537
Au milieu, 183
Au milieu de la memb ran e [peau] ,
Au [du] milieu de l’
at che t, 3 1 1Au n aturel, 372Aus der Fern e , 75Ausklin gen lassen , 2 3 3Aussi n asillard que possib le , 81Aus v ollen Hals, 149Au [5] talon , xviii, 2 79, 305—7Auto [Taxi] Horn , 9 , 2 28
Autoh om , 9 ,
Av an zare il suon o , 1 5 1
Av ec b ague tte (s), 2 32Av ec co rde (s), 2 10Av ec deux [2 ] b aguettes, 172Avec deux [2 ] b ague ttes sur un e
cymb ale , 2 3 2Av ec la main , 109, 120 , 184, 2 1 5Av ec la poin te (de l’atche t) , 307Av ec l
’
archet, 3 2 2
Avec l’
archet ren v ersée , 572Avec le b ois, 372
Avec le do s de l’
atch e t, 3 72Avec le gen ou , 2 14Avec le man ch e de lamailloch e , 184,2 2 2
Av ec le pouce , 2 1 3 , 3 3 3 .
Av ec les autres VO?“ [Alto s, 581
Avec les cordes lfiches [reléichées] , 2 09Av ec les doigts, 2 1 5Av ec lesjoin ture s, 2 16Av ec les o n gles, 164Av ec
'
les poin tes des do igts, 2 00Av ec le talon , 305
Av ec l’
extrémité grosseAv ec l
’
extrémité min cel’
o n gle , 3 30
Av ec médiateur , 272Av ec plateaux, 181Av ec sourdin e 1 19
Av ec sourdin e—cuivré, 1 18Av ec sourdin e—cuivré 12 0
Av ec sourdin e , imi tan t le come tan tique , 1 50
Av ec sourdin e , n on - cuiv rer , I 1 1
Av ec sourdin e(s), 79, 1 04Av ec sourdin e (s) 12 2
Av ec timb re(s) , 2 10Av ec toute la lon gueur ,
de l’
arch et,
3 10
Av ec un morceau min ce de
feutre 2 12
Av ec v erges, 2 32
Avoid th e open A [C ; D ; E ; G]strin g, 581Bacch e tta a due capi, 1 67Bacch e tta di giun co con la testa dicapo c, 166Bacch etta di Piatto ,
166
61 2
Bacche tta di Trian golo , .167Bacch etta(e) a b amb agia, 166Bacch etta(e) d
’
acciaio , 167Bacchetta(e) di can n a, 166Bacchetta(e) di capoc , 167Bacchetta(e) di co to n e , 166Bacchetta(e) di feltro [feltro duro ;feltro medio—duro ; feltro mediomolle ; feltro molle] , 166
Bacchetta(e) di ferro , 166Bacchetta(e) di gommaelastica
[gommaelastica dura ; gommaelastica mezza- dura ; gommaelastica quar ta—dura] , 166
Bacchetta(e) d i Gran cassa, 166Bacchetta(e) di lan a, 167Bacchetta(e) di legn o , 167Bacchetta(e) di me tallo , 166
Bacchetta(e) di pelle [pelle cruda ;pelle dure ; pelle medio - duro ] , 166
Bacchetta(e) di spugn a, 167Bacchetta(e) di Tamb uro militate,166
Bacchetta(e) di Timpan o (i) [Timpan ia feltro ; Timpan i a legn o ; Timpan ia pelle cruda ; Timpan i a spugn a;Timpan i gro sse ; Timpan i molle ;Timpan i molle a feltro ; Timpan i _molto dure ; Timpan imoltoBacche tta di Zilafon o , 167Bacch etta dure [molle] , 166Bacche tta felpate, 166Bacch etta grosse, 167Bacch e tta leggiere , 166Bacch e tta media- dura, 166Bacch e tta molle [dure] , 166Bacch etta(e) molto dure [molle] , 167Bacchetta(e) ordin aria, 166Bacchetta(e) so ttile , 167Bacch ette soli, 2 3 3Back of (th e) b ridge , xviii, 381Bague tte de Cymb ale , 166Bague tte de Trian gle , 167Bague tte en jon c atéte de capoc , 166Bague tte min ce it petite tete en
épon ge , 167Bague tte min ce en b ois, 167Bague tte(s) assez dur (es) [dintres dures] , 166, 167Bague tte(s) d’acier , 167Bague tte (s) de 167Baguette(s) de Caisse claire , 166
Bague tte (s) de caoutchouc dur [semidur] , 166Bague tte de co to n , 166
Bague tte de cuir dur , 166
Bague tte de [en ] métal, 166Bague tte(s) de peluch e , 166Baguette (s) d ’
e’
po n ge [en épon ge] ,167
INDEX OF NOMENCLATURE AND TERM INO LOGYBrush [flick] th e jin gles, 2 14Bub b olo , 9
Buccin e [R oman Trumpets] , 3 3 , 145By mean s of th e l.h ., 3 28
Caisse claire , 7Caisse roulan te , 8Camb ia A in E b assa, 2 3 3Camb ia C3: in Cu, 2 3 3Camb ia in PI. gr . [Ob . , 83
Camb ia in Ob . , 83
Campan a in aria [alto ; su] , 72Campan e , 8Campan e in alto [aria ; su] , 72Campan elle di v acca, 9Campan elle (i) , 8Campan e n
‘
ell’
aria, 72
Campan etta, 8Can e stick(s) , 166Can e stick with fib re h ead,2 17
C an n on sho t(s), 2 1 1Cappello sopra campan a, 1 10
Cardb oard mute (s) , 104—5Carillo n , 8
Cassa di me tallo , 9
Cassa rullan te , 8Casse di legn o [Legn o ] , 9Castagn e tte (s) , 8Castan e ts, 8, 3 2 , 2 2 3C aten e , 9C co rda, 561C [DO ; U t] corde , 561C elesta. xvii. 9. 24. 3 2—3 . 2 37—41C eleste , 9
10
C ello (s), 1 0C ello solo , 477
C emb alo [Clavicemb alo ] , 10 , 2 9, 2 26C emb alon [Cimb alom] , 9 , 2 2 6C en ter of b ow , 3 1 1
C en ter of (the) h ead, 198C eppi chin o si, 9eppi di car ta v e tro , 9
C fg. muta in Fag. 3 [Pg III] , 83Ch ain es, 9Chain s , 9, 2 28
Chan ge C 1; to Ca, 2 3 3Chan ge en G“ Fl 83
Ch an ge En g. Hn . to 2 n d Ob [Ob II] ,3 3
Chan ge to A [Bb , F, 83 , 1 52
Ch an ge to Pl. , 83Chan ge(z) en Fa [La, Mi, Sib,83 , 1 52
Chan gez le Mi aigu en Do , 2 3 3
Chan gez l’
U tit au Fail h aut, 2 3 3Chan gez Soli: en Si, 2 3 3Chan gez U tlt en Uta, 2 3 3Chapeau sur le pavillon , 1 10
Ch ev ale t, 3 81
Chime - Bells, 8Chimes (tub ular) , 8, 2 3 , 174Chin ese Blocks [Drums] , 9 , 2 28Chin ese Cymb al, 8Chin esische Blo cke , 9Chin esische Zimb el, 8Chi tarra [Guitarre] , 9Chiuse , 1 1 2
Chiuse , imitan do il Co rn o , 12 1
Chiuso 1 17Chiuso (i) , 1 12Chiuso (i) 1 2 2
Cho calh o , 2 28
Choeur , 1 0
Ch oke(d) , 163Ch or, 10
Ch ord No tation , xviii, 281 , 53 2—6Ch ord—on e han d, xvii, 2 54—5Ch ords (glissan di) , 2 50, 2 54—6Ch ords—Harp, xvii, 2 50 , 2 54—6S trin gs, xviii, 279 , 281 , 3 2 5—6, 53 2—6Timpan i , xvi, 1 58, 161
—3Ch ords (pizzicati) , xviii, 2 79, 3 2 5—6Ch ord—two h an ds, xvii, 2 5 5Ch orus, 10 , 2 9—30 , 32—3Chromatic glissan do , 542
Chromatique glissan do , 542Chromatisch Glissan do , 542
C igolio , 194
C imb ali an tichi , 8Cimb alom [Cemb alon ] , 9, 2 2 1—3 ,2 2 5—6
Cin ellen , 8
Cin elli , 8
Cin glan t, 195Cis in Fis h
‘
och , 2 3 3Cis n ach C umstimmen (zuruckstimmen ) , 2 3 3
Cithare , 9Clarin et(s) , xv , 6, 1 5 , 2 9—34, 40, 50 ,
57- 62 . 64-
73 . 76—8. 80—3Clarin e tte b asse , 6C [K]larin ette in Es [D] , 6
6
Clarin e tte (s), 6Clarin e tto b asso , 6Clarin e tto (i) , 6Clarin e tto piccolo in Mi b [R e] , 6Clarin i, 2 9Clarin o , 7
Claron e , 6
Clash (ed) , 1 58, 181Clav ecin , 10
Clav es [Cub an Sticks] , 9 , 2 28C1av icemb alo [Cemb alo] , 10, 2 26Claxon , 2 28
Clo ch es, 8
Cloch e ttes, 8Clo sed (ton es) , 91 , 1 12Clo se to (the) b ridge , 3 81Close to (the) rim, 163
6 14
C1. 3 0 in Bbmuta in C1. Picc . in Eb , 83Cl. 3 mutan o in C1. b asso , 83C n ach Cis umstimmen , 2 3 3Coarsely (b lown ) , 80, 149Co co n ut Shells, 2 29Col altre [col gli altri] , 581Col
’
arco al rov escio , 572
Col gin occhio , 2 14C01gli altri [col altre] , 581C01gli altri Vn i. [altre Vle . , 581
Col il di ta, 2 1 5Colla(c) pun ta(e) 307Colla(c) un ghia(e), 2 72 , 3 30
Colla man o , 109, 120, 184, 2 15Colla mazza, 2 3 2
Colla n o cce , 2 16
Coll’
arco slan ciato e saltan t'e , 3-00C01Legn o [lign o] , ix—x, xviii, 279—80 ,3 72—80
Col legn o 8c Modo o rdin ario (arco)comb in ed, xviii , 3 79- 80
C01 legn o 8c Pizzicato comb in ed,xviii. 378- 9
Col legn o 8c Sul pon ticello comb in ed, xviii, 280, 3 93“
Col legn o b attuto [tratto] , 372—3Col legn o gestrich en , 3 72
.
Col legn o glissan do , xviii, 280 , 3 72Col legn o n on - tremolo , xviii, 280,
373—8
C01 legn o on harmomcs, xviii , 280 ,3 72
C01 legn o tratto [b attuto] , 3 72 - 3
Col legn o tremolo , xviii , 280 , 373Colle sordin e , 104C011’estremit31 di legn o dellab acch e tta, 184
Coll’
estrern itii gro ssa 184
C oll’
estrern ité so ttile 184
Colle unghie , 164C 01lign o [legn o] , 372 - 80
Colli v erghi, 2 3 2
Coll’
pun to , 307
C01 man cio della mazza, 184, 2 00,
2 22
Color Organ , 2 26
Colpete“
, 2 1 5Golpe te al o rdin ario , 163
Colpete colle marache , 172
Colpete col rov escio 195Golpe te con legn o , 184
Colpete le corde con magli 243
Colpete sul orlo 164
Golpete sul timb allo di rame , 164Colpo , 2 1 5
Colpo colman o 3 3 1
Colpo co n trian golo , 183
Colpo(i) di can n on e , 2 1 1C01p0 (i) di lin gua, 63C01pollice , 3 3 3Col pollice (sulla memb ran a) , 2 1 3
INDEX OF NOMENC LATURE AND TERM INOLOGYColpo sul gin occhio , 2 14
Col pugn o , 2 14
Col pun to del arco , 307
Col tallon e , 305C omb in ation s, 2 50 , 2 56, 2 60Comb in ation s—two h an ds, 260Come campan a, 149Come e scritto , 2 73 , 409
Come gui tarra, 2 66Come richiamo , 80
Come tromb a(e), 80—1Come un eco , 76, 109
Comme av ec sourdin e , 80Comme de cris percan ts, 149Comme guitare , 81Commen cez au b out (de'
l’
arch et),579
C omme pizzicato , 81 , 1 5 1
Comme staccato—h aletan t, 1 5 1Comme n u accordéon , 580
Comme un can on , 2 1 1
Comme un crin crin , 578
Comme un e clo ch e , 149Comme un e h arpe, 242
Comme un e trompe tte , 80—1Comme un e v oix d’oiseau , 80
Comparativ e Tab le of R an ges, xv ,
4, 1 1 - 28
Con b acch etta(e) , 2 3 2Co n corda(e) , 2 10Con due [2 ] b acch e tte , 172C on due [2 ] b acch e tte a piatto , 2 32C on la b acche tta, 3 72Con l
’
arco , 3 2 2
C on l’
arco in tu tta la sua lun ghezza,
3 10
C on larga arcata, 3 10C on mediatore , 272C on molto arco , 3 10
C o n sordin a(e) 79 , 90,
C on sordin i poco a poco , 405C o n so rdin o 1 19
C on so rdin o—chiuso 120
C on sordin o , imitan do il corn e ttoan tico , 1 50
C on sordin o—Naturale , 1 2 2C o n so rdin o , n o n
- ch iuso , 1 1 1
C o n sord . leggio a leggio , 405C on timb ro , 2 10C on tin uo , 29
10
C o n tra Bass(es) , 10Co n trab asso con quin tupolo corde ,581
C on trab asso (i) , 10C o n trab asso o n , xv , 7, 17, 30—4, 40,54—5. 69—70. 83
Co n trab assoon chan ge to 3 rd Bssn
83C on trab asso solo , 477
Co n trab ass tromb on e , 3 1—2C o n trab ass tub a, 3 1C [K]0 n trafago tt, 7Co n trafago tto , 7
Con treb asse it cin q cordes, 581Co n treb asse (s) , 10Con treb asse solo , 477
Con treb asso n , 7
Con tralto (es) , 10Co n tre le pupitre , 1 10 , 199Co n tro il leggio , 1 10
Co n tutta la lun gh ezza dell’arco , 3 10
Con ummin uto frammen to 2 12
Coper to con un cappello , 1 10
Coper to co n uh pezzo di tela, 174Coperto (i) , 1 12 , 165 ,
Coprire la memb ran a
Coprire le lamin eCo r An glais, 6
Co r d’auto , 9
Co rde del Tamb uro lasciare , 209Cordes [In strumen ts Rco rdes] , 10C or . in g. muta in Ob .2 [Oh . II] , 83Corn et(s) 7, 29—30 , 3 2 , 1 06, 1 28—9 ,1 3 2 . 1 3 5
—6. 140. 144Corn e t(s)- é'—
piston s, 7C orn e tt(e) , 7C orn etto (i) a piston i , 7Corn i [Tb c . ; T1b n i .] con sord 1 52
Corn i I e II colle sordin e , 1 52Co rn i I—IV con so rdin i , 1 52C orn o (i) , 7Corn o di automob ile , 9Co rn o di v acca, 9Co rn o in glese , 6
Corn o I me tte i] sordin o , 1 52
Co ro , 10
C0 I (S). 7Co tton stick(s) , 166Coun try- fiddle style , 578
Coup av ec le b ois d’un e b ague tte , 184Couvrez les plaques 174Cov er th e me talwith a silk clo th , 174Cowb ells, 9, 3 3 , 2 2 2 , 22 7C owhom, 9
Crash Cymb al, 8Crash (ed), 181Crécelle , 9Cro tales, 8C it in F4; alta, 2 3 3C—Sai te , 561C suin g,
“
561
C I; to high Pt, 2 3 3C , Trumpe t, 2 0Cub an Drums, 2 2 2
Cub an Sticks [Clav es] , 9 , 2 28Cuckoo , 2 29Cuica [Strin g Drum] , 2 30Cuivr é, 1 12Cuivr é 1 17Cuivr é, imitan t un Co r, 12 1
61 5
2 1 1—12
Cuiv res, 7Cuiv ré(s) 12 2
Cuivrez (le so n ) , 1 12Cuivrez—Ouv ert, 1 2 2Cup mu te (s) , 90 , 104, 105Cymb al alo n e , 182Cymb ale b louse
’
e , 180
Cymb ale Chin o ise , 8
Cymb ale co n tre Cymb ale , 181Cymb ale fixée 31 la Gro sse caisse , 182Cymb ale Iib re av ec b aguette , 2 3 2Cymb ales Amain , 181
Cymb ales An tiques, 8Cymb ale seul, 182
Cymb ales (lib res), 8Cymb ales plateaux, 181Cymb ale (suspen due) , 8Cymb al, fixed, 182Cymb al, free , 8Cymb al hun g b y its strap , 2 3 2
Cymb al—pair , 181Cymb al(s), xvii, 8, 30—4, 1 58, 180 - 95 ,2 3 2
Cymb al stick, 166, 2 17Cymb al (struck) attached to b ass
drum , 182
Cymb al struck with drumstick, 2 3 2Cytharra, 9 , 2 27
Dalle due par ti, 198Damp(en ) , 163 , 2 68Dampen ed b y h oldin g with fin gers,I 94
Dampen ed Harp, 2 50, 268
Percussion , xv i , xvii , 1 58, 163 , 174,Dampen ed with on e han d 174Dampen [stop] h alf- way, an d full,195
Dilmpfen , 163
Dampfer , 104—5Dimpfer ab ![ab setzen ] , 104Dimpfer allmah lich ab , 406
Dimpfer an se tze n , 104Dimpfer aufl, 104D '
ampfer aufse tzen [an se tzenn ehmen ; v orb ereiten ] , 104
Dimpfer n ach un d n ach ab n ehmen ,
406
Daimpfer n ehmen , 1 04Dimpfer weg, 104Diimpfun g ab , 165Damp [mufile] in stan tly, 163Dan s la coulisse , 75Dan s les quatres cordesDan s le style jazz, 1 50Dan s le style
“Pian ola, 243
Dan s un Ch apeau, 1 10
Dark to n e , 1 50Das Fell mit dem Daumen streifen ,
2 1 3 .
INDEX OF NOMENC LATURE AND TERM INOLOGYDas In strumen t ruckwiirts halten d,572
D [E b] Clarin e t, 0, 1 5 , 3 2—4D co rda, 562D [R e
'
] co rde , 562Defin itiv e R an ges, 1 1
- 28
De la po in te (de l’archet) , 307Demi- sourdin e , 1 1 1Den Bogen auf un d abwallen lassen ,581
Den Bogen ruckwar ts halten , 572Den Schliigel b eiseite legen , 2 3 2
Den Ton forcieren , 1 5 1
De plein e go rge , 149Derriere la scen e , 75Descen dez le La un demi - to n plus
has». 573Descen dre lo U tit au Uth, 2 3 3De’ tache (3 1a corde) , 42 , 278, 283 , 3 54Détach é b owin g, x, xv iii, 283—7De tach ed (on th e strin g) , 283 , 3 54Détach é trill or in terval,xviii, 279 , 3 54Détimb rée(s) , 209Deux [2 ] exécutan ts, 172 , 2 1 1Deux pédales, 243Deux, si n écessaire (ad 179Deux [2 ] Violon s (etc .) seuls , 491Dicker Pauken schlagel, 167Dicker Schlagel, 167Die an dere Halfte , 45 5Die an dere Pulte , 581Die Becken an der grossen Trommel
an zuh iin gen d , 182
Die dritte PI. wech selt 83
Die dritte K1. in B n immt Es- Klar . ,
83Die erste [L] Hilfte , 455Die erste [1] H ’
alfte mitDampfer403
Die I . Spieler , 455Die ersten 3 [4 ; 5 ; 6, etc .] Pulte , 491Die erste u . zweite Pulte , 491Die G—Saite werden auf Fis hin ab
gestimmt, 573Die Halfte , 45 5Die Offen e Saite (D) reissen un d dan nE 578
Die Saite kn eipen , 2 71
Die Saite leich t b eriihr en , 581
Die Sai ten mit Hammern
Die Sai te schn appen lassen , 3 3 2
Die tro il pon ticello , 3 81
Die tro la scen a, 75
Die iib rigen , 581
Die zwei [2 ] ersten Pulte , 49 1Die 2 F1. n ehmen kl. FL, 83Die zweite [IL] Hi lfte , 455Die 2 . Spieler , 455Differen t ton e fo r each desk, 581Div . .a 2 ; [a due] , 45 5Div . a 3 . 45 5
Div . en 2 , 45 5Div . en 3 , 45 5
DiV. arco—l pizz. , 3 37Div .
- I mit B0g.—II Pizz. , 3 37
Divide(d). 45 5Divided in three equal par ts, 45 5Div ide in four 467Div ide in thr ee 45 5Divide in two 45 5Div . in 2 , 455Div in
Div1sé, 455Divisé en deux 455Divisé en [par] 4, 467Div isé en [par] 3 , 455Div isés A4 Par ties, 467Divisés A3 Par ties, 455Divisés en 3 parties égales, 455Divisés par pupitres, 581Divisi,Div isi a $5 XVIII, 473—4Divisi a 10 , xviii, 476Div isi a 12 , xvii1, 476Divisi a due 455Divisi al leggi, 581Div isi a 9 , xviii , 475Divisi a 8, xv1ii, 475Divisi a quatro xviii, 467- 73Divisi a 6, xviii , 474Divisi a 7, xviii,Divisi a tre xv iii , 455—66Divisi a tre parti uguali , 45 5Divisi a 1 1 , xviii, 476Divisi b y desks, 581Divisi in due par ti, 45 5Div isi in IV parte , 467D1v1s1 in quatro [4] parti, 467Divisi in III parti, 45 5Div isi in tre [3] par ti, 455Divisi 3 par ti, 45 5Dim—13 m archet—2m pizz. , 3 3 7Div .
- 10 arco—2 0 pizz. , 3 37Do [C ; U t] corde , 561Don n ermaschin e , 9Do n ot 1011, 2 64Don ’t damp(en ) , 2 3 3Doppelgrifi
'
, 581
Doppeltdampfer , 104Doppia co rda, 581Doppio so rdin o , 104Doub le 10
Doub le Basso o n , 7
Doub le co rde , 581Doub le harmon ics—Harp , xvn , 2 50,
2 59
Stn n gs. 437—40
Doub le maillo ch e , 167Doub le mute (s) , 104 5Doub le sourdin e , 104Doub le stick, 167, 172Doub le- stop, .581
616
Doub le- stopped un ison s, xv iii, 281’5 37—41Doub le - ton guin g—Brasses, xv i, 91Woodwin ds, xv , 40 , 56—9Down b 0w(s) , 279, 3 1 3 17Down ward [rev erse] arpeggio , 572
Drag with wire- b rush , 200Drah tb iirste , 167Draw a b ow across sharp edge
179Drawn [o r tapped]with the b ow
. 372
Dreifach get(h )eilt, 45 5Drums, xvii, 7 9 , 1 58, 196—2 1 2 ,
185 , 2 02 ,Dry, 82 , 163 , 264D—Saite , 562D strin g, 562D Trumpet, 3 3Du b out de l’at che t, 3 07Due , an che se n ecessario (ad lib ), IDue [2 ] esecutori [suon atori],172 ,Due
Due
Due
181
av ec un
Ein Becken mit dem184
Ein Becken teller mit Pauken s2 3 2
Ein e Drah tb urste halten ,
Ein er allein , 477
Ein e [I ] Spieler , 45 5
Due [2 ]Violin i [Viole , etc .]491
Dulcimer , 9Du [au] milieu de l
’
at che t, 3 1 1Dumpf, 165Dun kler Ton ,
'
1 50
Dun n er Metallschlagel, 167Diin i ie R uten , 167Durch R eib un g an der Kan te2 19
Du talon , 305
Echo [Ech o] , 76, 109Echo Soun ds,
'
xvi, 9 1 , 109Echo ton , 76, 109
Ech oton artig, 109Ech o xv , 41 , 76, 109Eco , 76, 1 09E corda, 564E [Mi] corde , 564Ecrasez av ec un maille tEffe t. 2 73 . 409Effleurez [glissez]
INDEX OF NOMENC LATURE AND TERM INOLOGYGemessen er Gliss. 550
Gen tly vib rate (th e strin g). 273Gerade Pulte , 45 5Gestimmt E i n D , 573
Gestimmt G in A , 573
Gestopft, 1 1 2Gestopft 1 17
Ge stopft, ein Ho rn n achahmen d, 1 2 1Gestopfter To n , 1 12
Gestopft—Ofi'
en , 12 2.
Gesto ssen , 3 54
Gestrich en , 283
Ge tt in 3 Pat tieren , 455
Ge teilt in 4 Partieren , 467
Ge t(h)eilt, 45 5Ge ttan do l’arco , 3 00
Ge ttato , 3oo
Gewohn lich , 72 , 165 , 181 , 199 , 2 57,266, 372 , 381 , 3 94
Gewoh n lich er Klb pper [Schlagel] ,166
Gew6hn lich er schlagen , 163Gezogen , 288
Gin ger- ale b o ttle , 2 24Gis n ach H stimmen ,
2 3 3Gitarre , 9Glass Plates, 2 2 6(Glass) smash edwith amalle t 2 26
Gleich [Schn ell] ab diimpfen , 163Gleiten d iib er die Holzkasten , 2 2 5Gli altri, 581Gli altri leggi, 581Glide (th e) full b ow , 3 10
Gliss.—an ch e alto . ch e possib le ;
strappate l, 5 5 3Glissan do acro ss th e reson ators, 1 58,179
Glissan do acro ss (wo od) b locks, 2 2 5Glissan do—A moll, 2 73Glissan do auf den Flageole tt, 5 50Glissan do auf den Saiten , 241
Glissan do auf den schwarzen
[weissen ] Tastatur , 2 38Glissan do auf der Saite mit demNagel 22 5
Glissan do auf ein er Sai te , 542Glissan do av ec le levier , 165 , 2 71
Glissan do—C dur , 273Glissan do ,
cho rd—o n e h an d [two
h an ds}. xvii. 2 54—5Glissan do colla pedale , 165 , 271Glissan do (col legn o ),xviii, 280—1 ,372Glissan do comb in ation s, xvi, 2 56Glissan do con un a b acch e tta 271
Glissan do cromatico , 542
Glissan do —gamme de Do majeur,273
Glissan do—gamme de La mmeur ,273
G1issan d0 (i)—Brasses, xvi, 9 1 , 1 37- 40
Harp, ix, xvii, 2 50—6 , 273Keyb oard In strumen ts, xvi , 2 3 7—9Percussion , xiv , 1 58, 165 , 173—4,
179
S trin gs, x, xv iii, 279—81 , 542—5 3Wo odwin ds, xv , 40 , 68—71Glissan do in armon ici , 5 50
Glissan do—in Do maggiore , 273Glissan do in harmon ics, xviii, 281 ,
550—1Glissan do—in La min ore , 2 73Glissan do in on e han d, xvii , 2 50—3Glissan do in two h an ds, xvii, 2 50 ,2 53—4Glissan do mit ein emschlagel 271
Glissan do mit Pedal, 165 , 271Glissan do on o n e strin g, 542Glissan do on strin gwith n ail 2 2 5Glissan do o n (the) b lack [0keys, 2 38
Glissan do o n th e strin gs, 241Glissan do ov er th e en tire keyb oard,2 38
Glissan do (pizzicati), xviii, 279, 281 ,3 2 7- 8
Glissan do pour la Timb ale a levier ,165Glissan do rapido circolan do 2 20
Glissan do—scale ofA min o r , 2 73Glissan do—scale of C major , 2 73Glissan do sopra tutte i taste , 2 38Glissan do sui legn i , 2 2 5Glissan do sui rison ato ri, 179Glissan do sulla co rda co llaun ghie2 2 5Glissan do sulle corde , 241Glissan do sulle taste b ian che [n ere] ,2 38
Glissan do (sul pon ticello) ,xviii,28o—1 ,3 81—2
Glissan do (sul tasto ) , xviii , 280—1 ,3 94—5Glissan do su un a sola corda, 542Glissan do to a h armon ic, xviii, 281 ,5 5 1 - 3
Glissan do (tremoli), xviii, 279, 281 ,3 56—7Glissan do iib er das ganze Griffb re tt,5 53Glissan do fib er die gan ze Klaviatur ,2 3 8
Glissan do ub er die R eson atoren , 179Glissan do with stick, 271Gliss.—as high as po ssib le ; tear off!,
5 5 3Gliss.
—aussi h autarrach ez l, 5 53Gliss. col un o dita, 542
68, 2 5 1
618
Holz
que po ssib le ;
I
Glissez [efi‘leurez] avec un
métallique , 2 00
Glissez av ec un e b ague tte 271
Glissez des son s harmon ique s, 5 50
Glissez des touch es b lan ches [n oires] ,2 38
Glissez en eflieuran t la cordeGlissez en Lamin . , 273Glissez en U t maj. , 273Glissez len temen t, 549Glissez rapidemen t av ec la b aguette
2 2 0
Glissez sur la corde av ec l’on gle2 2 5Glissez sur les b locs, 225Glissez sur les co rdes, 241Glissez sur les re’so n ateurs, 179Glissez sur toutes les touches, 2 38Glissez sur un e corde, 542 ,
Gliss. len to , 549Gliss. mesuré 5 50
Gliss. misurato‘
550
Gliss. mit ein em Fin ger , 542Gliss. n ear th e b ridge , 381Gliss.—oth er in dication s, xviii , 5 5 3
Gliss. ov er en tire fin gerb oard, 5 5 3G]iss.
-
passan do al pon ticello , 381
Gliss.—so h o chwie moglich ; reissen
5 5 3
Gliss. sopra tu tta Ia tastiera, 5 5 3Gliss. sur tou te la touche , 5 53Gliss. fib er die Saite 3 81
Gliss. with same fin ger , 542
Glocken , 8
Glo cken geliiute , 8
Glo cken spiel, xvi, 8, 2 2 , 3 2—4, 1 58,
173—9
Glocken spiel aclavier , 9G n ach Ges h erun terstimmen , 573Gon g, xv ii, 8, 3 1—4, 1 58, 2 1 3—20Gourds [Sh akers] , 229Gradually remov e mutes, 406Gramophon e R ecord, 3 3 , 2 27Gran arco , 3 10
Gran cassa, 7
Gran de arcata, 3 10Gran de (s) Flfite (s), 6Gran ripien o , 2 41
Grattate le co rde 243Grattez les cordes 243
Gr . C . seule (av ec Cymb . décroch ée) ,2 0 1
Grelo ts, 9Grob (geb lasen ) , 80 , 149—50Gro sse Caisse , 7Grosse caisse a pied av ec cymb ale ,182
Gro sse Flo te (n ) , 6Gro sse Fliite v orb ereiten , 83
INDEX OF NOMENC LATURE AND TERM INOLOGYGro sse S trich , 3 10
Gro sse Trommel, 7Grosse Trommelschlagel, 166
Grosse Trommd S to ck, 166
Gro ssier , 1 50“Growl,”xvi , 91 , 146G - Saite , 565G- Saite wieder n o rmale S timmun g,
573
G strin g, 565Guach ara, 2 2 9Guimb arde , 9G iiiro . 9. 3 3 . 2 2 9
Guitar , 9 , 1 58, 2 2 5 , 2 27Guitare , 9Guitar—like to n e , 2 50Guitarre [Ch itarra] , 9Gummischliigel, 166
Gut stimmen , 2 3 2
Halb gedampft, 1 1 1Halb harte Gum
'
mischlage] , 166
Halb ton Triller , 1 3 3Halb un d gariz dampfen , 195
Half—hard [o r hard] rub b er stick(s)
Half I I I
Half [5] muted—half [5] open , 403
Half of sectio n , 45 5
Half—stopped, xv i, 12 0Hammer (s) [Beater(s) Malle t(s)Stick(s) ; 166, 186, 193 ,
2 17
Han d drum , 8, 2 2 1
Han d im Schalltrich ter , 109 , 1 20Han d in [ov er] b ell, xvi, 109 , 1 2 0Han d n o tes, 12 0Han d ov er [in ] b ell, 9 1 , 109Han d- stopped, 9 1 , 1 2 0Han gin g cymb al, 8Hard felt stick(s) , 166, 168, 2 03Hard leath er stick(s) , 166 , 168Hard [or half- hard] rub b er stick(s)
175
Hard rub b er xylopho n e malle ts, 186Hard stick(s) , 166- 8, 175, 185—6 , 203 ,
Harfdn ). 9Harmo n ica [Mouth o rgan ] , 9 , 2 27Harmon ic o n A[C ; D ; E ; G] strin g,408
Harmon ics :
Harmo n ics—Ar tificial, 280 , 441—54Harmo n ics : At [real] pitch , 273 , 409Harmon ics—Brasses, 149Harp, xvn , 2 50 ,
2 57—6 1 , 2 73Keyb oard In strumen ts, 2 37, 242Percussion , 2 2 5S trin gs, xviii, 280—1 , 408—54Woodwin ds, xv , 40 , 74
Ac tual pitch [soun d] ,
41
Harmo n ics comb in atio n s two
h an ds, xvn ,2 50 , 260—1
Harmon ics : doub le—Harp , xv n ,2 50 ,
2 59
S trin gs, 437—40Harmo n ics (keys pressed down with
out soun din g) , 242Harmo n ics : majo r 6th , 427—9Harmon ics : majo r 3 rd, 419—2 1 , 444Harmon ics : min o r 3 rd , 418, 444
Harmo n ics—Natural, 280 , 408—40Harmo n ics : o ctav e , 429 - 3 1
Harmo n ics perfec t 5th , 424—7,
449—50Harmon ics : perfec t 4th , 42 1—4 , 444
—9
Harmo n ics : R eal [at] pitch , 2 73Harmo n ics : Soun d [Soun din gwh erewritten ] , 2 73
Harmon ics : Written soun ds, 273Harmo n ika [Mun dh armo n ika] , 9Harmo n ique aLa [Mi ; R é ; Sol ; U t] ,407
Harmo n ique(5). 41 . 74. 242 .2 57. 273
Harmo n iques a l’
o ctav e [hauteur]réelle , 273
Harmo n iques : Effe t, 2 73Harmo n iques : Son s e
'
crits [reels] , 273Harmo n ium , 10 , 3 2 , 2 2 2 , 2 26
Harmo n mu te(s) , 90 , 104, 106Harpeggiert,_ 32 2
Harpe (s) , 9Harp n o tatio n , 2 5 1 , 2 5 3
—7, 2 59- 60 ,
262 , 264, 2 69 , 2 72 , 605—7
Harp(5) , iX, “ ii, 9 , 2 5 . 30- 4, 244—73 ,
2 78
Harpsich o rd , I OHarp termin o logy, xvii, 2 50 , 2 73Hartgumrn ischlagel, 166
Hartkautschukschlagel, 166
Hartlederschlagel, 166
Hat mute (s) , 1 04Hat(s) ov er b ell(s) , xvi, 9 1 , 1 10Hautb ois, 6Hautb ois d’amour , 6
Hauteur réelle , 2 73 , 409Heavy malle t [wo oden hammer] , 166,He ckelph o n (e) , 6, 3 3Heel of b ow, 30 5
Heerden glocken , 9
Held like a guitar , 3 2 5High trumpe ts (Clarin i) , 2 9Hin aufz ieh n , 68
Hin ter dem Orch ester , 75Hin ter dem S teg (spielen ) , 2 2 1 , 3 81Hin ter der Biihn e [Scen e] , 75Hin un terziehn , 68
Hissin g, I 94
(Hit) in cen ter (of h ead) , 164Hit in middle , 164Hit [strike] with (the) b ow , 304
619
Hit with trian gle , 183Ho b oe (n ) , 6
[H]Ob oe n ehmen, 83
Ho ch E n ach C umstimmen , 2 3 3Ho ch gestimmt, 2 12Hohl klin gen d, to n lo s, 81Hold a wire - b rush again st v ib ratin g
cymb al, 194Hold cymb als toge th er after strikin g,
194
Hold [press] down keys silen tly, 2 42
Hold high , 72
Holdin g th e in strumen t b ackwards,572
Hollow sou ndin g, cracked, with outto n e (colo r) , 81
Holzb laser , 6
Holzh ammer , 166
Ho lzharmon ika, 8
Holzkasten [Holzto n , Holz trommel] ,9
Holz- Pauken schlagel, 167Holzschlagel, 167Ho lzto n [Ho lzkasten ; Ho lztrommel] ,9
Homon yms, xv ii, 2 50 , 2 62—3
Homo n yms in o n e han d, 2 62Homo n yms in two h an ds, 2 62—3Homer 1 , 2 mit Dampfer , 1 52Homer 1—4 gedampft, 1 52Ho rn 1 n immt Dampfer , 1 52Homer [Tromp . ; Po s.] m .D. , 1 52
Horn (Homer) , 7Ho rn (8).xvi.7. —34.90—S.I o6—7.
109
Horn s [Trpts. ; Trb n s.] muted,1 52
Ho rse - h o ove s, 2 29Hun g cymb al, 8
Hun g cymb al rolled with timpan isticks, 2 3 2
Hut iib er den Schalltrich ter , 1 10I 2 Fl. muta in Picc . , 83
II co rde c o l arco n aturale , 372II I . di ogn i leggio , 45 5
II so rdin o azz,
”104
II 3 Fl. altema co n un Pice . , 83
Im l Po situr b leib en, 581
Im Fis moll v orb ereite n , 2 73
Imjazzstil, 1 50Immer n o ch mit Dampfer , 581Immer un geb ro ch en , 2 64Impari leggi, 45 5Im Pian olastil , 243In aria, 183In comin ciate alla pun ta 579
In cudin e , 9In der En tfern un g [Fern e] , 75In der Luft, 183In der Mi tte , 183In der NIitte des Felles, 164, 198, 2 2 1
INDEX OF NOMENCLATURE AND TERM INOLOGYIn dian drum, 2 3 1
In distan za, 75In D major, 273In ein Hut, 1 10
In En tfern un g aufgesteilt, 75In F an dern , 1 52
In felt [o r soft] hat(s), 1 10h i 4. 467In h armo n ics, 41 , 2 57, 281 , 5 50—1In hat(s) , 1 10In lo n tan an za ed in visib ili , 75In margin e , 180 , 197In modo gro ssola no , I 50(In ) mo do o rdin ario , 72 , 1 04, 372
In o n e han d—Harp glissan di , xv ii ,2 5 1—3Harp h omon yms, xvu , 2 62—3
In Po situr b leib en , 581
In soft [o r felt] h at(s) , 1 10In stan d, xvi, 9 1 , 1 10In stilo jazz, 1 50In stilo
“Pian ola, 243
In strumen ts ‘
a clavier , 9In strumen ts 51 co rdes [C o rdes] , I OIn strumen ts a v en t, 6In strumen ts of th e Orchestra, 1—34In tern a, 75In terv als 1 58, 161—3In th e air , 183In th e cen ter [middle] , 198In th e distan ce , 75In th e jazz style , 1 50In th e middle [cen ter] , 198In 3 . 45 5In 2 . 45 5
In two h an ds—Harp glissan di, xvii,2 5 3—4
Harp h omon yms,"
xv11, 2 62—3In un o cappello , 1 1 0
In usual man n er , 72
In v olguto stre ttamen te in te’la .
2 2 0
In weiter En tfern un g, 75I primi 3 [4 ; 5 ; 6, etc .] leggi, 49 1Iro n stick(s) , 166, 186, 2 17Isolier t po stier t, 75azz
”—dampfer , 1 04Jazz Effec ts, xvi, 41 , 9 1 , 146—8Jazz mute (s) , 104, 106Je ein To n v on ein em Pult, 581Je té, 300Jeu de Timb res, 8
Jeu o rdin air e , 372 , 381 , 3 94Jew’
s Harp , 9 . 2 27
jin gles, 9 , 2 29
Jo in th e o th er Vln s . [Vlas. , 581
Jou é délicatemen t av ec le s doigts2 1 1
Joue’ sur le cadre 2 3 2Jouez en arriere du Ch evale t, 2 2 1
Karto n dampfer , 104Kastagn e tten , 8
Kei ne Dampfer, 104Kept in v ib rationKe tten , 9
Ke ttle Drums, 7Keyb oard In strumen ts, xv ii, 9—10,2 3 5—43 . 278
Keyb oard n o tatio n ,2 38—40 , 242 ,
605—7Kielfliigel, 10
Klan g. 2 73 . 409Klapper [Kn arre ; R atsche] , 9K[C]larin ette in D[Es] , 6
6
Klav ier , 10
K1. 3 n immt B .- Kl. , 83
Klein e Plate, 6Klein e Fl. v orb ereiten , 83
Klein e Militartrommel, 7Klein er Holzschlagel, 166
Klein er Schlagel, 166
Klein es S tab ch en mitSchwammkopf, 167
Klein e Trommel, 7Klein e Trommel S to ck“
, 166
Klimpern d, 3 3 3Klin gen lassen , 2 3 3
Klin gt wie an gegeb en [n o tiert] , 273 ,409
Kléipper , 166
Kn arre [Klapper ; R atsche] , 9Kn ife - b lade , 166
I o
Kon trab ass solo , 477Kon trafag, n immt ein drittesFago tt,83K[C ]on trafago tt, 7Kurz (gestrich en ), 163 , 294
klein em
La au Mi b as [grav e] , 2 3 3ccen t in dique le coupco rde [A co rda] , 559
La 2 9 moitie’ , 455La 2 6 pren d la,
P39 [le C or An g 83Laid h o rizon tal—without reson an ce ,2 19
Laid o n side , 198Laisser mourir le son ,
2 3 3
Laissez la b ague tte , 2 3 2Laissez v ib rer , 2 3 3 , 3 34Laissez v ib rer doucemen t 2 3 2
L’
Alto [le Violon ] sous le b ras3 2 5
L’
altra me ta, 45 5Lama di coltello , 166
La main dan s le pavillon ,1 09 , 12 0
La man o n ella campan a, 109 , 120Lame d ’un can if, 166
La me ta, 45 5La moitie' , 45 5Lan ge Bogen , 3 10
62 0
Lan g gestrich en , 288
Lan g gezogen , 3 10
Lan gsam Gliss. , 549_ Lan gsam v ib rieren d, 179, 578La Pie PI . repren d la G ‘“ FL, 83La I . corde (Mi) accordée en R é, 573La 1376 C o r met la sourdin e , 1 52La 1”moitié , 455La premiere [I‘m] moitié av ec
sourd 403La prima [I a] me tacon sord .L’at ch e t b ien ala co rde , 288’
arch e t de [en ] toute sa lon gueur , 3 10Large b o ttle filled with marb les, 2 29Large Gourds, 2 28Lasciare 1a b acche tta, 2 3 2Lasciar estin guere, 2 3 3Lasciare v ib rate , 2 3 3Lascia sv an ire , 2 3 3Lasciate cadre sul palco , 22 0
Lasciate o n deggiare l’arco , 581
Lasciate v ib rare leggieramen te
2 3 2
Lasci spegn ere , 2 3 3La sourdin e azz, 104Last desk o n ly, 581
La 3 a chan ge av ec laP58, .8-
3La 3 6 chan ge en Cl. b asse , 83La 3 0 C1. en Si b pren d . . 83
La III. co rde (Sol) accorde'e en La, 573“Laughin g,” 148
La U titau U th, 2 3 3L’autre moit
'
ié, 45 5Lay I stick o n h ead ofdrumLeath er stick(s) , 166, 186, 2 2 3Le G50" pren d le 3 B0", 83Le Cor An g. pren dra le 2d 83Le coup frappé av ec le gen ou, 2 14Lederschlagel, 166Left—han d pi zzicato , xviii, 2 79 , 3 28—9Legato [Ligato ] , 288Legato b owin g, xviii, 2 78, 288Legn o [Casse di legn o ] , 9Leich t b er '
tihren , 181 , 197, 2 3 2
Leich ter Schlagel, 1-66
Leich t v ib rieren lassenautres pupitres, 581
Les ch efs des pupitres, 45 5deux [2 ] cymb ales [plateaux] ,2 Gale8 Fls. pren n en t la Pte FL, 832 plateaux [cymb ales] , 181
Le sign e in dique le pizz 3 28
Le sign e v eut dire pizz. 3 28
Les n o tes marquees pizz. 3 28
Les n o tes marquees seron tjo n c
'
es 3 28
Le Solo Von av ec les au tres, 581Les pavillo n s en Fair , 72
Le s por tamen ti in diquées parLes 1 798 (seules) , 45 5(Les) Pupitres impairs [pairs] , 455
INDEX OF NOMENC LATURE AND TERM INOLOGYMit dem R ucken ein er Sa
’
ge 195Mit dem Stiel cles Kliippels, 184, 200,2 22
Mit dem Trian gel geschlagen , 183Mit den an dern Viol. [Br . , 581
Mit den Fin gern , 2 1 5Mit den Fin gern gedéimpft, 194Mit den Fin gern Pizzicato , 2 2 1
Mi t (den ) Teller(n ) , 181Mit der Faust, 2 14Mit der gan zen lan ge des Bogen s, 3 10Mit der han d, 109, 12 0 , 184, 2 1 5Mit (der) Schlagel, 2 3 2Mit der un teren No te trillern , 1 3 3
MitDrah tb iirste n ah dem R an d164
Mit dun n en Filzstiick 2 1 2
Mit ein em Drah tb urste gleiten , 200
M t ein em harzigen Han dschuh2 1 1
M t ein em Holzstab ch e ii
Mi t ein em Papier 2 1 2
Mit ein em Seiden tuch 174
Mit ein em S tock (leich t) b eriih ren ,
Mit ein em Taschen tuch 2 1 1
Mi t ein er Drah tb iirste 164Mit ein er Nadel stecken , 2 2 6
Mit ein er Silb ermiin ze .
MitFin ger aufder Ob erseite .
Mit Fin gerspitzen , 2 00
Mit Flageole tt, 41 , 2 57Mit Hammer zerschlagen
Mit Holz geschlagen , 184
Mit liegen dem Bogen , 288
M tMaracas schlagen , 172
M t Mediator , 2 72lVIitMun zen trillern ,
164Mit R uten ,
2 3 2
Mi t Schn arrseite , 2 1 0Mit So rdin en [Dampfer] , 79 , 104Mit Teller (n ) , 181Mit weich en Schlagel 2 3 2
Mit Zuhilfen ahi n e der lin ken Han d,3 28
Mit zwei [2 ] Schlagel, 172Mit zwei [2 ] Schlagel aufBecken 2 3 2
Modo o rdin ario , 104, 181 ,
3 81 . 3 94Modo o rdin ario an d Sul pon ticellocomb in ed, 3 93
M6glich st n asal, 81Mon ter (ez) l’U t au Uta, 2 3 3Morceau de fil de fer , 166
Mo rdace , 1 50Mordan t, 1 50Mouth o rgan [Harmon ica] , 9M .s. sulla tav ola 271
Muflied , xvi , xvu , 1 58, 165 , 194, 20 1 ,2 16, 2 2 2 , 2 50 , 268
Mufiied with a piece of clo th , 174
, 181
Muffle [damp] in stan tly, 163Muflie n o tes b y holdin g l.h . again sttrian gle , 2 2 0Muflie off [o n ] , 165Muflle th e strin gs with th e l.h .
palm . 242
MultipleDivisi, xv iii, 280 , 45 5—76Mun dharmo n ika [Harmoriika] , 9Musical Tumb lers, 2 27Muta C1: in Cu, 2 3 3Muta E alta in C , 2 3 3Muta Git in B,
2 3 3
Muta [mutan o] in A [E h ; F, 83 ,1 52
Muta [mutan o] in Clar . [Fl Picc .,
83
Muta in F4; min ore , 2 73Muta in R e maggiore , 273Mutan o C in C it, 2 3 3Mutan o [muta] in A [B b ; F, 83 ,1 52
Mutan o [muta] in PI. [CL Picc . ,
83
Muta I“co rda (E) in D , 573Mu ta II I“ co rda (G) in A , 573
Mu ted, xv - xviii, 41 , 79 ,2 16, 2 2 2 , 280 , 403
—7
Muted xvi, 1 19Muted [Stopped] an d Open comb in ed , xvi , xviii , 1 2 1 , 403 5
Muted—b rassy , xv i, 1 18
Muted—b rassy 1 20
Muted effec ts, 9 1 , 109—1 1Muted, in imi tation of an an tique
come t,1 50
Muted : o n e player grasps tub es174
Muted—Open , 1 2 2
Muted, with out stoppin g, 1 1 1Mute in stan d, 1 1 0Mutes—Brasses, xv i, 90—1 , 104—1 1Percussion , xvii, 165 , 194, 2 0 1 , 2 16,2 2 2
S trin gs, xviii , 280 , 403—7Wo odwin ds, xv , 79
Mu te (s) off [out] , 1 04Mu tes off gradually , xv iii , 406—7Mutes off o n e b y on e , 280 , 406
Mute (s) on , 1 04
Mutes o n gradually, xviii 405Mutes on o n e b y o n e , 280, 405
Mute(s) out [off ] , 104Mute Types, xvi , 90 —9Mute with felt crown , 105 , 109
Mute with han d, 109Mute with rub b er b ushin g, 10 5 , 109Mutin g, 90—1 , 1 58, 280 , 403—7Nach C (um)stimmen , 2 3 3
Nah e Zum S teg,wie Trompetten , 579
N’
arpéger pas, 264
62 2
Nail pizzicato , xviii, 279 , 3 30Nasaler Ton , 579Nasal ton e , 579Natura1(e) , 1 12 , 165Naturale—C on sordin o , 12 5Natural Harmon ica—Horn , 91 , 149Strin gs, xv iii, 280 , 408—40
Naturally , 3 72
Natural n o tes, 149
Natural (po sition ) , 72 , 372 , 381 , 3 94Natural (soun ds ; ton es) , 1 12 , 2 57, 266Naturel(s), 72 , 1 12 , 165 , 372Naturleder Pauken schlagel[Schlagel] , 166
Natiirlich , 72 , 1 12 , 372
Natur No ten (ohn e Ven til) , 149Naturtiin e , 149Nearly slidin g b e tween the n o tes, 1 50Near soun din gb oard, 266
Near [o n ] th e b ridge , 381Near th e b ridge , like trumpe ts, 579Near (th e) cen ter [middle] , 198, 2 2 1Near (th e) frog, 305Near (th e) rim, 1 58, 163
Near th e soun d- b oard,2 50, 266Nehmen [n immt] Dampfer, 104Nehmen Klar . in A [B] , 83Nehmen n ach un d n ach die Dampfe r
ab , 406
Ne jamais arpéger les accords, 2 64Nella
,scen a lo n tan o , 75
Nelmezzo dellamemb ran a, 164,2 2 1
Nich t ab dampfen , 2 3 3
arpeggieren [h arpeggiert] , 2 64Nich t b rech en [geb ro ch en ] , 241 , 264Nich t das leere A [C ; D ; E ; G]n ehmen , 581
Nich t ein e Oktav e h b h er , 273Nich t geb roch en [b rech en ] , 2 64Nich t get(h )eilt, 45 5Nich t glissan do , 1 5 1
Nich t h arpeggiert [arpeggieren ] , 2 64Nich t mit Dampfer , 104Nich t sordin irt, 104Nich t tremoliere n d, 3 57, 3 73Nich t v ib rieren d, 80—1 , 1 50 , 576Nimmt (auch ) Dampfer , 104Nimmt gro sse Fl. [k] . Fliite] , 83No glissan do , 1 5 1
Nomen clature of In strumen ts, xv , 4,
6—10No mute (s) , 104Non - armo n ici, 2 57No n arpe
’
gé, 241 , 2 64on—arpeggian do [arpeggiato ;arpeggio ] , 241 , 264
No n - arpeggiato [arpeggian do]Harp, xvii, 2 50, 2 64—5Keyb oard In strumen ts, 241
Non col legn o , 372
INDEX OF NOMENC LATUR E AND TERM INO LOGY
No n—div isi, 455No n -
glissan do , 1 5 1
No n -
glissan t, I 5 1Non—legato , 278, 3 54No n—marcato ,
288
No n 3 37
Non sordin a(e) , sordin o (i), 104Non - spiccato , 283 , 288
No n - staccato , 283 , 288
No n sul po n t . , 3 81Non sul tasto , 3 94
Non - tran spo sin g mute (s) , 1 04, 106Non—tremolo (col 3 73
No n 82
No n - tremolo (sul pon ticello ) , xviii,280 , 3 89—92
No n—tremolo (sul tasto) , xv iii, 280 ,
3 98- 40 1
No n un’
o ttav a pit‘
i alta, 273No n—vib ran t, 80 , 1 50 , 576No n - v ib rato , 80—1 , 1 50, 576No rmal, 72 , 1 12 , 181
Normal b owin g, 3 72
NO sn ares, 2 09
No t arpeggiated, 241 , 2 64No te aperte [n aturale] , 149No tes n aturelles, 149No t muted, 104NO vib rato , 80 , 1 50 , 576
Nur die erste Halfte der Pulte , 45 5Nur die Halfte , 455Nur die mit Kon tra- C versehen en
Basse, 581Nur
Nur ein [1] Pult, 49 1(Nur) Ein [1] Spieler , 477Nur le tztes Pult, 581Nur mit Schlagel, 2 3 3Nur 2 Pulte , 49 1Nur zwei [2 ] Violin en [Bratsch en ,
49 1
Ob o e co n tralto ,6
Ob oe d’amo re , 6
Ob o e harmon ics, 40 , 74Ob oe (i) , 6Ob oe (n ) , 6O [Ho ]b 0 e n ehmen , 83
Ob oe (s). xv . 6. 14. 29—34. 40. 46- 8.
57—9 . 6 I—2 . 64- 75 . 78—80. 82—3Oc tav e (Harmo n ics) , 429—3 1Odd desks, 455Off, 163Ofi
’
e n , 104 , 1 1 2
Offen—Gedampf [Gestopft] , 12 5Off mutes, 104Off- Stage—Brasses, xvi, 9 1 , 144- 5Percussion , xv ii, 1 58, 174, 202 , 2 16,2 22
S tri n gs, xviii, 281 , 5 54Woodwin ds, xv , 41 , 75
Oh n e Brechun g, 264Ohn e Dampfer [So rdin en ] , 1 04Oh n e Dampfer 1 19
Oh n e Dampfer—Gestopft, 1 19Ohn e Dampfer—GestopftOh n e Pedal ; Kein e R eso n an z, 179
Ohn e R eso n an z—h orizon tal gelegt,2 19
Oh n e Schellen , 2 20
Oh n e S chn arrseite , 2 09Ohn e So rdin en [Dampfer] , 104O n b o th sides [skin s] , 198On e [1 ] player , 1 58, 161—2 , 171 , 477O n e player at each desk, 45 5
On h armo n ics—C01legn o , xv iii , 280 ,3 72
Sul po n ticello , xviii, 280 , 3 82—3Pizzicato , xv iii , 2 79 , 3 3 0—1Sul tasto , xviii , 280 , 3 95
Tremolo , xviii, 2 79 , 3 61—3On ly i st h alf of desks, 45 5On ly I (player) . 477On ly th o se Basseswith low C - strin g,
581
On ly two [2 ] desks, 49 1On ly two [2 ] Violin s [Violas,49 1
On o n e strin g, 581
On th e A [C ; D ; E ; G] strin g, 559On th e b ell [b ody] . 199On [n ear]
_
the b ridge , 381O n (the) cen ter [dome] , 183On the C strin g, 561On th e D strin g, 562On (th e) edge , 180On [at] (th e) edge of (the) skin , 163On th e E strin g, 564On [ov er] th e fin gerb oard, 394On th e four strin gs 3 81
On th e frame [h oop] , 199, 2 2 1On th e G strin g, 565On (the) h ead [skin ] , 199On th e h oop [frame] , 199, 2 2 1O n th e jin gles, 2 14On (th e) kn ee , 2 14O n [at] th e n ut, 305On (th e) rim (of the drum) , 197, 2 14O n th e same strin g, 581On (th e) sh ell [wo od] , 197, 199o n (th e) side , 199On the skin [h ead] , 199 , 2 1 5On th e skin with thin sticks, 2 3 2On th e sn ares, 2 3 2
On th e wood [sh ell] , 197, 199On two [2 ] strin gs, 5 37Open , 104, 1 12
Open xvi , 1 19Open
—Brassy , xvi , 1 19, 1 2 5Open
—b rassyOpen little b y little , 1 1 1Open
—Muted, 1 2 562 3
Open—S topped, xvi , 9 1 , 1 2 5—7
Open strin gs, xix, 279 , 281 , 5 5 5 - 8
Open to n es, 1 1 2Ordin aire (men t) , 72Ordin ario , 72 , 1 04, 181
Ordin ary, 72Ordin ary [R egular ; U sual] b eater(s)[h ammer (s) mallet(s) stick(s)
166, 168, 186—7, 2 04,
2 2 3
Ordin ary glissan do , xv iii , 281 , 542—9O rdin ary Me thod of S trikin g, 163
O rdin ary 107
O rdin ary po sitio n , 372
Organ , xvii, 3 2 , 2 3 7—9 , 241Organ o , I O
Orgel, 1 0
Orgue , 10
Orizzo n talmen te sen za riso n an za,2 19
Oten t la sourd . , 104
Oter[ez] la (les) sourdin e (s), 104Otez les sourdin es pe tit a pe ti t, 406Otez les sour din es un e a un e , 406
Otez progre ssiv emen t les sourdin es,406
O th er Effec ts—Keyb oard In strumen ts,xv ii, 241—3Percussio n , xvi—xv ii , 1 58, 172 ,
194—5 , 2 1 1
—1 2 , 2 19—2 0 , 2 2 5—6O th er half, 45 5O th er in dication s—Brasses, xvi, 1 1 1 ,
120—1S trin gs. xviii. 5 53
O th er KeyedPercussio n In strumen ts,xviii,2 26
O th er Percussio n In strumen ts, xvu ,
1 58, 2 2 1—6
O th er Pitch ed Percussio n In stru
men ts, xvii, 1 58, 2 26—8O ther Un pitch ed Percussion In strumen ts, xv ii, 1 58, 2 28—3 1
O ttavin o , 6
O tto n i, 7“Oua—oua, 148
Out of tun e . .
Ouv er t—Bouch ez, 12 5Ouv er t—Cuivrez, 1 2 5Ouv er t(s) , 104, 1 1 2Ouv ert(s)—Av ec sourdin e (s), 12 5Ouv ert(s) 1 2 5
Ouv er t(s) 1 2 5
Ouvrez, 104
Ouv rez peu apeu, 1 1 1
Ov erb lown , 40 , 9 1 , 1 12
Ov er [o n ] th e fin gerb oard, 3 94Ov e r to n es, 2 3 7Padded stick(s) , 166, 168, 187, 2 17
Parade Drum,8
Pari leggi. 45 5
INDEX OF NOMENC LATURE AND TERM INOLOGYPar titio n , 6
Par titur (a) , 6Passate un o scov olo di fil di ferro164
Pauken , 7
Pauken schlagel, 167
Pav iglio n e (i) i n alto [su] , 72Pavillon en 1
’
air , 72
Pavillo n (s) en h aut, 72Pedal glissan do (i) , xv i, 1 58, 165 , 271Pedal n o te [ton e] , 100Pedal off; n o reson an ce , 179Pedal Timpan i—glissan do , 165Pedalto n , 100
Pedal ton e [n o te] , 100Peitsch e , 9Peitsch en d, 195Percuo te te col arco aI do rso . 579
Percuo te te sul lato superiore . 580
Percussio n , ix , xvi—xv ii , 7 9, 2 2—4,2 9—34. 90 1 5 3
—2 3 3 , 2 37, 2 50.. 278
Percussio n e [Batteria ; S trumen ti a
perco ssa] , 7Percussio n n o tation 1 65 ,171—3 , 2 14, 605—7
Percussion Termin ology , xvii, 1 58,2 3 2—3
Perfec t 5th (Harmo n ics), 424—7 , 44950
Perfec t 4th (Harmo n ics) , 42 1—4, 444—9Pe tite b ague tte (en b ois) , 166Pe tite caisse claire , 8Pe tite Clarin e tte en Mi b [R é] , 6Pe tite Flute , 6Pe tite Maillo ch e [b ague tte] , 166Pe tit tamb our , 8Pian o (fo r te) , xv ii, 1 0 , 3 2—4, 2 37- 43Pian o harmon ics, 242
Piatti a due 181
Piatti (a due ; a 8
Piatti ausklin gen , I 8I
Piatto chin o so , 8
Piatto (co lpo ) coIla mazza, 2 3 2
Piatto c o n [co n tro] piatto , 181
Piatto fissato ,alla (gran ) cassa, 182
Piatto o scillan te , 8Piatto solo , 182
Piatto (so spe so ) , 8Piatto so speso dalla sua lascia, 2 3 2
Piatto so speso (rullo ) con b acch e tta,2 3 2
Picc . camb ia in PI. gr . , 83Picc . chan ge en 2 6 FL, 83Pice . muta in PI. 2 [FL II] , 83Picc . n ehmen gr . FL, 83Picc . n immt zweite PI . , 83Piccola b acch e tta, 166Piccola b acch e tta con la testa di
spugn a, 167
Piccola b acch etta di legn o [metallo] ,166—7
Piccolo . xv , 6. 12 . 3 0—4. 40. 43—4.69- 72 ’ 74, 82—3
Piccolo harmo n ics, 40, 74
Piccolo takes FL, 83Picc . takes zud Fl. [FL II] , 83Pin cer la co rde , 271Pin ch the strin g, 271Pipe [An v il ; S teel Bar] , 9Piquez av ec un e épin gle , 2 26Pisto n (s) , 7Pitched Percussion In strumen ts, xvn ,
1 58. 173—9Pizz. allowin g the strin g to slap th efin gerb oard, 3 32
Pizz. an d arco at th e same time , 578
Pizz .—an reissen , 581
Pizz. aufden Saiten mit ein er Gab elGliss. , 242
Pizz. auf den Saiten mit Fin gerspitzen , 2 42
Pizz. auf ein er Saite , 32 7Pizz. aufFlageole tt, 3 30Pizz. av ec deux [2 ] doigts, 3 36Pizz. av ec les doigts, 2 2 1Pizz. av ec I
’
on gle , 242 , 3 30
Pizz. col due [2 ] dita, 3 36Pizz. colla un ghia, 242 , 3 30
Pizz. con il dita, 221Pizz. ed arco simultan eamen te , 578Pizz.—e n arrachan t la co rde , 581
Pizz. en glissan t le do igt, 3 27Pizz et I
’
arch et au meme temps, 578Pizzican do, 3 3 3
Pizzicati 85 Non - Pizzicati comb in ed,xv iii . 2 79. 3 37—46Pizzicato glissan do , 2 79, 3 27
—8Pizzicato (i) , ix—x , xv iii, 2 79 , 3 2 2—46Pizzicato on th e strin gswith a fork
gliss. , 242
Pizzicato—Sul pon ticello , xviii, 280 ,383—4
Sul tasto , xviii, 280 , 3 95Pizz. la co rda, 271Pizz. la corda aperta .
Pizz . mit dem Nagel, 3 30
Pizz. mit zwei [2 ] Fin gern , 3 36
Pizz. on harmon ics, xviii, 2 79, 3 30Pizz. o n o n e strin g, 3 2 7Pizz. on the strin gs with th e fin gertips, 242Pizz .—strappan do la co rda, 581
Pizz. striscian do iI dita, 3 27Pizz. sull
’
armo n ici, 3 30
Pizz. sulle corde colla forch e ttagliss. , 242
Pizz. sulle co rde e sulle pun te delledita, 242Pizz . sul un a co rda, 327
624
Pizz. sur les cordes av ec les po in tesdes doigts, 242
Pizz. sur les cordes av ec un e fourch ette—gliss. , 242
Pizz. sur les so n s harmo n iques, 3 30
Pizz. sur un e corde , 3 27Pizz.—tearin g the strin g, 581
Pizz. tremolan do , xviii, 3 3 3Pizz. u . Bogen 1m gleichen Zeit, 578Pizz. u . mit dem Fin ger gleiten , 3 27Pizz. v ib rato , xv iii , 3 34—6Pizz. with b ack offin gern ail, 242Pizz. with the fin gern ail
Pizz . with two [2 ] fin gers, xv iii, 279,3 36
Place a han dkerchiefov er drumhead,2 1 1
Place a piece of paper b e tween the
strin gs, 271Place a piece of paper on th e drumh ead, 2 12Placé aplat, 198Placé a plat—san s reson an ce , 2 19Placed on sn are drum, 2 2 0
Place fin gers or palm of l.h . on
strin gs, 242Place mute(s) , 104Played b ehin d th e b ridge , 2 2 1Played delicatelywith th e fin gers2 1 1
Played on the shell (of th e drum)2 3 2
Plein e orgue , 241
Plucked an d stopped , 2 68Plucked with th e fin ger tips, 2 2 1Pluck open strin g (D) 578
Plun ger mute (s) , I O5 , 107Pliischliigel, 166
Plush stick(s) , 166, 187Po co sul po n t. , quasi tromb e, 5Poin te (de l’at ch e t), 307Poin t (of th e b ow) , 307Pop b o ttles, 2 2 3 , 2 2 9Po r tamen t0 (i) , xviii, 40 , 68—71 , 2855 1—3
Po r tan do , 68
Portare , 68Po saun e (n ) , 7Po sition n aturelle [n ormale ;
o rdin aire]. 72 . 199. 372Po sizion e ordin aria, 72 , 3 72
Pos.
'
[H6rn er ; Tromp .] m.D ., 1 52
Po sthom , 145
Pour l’
o reille , 409Poussez le son , 1 5 1
Pren de ilPicc ., 83
Pren dero Clar. in A [B b] , 83Pren de te l’altro piatto ,
2 3 2
Pren don o Picc . , 83
Pren ez 1a b ague tte [maillo ch e] , 2 3 2Pren ez la Clar . in La [Sib] , 83
INDEX‘
OF NOMENC LATURE AND TERM INOLOGYSan s b ague tte(s) , 181San s co rde (s) , 209San s pédale ; n o n réson n an t, 179San s sourdin e 1 19San s sourdi ne—c uiv ré, 1 19San s sourdin H uiv ré 1 20
San s sourdin e (s) , 104, 165San s timb re (s) , 209San s tin temen ts, 2 20San s vib rer, 80—1 , 1 50, 576Sarrusofo n e , 7Sarrusophon (e) , 7Sassofo n e (i) , 6Sautille’ , 300Saxopho n (e) , 6Saxoph on e (s) , 6, 18, 65—7, 69, 71—3 ,77—8, 81
Scacciapen sieri, 9Schalltrich ter auf ![h och ] , 72Sch alltrich ter in die HOh e, 72Sch arf, 1 50Sch arf ab reissen , 2 68
Scharf gesto ssen , 294Sch elle , 9Sch ellen trommel, 8
Schlagel, 166
Schlagel auf den Becken , 2 3 2
S chlagelmit har tem Filz, 166Schlagel mi t Kopf aus Kapok, 167Schlagel mi t viertelh artem Gurumi,166
Schlagel mit ziemlich hartem Filz[Leder] , 166
Schlagel mi t ziemlich weich en Filz,166
Schlagen , 2 1 5S chlagin strumen te [Schlagzeug] , 7S chmettemd , 1 12
Schn ell [gleich ] ab dimpfen , 163 , 2 68
Schn elles Glissan do mit Trian gel
schlagel 2 2 0
Schn elles Trem . , 347Schriller , scharfer Ton , 80
Sch iitteln , 2 1 5Schwamm- Pauken schlagel, 167S chwammschlagel, 167Schwerer Schlagel, 166
Sco rdata, 2 1 1Scordatura, xix , 281 , 573—5Sco re , 6
Scov olo di fil di ferro , 167Scratch strin gs len gthwise with a
coin 243Sec (co )—Harp , 264, 2 68
Percussio n,163
Wo odwin ds , 822 1 5
Secouez, 2 1 5Segn o (Cb ) in dica un o pizz. fo r te3 3 2
Segn o per il pizz. 3 28
Segn o per il suon o chiuso , 1 12
Sehr schwe rer Pauken schlii gel, 167Sehr schwerer Schlagel, 167Seh r weich er Pauken schlagel, 167Sehr weicher Sch lagel, 167Sempre co n so rd . , 581
Sen za arpeggiare , 264Se n za co rda(e) , 2 09Sen za pedale ; n o n riso n an za, 179Sen za so rdin a(e) 104, 165 ,280
Sen za so rdin i po co a poco , 406
Sen za so rdin o 1 19Sen za so rdin o—chiuso , 1 19Sen za so rdin o—Chiuso 12 0
Sen za sord. leggio a leggio , 406
Sen za timb ro , 2 09Sen za tin tin n ie , 2 2 0
Sen za Vib rato—Brasses, 1 50S trin gs, xix, 282 , 576
—7
Woodwin ds, 80Separate b ows, 283Se tz den Dampfer ab , 1 04Seulemen t a 2 Violon s [Altos,49 1
Seulemen t le dern ier pupitre , 581Seulemen t les C . B. av ec la C - b asse
co rde , 581Seulemen t I” moitié des pupitres,45 5
Sh ake (hoop) , 2 1 5Sh akers [Gourds] , 229Sh or t, 163Sh or t (b ows), 2 94Sh or t [small] stick(s) , 166, 188, 204Sh o t, 2 00Shrill, pin ched ton e , 80Side Drum, 7Side [sn are] drum stick(s), 166Sifliemen t, 194Sign (0 ) in dicates a stron g pizz.
3 3 2
Sign e (O) in dique un ferme 3 32
Sign e (O) in dique un pizz. 3 3 2
Sign e (O) pizz. for t 3 32
Sign e pour les son s b ouch és, 1 12Sign fo r stopped to n es, 1 12Si lasci vib rare , 2 3 3Si lev an o 1 sordin i , 1 04Silofo n o , 8
Sin e so rdin o (i) , 1 04Sin gle harmon ics—in eith er han d,xvii. 2 57—9Siren , 9 , 2 30
Siren a, 9Siren e , 9Sistrum'
[R agan ella] , 9Slack(en ed) sn ares, 2 09Slap (a lajazz) , 3 3 1“Slap
”pizzicato , xv iii, 279, 3 3 1
Slapstick [Wh ip] , 9 , 2 30626
Slap- ton gue, xv , 41 , 78
Sleigh b ells, 9, 2 27Slide , 68, 2 5 1Slide th e fin ger , 3 27, 542Slide [swish ] with b rush , 200Slow glissan do , xv iii , 281 , 549—50Slow v ib rato , 578
Small cymb al, 3 3—4Small diimer b ell, 2 30Small Drum(s) , 2 2 2SmallFlute , 6Small Hammer, 2 2 3
Small Side Drum, 8, 2 10 , 2 24Small [sho rt] stick(s) ,Smallwood(en ) stick, 166, 168“Smear,
”xvi, 9 1 , 147
Smo o th (b ows) , 288Smorzate , 163“Sn ap
”pizzicato , xv iii, 279, 3 3 2—3
Sn are Drum, xvii, 7, 3 1—4, 1 58 196
2 12
Sn are [side] drum stick(s) , 166, 168,
Sn are drum sticks, wrapped withfelt, 2 04
Sn ares loo se(n ed) 2 09
Sn ares muffled [off] , 2 09Sn ares o n , 2 10
Sn ares Slack(en ed) 209
Soffocato (sub ito ) , 163So ft cardb oard mute (s) , 105 , 1 08Soft felt (timpan i) stick(s) , 166, 1 67,Soft [felt] h at(s) ov er b ell(s) , 1 10Soft (timpan i) stick(s) , 166—7 , 169,176—7, 188—9 , 2 05 , 2 18
SoftWo od Hammer , 2 24
Solamen te l’ultimo leggio , 581
Solamen te 1“me tadi leggi, 45 5So l [G] corde , 565Soli Par ts, xviii, 280 , 49 1—5 3 1Solo du 1 76 pupitre , 477Solo from i st desk, 477Solo Par ts, xv iii, 280, 477—90Solo per il 1
“leggio , 477
Solo Quarte t (strin gs) , 2 99, 3 16, 416So lo Quarte t (v oic es) , 30Solo Quin te t (strin g), 346Solo ton e mu te (s) , 1 05 , 108Solo v oices, 3 0—2Solo v om 1 . Pult, 477Soltan to i Bassi colla C—b assa co rda,581
Soltan to 4, 49 1Son agli , 9Son ato die tro il pon ticello , 2 2 1
Son n ormal, 3 72
Son o rité aigre , pin cée , 80Son orité creuse , felc'e , san s timb re , 81Son orité gro ssiere , 80 , 149Son s b ouch és [cuivrés] , 1 1 2
INDEX OF NOMENCLATURE AND TERM INOLO GYSo n s d’echo , 109So n s d’on gles, 272Son (s) écri ts [réels] , 273 , 409“Son s é touffés, xviiSon s harmo n iques, 41 , 2 2 5 , 2 57
Son (s) n aturel(s) , 104, 1 12 , 2 57, 266
Son (s) o rdin aire(s) 104,
1 1 2
Son (s) reels [écrits] , 273 . 409
Son (s) v o ilé(s) , 109, 165Sopra, 72
Sopran (e), I OSopran o (i) , 10Sopran o (s) , 10So rdin a(e) 104
—5
Sordin en ,1 04—5
So rdin en ab ![auf; weg] , 1 04So rdin o di capo c , 104So rdin o di carto n e (molle) , 104—5So rdin o di me tallo , 104
So rdin o lev are , 104So rdin o me ttere , 104Sosten e te le taste tacitamen te , 242Soun d, 273Soun din g wh ere written , 273 , 409Sourdin e de capoc , 104Sourdin e de métal, 104Sourdin e en car ton (doux) , 104—5Sourdin e en cuiv re , 104Sourdin e oua—oua [VVoo -Woo] , 105Sourdin e (s), 104—5 , 165 , 194Sourdin es aux I ?”et 2 6 Co rs, 1 52
Sourdin es aux 3 Tromb o n es [Co rs ;1 52
Sourdin e Wo o -Woo [oua- oua] , 105Sourds. atous les pup . , 581
Sourds. aux 4 Co rs [Tpttes. ;
1 52
Specific S trin gs, xix, 281 , 5 59—71
Spiccato , 2 78, 294—300Spiccato al talon e , 580Spiccato am Fro sch , 580
Spiccato au talon , 580
Spiccato b owin g, xviii , 294- 300
Spiccato o n the n ut, 580
Spitze (des Bogen s 307Spitze desBogen s, wie col legn o , 578
Spitzig, 1 50Spo n ge stick(s) ,Spon ge timpan i stick(s), 167, 2 05Sprin gb ogen , 300
Sprin gen der Bogen , 300
S taccato—Harp, 2 68S trin gs, xv iii, 2 78, 2 94- 300
S taccato b owin g, xvmStahlschlagel, 167S tark an b lasen , 1 12
Starkes Portamen to , 68
S tar t o n the poin t (of b ow) , 579Stay in 1 st positio n , 581
167. 169. 189—90.
S tay in po sitio n , 581
S teel Bar [An vil ; Pipe ; Plate] , 9 , 2 2 34, 228
Steel stick(s), 167, 177S tick o n cymb al, 2 3 2
S tick(s) with fib re h ead [kn ob ] , 167,Stick(s) Hammer (s)Malle t(s) ;
S tick Types xvi- vii, —71 ,175—7. 184—93 . 2 02—9. 2 16—19.2 2 2—5
S tierho rn , 9S till muted, 581S timmen die G- Saite auf Gis, 573S timmen die G- Saite wie v o rh er , 573Stimmt die tiefste Saite n ach B, 2 71“Stomp th e b eat,” 194
S top [dampen ] half—way, an d full, 195S top(ped) , 2 68S topped xv i, 1 17S topped an d Open comb in ed, xvi,1 2 1
S topped, imi tatin g a ho rn , 12 1
S topped—Open , xv i, 9 1 , 12 2 - 4
Stopped or Brassy To n es, xvi, 1 12—2 1S topped (to n es) , xvi , 9 1 , 1 12S topped with ,
h an d, 1 2 0S top (quickly). 163S traigh t mute (s) , 105 , 1 07S treich er [Saiten in strumen te] , I OS trich fiir Strich , 283S trike [struck] , 2 1 5S trike in usual man n er , 163
S trike o n copper ke ttle (of timpan i) ,164
S trike o n kn ee , 2 14S trike on me tal rim aroun d h ead, 164S triker (s) Hammer(s) ;Mallet(s) ; 166
S trike (th e) rim, 197
Strike th e strin gs with hard rub b ermalle ts, 2 43
Strike with b ack of a saw- b lade on
cymb al 195
Strike [hit ; struck] with b ow , xviii ,S trike with th e b an d , 3 3 1S trin g Drum [Lion roar] , 9 , 2 30S trin g mutes, 280, 403—7S trin g n o tatio n , 283 , 288, 29 1 , 294,
—8.3 30. 3 3 2 - 4. 3 36- 7. 347. 3 50 . 3 54.
3 56 —9.
381 . 393 . 402 . 408—9. 41 1—1 3 .
417 43 1—9 , 441—2 : 4441 449—5 1 1453 - 4. 53 2 5 34. 5 37—9 . 54 1
—25 50—1 . 5 5 5 —80 605—7
S trin gs, ix—x, xv iii—ix, 10 , 26—3 4, 90 ,275—581
S trin g Termin ology, xix, 581
62 7
Striscian do , 68, 2 5 1
S trisciare il dita, 542S triscia(ta) , 68, 2 5 1S trisciate co n scov olo di fil di ferro ,2 00
S troke (d) , 2 1 3Stroscian do , 195
Struck [strike] , 2 1 5S truck n ear rim,
163
S truck toge th er , 181S truck [strike] with b ow , 304
S truck with th e wood, 184 , 2 00S trumen ti a corde [Archi] , 1 0S trumen ti a fiato [Strumen ti di
v en tro] , 6Strumen ti a perco ssa [Batteria ; Percussion e] , 7
S trumen ti di legn o , 6
Strumen ti di me tallo , 7Strumen ti di tasto , 9
S trumen ti di v en tro [S trumen ti a
fiato ] , 6S trumen ti d’o tton e , 7Sn an n in fin gi. 3 3 3Stiirze h och [in die Hohe] , 72ub po n ticello , 381
Successiv e Down - b ows, xviii , 3 1 3—17Successiv e Up
—b ows, xviii, 3 18—2 1Sul A
’
. 408- 9 . 4 1 1—1 3 . 420—9 . 5 59
Sul b o rdo , 180 , 197
Sul b ordo'
(dellamemb ran a) , 163 , 196Sul C
’
, 408, 41 1—1 3 , 418—2 0 , 42 2—3 ,42 5- 6. 428—9. 442 . 56 1
Sul D'
, 408—9 , 41 1—12 , 417—28, 562Sul due [2 ] co rde , 5 37Sul E
’
. 408—9. 41 3 . 420 - 1 .
42 6
Sul G’
, 281 , 409, 41 1—12 4 17—29 ,
442 . 565
811] La 5 59
Sulla cassa, 199 , 22 1
Sulla memb ran a, 199 , 2 1 5Sulla cupola, 183Sullamemb ran a con b acch e tte so ttile ,2 3 2
Sulla 1“ III“; III“; IVa] . 5 59. 561—2 .564—5
Sulla tastiera, 3 94Sulla tav o la, 266Sul lato , 198
Sulle corde , 2 3 2Sulle pun te delle dita, 2 00Sulle quattro cordeSulle tin tin n ie , 2 14Sull
’
o rlo , 180 , 2 14
Sul mezzo , 183
Sul pon t. glissan do , xv iii , 280 , 381—2Sul Po n ticello , ix x, xviii , 279
—80 ,381—93
Sul Pon ticello Modo Ordin ariocomb in ed, xviii , 280 , 393
42 3—47
INDEX OF NOMENC LATURE AND TERM INOLOGYSul Po n ticello—b ack o f th e b ridge ,xviii, 381Sn ] po n t n o n - trem .,xviii,280 ,389—92Sul po n t. o n harmon ics, xv iii, 280,3 82 - 3
8111 pon t. pizzicato , xv iii, 280 , 383—4Sul po n t . tremolo , xv iii, 3 84- 9Sui I III ; III ; IV] . 5 59. 561—2 . 564- 5SuI pun ta 3 07$111 pun to del arco , 3 07Sul talo n e , 305Sul Tasto , x, xviii, 279—80 , 394—402Sul Tasto 8c Sul Pon ticello comb in ed, xviii , 402
Sn ] tasto glissan do , xviii, 280 , 394—5Sul tasto n o n - tremolo ,
xv iii, 280 ,
398—4018111 tasto on harmo n ics, xviii, 280 , 3 95Sul tasto pizzicato , xviii,Sul tasto tremolo , xviii, 280 , 3 95—8Sul un a corda, 581Suo n are col arco sul taglioSuon are ruvido , 80 , 149Suo n ate tu tte Ie tasteSuo n o , 273 , 409Suo n o (i) Chiuso (i) , 1 12Suo n o (i) flautato (i) , 41 , 2 57, 394Suon o ten eb ro so , I 50
Sur deux [2 ] co rdes, 5 37Surdin en weg, 1 04Sur la caisse, 199, 2 2 1
Sur la II [2 6] co rde , 5 59Sur Ia meme co rde , 581Sur la peau, 199, 2 1 5Sur la peau av ec des b ague ttesmin ces,2 3 2
Sur 1a 1m [2 6, 3 6 , 46] corde , 559 , 564Sur la I . [1976] corde , 564Sur Ia protub e
'
ran ce ; 183Sur Ia IV. [49] co rde , 561 , 565Sur [v ers] la touch e , 3 94Sur la III . [38] corde , 562SUI (16) A [La] . 5 59Sur le b ois, 372
Sur Ie b ois (du Tamb our ) , 197Sur (le) b ord [reb ord] , 180 , 197, 2 14Sur le b ord (de lamemb ran e163
Sur le cadre , 199Sur le cercle , 197Sur [v ers] le Ch evale t, 381Sur (le) La [A] ,5 59Sur (le) Mi , 564Sur (le) R é, 562Sur le reb o rd [b ord] , 180 , 197, 2 14Sur (le) Sol, 565Sur le (s) timb re(s) , 2 3 2Sur les tin temen ts, 2 14Sur (le) U t, 561Sur memb ran e , 199Sur tous les deux cOté§, 198
179
Sur un e co rde , 581Suspen ded Cymb al, xvu , 8, 1 58
Suspen ded cymb al with stick, 2 3 2
Sweep wire- b rush acro ss head n ear
rim, 164v ishin g, 195Swish [slide] with b rush , 200Switch [rod] , 167, 206Switches, 9 , 2 30
Tab le , 266
Tab le o fR an ges, xv , 4, 1 1—28Tab or , 8, 2 24Take A [B b] Clar . , 83Take drumstick, 2 3 2
Take Fl. [Ob oe ; 83Take mute (s) , 104Take offmute(s) , 104Take off [remov e] mutes gradually[o n e b y o n e] , 406
Take Picc . [Pl. ; 83Take th e o th er cymb al, 2 3 2Talon (de l
’
archet) , 305Talo n e
, 305Tamb our é co rde , 9Tamb our de Basque , 8Tamb ourin (de Prov en ce) , 8Tamb ourin e ,xv ii , 8, 3 1—4, 1 58, 2 1 3—2 0Tamb ourin Prov en cal, 8Tamb our (militaire) , 7Tamb urello Basco ,
~
8
Tamb urin , 8
Tamb urin o , 8
Tamb uro , 7, 8Tamb uro Basco , 8
Tamb uro gran de , 7Tamb uro grosso , 7
Tamb uro (militate) , 7Tamb uro piccolo , 8
Tamb uro rullan te , 8Tampo n de la Gro sse Caisse , 166Tampon (s) 166
Tam- tam, 8
Tap on th e b elly (ofin s trumen t) withfin ger , 580
Tapo tan t, 3 3 3Tapped [or drawn ] with (th e) b owstick, 372
Tap with b ow on b ack (of in strumen t). 579
Tarolle , 8, 2 10 , 2 24Tastaturlan ges Bre ttTasten in strumen te , 9Tasten stumm n iederdrucken , 242
Taxi [Auto ] h orn , 9 , 2 28
Tb c . [C omi ; Trb n i .] co n sord ., I 52Teller mit Schlagel, 2 3 2Ten en do l’in strumen to al rov escio ,
572
Temple Bells, 2 28628
3 243
Temple Blocks, 9, 2 3 1Ten eramen te , coi quin tupolo di ta
2 1 1
Ten e te i piatti in sieme .
Ten e te 1’0r10 . , 194Ten ete un o scovolo di fiI di ferro .
I 94Ten ez un b alai métallique 194Ten ir (le Tamb . de B .) tout b as au
sol . 2 2 0
Ten or Drum, ix, XVII, 8, 3 1 1 58,196- 2 12
Ten ore(i) , I O
7
Ten o r(s) , I OTen or (Ten Ore) , 10
(Ten o r) Tromb on e , 7, 2 0Ten ortub a, 7Ten or Tub a, 7, 3 1 , 3 3Ten uto , 3 34Th e o th er desks, 581Th e o th ers, 581Th e sign in dicates pizz.
The 2 Fls. chan ge to Piccs., 83Thick stick(s) , 167Thick timpan i stick(s) , 167, 206Thin metal [or wo od] stick(s), 167,
2 18
Thin stick(s) , 167, 2 18Thin stick with spon ge h ead, 167,
2 06
Thin wood [or me tal] stick(s) , 167,2 18
Thumb pizzicato , xviii, 279, 3 3 3Thumb ( trill) , 2 1 3Thun der - machin e , 9 , 3 3 , 2 3 1
Thun der- sh eet, 9Tigh t(en ) sn ares, 2 10Tirn b ales, 7Timb res, 8, 9Timb re somb re , 1 50Timpan i [Timpan y ; Tympan y] , xvi,7. 2 2 29
—34. 1 58—72 . 2 3 3Timpan i chords, 161—3Timpan ic soun ds, 2 50Timpan i stick(s) , 167, 169, 190 - 2 ,
2 06- 8, 2 19 , 2 24
Tin klin g“Pian ola style, 243
Tin tez [efiieurez] les cliquetis, 2 14Tip of (th e) b ow , 307
t k t t k t, 60To a harmo n ic , 281 , 5 5 1 - 3
To b e played o n n atural harmon ics,
149Toccan te leggiermen te la corda, 581Toccata colla b acche tta, 181To ccata coIIa mon e ta d’argen ta, 181Toccato con un a b acch etta, 2 3 3Toge th er , 83 , 181 , 45 5Toglie 1a sordin a, 1 04
INDEX OF NOMENCLATURE AND TERM INOLOGYUn b roken , 2 64Un e cymb ale suspen due par sa
courro re , 2 3 2
Un e paire , 181
Un e [un o ] solo , 477Un gerade Pulte , 45 5U n ies. 45 5U n ison . 83 . 45 5
U n iso n o (i) , 45 5U n iti. 455U n muted, 1 04, 280Un o [un e] solo , 477
U n [1 ] par pupitre , 45 5Un to n differen t pour ch aque
pupitre , 581Un usual tun in g, xix , 573
Un v o ile sur la peau de la timb ale ,165
Up b ow(s) , 2 79, 3 18—2 1Use a 4 ft. b oard to play all th e keys,2 43
U sual [Ordin ary ; R egular] b eater(s)malle t(s) ; stick(s) ;—7, 2 04, 2 2 3
Utif chan ge en U th, 2 3 3U t [C ; Do ] corde , 561U th de U tt, 2 3 2
Velato , 165Verges, 9 , 167Vergh e (i) , 9, 167Verklin gen lassen , 2 3 3Vers la poin te , 307Vers [sur] la touch e , 394Vers [sur ] le Chev ale t, 3 81Verstimmt, 2 1 1Very hard leath er sticks, 2 24Very hard [o r soft] stick(s), 167, 169Very hard timpan i stick(s) , 167Very soft [o r hard] sticks, 167Very soft (timpan i) stick(s) , 167, 192Via sordin a(e) 1 04Vib rafo n o , 9Vib rah arp [Vib raph on e] , 9 , 24, I 58,173—9
Vib ran do , 63 . 77. 3 34Vib ran t, 77Vib raph on (e) [Vib rah arp] , xvi, 9Vib rate (the soun d), 77, 3 34Vib rato—Brasses, xv i, 147Percussion , 2 3 3
S trin gs. xviii. 279. 3 34—6Woodwin ds , xv ,Vib rato dolce , 2 73Vib rato len to , 179 , 578Vib rato Iin guale , 63Vib rato (pizzicato ) xviii, 3 34Vib rer (62) . 77. 3 34Vib rez len temen t, 179 , 578Vib rieren d, 77, 147Vib rieren lassen , 3 34
Viel Bogen wech sel, 3 10Viel Bogen (wech sehi ) , 3 10Vierfach get(h )eilt, 467VierteltOn e , 1 5 1 , 579VierteltOn e h och , 580
Viola(e) , 10Viola(s). 1 0. 27. 29- 34. 279—581Viola solo , 477Violin e solo , 477Violin e Solo mit den an dern IWnVioL,581
Violin e Solo v on Dreien , 49 1
Violin o (i) I [II] , 1 0Violin oph o n e , 2 28Violin (o ) solo , 477Violin o solo a 3 , 49 1
Violin o solo col Vn i . primo 581
Violin solo b y 3 players, 49 1Violin solo with I st Vln s. , 581
Violin (s) I an d/or II , 10 , 2 6, 29—3 4,- 5 3 1
Violon cell(e), I OViolon celle (o ) solo , 477Violo n celle (s), I OViolon cello (i), I OViolo n celle (s) , 29—34, 2 79- 581
Violon cell solo , 477
Violon e , 10Violo nViolon solo a 3 , 49 1
Voices, 1 0 , 2 9—3 3Voilée av ec un e piece de toile , 174Voilée (s) , 165
1 09
VollesWerke , 241
“Wah—wah , xvi , 148
Wah—wah mu te(s) , 105 , 108Wattierterschliigel, 166“Wau- wau,
”148
Wa- wa [Wah - wah ; Wh a- wh a]mute (s) , 90 , 1 05 , 108
Wech seln in A [B ; F, 83 , 1 52
Wech seln in D dur , 2 73Wechseln in E [A ; B, I 52Weich en filz Pauken schlagel, 166
Weich en filzschlagel, 166
Weich er Kar ton dampfer , 105Weich er Pauken schlagel, 166
Weich er Sch]agel, 166
Weich v ib rieren d, 273Well- tun ed, 2 3 2Wha- wha [wa- wa ;
mute (s) , 105 , 108Whip [Slapstick] , 9 , 2 30“Whip, 41 , 81“Wh ite ton e , 81Wh ole b ow(s), 3 10Wie ein e Fiedel, 578Wie ein e Gitarre , 81 , 3 2 5Wie cin e Glo cke , 149
630
wah—wah ]
Wie ein e Han dharmon ika, 580Wie ein e Harfe , 242Wie ein e Kan on e , 2 1 1Wie ein e Trompete , 80—1Wie ein e Vogelstimme , 80Wie ein Naturlaut, 149Wie gediimpft, 80“Wie Gelach ter ,
”148
Wie pizzicato , 81 , 1 5 1
Wie schreien d, 149Wie staccato—keuchen d, 1 5 1Win d in strumen ts [Win ds] , 6—7Win d- machin e , 9 , 3 3 , 1 58, 2 3 1
Win dmaschin e , 9Win ds [Win d in strumen ts] , 6—7, 90Wirb el auf den Becken teller mit
“
Schlagel, 2 3 2.
Wirb elmit den Fin gern , 2 00, 2 2 2
Wirb el mit den Schwammschlagel,2 32
Wirb el mit zwei [2 ] Schlagel, 2 32Wirb el—v om R an d 2 12
Wirb el—y o n der Nlitte 2 1 2
Wire - b rush 167, 169 , 192 ,
2 08
Wirklich er Ton [TOn e] , 409With a thin piece of felt o n middling
of drum head, 2 1 2With fo o t- b eater [foo t- pedal] , 2 01With full b ow, 3 10
With hair an d stick at poin tWith mute (s) , 104With outjin gles, 2 2 0With out mute (s) , 104With out sn ares, xvii, 209Without stick, 181
Without v ib rato , 80, 1 50, 576With plates, 181With plec trum, 2 50 , 272
With sn ares, 2 10
With sn ares loo se(n ed)2 09
With stick(s) , 2 3 2With sticks o n ly, 2 3 3With switch es, 2 32With (th e) b ack of (the) b ow, 372
With (th e) b ow, 3 2 2
With th e b ow h eld b ackwards, 572With th e b ow—like pizz . , 580
With the fin gern ail(s)—Harp , 2 50,
2 72
Percussion , 164Strin gs, 3 30
With th e fin gers [fin gertips] , 2 00, 2 1 5(the) fist, 2 14(th e) h an d, 109 , 184, 2 1 5 t
(th e) han dle of (th e) stick, 184,2 2 2
With the kn ee , 2 14With (th e) kn uckles, 2 16With (the) n ail, 3 30
INDEX OF NO
With (th e) thumb , 2 1 3 , 3 3 3With thick en d of (th e) stick, 184With thin en d o f (th e) stick,
184
With two [2 ] fin gers, xviii, 3 36With two [2 ] sticks, xv i , 1 58, 172With two [2 ] sticks o n cymb al, 2 3 2With wo ode n en d of (the) stick, 184Wood Blocks, 9 , 1 58, 2 2 2 , 2 24, 2 3 1
Wood- b locs [Blo cs de b o is] , 9Wooden hammer [heavy malle t] ,Wooden hammer on a plan k, 2 3 1
Wood(en ) stick(s) , 167, 170 , 177, 193 ,Wo od(en ) timpan i stick(s), 167, 171 ,Wood stick with rub b er b an ds193
Woodwin d harmon ics, 40 , 74
Woodwin d mutes, 41 , 79Woodwin d n o tatio n , 56, 60 , 63 , 68,
74 3 605- 7
Woodwin ds, xv , 6—7, 12—18, 29—83 ,90—1 , 2 78
Xocalh o , 2 28
Xy[i]lofo n o , 8
XylOPh0n (t). xvi. 8. 2 3 . 3 2—4. 1 58.
173—9
Xyloph o n e stick(s), 167, 193Xyloph o n schliigel, 167
MENC LATUR E AND TERM INOLOGY
Woodwin d Termin ology, xv , 41 , 83
Wollschlfigel, 167
Wo ol stick(s) , 167“Woo - wo o ,
”148
Wow ,
”xvi , 148
Wrapped tigh tly in a clo thWritten soun ds, 273
Zart mit den Fin gern gespielt2 1 1
Zeich en (O) b ezeichn et ein Pizz.
3 3 2Zeich en ein starkes Pizz. , 3 3 2Zeichen ein Pizz. 3 28
Zeichen fiir ein zeln e gestopfte Ton e ,1 12
Ziemlich schwerer Schlagel, 166
Zilafo n o , 8Zisch en d, 194Zith er , 9 , 2 27Zn 3 . 45 5Zu 3 gleich en Th eilen , 45 5
Zum S teg, 3 81Zun gen sto sse , 82Zusammen , 83 , 45 5Zn 4. 467Zu 4 Han den , 2 2 5 , 241
Zu 2 . 83 . 45 5Z‘
wei [2 ] Becken mit Teller(n ) , 181Zweifach ge teilt, 45 5ZweikOpfige Schlagel, 167wei Pedale , 243Zwei [2] Schlager , 2 1 1Zwei [2 ] Spieler , 1 72Zweite Ob . n imm t En gl. Hn . , 83Zweite Violin e (n ) , 10Zwei, wen n n Otig (ad 179
Zymb el, 8