Thesaurus of Orchestral Devices - Forgotten Books

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

https://www.forgottenbooks.com/join

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

PART I

The I n strumen ts 0 the Orchestra

Ple e .

Cl . (A)

CoMP)

Th e . (A)

T imp .

of lunga

R IMSKY- KORSAKOFF. SCHEHERAZADE

Tb e JA)

VI .”

R eproduced by permission ofM . P. Belatefi'

, copyright own ersfor all coun tries

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.


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


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


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)


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


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


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


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


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


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)


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

P ART I I

Woodwin ds

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

Pi c c .

h i glfl r .

Clu .Eb

C. b s n .

Timp .

Pe r o.

Pian o

BRITTEN. SINFONIA DA REQ UIEM

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


(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'


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


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


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


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



Mahler Symphony No. 3


Rav el Mahler Symphon yNo. 8


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'


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 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


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


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


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


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


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]


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


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


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


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 .)


No n -

glissan do No n -

glissan t Nich t glissan do

COMPOSER WORKS ch uman , W . American Festival

Overture


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


Quasi pizzicato Comme pizzicato Wie pizzicato

PAGE MEASURE1 2 2

[ 5 1

Chapter 3 1

BRA S S TERMINOLOGY

Italian

xst Horn take mute La Iére Cor met la sourdin e Horn 1 n immt Dampfer1st an d zud Horn s muted Sourdin es aux Iéfe et 26 Cors Homer 1 , 2 mit Dampfer

4 Horn s muted Les 4 Cors av ec sourdin es Horn et 1—4 gedimpftSourds. aux 4 Homer [Tromp. ;

Trb n s.] muted Cors [Tpttes. ; Tb n es.] Pos.] m.D.

1 52

Pic a .

8.Vl n .

Vln s J

Vi n a.“

Vln sJ

Vl n s .“

eo l legn oTimgp.

8.Dr .

S .v l n .

Vl n s . I

Vl n s . I I

i wi th woode n st i ck s,to b e p lay ed at th e e dge or th e h e ad at th e e dge of th e h ead

b ague ttes e n b ois, it étre éxécuté our le bar d de la memb ran e a n bard d e la memb r an e

BaRTéK. VIOLIN CONCERTO

1 54

8V111 .

V111

Vln l

Timp .

8. Dr .

8.Vln .

semp lz'

ce

Vln s l

Vln e . II

D. Bs .

Reproduced bypermission ofBoosey 8 Hawkes, I n c., New York, an dBoosey Gr Hawkes, Ltd. , Lon donI 5 5

1 2

Modéré J: 76 e n v ir on

Cymb ale

Gr e lots

T r i an gl e

Oos tagn ottoo do For

Cn tagn ottos do Bole

Fouot

Tamb our do 8as qn o

Tamb our i n Pr oven gal

Caiss e Roulan to

Cai sse Clai r e

Tamb our Vollé

Tam Tom

2 Gross e s Caisse s

Coup e de Marteau

our on e plan ch e

Un e Oh oéplior o

S opron l

Con trol“

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 drumhead 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


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


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


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


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


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


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


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]


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


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


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


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


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


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


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


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]


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


Laid o n side Sul lato Place aplat Auf die Seite gedreh t

Bass DrumIn gh elb rech t El Greco


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


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


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


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


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


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


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


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]


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]


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


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


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


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


(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

17

P ART V

Keyboard I n strumen ts

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 .)


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


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'


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]


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 .)


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


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]


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

ode s Pl .

Cor A .

1° 002°

DEBUSSY. LA MER246

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


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]


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


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]


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


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

PART V I I

S trings

Camp .

P r imo

2 8011

4 S ol i

Vl . ll

BARTOK. DANCE SUITE

276

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


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


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'

zz9

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 )

18 1 Symphon y No. 41 in

C major,‘

fjup iter”

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

Hay dn

He rrman n

Liado v

157F12, IPQIE}S

II , Vio la , Vio lo n c ello , an d BassPAGE162

3 1

158

1 20

1 14

62

3 2

88

MEASURE[61][ I s]4

[79] I f

[70]3

[In

I

COMPOSERR o ussel

S ch ub ert

(4) SPICCATO AND STACCATO

ItalianS taccato '

Vio lin IR achman in off

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)


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


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

'

tique”

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

'

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’

arco Frappé avec l’atche t Mit dem Bogen geschlagenS truck with h ow

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

'

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

’

pun to Poin te (de l’at ch et)Colpun to del arco Vers Ia“ poin tePun ta (d’arco )Pun ta dell’arcoSul pun ta [pun to del arco]

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

’

I talic

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

S irén es 84 [4] 2f S ch uman , W . Un dertowCon certofor Orchestra 48 2

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

’

at ch etCo n larga arcata Glisser tout le lo n g de

Co n molto arco l’

at ch e tCo n tutta la lun ghezza dell’arco L

’

at chet de [en ] toute sa

Gran arco lon gueur

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

’

atche t

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

'

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

70 1

2 2

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

'

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

‘

Oaks”

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

3 1 [2 2 ]

I 9 [20]

1 1 [6]

STR ING S

(1 3 ) SUCCE S S IVE UP- BOWS

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

Diamo n d

Pr okOfiefi’

Rav el

57 [184]

Vio lin IMEASURE COMPOSER[9] 3f Miasko v sky120

7

[E]4

[18] 2 f

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

Das Lied von der Erde 43 [9] 2f

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

54 S 41 2

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'

R oger s

S trav in sky

S trav in sky

5 1 [379]

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


Symphon y“

No. 6

Chapter 50

P IZZICAT I


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


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


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


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)


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


Viola , Vio lon c ello , an d BassBar tok Music for S trings,


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


(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

'


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 .


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


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


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

R av el

3 7b [3]

60 6

Vio lo n c ello

Britte nBarték

Bo ro din

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

“Prin ce Igor

”

C oplan d

Violin H an d BassBr itten Les I liumin ation s 5 1 2

So lo Vio lin an d BassS travin sky Histoire a}S oldat 34 [17] I f

41 5

Vio lin I , H, an d Vio la24 [18] Rimsky

14 70 Ko r sakofi'

64 [S] I f S ib e lius

29 [3] 3f

Vio lin I an d Vio lo n c elloR av el

R ege r

Violin H an d Vio lo n c ello58 [3 8] In gh e lb re ch t

I 7 I R av e l

3 7 [2 1 ]1 3 [3]

Vio lin I , H, an d Vio lo n cello84 [17] R iin sky3 5 [12 ] mt

”Ko r sakofi

'

36 16 S trav in sky

STR ING SVio la an d Vio lo n cello

WORK PAGE MEASURE COMPOSER PAGE MEASUREPassacagliafrom

“Peter Milh aud

Grimes” 28 1

En esc o I a"Rhapsodie Roumain e 75 [3 6] I f R av el

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

9 [6] S trav in sky Dan ses Con certan tes 45 [72]38 3 S trav in sky Ren ard 18 1b [10]

Vio lin I , Vio la, an d Violo n celloCon certofor Orchestra 3 1 [52 ] Rav el

‘Rapsodie Espagn ole

Dan ce Suite 3 1 109 Sh o stakovich Symphon yNo. 1

61 2 6 S trav in sky L e Sacre duPrin tempsThree Excerp tsfrom“Wozz eck

”56

- 1b [380]

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]

2 1 2

416

Paro di Preludio ad un aCommedia 41 [T]

S o lo Vio la

Milhaud S audades do Braz i, 57 4

=b'

= ac tua l p it c h

WORK PAGE MEASURE COMPOSERTrois PoémesJuifs 49 [5] R av el

74 1 R avel

29 6

Paro di

Rav el

Suite en Fa

NATURAL HARMONIC S

(5 ) MAJOR 3 rd

Violin I

PAGE MEASURE

Divertissemen t Rapsodie Espagn ole

Daphn is et Chloé,Suite No . 2

Vio la

COMPOSER WORKIn gh e lb re ch t S infon iaBreve No . 1

R av e l MaMére l’Oye

Vio lo n c ello

S trav in sky L e Sacre du Prin temps

STR ING SS o lo Vio lo n cello

PAGE MEASURE COMPOSER PAGE MEASURE1 12 [14] 3 f R ogers

16 1h [9]

actua l pitc h

Con certofor Orchestra 69 [3 1 ] R av el

Divertimen tofor S tringOrchestra 1 5 [171] I f R av e l

S ix Epigraphes 5 3 3

An tiques 58 2 Rav el

Au ParcMon ceau 2 3 [5] 7fDeux Esquisses 14 [E] S trav in skySymphon iques 2 3 4

3 1 [D] Turn er

Musso rgsky I 9 [2 3 3]Rav e l Pictures atan Exhibition 95 [77] I f

S o li BassS trav in sky L e S acre duPrin temps 80 [9 1 ]

S o lo Violin I an d Vio lon c elloMar tin e t Orphe

’

e 18 2

Vio la an d Vio lo n c ello1 5 [ 10] R av el Rapsodie Espagn ole

R av e l Shéhéraz ade

40 2

Vio lo n c ello an d BassR av e l Rapsodie Espagn ole 1 1 [9] 7f

42 0

Charpe n tie r

Blo ch

Case lla

I n gh elb re ch t

R av el

R av el

STR ING SS o li Vio lin I

PAGE MEASURE COMPOSER10 [5] 2 f R o ussel

Dan ce SuiteL es I llumin ation s

Impression s d’

I talie

Vio lin I an d I IHalfi

'

ter

469 [I 4] 4f

Viola .

Trois Poe‘

mesjuifis R av e l

Pupazz ettiRapsodie de Prin tempsLe BalMartin iquaisDaphn is etChloe

'

,

Suite No. 2 I 2

Escalcs Rav e l

Preludio ad un aCommedia

Alborada del GraciosoCon certo pour Pian o et

Orchestre 1 1

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

6 [3]9 [8] sf

3 5 2 b [2]5 [5] 4f

Chan t du Rossign ol 41 [42 ] 3fL e Sacre du

.Prin temps 83 [100]

NATURAL HARMONIC SBass

PAGE MEASURE

10 2 b [120] de FallaHalifter

R av e l

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

S en timen tales

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

So li BassElegia Eroica

Vio lin I an d Vio laAlborada del Gracioso

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

'

es Con certan tes 2 9 [45]3 9 S trav in sky Le Sacre da Prin temps 62 1b [72 ]

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

59 [10] 5f

Vio lin I an d IIMilh aud Saudades do Braz il i

52 14

427294 6 4 29

Vio la an d Vio lo n c elloMEASURE COMPOSER[1 1] Rav el

2

[178] I f

Vio lo n c ello an d BassRav el

STR ING S


COMPOSER WORKMilhaud L e BalMartin iquais

Le Tombeau de

Couperin

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 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

’

s Dan ce

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

”5 5 [3 75]

S o lo Vio lo n c ello an d BassCharpen tier Impression s d

’

Italie 125 [32 ]

Vio lin I , H, Vio la , an d Vio lo n ce lloCOMPOSER WORK PAGE MEAS COMPOSER WORK PAGE MEASURE

1 3 3 [i9] Mah ler Symphon y No. 9 60 2 0

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.

Ch arpe n tier Impression s d’I talie d ’In dy ] ourd

’

éte’

d laMon tagn e 38 [1 5]47 [2 0]

S o li Vio lin I

Arb é s Evocation 19 [H] 3f'

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

In gh elb r ech t Rapsodie de Prin temps 40 6 Scén es de Ballet 1 5 ]2 5] I fS trav in sky Fire- Bird S uite (1919) 1 1 [1 3] 1

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‘

mesJuifs S trav in sky Fire- Bird Suite (19 19) 22 [12 ] 4f

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

Charpe n tier Impression s d’

Italie 77 3 Verklarte Nacht 28 1

434

NATURAL HARMONIC S

COMPOSERVilla- Lo b o s

Fauré

S chOn b e rg

Villa- Lo b o s

S ch o n b e rg

S ch o n b erg

S ch o n b erg

Villa - Lo b o s

S ch o n b erg

(20)

Vio lin IWORK

Amazan as

Vio lin HPelldas clMélisan de

Ha rm.

S o lo Vio linPierrorLun aire

Vio lin HAmaz on as

Vio laKammersymphon ie ,Op . 9

S o lo Vio laPierrot Lun aire

S o lo Vio lo n c elloPierrot Lun aire

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

Vio lin H, Vio la, an d S o li Bass28 3 b [1 1]S ch o n b e rg Fiinf Orchesterstucke

43 5

[771

[29]

[10] I f

Vio lin IPAGE MEASURE COMPOSER WORK45 9b [10] Villa- Lo b o s Dan sesAfricain es9

23 4

Violo n c elloS ch o n b erg Funf Orchesterstucke S ch o n b erg Kammersymphon ie,

88 [771 2f

Solo Vio lo n c e lloS ch o n b erg Pierrot Lun aire 38 [29]

Villa- Lo b o s 1 23 [17]

27'

[10] I f

S ch o n b erg 3 3\

4b [2 0]

Villa- Lo b o s

Villa- Lo b o s 43 [9] 2 f

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

Vio la

Th e o ret i cally po s s i b l e , b ut n ot p ra c t i c al

I n gh elb re ch t El Greco

Violo n c ello

Ib ert

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 '

14 [R ] 5f

Vio lin I , H, an d Vio laMah ler Symphon yNo. 6 1 30 [92 ] 4f

Prokofiefi'

R oussel

Sh o stako v ich

McPh e e

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

’

OK The BellsS till Bells

Vio lin HProkofiefi

'

Romeo an dJuliet, Suite Tchaiko v sky Variation s on a Rokoko

1 2 3 [78] Th eme 2 1 171

Barb er

58 2

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

Vio lin I , H, Vio la, an d Vio lo n c elloTh omso n The Sein e atNight 2 5 5

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

R av el 28 1

S trav in sky 1 1 1b [10]

(5 ) PERFECT 4th

Vio lin IWORK MEASURE COMPOSER

83 3 Blo chCon certo

.for Orchestra 1 10 [2 59]

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

3 9 [20] 3f

Alfv én

Blo ch

ARTIFIC IAL HARMONIVio lo n c ello

MEASURE COMPOSER MEASURE29 [12 ] 2f Ho n egge r

3 0 2

63 [43 ]24 4

H 4 [79]De b ussy

I s [6]Deb ussy I I

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

R o sen th al 109 1

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

Milh aud

Milh aud

Diam o n d

de Falla

Diamo n d

Bar tok

Casella

Deb ussy

Musicfor Shakespeare’

s

“Romeo an d] uliet

”

E lRetablo deMacse

Roun dsfor S tringOrchestra

Ib er t

S chmitt

STR ING SVio lin I , I I , an d Vio la (c o n td . )

PAGE MEASURE

59 1

COMPOSERR ead

S o li Vio lin I , II , an d Vio laWORK

E lRetablo de Macse

Pedro

Vio lin I an d Vio lo n cello

66 [120]

Samin sky

3 1

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


74 [75] I of

Ferr o ud AuParcMon ceau Rapsodie Espagn ole 81 2b [27]

Vio lin II an d Vio lo n c e lloWORK

Dan ce Suite

Harm.Arm.

Ha rm.

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

Vio lin IElPuerto 5 I In gh elb r ech t

3 5 [Q ] I f

Evocation 22 [J] 3 fImpression s d

’

I talie 80 5b [6]Partitafor Orchestra 50 1

[our d’

étéd laMon tagn e 75 [37]79 7

Vio lin I IWORK PAGE MEASURE COMPOSER WORK PAGE MEASURE

Ho n egger Musique pour le

Evocation “Phaedre

”de

G . D’

An n un z io 18

Milh aud 2m”S uite -Symphon ique 90

Ho n egge r Musique pour le“Phaedre

”de 27 . 2

G . D’

An n un z io 46 1

d ’ln dy ] ourd’etealaMon tagn e 38 [1 5]

Vio laDe b ussy Premiére Rhapsodie I 2 auss, R .

Walto n

5 1 5

L a Procession Nocturn e 30 3 L e Festin deEvocation s, I I I 80 1

S o li Vio lo n c ello ‘

S trauss, R . S alomé’

s Dan ce 19 I

Jo liv et16 1h [70]

Vio lin I an d ViolaHo n egger Le Chan t de Nigamon 2 2 b [7]

452

STR ING SSo li Vio la

COMPOSER WORKS c h iin b e rg A Survivor fromWarsaw

Vio lo n c elloPAGE MEASURE COMPOSER WORK PAGE MEASURE

S ib e lius 3 3 3 3 3

90 [E]

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


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


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

20 [6] 7f

52


ForestMurmursflom“S iegfried”


Ballata delle Gn omidiL

’

Arca diNoe

L e Coq d’

Or SuiteDan ce OvertureFilnfOrchesterstiicke

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 ‘

an d Vio lo n c elloDeux Images 5 1 S c r iab in Le Poéme de l

’

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‘

es dc Prin tempsS irén es

Deb ussy

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


Villa - Lo b o s OrchestraWelle sz Symphon y in C

Vio lo n c elloBar b er Prokofiefi

'

Symphony No. 5

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

’

Or Suite

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


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

Merry Pran ks

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

’

s Dan ce 10 [M]L e Sacre du Prin temps 80 [91]

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

2 3 3

Mah ler

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


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

18

3 2

40

101

1 15

165

1 1

48

40

47

50

8

20

55

73

50

64

1 16

30

29

40

3

170

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

49

1

[4]1

[30] 3f

[N] _2 f

[105] I f

[2 2 ] 5f2

[3]ah [17]8

[12 ]6

[5 1] 2 f

[4]2

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

Bacchan alefromTan n hduscr

"

26 276

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

Orchestra 1 1 [20] 3 fMiasko v sky S infon iettafor S tring

2 3 1 Orchestra

Rav el Rapsodie Espagn ole

S c riab in LePaame de l’Extasc

S trauss, R .

70 10

S trauss, R .

S trav in sky

de Falla

24 2 To ch

Vio lin I , II , Vio la , an d Vio lo n c ello75 [I ] I f C oppo la

59 [17] Diamo n d72 I zb

, [39]107 [62 ]Bri tte n S infon ia da Requiem 62 [43]

STR ING SVio la an d Bass

PAGE MEASURE COMPOSER2 5 [1 5] 6f S chOn b erg

S chOn b e rg

1 1 4b [8] Tipp e tt

Vio lo n c ello an d Bass4b [ I8] Men de lssoh n5 14 1

[75] 2 f

2

2

[2 7] 2f

[72 ] I f

[57]

[9] 7f

3

Hin demith

Mahle r A Lon don Symphon y 181 1

490

STR ING SII , Vio la, Vio lo n c ello , an d BassMEASURE COMPOSERI O Milhaud

Milh audMilhaudMohaupt

Skilto n

S trauss, R .

Chapter 60

S OL I PART S

I talian

Primo 1 3] Leggio

1 leggio solamen te1° leggio solo

Due [2 ] Violin i[Viole ; Violo n celli ; Bassi]so lamen te

2 Soli

2 So liViolin i[Viole ; Violo n celli ; Bassi]

2 Vio lin i (etc .) soli

3 (VIn . I , etc.) So li

Violin o solo a 3

1 ? c 2? legg1

2 Leggi solo

4 players 4 Soli

4 Solo Vln s. (etc .) Soltan to 4On ly 2 desks 2 leggi solamen te 2 pupitres seulemen ti st 3 [4 ; 5 ; 6, etc .) desks I primi 3 [4 ; 5 ; 6, etc.] leggi 1 . 2 . 3 . [4. 5 . etc.] pupitres[stan ds]

COMPOSER PAGE

Appalachian Spring

49 1

3 3—(G -429 )

1 Pupitre

1 pupitre seulemen t1" pupitre solo

Seuleme n t i 2 Violo n s[Alto s Violo n celles ; Basses]

2 Soli

2 SoliViolo n s[Altos ; Violon celles ; Basses]

2 Violo n s (etc .) soli [seuls]

3 (1 éresVo n s. , etc .) Soli [seals]

Violo n solo it 3

I " et 2° pupitres2 Pupitres so lo

4 Soli

Vio lin I o r I I( I ) 2*

MEASUREI

1h [S]2

[18] 2f

3

[170]I

[39]

S

3

6

[7] 9f

refers to n umb er of soli in strumen ts.

German

Erste [I] Pult

Nur cin [1] PultErste Pult soloNut zwei [2] Vio lin en[Bratsch emViolon celle ;Bi sse]

2 Spieler allein

2 SoliViolin en[Bratsch em Violo n celle ;Bi sse]

2 Vio lin en (etc .) soli [allein ]

3 Viol , etc .) allein

Violin e Solo v on Dreien

Die erste u. zweite Pulte2 Pulte solo [ein er allein ]Die zwei [2] ersten Pulte4 Soli [Spieler]

4 ein zeln e Viol. (etc .)Nur 2 PulteDie ersten 3 [4 ; 5 ; 6 , etc .] PulteI . I I. III . (etc .) Pulte

Harris

Hin demith

Milh aud

R av el

Scheheraz ade

STR ING SVio lin I o r II (1) 2 (c o n td .)

PAGE MEASURE COMPOSER17 2 Rimsky

49 [44] 2 f Ko rsakofi'

ROger

14 [3 1] Duc asse2 2 4

25 1 R ogers

R oz sa

Sch o n b erg

To ch

2 57 2 45 Wh i th or n e

(2 ) 2 or 3

WORK PAGE MEASURELeon ore Overture No . 3 50 5 14

B ri tte n

Voice in the Wildern ess

PAGE MEASURE

39 7

STR ING SVio lin I o r II (co n td .)

(5 ) 5

WORK PAGE MEASUREDeux Portraits 3 [1]Third Symphon y 3 0 2

At the S etting of the Sun 23 [M] 19 14

16 1

Ho lst

De b ussyR ead

Deb ussyKo rsakofi

'

R ogers

Hin demith

Dan ce Symphony

PAGE MEASURES criab in 188 6

Mahler 192 [38] 8f

(1 0) 12

The Bells S trauss , R . Don Quixote

COMPOSER PAGE

2 5b [B]

Wagn er , R .

7 74

(3 ) 2 - 2

PAGE MEASURE COMPOSER PAGE MEASURE62 3 5 R oge rs

3 3 [27] I f1 3 [5] S till

Bar té k

[8] 4f

R o z sa

3 1 [91]

B o ro din

Dukas

L o efiie r 47 1b [52 ]

Bar ték Vier Orchesterstucke 60 1

1 5 S

(9) 4- 3

S ixth Symphon y 29 [2 5] 5f

Figures refer to n umb er of soli in strumen ts i.e . , 1 Vln . I 3 Vln . II .

PAGE MEASURE38 1

76 [3 ]

54 3

56 [3 50]

Violin Con certo1 1

S cheherazadeKo rsakofi

'

3 1 1h [K]

Barték Con certojb r Orchestra 23 [456] Le Martyre de S ain tS ébasticn 61 [27]

Barb e r Overture to The

3 3 . 49 3 29

Ho lst 49 [V] 2 f

(17) 1 2—12

De b ussy 95 2 Deb ussy L e Martyre dc Sain tSébasticn 3 5 2b [ 1 5]

496

PAGE94

82

2

24

3 3

1 14

3

1 3 3- 79

95

STR ING SVio lin I an d II (c o n td .)

(10) 4—4MEASURE COMPOSER[2 19] R achman in ofl

'

1 Rachman in o ff

28

279

[ I 7] I f11> [79]5

1

[40][X] I f

STR ING SVio la (4) 6 (c o n td .)

WORK PAGE MEASURE COMPOSER MEASUREx3 [10]

I I I

S trauss, R .

Ho lst

1 1

34 ICasella

Nlilhaud

Milh aud

Milh aud

64 [3 1]

Ho n egger

Ho n egger Sh eph er d

S trav in sky

“An tar

CharactersfromHan sChristian An dersen

Les Petits MétiersEvocation s, I IA SurvivorfromWarsaw

Th eme an d Variation sL e Divin PaemeSymphon yforOrchestra

Horizon s

COMPOSER WORKS travin sky S cén es de BalletSzyman owski Symphon ic Con certan te

pour Pian o et

OrchestreTchaiko v sky Pian o Con certo No. 1

in Bb min or

SOL I PART SVio lo n cello (1) 2 (c o n td .)

PAGE MEASURE COMPOSER60 [96] I f Wagn er , R .

Walto n

Symphon y

(2 ) 2 o r 4

5 2 b [C ]

PAGE MEASURE61 261

Ko rsakofi'


S ch r eke r

Rachman in ofi'

R achman in ofi'

N

N

PAGE MEASURE1 1

COMPOSER WORKCoplan d Dan ce Symphon yDe b ussy I beria

R achman in ofi'

2d Con certo pour Pian oetOrchestre

R achman in o ff The Bells

De b ussy Don Quixote

Britten

Ch ausso n

Halfl'

te r

I b e r tKhachatur ian

Walto n

Kn ipp er

Milh aud

S ib elius

SilFlR. I ISI (3 ES

Vio lin (I o r II ) an dVio la (co n td .)

(3 ) 1—4

WORKSymphon yNo. 3

WORK WORK PAGE MEASURE3 Ton adas Opus American umNo. 2 2 1 [1 3 5] I fTrois Poémesjuifs Paean s 10 1

S infon ia de An tigon a Rapsodie Espagn ole 3 1 [3]Con certo pour Pian o ct TillEulen spiegel

’

s

Orchestre Merry Pranks 20 7b [1 5]Deuxiéme Con certo pourViolon celle ct Orchestre 26

Deuxiémc Con certopourViolon celle ci

Orchestre 54 [5 5]L e BalMartin iquais 16 2 b [75]Les PetitsMe

'tiers 27 2

Also Sprach Zarathustra 1 27 5

45 [34]

Walto n

Trian a

Metamorphoseon , XII

42 [2 1]

Bartok

63 [P] Symphon ia Domestica 1 3 1 b [1 5]

S O L I PART S

(I o r II) an d Vio la (co n td .)

(1 1 ) 4—2

PAGE MEASURE PAGE MEASURE5 2 2

70 [1 2 313f

Han so n

L o eflle r

Blo ch 5 5 [40]

(1 5 ) 6—2

S travin sky Le Sacre da Prin temps 81 1b [95]

(I 6) 6—3

Deb ussy 68 [46] I f

(17) 6—6

Deb ussy

(19) 8—2

Biz e t L’

Arleszen n e S uite No. 1 34 106

(20) 8—4Coplan d Third Symphon y 123 [108] 3f Th omso n

STR ING SVio lin (I o r II ) an d Vio la (c o n td .)

(2 1 ) 8—8

WORK

(22 ) 10—4Biz e t L

’

Arle'

sien n e SuiteNo. 1 3 4 105

Vio lin I , I I , an d Vio la(I ) I -

4—4*

L o effler Poem, LaBon n eChan son 23 [P] 3 f

Milhaud 12 [45] 2f

WORKSymphon ic pour Cordes

(4) 2 - 2—2

ElAlbaicin

SymphonyNo. 1

Kelley 49 4b [A]

(6) 2 -

4—2

Lisz t Ein e Faust- Symphon ic 13 9 2

Violin Con certo

Féte- Dieu d S e‘ville

— 4 Vla .

STR ING SVio lin (I o r II ) an d Vio lo n c ello

(1 ) 1 - 2


20 [12] 2fS trauss, R .

PAGE MEASURE

14 [365] i f

Ein e Faust- Symphon ic 297 3'

Das Lied von derErde 20 [2 1]Shéhérazade 36 [18]

28 1 Also Sprach 108 2

Zarathustra 2 16 1

1 5 2 S trauss, R . Don Quixote 61 2

Deb ussy ] cux Horizon s

Secon da S infon iaA Lon don Symphon y

Martin et

S trauss, R . 19 1

(6) 3 - 1

Respigh i Metamorphoseon , XII

A SurvivorfiomWarsaw 5 24 Theme an d Variation s 1 3 5 1

S iegmeister 46 2 b [50]

506

SOL I PART SVio lin (I o r II ) an d Vio lo n c ello (co n td .)

(9) 4—2

PAGE MEASURE

25 1

De b ussy 19 1

19 [395] I f

Blo ch

(I 4) 6- 6

De b ussy 3 5 [2 1]'

3f I Deb ussy 18 [1 3]

C oplan d 1 2 2 1 b [108]

(16) 8—8

De b ussy 54 2b [37]

(17) 9—3

R oge rs

(18) 12—6

L’

Arlésien n e SuiteNo. 1 34 104 Rachman in ofi’

The Bells 1 3 [12 ]Iberia 57 3

(19) 14—6

Bize t L’

Arlésien n e S uiteNo. 1 3 4 103

507

3 4

STR ING SVio lin (I o r II ) an d Vio lo n cello (c o n td .)

(20) 16—8‘WORK PAGE MEASURE

L’

Arlc‘sicn n c SultaNo. 1 3 4 102

(2 1) 18—10

Biz e t L’

Arlésien n e SuiteNo. I 3 4 10 1

Vio lin I , II , an d Violo n c ello(1 ) 1—1—2

Symphon y No. 2 3 0 4b [34]

(2 ) 1—3—1

Mar tin et 19 1 2

48 [1 2 ] 9f

Bo r o din2 14

Casella

(6) 4—4—2

R achman in o ff Rapsodie pour Pian o etOrchestre 62 1

Mih alo v ic i1 14 3 b [43 5]

(8) 12—12—8

R achman in o ff The Bells 96 6h [100]

COMPOSER WORKS ch iin b erg Funf OrchesterstuckeS ch uman , W . Un dertowS trav in sky Orpheus

(3 ) 1—4

Navarra 7 [C] I f

(4) 2—1

Fire—Bird Suite (19 19) 52

ForestMurmursfrom“S iegfried” 20 1 39

(5 2 - 2

Britte n S ch uman , W. Prayer in Time ofWar

Szyman owski Symphon ic Con certan tepour Pian o ct

Orchestre

Turin a L a Procesicin delRatio

10 [D]

(6) 2 -

4

S travin sky L e S acre du Prin temps 77 [87] Tch aiko v sky Ouverture S olen n elle,1812

(7) 3 - 2

Britte n Passacagliafrom Peter Casella Pupazz etti 16 I3 ]Grimes" 28 1

STR ING SVio la an d Vio lo n ce llo

(1 ) 1—2

MEASURE4b [2 ]

[45] 2f

PAGE IVIEASURE

4- 2

Trian a 19 2

Sh o stako v ich Symphony No . 1 59‘

[2 1 ] Le S acre da Prin temps 2 1 [30]

Deb ussy Ron des dc Prin temps 79 [Dd] 3fR achman in ofi

'

Die Toten in selR ead Sketches of the C itySh eph erd Horizon s

(1 3 ) 4—8

R achman in o ff Symphon y No. 2

S trav in sky1 3 [44]

(15) 6—62 4b [1] R achman in o ff 2d Con certo pour Pian o

ctOrchestre 50 [18]

Wh ith o rn e

(17) 8 8

Deb ussy

SOL I PART SVio la an d Vio lo n cello ( c o n td .)

(8) 3 -

3

PAGE MEASURE COMPOSER105 [349] R o ge r s

5 [2 ]Sch iin b e rg

PAGE MEASURE

Blo ch 52 [38] 2f

(3 ) 2 - 2

PAGE MEASURE WORKTheme an dVariation s 27 1 14

3 5 I

Vio lo n c ello an d Bass(1) 1 - 2

Fite lb erg Nocturn efor Orchestra 19 [95] 6f I Villa- Lo b o s 90 4

S travin sky17 [60] 1f

(3 ) 1 - 6

S trav in sky Le Sacre duPrin temps 7 [10]

Blo ch Hiver—Prin tempsAn tiques 18 [D]

(5) H

Mahler Symphon yNo. 2

Mo e ran Symphon y in G min orS zyman owski Symphon ic Con certan te

pour Pian o ct

OrchestreDeux Esquisses Walto n Con certo for Violin an d

Symphon iques Orchestra

R av e l 59 3

Bar t6k

Mah ler

R av e l

de Falla

Blo ch

Mah ler

STR ING SVio lo n c ello an d Bass (c o n td .)

WORK WORKI beria L e Poéme dc l

'

Extase

Symphon y No . 9

(18) 6—6COMPOSER WORKRachman in off The Bells

Vio lin (1 Or II) , Vio la , an d Vio lo n cello(1) 1—1—2*

Pastoral SymphonyAmaz on as

(2 ) 1—1—4

Rapsodie Espagn ole 68 1 Szyman owski Symphon ic Con certan tepour Pian o ct

Orchestre 5 1 2

ElR etablo dc Macse Theme an d Variation s 1 1 43

Pedro 1 3

(4) I

Trois Poe‘

mcsjuifs 59 1b [1 3] I S trav in sky Chan t du Rossign ol 74 2 b [82 ]

(5 ) 1—2—3

Strauss, R : Also Sprach Zarathustra 10 8

Mah ler

Symphon y No. 8

(6) 1—3—1

30 [24]

(7) 1—3—3

1 59 [1 3 3 ] I S ch o n b erg A SurvivorfromWarsaw 7 3 1

i.e . , I Vln . I (o r H) - 1 Vla.—2 Vlc .

5 14

SOL I PART SVio lin (I o r II ) , Vio la , an d Vio lo n ce llo (co n td .)

(8) 1—4—5

WORKLe Sacre du Prin temps

(10) 2—1—2

E n e sc o 2“Rhapsodie Roumain e 26 1

(1 1 ) 2—1—4Sh eph erd Horizon s

(12 ) 2 - 2—2

S trauss , R .

To ch

16 1h [380]

Blo ch 60 1

SymphonyNo. 7

Feste Roman e

Blo ch 72 [39] 6f

STR ING SVio lin (I o r II ) , Vio la , an d Vio lo n c ello (c o n td .)

(I 7) 3 -2—1

WORKQ uatriéme Symphon ic

(18) 3—2—2

S ch o n b erg A SurvivorfromWarsaw 5 2 3

R ogers

30 [19] 2f

Whith o rn e 7 [8] 4f

Blo ch 10 [ 1 3]

56 [34] 4f

Deb ussy

(24) 4—2—2

PAGE MEASURE WORKSalomé

’

s Dan ce2 1 366

Dukas99 [G ]

Wh ith o rn e 9 2 b [10]

STR ING SVio lin I , I I , Vio la, an d Vio lo n c ello (c o n td .)

(5 ) 1—6—6—1WORK

FataMorgan a

L o effler

24 [Q]

(7) 2—1—1—1

PAGE MEASURE3 3 [42 ] 3 f26 8

Barb er16 96

(9) 2 - 1—2 -

3

Bar ték First Rhapsodyfor Violinan d Orchestra 27 [1 1] 3 f

R e spigh i 54 [ I 4]

Bar ték

2 3 [27] 4f

de Falla

46 [10] 6f

de Falla

59 [62] 3f

(14) 2—2—2 - 2

Harris Third SymphonyLev an t Nocturn eLiszt Ein e Faust- Symphon icRachman in ofi

'

The BellsVaughan

A Lon don SymphonyWh ith o rn e FataMorgan a

SOL I PART SVio lin I , II , Vio la , an d Vio lo n c ello (c o n td .)

(15 ) 2—2—2 -

3

He rrman n

R ead

Deb ussy

(20) 4—1—2—1S trauss , R . Symphon ia Domestica

S ch o n b erg

S trauss, R .

C oplan d

(24) 4—3 - 4—2

Sh o stako v ich Symphon y No. 1

(25 ) 4—4- 2—2

PAGE MEASURE

61 [27] 4f

(26) 4—4—4-

4

Dv o iak

PAGE61

I O

14

39

24

MEASURE29

1 0V)

[6]

ab [6]

S77

[42 ]

[22 ]

PAGE MEASURE3 2 8b [46]

STR ING SViolin I , II , Vio la , an d Vio lo n c ello (co n td .)

(27) 5 -

4—2 - 2

WORK PAGE MEASURES uite In tima 20 1

(28) 6—4—2—2Deb ussy S ixEpigraphcsAn serme t An tiques

(29) 6—6—4—5Mah ler SymphonyNo. 2

(3 9 ) 8—6 8—6

De b ussy 1 17 [81]

( 3 1) 8- 8—4- 4

Overture to The

Williams 29 2 12

(32 ) 8—8—6—6Bize t L

’

Arlésien n e SuiteNo. 1 16 1 1 5

(3 3 ) 8—8—8—6R oger s On ce Upon aTime,

Five Fairy Tales 3 2 . [20]

(34) 8—8—8—8

(3 5) 9—8—2—1

Wh ith o rn e The DreamPedlar 54 [27]

(36) 9—9—8—2Martin et Orphéc 1 1 1

(3 7) 12—1 2—8—8

Biz e t L’

Arlésicn n c SuiteNo. 1 16 1 17

(38) 12—12—12—3De b ussy ] eux 75 2

5 2 0

STR ING SVio lin (I o r II ) , Vio lo n c e llo , an d Bass (co n td .)

(4) 2—2—3

WORK PAGE MEASUREEvocation s 49 2

(5 ) 2—4—2

Deb ussy 64 [43]

(6) 3—3—2

Dukas 90 1

(7) 3—4—2

An th e il Symphon y No. 5 71 [54] 7f

(8) 4—2—2


Orchestre 14 4b [8]

(9) 4—3—5

S ch on b erg Funf Orchesterstucke

(1 0) 5—2—2

R ead Symphon y No . I 1 1

(1 1 ) 10—4—2

De b ussy Ron des dc Prin temps 22 3

(12 ) 16—6—4Deb ussy 56 [38]

Vio lin I , I I , Vio lo n c ello , an d Bass4—3

- 3—3

Ko daly Psalmus Hungaricus 43 [26]

(2 ) 6—4—1—2

Berlioz Th ree Piecesfrom The

Damn ation ofFaust” 3 4 9

52 2

S OL I PART SVio la , Vio lo n c ello , an d Bass

(1 ) 1—1—2

WORKS outh Win d

(2) 1 - 2—2

L o efiler A Pagan Poem

C oplan d 7 [8] 7f

(4) 2—1 - 1

S travin sky Fire- Bird Suite (19 19) 5 3 2 b [27]

S ib elius

WORK PAGE MEASUREA SurvivorfiomWarsaw 14 67

Blo ch 60 10

He rrman n

10 16

1 38 [L]

Britte n29 [1 2] 4f

De b ussy62 1

52 3

145

Casella Elegia Eroica

Vio la, (c o n td .)

PAGE MEASURE

3 5 I

(1 3 ) 4—4—4

PAGE MEASURE COMPOSER WORKI 1 S trauss, R . Ein Helden leben

(14) 6—2—2

S trav in sky Le Sacre dv Prin temps 80 [9 1]

(15 ) 6—6—434 [5 1 ] I R achman in ofi

'

The Bells

Deb ussy

C oplan d59 [44] I f

Vio lin (I Or II) , Vio la , Vio lo n c ello , an d Bass

(1) 1—1—1—2*

C oppo la Suite I n tima 41 4

100 2 b [16]

(3 ) 1—5—2—6

S trav in sky L e S acre du Prin temps .9 [1 1 ]

(4) I - 6—6—4

Britten Les I llumin ation s 18 1

i.e . , 1 Vln . I (o r II) I Vla. 1 VIC.

524

45 [52 ] 6f

STFIRQIPJ<3 5§

Vio lo n c ello , an d Bass(12) 4—4—1

WORKNuits dan s lesjardin sd’

Espagn c

Vio lin (I o r an d Bass (c o n td .)

PAGE MEASURE

20 1

R oger s

1 2 2 b [10]

Case lla

(19) 6—6—4—4

E lAlbaicin I I 3

De b ussy 5 1 [34]

Vio lin I , II , Viola, Vio lo n cello , an d Bass(1 ) 1—1—1—1—2*

Hin demith Symphon ische Tan ze 10 4b [9]

(2 ) 1—1—1—2—1

WORKSymphon y No . 5

Bizet

He rrman n

1 1 1 1

(5 ) 1—1—1—3 4 2

Vien n oisc

1 V1n . II - 1 V12 .— I vle .

52 6

S OL I PAR T S .

Vio lin I , II , Vio la , Vio lo n c e llo , an d Bass (c o n td .)

(6) 1—1—1—5—2

WORK PAGE MEASUREDivertissemen ts sur unThéme Pastorale 14 2

(7) 1 - 1—1 - 6 - 2

S travin sky Le S acre du Prin temps 62 1 b [72 ]

(8) 1—1—2—1—1

Milh aud Deuxicme Con certopour Violon ct

Orchestre 76 [1 2 0]

(9) 1—1—2—2—1

S e ssio n s Symphon yforOrchestra39 3 b r [59]

(10) - 1—2—1—2—2

Po ule n c Con cert Champe'trepourClavecin ctOrchestre 70 [8] I f

(1 1 ) 2—1—1—1 - 1

S trauss, R . Ein e Alpen sinfon ie 38 [36]

(12 ) 2—1 - 1—2—1

G o uld Philharmon ic Waltz es 17 [172 ]

(1 3 ) 2—1—2—1—1

R o z sa Con certofor S tringOrchestra 39 [97] I f

(I 4) 2 - 2—1—5—4

Wh i th o rn e FataMorgan a 48 [52 ]

(1 5 ) 2—2—2—1—1

de Falla ElR etab lo de Macse

71 [72 ] 1f

52 7

STR ING SVio lin I , II , Vio la , Vio lo n c e llo , an d Bass (c o n td .)

(16) 2—2—2—1 - 2

WORKThe Rio Gran de

(17) 2—2 - 2—2—1

PAGE MEASURE9 [3] I f64 1

Herrman n

10 1

Ron do Arlecchin csco Gran d Canyon SuitePupaz zetti

R o zsa

23 [28]

Doh nan yi102 2

Wh ith o rn e FataMorgan a 34 [3o]

Milh aud 46 [180] I f

140 [B] 3f

123 1

R av el

72 4b [73]

528

STR ING SVio lin I , II , Vio la , Vio lo n c ello , an d Bass (co n td .)

(36) 5—4—4—5 - 2

WORKSketches ofthe C ity

S trauss, R .

Mahler 169 [30] 12f

de Falla

Escales 37 I

(41 ) 6—6—6—4-

4

Th om so n Louisian a S tory S uite 16 85

(42 ) 6—8—8—8—4S trauss, R . Also Sprach Zarathustra 1 2 6

Deb ussy

34 [N]

WORK PAGE MEASURE WORK PAGE MEASURECon certo Accademico 1 [A] 3 f

fb r Violin an d S tring 14 1 Pastoral Symphony 75 1

Orchestra 2 1 [D] I f

S OL I PART SVio lin I , II , Vio la, Vio lo n ce llo , an d Bass (c o n td .)

(47) 8—8—8—8- 8

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


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

Vaugh an5 2 [ I O] zf

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


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

S o lo Vio la an d Vio lo n c ello

Mah le r

Milh audR av el

R av el

Pierrot Lun aire

Vio lo n cello an d Bass

34 I b lY]

Mah ler

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


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

5 5 1

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


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

L o efiier

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

Villa- Lo b o s

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

II . corde28 co rdeSur la II. [26] corde

PAGE MEASURE COMPOSERRachman in ofi

'

75 l b [1 30]

Vio lin II59 [41] I f Mahler

R uggle s

3 2 [19] 3f Sch 6n b ergJo liv e t 7719 [80] 2f

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]


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


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

Vio lin IIII . corde3 6 cordeSur la III . [3 6] corde

PAGE MEASURE

Rachman in o ff

2 1

7

3 9

64

5 2

20

1 3

1 2

7

3 4 A Lon don Symphon yDas Lied von der Erde 1 3 1 Uirapuru

Symphon y No . 3 2 14

22 1

Mah le r 126

COMPOSER

Symphon y

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]

Pictures atan Exhib ition 1 10 [91] 2f 1 3 5 [40]

Vio lo n celloFren ch German

2 ? corda

Bar té k Dan ce Suite R apsodie Espagn ole

S cheheraz ade 1 10 3 8

CharactersfromHan s

Christian An dersenR ogers ElegySh o stako v ich Pian o Con certoS ib elius Symphon y No . 3

S ib elius The Bard

Italian German

2 0! corda

PAGE MEASURE

3 1 [I O] I f

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

R av el

24 [7] I f

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

I talian German

E strin gOn th e E strin g

Vio lin II .

“

cordeI ére cordeSur la 1. [I ére] corde

G laz oun o v Violin Con certo in L a

A min or 44 [2 6] 4f Fire- Bird Suite (1919)

STR ING SVio lin I (c o n td .)

MEASURE COMPOSER PAGE MEASURE[30] Milh aud[68]1b [1 ]

Pr okofiefi’

G ro fé

R achman in o ff

Herrman n

Rav el

R av el

Rav el

S ch o n b erg

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


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

ElAlbaici'

n

E lPuerto

ElAlbaici’

n

30 170

4 49

28 [4] I f

18 [I] 71“

S e ssio n s

S trauss, R .

Wagn er , R .

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

I 3

10

20

48

65

I O

1 6

66

20

[I 8]4

1h [48]3 b [46][86] 4f

[45]4b [81]2 b [s

'

sl[6] I fI

2

I

l b [520]

l b [70]

2 b [105]

1b [18]

COMPOSERE lgar

Elgar

Mahler

Mah ler

Mah ler

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

Herrman n

4 6b [E]

German

1 6'

corda I éfe corde

Barték Dan ce Suite 43 [3 1 ]

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.


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


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




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 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


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


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


Quar ter to n es Quarto di ton i Quart de ton s Viertelton e

Mo ro ss Paean s 5 1b [B]


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]


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

L I ST O F PUBL I SHER S

PUBLISHER U .S .A. AGENTS BRmSH AGENTS

AffiliatedMusic Co rp . , New York Editio n Musicus—NewYo rk, In c .

ArrowMusicPress, In c . ,NewYork American Music Cen ter, In c ., Bo osey 8c Hawkes,Ltd Lo n donNew York

Associated Music Pub lish ers,

New York

Augen er , Ltd . , Lon do n Broude Bro th ers, NewYorkAxelrod Pub lication s, In c .,

Providen ce , R I .

M. Baron Co . , New York

EditionMP. Belaiefi'

, Paris Asso ciated Music Pub lish ers, In c ., Boo sey 8cHawkes,Ltd Lo n do nNew York

W. Bessel an d Cie . ,Paris Bo osey 8cHawkes,In c . ,NewYork Boosey 8cHawkes,Ltd Lo n do n

C . C . Birchard 8c Co ., Bo ston ,

Mass.

BomartMusicPub lication s,Lo n g Islan d City,N.Y.

Boo sey 8cI-Iawkes, In c . , Lyn b rook, BooseyL .I ., N.Y.

Ed . Bo te 86G . Bock, Berlin Nov ello 8eCo Ltd ., Lo n do n

Breitkopf8cHairtel, Leipzig British 8: Con tin en tal Music

Agen cies, Ltd. , Lon donBritish 8cCon tin en talMusic

Agen cies, Ltd. , Lon donBroadcast Music , In c ., New York

Broude Bro thers,NewYorkBruckn erverlag,Wiesb aden , C . F. Peters Corporation ,

NewYork

Chappell8c Co ., In c .,New York 8: Co ., Ltd. , Lo n do nCharlin gMusic Corp ., New York MayfairMusic Corp. ,NewYork

J. 8c W. Chester, Ltd . , Lon don E . B . MarksMusic C orpNew Yo rk

Composers Press, In c ., New York

Cos Cob Press, In c ., New York American Music Cen ter , In c . ,

New Yo rk

J. Curwen an d So n s, Ltd Lon don G. Schirmer, In c . ,NewYork

R .Deiss,Paris (n owEdition s Salab ert, In c ., New Yo rk J. &.W. Chester , Ltd. , Lo n do n

Salab er t, Paris)583

Asso ciated Music Pub lishers,

New York

Associated Music Pub lishers,

New Yo rk

Associated Music Pub lish ers,

New York

Asso ciated Music Pub lishers,

New York

L I ST OF PUBL I SHER SPUBLI SHER

Duran d et Cie . , Paris

Edi tion Musicus- New York, I nc . ,

New York

Edition R usse de Musique , Paris

(n ow Boo sey 8c Hawkes, In c .,

New York)

Editio n s Sociales In tern atio n ales,Paris

Elkan -VogelCo . , In c . ,

Philadelphia, Pa.

En och et C ie .

,Paris

Max EschigEdition s, Paris

Ern st Eulen b urg, Lo n don

CarlFisch er , In c ., New York

J. Fisch er Bro . ,NewYo rk

Charles Foley, NewYork

Poe tisch Fréres S .A . ,Editeurs, Paris

AdolfFiirstn er , BerlinG. 8c C . Music Corp. , New York

Carl Gehn n an sMusikfo rlag,

S tockholmA . Guth eil, Paris (n ow Boosey 8cHawkes, In c ., New York)

J. Hamelle , Paris

Wilh elmHan sen , Copen hagen

Harms, In c . , New York

Heugel et Cie , Paris

In tern ati on alMusic Co NewYork

Jean Job er t, ParisP. Jurgen son , LeipzigC .F. Kahn t- Nachfolger , LeipzigEdwin F. Kalmus, New York

Le Chan t duMon de , ParisLeduc et Cie . , Paris

LeedsMusic Corpo ration ,

New York

F. E . C . Leuckart, Leipzig

Harald Lych e an d Co . ,

Musickforlag, Oslo

fU .S .A. AGENTS

Elkan -VogelCo In c .,Philadelphia

Boo sey 8cHawkes, In c .,NewYo rk

Elkan -VogelCo ., In c . ,Philadelphia

Southern MusicPub lishin gCompan y, In c .,NewYork

Asso ciated Music Pub lish ers, In c .,

New York

C .F. Pe tersCorporation ,

New York

E. C . Schirmer Co . , Boston ,Mass.

Boosey 8eHawkes, In c .,NewYo rk

Chappell8c Co In c . , NewYork

South ern MusicPub lishin gCompan y, In c .,NewYork

Boosey 8cHawkes, In c . ,NewYork

r

G. Schirmer , In c . , New York

Mercury Music Co rp. , New York

Elkan -VogelCo ., In c . ,Philadelphia

E1kan -VogelCo . , In c PhiladelphiaM . Baron Co . , New York

Asso ciated Music Pub lish ers, In c . ,

New Yo rk

C . F.PetersCorporation ,

New York

584

BRrrxsu AGENTS

Boo sey 8c I-Iawkes,Ltd Lo n do n

J. 8c W. Chester , Ltd ., Lon donBoo sey 8eHawkes,Ltd.,Lon don

Boosey 8cHawkes,Ltd Lo n don

J. 8cW . Chester, Ltd . , Lo n do n ,

Nov ello 8c Co . , Ltd . , Lo n do n ;an d J. 85 W. Ch ester , LtdLon don

J. 8cW. Chester , Ltd Lon don

Nov ello 8e Co . , Ltd Lo n don

J. StW . Chester , Ltd Lon don

Novello 8cCo ., Ltd. , Lo n don

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

Thesaurus of Orchestral Devices - Forgotten Books

Documents

Transcript of Thesaurus of Orchestral Devices - Forgotten Books