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 A manual of orchestration.designed espec 
 
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MANUAL OF ORCHESTRATION: 
 
 DESIGNED ESFEOIALLY TO ENABLE AMATEUB3 TO 
 
 FOLLOW INTELLIGENTLY THE PEBFOBMANOE 
 
 OF OBOHESTBAL MUSIO. 
 
 HAMILTON CLAEKE, 
 
 Mtjs.Bac. Oxon. 
 
 With an Appendix containing details aa to the structure, 
 
 compass, and peculiarities of the various 
 
 iastruments of the orchestra, by 
 
 QEO. OAKEY, 
 
 Mus.Bac. Cantab. 
 
 :: /eS? A.O- I 
 
 J. CUEWEN & SONS, 8 & 9 WARWICK LANE, B.C. 
 Price One Shilling and Sixpence. 
 

 LONDON : 
 
 J. CTIRWEN & SONS, MUSIC PErNTEES, 
 
 PLAISTOW, E. 
 
TO MY OLD FBIEND, 
 
 CYEIL WILLIAM BOWDLEK BELL 
 
 {Colonel in the Sth Eoyal Irish Sussars), 
 AK ADMIBABLK M0SIOIAII AND ELEOAUT COMFOSEK, 
 
 AS A SMALIi TOKEN OF GBATITUDE FOB MANY TEABS OF 
 
 SYMPATHY, ADVICE, AND CONSOLATION, 
 
 IN MY ABTISTIO LIFE. 
 
CONTENTS. 
 
 OHAP. PAGES 
 
 Introduction 1 — ^ 
 
 I. — A First General Glance at the Orchestra . . 4 — 10 
 
 n. — Proportions of the Orchestra .... 11 — 16 
 
 HI. — Proportions (continued) 17 — 24 
 
 IV The Stringed Instruments 25—28 
 
 V. — Stringed Instrnments (continued) . . . 29 — 37 
 
 VI.— The Wood- Wind; the Flute, and Piccolo . . 38—42 
 
 Vn.— TheOhoe 43—45 
 
 VIII.— The Clarinet 46—50 
 
 IX. — The Bassoon and Contra-fagotto .... 5i — 54 
 
 X. — The Como-Inglese 55 — 56 
 
 XI. — Brass Instruments ; thq Horn .... 67 — 62 
 
 XII.— The Trumpet and Cornet 63—66 
 
 XIII.— The Trombone 67—69 
 
 XIV. — The Ophedeide, Euphonium, &o., and Drums . 70 — 73 
 
 XV. — Combination of the Instruments . . . 74 — 78 
 
 XVI. — Combination (continued) 79 — 88 
 
 XVII.— Further Combinations 89 — 97 
 
 XVIII.— Conclusion 98—100 
 
 Appendix . . . 101—124 
 
A MANUAL OF OECHESTEATION. 
 
 INTEODTJCTION. 
 
 " Okchestkation " is a word whieh is now in the mouth 
 of every boy and girl who is taken to hear a concert 
 or an opera. 
 
 It is a coined and most unsatisfactory word; so is 
 its companion "instrumentation." But modern usage 
 is much addicted to coining words, especially when a 
 long word saves the trouble of saying several short 
 ones. "Orchestration" is shorter than " scoring for the 
 orchestra," and " instrumentation " than "arranging for 
 the different instruments." 
 
 It is only iu quite latter times that the word 
 " orchestration " has been so much heard amongst the 
 talk of the people; this is probably attributable to the 
 advent amongst us of certaiu operas of the modem 
 German school, whereia the use of the orchestra is the 
 chief and only point of interest in the performance. 
 Por, whereas, throughout an entire evening's entertainment 
 we have failed to discern a single fragment of melody 
 or " tune," it is not unreasonable to suppose that the 
 average listener would be struck, for lack of something 
 beautiful, by the volcanic discharges of the brass instru- 
 ments, the thunderclaps from numerous drums, the weird 
 eccentricities, the tortuous and interminable twistings 
 
A Manual of Orchestration 
 
 of outrageous contrapuntal extravagances gone tlirough. 
 by tte stringed instruments, to say nothing of the 
 porpoise-like gamhols indulged in by some of the solo 
 wind instruments. These sole points of interest and 
 excitement in the opera being to the least enlightened 
 hearer accomplished by the orchestra, some pedant would 
 be sure to be at hand with the word "orchestration" 
 pat upon his tongue, whereupon the "least enlightened 
 hearer " leaves the theatre armed with a new musical 
 fact for the edification of his friends, and hugging to 
 himself the sincere belief that his discovery of the 
 "magnificent instrumentation" contained in this opera 
 is a distinct addition to his musical education ! 
 
 This is the only manner in which I can account for the 
 flippant and constant use of this harsh, cumbrous word ; 
 and the more it is heard, the more must a devout 
 musician become convinced that they who prattle of 
 " orchestration " know about as much of the delicate, 
 graceful, and entrancing study of the a/rt of writing 
 for the orchestra, as an acrobat knows of the rules of 
 "falling bodies." 
 
 Indeed, to ordinary persons who attend concerts, operas, 
 and oratorios either from fashion, habit, or whim, an 
 orchestra is merely a platform filled with musicians paid 
 to sit there, and make a pleasant noise. To the musician, 
 the same view represents an army with which he could 
 conquer ten thousand spheres, a vision of a realm wherein 
 abide all the forces of beauty, inspiration, imagination, 
 and devotion ; an atmosphere which his soul can navigate 
 on the wings of eternal, experimental, and rapturous 
 fancy ; a sphere of thought such as transcends the compass 
 lof the wildest and most glorious dreams of the greatest 
 5)oet that ever dwelt on earth ! 
 
 But, although it must be my purpose to reveal to 
 the student who may read this little essay — so far as 
 may be within my poor means — the spiritual and sacred 
 
Introduction. 
 
 nature of the stupendous privilege lie enjoys in being 
 permitted to explore tlie same divine region of fancy 
 from wMoh. Mozart, Beethoven, Mendelssolin, and otters 
 of inspired genius, have brought to us such inestimable 
 treasures, it still behoves me to remember that my advice, 
 to be useful, must be practical, and as brief as possible. 
 
 To all such as might imagiue that by reading and 
 mastering the contents of this small volume, they wiU 
 be enabled to write brilliantly for the orchestra, and 
 to score overtures, marches, and waltzes in such a manner 
 as will cause vast audiences to rave in delight about 
 their "magnificent orchestration," I say " Close my book; 
 I do not think it will suit you." 
 
 To such as are content to walk reverently with me 
 in a beautiful garden, whereiu bloom all manner of sweet 
 and magical flowers of infinite variety of form, and radiant 
 in the hues of ten thousand rainbows, and who wiU 
 in earnest trustfulness try to learn from me the little 
 that I know as to how a few of these beautiful growths 
 may be cultivated in a garden of their own, I say " Come 
 with me, and I will gladly show you some of the exquisite 
 mysteries that I have learned from the Great Gardener 
 and his pupils." 
 
CHAPTER I. 
 
 A FIEST GENEEAL GLANCE AT 
 THE OECHESTEA. 
 
 It may be, that in the follomng pages, I may consider 
 it wise to make use of frequent comparisons, designed 
 to render more clear such ohservations as may appear 
 to he important, between sound, as received by the ear; 
 and colour, as discerned by the «y«. 
 
 It is obviously beyond all dispute that the element 
 of variety, as between sounds, and different qualities 
 of sounds, obtainable by the combination of different 
 instruments, enjoys a marked and easily traceable analogy 
 to the variety, as between colours and different qualities 
 of colours, obtainable by a judicious and masterly 
 combination of the different pigments in the colour-box 
 of an artist who paints pictures. But we mil recur 
 to this theory when advisable. 
 
 The -word "orchestra" has a very elastic significance, 
 according to circumstances. It is by usage applied to 
 a band of five performers quite as justly as to a body 
 of instrumentalists whose stringed instruments alone are 
 numbered by hundreds. A church organ with three 
 stops and one manual is in itself just as much an " organ" 
 as is an instrument with a hundred stops and four manuals. 
 
A First General Glance at the Orchestra. 5 
 
 The fact of this one word being the only ayailable 
 one for indicating respective masses of performers, varying 
 in number from five persons to five hundred, or, for 
 the matter of that, five thousand, has been the cause 
 of a lamentable want of perception. Thus, persons 
 are led away in hundreds and thousands by the effect 
 of banging, clashing, thunderous displays of what may 
 be called "brute force," and made to believe that it 
 is "fine instrumentation." They pass by entirely un- 
 heeded, delicate, pathetic strains, given forth by a few 
 artistically combined instruments, because there is nothing 
 to strike or startle the unthinking, uncultured miad. 
 The respective producers of such effects as these, suggest 
 to my mind one horticulturist who ransacks half-a-dozen 
 hot-houses in order to produce a floral device, which, 
 when seen, is a display of garish, oppressive vulgarity ; and 
 another who exhibits a design almost heavenly in its 
 grace and simplicity, and this realised by the use of 
 a handhil of violets, snowdrops, and a few green leaves. 
 Here is a first illustration of the analogy between tone 
 and colour. 
 
 As an instance of this pitiable lack of discrimination, 
 I win recall an experience which befell me at a choral 
 competition in a huge building, crowded with people 
 assembled to hear the contending bodies give evidence 
 of their powers. A small body of beautifully-trained 
 male voices sang the chorus, " Thou comest here to 
 the land, friend," from Mendelssohn's (Edipus music, 
 and rendered it with absolute perfection ; the exquisite 
 orchestral accompaniment being played equally well. 
 This delicious work was received by the vast audience 
 in duU, insulting silence. A provincial rabble of some 
 eight hundred then invaded the platform, and bellowed 
 forth some barbarous national song, commencing with the 
 orchestra in B flat, but drowning the band, and rising 
 well up to C natural before it was finished, and at the 
 
A Manual of Orchestration. 
 
 conclusion the applause placed the roof, walls, and flooring 
 of the enormous edifice in imminent peril. 
 
 Before commencing to speak of either the different 
 instruments in the orchestra, or of the infinite and stiU 
 undiscoTered modes of comhining them, it ■will be 
 necessary to point out to the student the conditions 
 he must have fulfilled before he may venture to approach 
 orchestral territory with a view to making use of its 
 resources in the illustration of his own ideas of com- 
 position. 
 
 As an artist must master the secrets of geometry, form, 
 perspective, proportion, and all other matters appertaining 
 to perfect line-drawing, before attempting to deal with 
 colour, so must the musician make himself a complete 
 expert in all the forms of correct writing, before he 
 attempts to embellish his productions with the magic 
 beauty of instrumental colouring. Leam to build a 
 house before trying to ornament its walls. I will here 
 make a remark which might seem premature, but for 
 its forming an excellent rule to keep before one's mind 
 from the very outset. When you begin to score your 
 own compositions beware of one very perilous snare, 
 which is sure to beset you. Never trust to orchestration 
 as a means to hide defects in form. Tour composition 
 should be perfect in itself, and be able to pass the 
 strictest examination, before you seek to invest it with 
 the charms of orchestral picturesqueness. (I would not 
 have the student to understand that an advanced composer 
 is compelled to perfect his composition before he begins 
 to score it ; on the contrary, there are some composers 
 80 gifted that they will compose their work in score ; but 
 the same necessity for observing correctness of form, 
 proportion, rhythm, &c., will apply to their work, as 
 they proceed with it.) 
 
 riBST. — It is necessary to be thoroughly acquainted — 
 always by the aid of a competent teacher — with sufficient 
 
A First General Glance at the Orchestra. 7 
 
 of the rules of harmony, chords, and so on, as -will 
 enable you to write freely and elegantly in four parts. 
 I say four parts because the string quartet form is 
 absolutely the highest type of part-writing. In your 
 study of harmony, you may frequently compose exercises 
 in five, six, or eight parts, in order to acquire facility 
 in correct writing, especially for voices. As to the more 
 advanced study of counterpoint an,d fugue, the necessity 
 depends upon the style of composition you aspire to 
 follow. For the ordinary orchestral composition of merit 
 however high, all the study of the school-book part 
 of music that will be found absolutely essential, will 
 be so much as shall enable you to write correctly, and 
 with facUity, in four parts, generally speaking. 
 
 Secondly. — I will point out the means by which you 
 can render this part of your study as pleasant as it will 
 he improving. If you have a tolerable voice, get 
 permission to join some choral class, church choir, or 
 amateur vocal society, where the choral works of the 
 great masters, their masses, and the anthems and services 
 of the old and modem church composers are practised. 
 In an Anglican Church, where full cathedral service is 
 sung, you will hear and take part in anthems and 
 services, and in a Eoman Catholic Church you will 
 make the delightful acquaintance of the beautiful masses 
 of Haydn, Mozart, and others. 
 
 Thtedit. — A second method, very strongly to be 
 recommended as either a substitute for, or a companion 
 to, the course of study above set forth, will be to learn — 
 of course, under proper tuition — ^the violia or violoncello. 
 "When you have arrived at a standard of efficiency, by 
 no means difficult of attainment, your violin or violoncello 
 pla3ring will enable you to take a part in performing 
 the works of CoreUi ; and later in the trios, quartets, 
 quintets, and other " chamber-music " of the great 
 
8 A Manual of Orchestration. 
 
 masters. This study of a stringed instrument will 
 furnish, you later with a passport into regions still more 
 fascinating, to be enlarged upon in due course. 
 
 FouETHLT. — A stiU further medium, through which 
 to make yourself proficient in clear and musicianly part- 
 writLag, and which you can pursue at the same time 
 with the two forms of study already described, consists 
 in practising the organ. In order to be a sound musician 
 and composer, it is by no means necessary that you 
 should become a magnificent performer on any instrument. 
 It is only requisite that you should play a stringed 
 instrument well enough to render yourself above objection 
 in. the company of performers more or less advanced 
 than yourself. And as to your organ-playing, as your 
 object is improvement of your mind, and not display 
 of your sMU, the profit and benefit of study wiU keep 
 pace with your devout and serious examination of, and 
 attempt to play, the noble and varied compositionB 
 already written for this instrument. 
 
 When you play a stringed instrument fairly well, 
 lose no time in joining some orchestra. There are very 
 few towns of any importance where there is not some 
 society in which they practise orchestral music. In 
 your earUer times it would be weU if you could obtain 
 access to some body of amateurs who practise the oratorios 
 of Handel ; in his works you will find a musical 
 nourishment which will give bone and sinew to your 
 artistic constitution, and make your mind sound and 
 healthy as a mountain pine-tree. Later, it wiU be 
 advisable to seek the companionship of such as perform 
 the symphonies, and other orchestral works of the great 
 masters ; these will give elasticity to the hardy muscles 
 you already owe to Handel. 
 
 As you progress, you will find it desirable to cultivate 
 the personal acquaintance of other instruments. This 
 you will discover to be a source of constant and ever- 
 
A First General Glance at the Orchestra. 9 
 
 increasing pleasure. For, although, in the course of a 
 three months' flirtation with any instrument, it is scarcely 
 to be supposed that you -will win its total obedience, stiU, 
 you will leaxn sufficient of its nature and character to 
 enable you to know how to treat it when writing for it. 
 For instance, if you get a good horn-player to give you a 
 few lessons in the method of blowing the instrument, 
 and you practise steadily for three months, you will know 
 better how to write effectively for it than some of the 
 great composers did. 
 
 No one can over-rate the advantage of being an 
 orchestral player to him who seeks to be an orchestral 
 composer. A looker-on sees most of the battle, but he 
 does not know what it is to be a soldier. And who 
 can so keenly apprehend the great heart of the orchestra, 
 as he who has felt himself to be one of the particles 
 of the hlood that has set that great heart throbbing ? 
 No one has ever yet realised the true majesty of the 
 orchestra, who has not played in it, and felt the glory 
 of being one of the billows swelling upon the bosom 
 of that sublime ocean of sound. 
 
 The design of this little volume is not to assist the 
 pedant or the tyro in discovering a royal road to the 
 display of arrogant self-sufficiency ; it is dedicated alone 
 and exclusively to such fellow-workers as wish to devote 
 their best and most faithful energies to the work of 
 rendering themselves worthy to write for the orchestra. 
 And to these I say, that although the course of study 
 thus embarked upon is tedious, and often painfully 
 mechanical, there are rewards awaiting the devout student 
 when he shall have attained the possession of some of 
 its magic secrets, such as the combined munificence of 
 a continent's crowned heads would fail to rival. There 
 is no known language capable of conveying the sensations 
 realised by one who, for the first time, hears a worthy 
 performance of one of his own compositions for the 
 
10 A Manual of Orchestration. 
 
 orchestra. If it happens that his -work he for voices anj 
 organ, ia addition to the orchestra, and the scene of the 
 performance he a cathedral, it will be difficult for him 
 to believe that the occasion belongs to this earth ! 
 
11 
 
 CHAPTER II. 
 
 PEOPOETIONS OF THE OECHESTEA. 
 
 Befoee examining the various instruments found iu a 
 modem full orchestra, it will be as well to enumerate 
 them, appending a few general remarks when necessary. 
 
 As was said in the first chapter, the significance of 
 the word " orchestra " is elastic ; this fact will he 
 practically realised hy anyone who, after reading these 
 pages, should at some future time find himself the 
 conductor of an opera-tour through the provinces, in 
 the United States, or elsewhere. For, whereas, the opera 
 ia question wOl probably be scored for the following 
 instruments : — 
 
 2 Flutes 1 Oboe 
 
 2 Clarinets 1 Bassoon 
 
 2 Horns 2 Comets 
 
 1 Trombone (or 2) Drums, and 
 
 Complete Strings 
 there are very few provincial towns wnere the 
 principal theatre possesses a band in which all these 
 instruments wiU be found ; indeed, there are very few 
 theatres in London that have them aU. 
 
 In the provinces, the instruments most rare are the 
 oloe, bassoon, and horns. I do not suppose there are 
 ten provincial theatre bands which can boast of a pair 
 of horns ; while in many instances there are to be found 
 only one clarinet, one cornet, and very seldom either oloe 
 
12 A Manual of Orchestration. 
 
 or hassoon. The trombone is very frequently supplanted 
 by the euphonium, and sometimes even the strings are 
 not complete. I know of one theatre hand which 
 comprises only the following instruments : — 
 
 1 Flute 1 Clarinet 
 
 1 Comet 1 Euphonium 
 
 1 1st Violin 1 2nd Violin 
 
 1 Double Bass 
 If we consider for a moment the places in the scale of 
 sound of these seven instruments, we shall discern at 
 a glance that with the exception of the feeble scraping 
 of the 2nd violin, the resources of this musical company 
 are confined to the treble and hass, there being none to 
 supply the inner parts. And yet a motley assemblage 
 lite this (and all the performers of the most fifth-rate 
 quality !), will undertake the accompaniment of an opera, 
 including the performance of the overture, with all the 
 confidence of the band of the Royal Italian Opera ! 
 While upon this part of our subject, it may not be 
 out of place to explain the only two ways of ameliorating 
 this state of things, and of ensuring the most efficient 
 rendering of an opera under such circumstances. The 
 first, and more expensive plan (and by consequence 
 a very rare luxury for a conductor to enjoy), is to engage 
 seven or eight, or even more, competent performers to 
 travel with the company, and so be available on all 
 occasions as a tower of strength.* The other remedy, 
 which entails the most heart-breaking exertions on the 
 conductor, is to have a pianoforte before him in the 
 orchestra, and to fill up the harmonies with his left 
 hand, while beating time with his right, and to lay 
 down his baton and play vrith both hands, whenever it 
 is safe to do so. Some prefer a harmonium, the tone 
 of which is more like the quality of some of the wind 
 instruments whose parts the conductor endeavours to 
 
 • I believe I am correct ia stating that Mr. Carl Rosa nevor 
 travels with less than at least Ji/teen mtuiciam. 
 
Proportions of the Orchestra. 13 
 
 reproduce ; but this is a mistake, because the calilre of 
 the harmonium is weak and feeble, whereas the mere 
 percussion of the pianoforte serves to keep the rest of 
 the performers together. But some conductors can play 
 neither the pianoforte nor harmonium, and in such a 
 case the result need not be described ! 
 
 In many theatrical (so-called) orchestras, the number 
 of instruments en evidence will be perhaps nine or ten ; 
 while, in too many instances, those audible wiU amount 
 to about three — ^the piccolo, cornet, and side-drum. But, 
 as all human undertakings are governed by the extent 
 of the resources at hand, it is obvious that ten or a 
 dozen difierent bands such as are commonly heard would 
 have to join themselves together in order to furnish the 
 numbers necessary to represent what is really implied in 
 the term "full orchestra." Let us then see of what such 
 a body of performers consists. We will suppose that we 
 are now talking of a first-rate concert orchestra, such as 
 would worthily render the symphonies of Beethoven, Men- 
 delssohn, and some of the modern composers. "We should 
 require 
 
 2 Flutes 2 Oboes 
 
 2 Clarinets 2 Bassoons 
 
 4 Horns (sometimes 2 are sufficient) 
 
 2 Trumpets (now almost entirely superseded 
 
 by cornets) 
 
 3 Trombones 
 Timpani (kettle-drums) 
 
 1st Violins (number not limited) 
 
 2nd Violius ,, ,, ,, 
 
 Violas „ „ „ 
 
 Violoncellos ,, ,, ,, 
 
 Double Basses ,, ,, ,, 
 Of the two flutes, the second performer is expected 
 to play the piccolo-^a,it, if there be one ; in certain cases 
 there is a piccolo-part written in addition to the two 
 flute-parts. 
 
14 A Manual of Orchestration. 
 
 By Iwrns, it is scarcely necessary to mention that 
 French horns are meant, with, or without valves. 
 
 The timpani, or kettle-drums, are generally two in 
 numher, and are tuned mostly to the tonic and dominant 
 of the key in which the orchestra is playing, as will 
 be seen further on. Three are occasionally used. 
 
 With a wind-hand of the above dimensions, the number 
 of stringed instruments suitable to balance it in fair 
 proportion is very difficult to determine. According to 
 circumstances, the 1st violins might vary from six to 
 twenty, or even more. But, as a vast number of stringed 
 instruments, or, indeed, any unusually large orchestra 
 is, as a rule, brought together only for special occasions, 
 it is a very allowable plan, in order to balance the tone 
 of the band as far as may be, to double, or even quadruple, 
 the wind instruments.* Tet, like all monster exhibitions, 
 the performance of a huge orchestra can never possibly 
 possess any further charm than the mere giving forth 
 of a large sound, heard at its best as an accompaniment 
 to a chorus numbered by thousands. A delicate movement 
 from some symphony, played by an orchestra of five 
 hundred performers, would be like the contents of a 
 nursery garden spread over the side of a mountain. 
 
 To return to the proportions of a reasonable and 
 effective orchestra, the stringed instruments should bear 
 some such relation in number as the following : — 
 
 (1) (2) (3) 
 
 12 1st Violins or 18 1st Violins or 24 1st Violins 
 
 8 2nd Violins 12 2nd Violins 16 2nd Violins 
 
 6 Violas 8 Violas 12 Violas 
 
 6 Violoncellos 8 Violoncellos 12 Violoncellos 
 
 6 Double Basses 8 Double Basses 12 Double Basses 
 
 * Thus, at the Handel Festival, where the orchestra numbers 
 more than Jive hundred performers, the wind instruments of each 
 kind, in order to be heard amongst the multitude of strings, are 
 grouped in dozens and sixteens. 
 
Proportions of the Orchestra. 
 
 15 
 
 It is by no means absolutely necessary to preserve 
 this exact proportion between the numbers of performers. 
 For instance, in the first group, ten 2nd violins would 
 not be too many, and five violoncellos and double basses 
 migbt be sufficient. A safe rule is, that the \st violins 
 should slightly exceed the number of the 2nd violins, 
 the violas somewhat fewer than the 2ni violins, the 
 violoncellos about half the number of the \st violins, and 
 the-same number of double basses. — 
 
 A significant fact with regard to the violoncellos and 
 double basses must here be mentioned. It is a great 
 mistake to suppose that the double bass, being a larger 
 instrument than the violoncello, produces a larger tone ; 
 the exact contrary is the case. The natural bass of the 
 four-part quartet, played by the violoncello, is, in reality, 
 a much louder note than the one played by the double 
 bass below. (I do not altogether express what I mean 
 by the word "louder;" firmer, more solid, is perhaps 
 more to the purpose.) 
 
 To illustrate this, take the following chord: — 
 
 Ex. 1. 
 
 let Violin 
 
 2nd Violin 
 
 Viola 
 
 Violoncello. ... 
 
 Double-Bass. 
 
 (S 
 
 i 
 
 i 
 
 :e3i 
 
 m. 
 
 m. 
 
 ounding '^ ) 
 
16 
 
 A Manual of Orchestration. 
 
 I call the C on the violoncello the "natural hass " of 
 the chord, because it is the lowest of the four parts : 
 the C below, on the double bass, is simply the octave 
 lehw the hass note. Suppose a similar chord on the organ, 
 
 Ex. 2. 
 
 Manual. 
 
 1 
 
 Pbdal. 
 
 i 
 
 w 
 
 w 
 
 and say that the performer plays the two top notes with 
 his right hand, the middle G with his left, and the C 
 with his foot ; if, as in ordinary use, the manual be 
 coupled to the pedal, diapason stops being used on the 
 former, and a suitable 16-foot stop on the latter, it will 
 be found that the low C on the manual, and the octave 
 below on the pedal, will stand relative to each other 
 in caUhre, precisely the same as do the C on the 
 violoncello, and the octave below on the double bass. 
 That is to say that the real or "natural" bass will be 
 found in the 
 
 mz 
 
 with a gentler tone in the 16-foot note underneath it. 
 
 Therefore, in case of an orchestra where the violoncellos 
 and double basses are not equal in number (especially 
 if the orchestra be comparatively small), the eflect will 
 be far the more satisfactory if there are rather more 
 double basses than violoncellos, because the tone of the 
 latter is more solid and piercing than that of the former. 
 
17 
 
 CHAPTER III. 
 
 PEOPOETIONS OF THE OKCHESTEA.— II. 
 
 A ruiL orchestra of fair dimensions, if designed to play 
 modem music, must contain, in addition to the timpani, 
 a bass drum and cymbals, and side drum and triangle. 
 
 There are also other instruments whose services are 
 demanded in the exigences of certain schools of modem 
 music. "Wagner makes free use of them, and Berlioz, 
 ia his cumbrous and extravagant scores, writes for 
 certain strange instruments in the most pantomimic 
 fashion. Amongst these may be mentioned the 
 
 Bass Clarinet 
 
 Tenor Clarinet 
 
 Contra Fagotta, or Double Bass Bassoon 
 
 Como Inglese 
 
 Como di Bassetto, or Bassett Horn 
 
 Ophecleide 
 
 Various kinds of Horns 
 
 Euphonium 
 
 Bombardon, or Tuba 
 
 Serpent — (and others ; the names and pecu- 
 liarities of which will be found duly set forth in " Hector 
 Berlioz on the orchestra ") 
 
18 
 
 A Manual of Orchestration. 
 
 The JBass Clarinet is a somewliat clumsy instrnment, 
 sotmding an octave below tte ordinary clarinet ; a good 
 clarinet-player can soon acquire the mastery of this 
 instrument. The tenor clarinet is something between 
 the treble and bass clarinet, but is very seldom used. 
 
 The Contra Fagotto, or Doulle-lass Bassoon is an unwieldy 
 and laborious instrument, but of yery dignified effect, 
 both ia orchestral and military music, if written for 
 with the utmost caution and judgment. Specimens 
 vary as to their cOmpass, but about a seventh below the 
 
 m 
 
 of the ordinary bassoon is supposed to be the ILmit — ^that 
 is to say the octave below the 
 
 of the violoncello. 
 
 The Corno Inglese, English horn, or Cor Anglais, as it is 
 variously termed, is a kind of tenor oboe, easily acquired 
 by capable oboe-players. 
 
 The Corno di Bassetto, or Bassett Horn, is somewhat 
 gitnilar to an alto or tenor clarinet, and like the bass 
 clarinet, it has a brass or silver bell, turning up like 
 the bowl of a Turkish pipe, instead of the plain wooden 
 bell of the ordinary clarinet. 
 Its compass may be said to extend from 
 
 i 
 
 to 
 
 sormdin^ 
 
 FMF 
 
 ^ 
 
Proportions of the Orchestra. — //. 19 
 
 Its lowest notes are the best. Mozart uses the Bassett 
 Horn in his requiem, and also in his opera, " Clemenza 
 di Tito." It is now so rarely used, that it can scarcely 
 be classed amongst ordinary orchestral instruments. 
 
 The Ophecleide is now nearly obsolete, and supplanted 
 by the Evphonium, Bombardon., or Tula. The Ophecleide 
 was, however, made free use of by Mendelssohn, notably 
 in his music to the ' ' Midsummer' s-night Dream. ' ' In these 
 days, this part has to be played on one of the modem 
 instruments above-named. 
 
 Of the various horns, much will be said hereafter. 
 
 The Serpent is now practically obsolete, as there are 
 few, if any, living who can play it. Its total disappearance 
 from military bands took place more than twenty years 
 ago ; and from the orchestra, probably long before that, 
 except on such special occasions as the earlier Handel 
 Festivals, where several were planted among the male 
 chorus to support the voices. 
 
 There are certain other varieties of wind instruments 
 used in military bands, more especially on the continent. 
 Amongst these are the 
 
 Saxophone — a sort of coarse clarinet made of brass 
 (varying in size and pitch), played by clarinet-players 
 with a clarinet mouthpiece ; a very fine sonorous instrument 
 in the inner parts of a military band; and the 
 
 Sarosophone — a deep bass brass instrument, played 
 with a bassoon-reed. The tone of this instrument is 
 best described as suggesting a wind-double-bass. 
 
 I have here mentioned something of the character 
 of these rather uncommon instruments, and conceive 
 that nothing further need be said of them, as their 
 peculiarities are never likely to come under the eye of 
 him who writes for the orchestra in these days. All 
 the essential instruments will receive due attention in 
 future chapters. 
 
20 A Mcmual of Orchestration. 
 
 It is a peculiar fact that some of the most charming 
 and artistic of orchestral compositions are designed for 
 a very small orchestra. The symphonies of Mozart are 
 remarkable for the absence from the score respectively 
 and in groups, of flutes, oloes, bassoons, clarinets, trumpets, 
 and trombones, as the case may be. The first movement 
 of Beethoven's exquisite " Pastoral Symphony " contains 
 neither trumpets, trombones, nor drums. In Mendelssohn's 
 divinely romantic overture to " Melusina," the only 
 brass instruments used are two trumpets and two horns. 
 Numerous similar cases might be quoted, but the student 
 can hereafter investigate these things for himself. 
 
 But, referring once more to the elastic character of 
 the term " orchestra," there are some facts bearing upon 
 this part of our subject which are of vast importance 
 to the aspirant to orchestral composition. To score a 
 symphony for a band of sixty performers is a very different 
 kind of work from scoring a light opera, which will be 
 performed in theatres where the very largest band you 
 can possibly hope for will probably be something under 
 thirty. 
 
 A very satisfactory, and as times go, a very fine band 
 for an ordinary theatre, would be found in the following 
 list:— 
 
 2 Mutes (second playing the Piccolo when required) 
 1 Oboe 2 Clarinets 
 
 1 Bassoon (two very rare) 2 Horns 
 
 2 Comets 1 Trombone (or two) 
 Percussion (Timpani, Bass Drum, Cymbals, Side 
 Drum, and Triangle, sometimes all undertaken by 
 one performer) 
 
 6 1st Yiolins 4 2nd Violins 
 
 2 Violas 2 Violoncellos 
 
 2 Double Basses 
 Here we have twenty-eight performers, whereas very 
 few theatres can accommodate more than twenty at the 
 
Proportions of the Orchestra. — II. 21 
 
 very most. So, we will suppose a comic opera is scored 
 for the wind instruments above indicated, and you have 
 to perform it with a band numbering twenty in all ; 
 you have to make shift as you best can, and do it as 
 effectively as possible with the instruments you have. 
 "We wUl suppose the twenty performers distributed thus: — 
 1 Flute (changing to Piccolo when 
 necessary) 
 
 1 Oboe 
 
 2 Clarinets 
 
 1 Bassoon 
 
 2 Horns 
 
 2 Comets 
 
 1 Trombone 
 Percussion 
 
 3 1st "Violins 
 
 2 2nd "Violins 
 1 Viola 
 
 1 Violoncello 
 
 2 Double Basses 
 
 Now, it must be clear to the mind of any musician 
 that instead of being a fidl orchestra, this is a mere 
 suhstitute for one. In a dramatic theatre, however, a 
 body of musicians such as this would be accounted a 
 magnificent band.* And I do not hesitate to pronounce 
 it far too magnificent, for in a dramatic theatre, the highest 
 ambition of the conductor is fettered by the fact that 
 the best entr'acte music serves no higher purpose than 
 to promote and stimulate conversation amongst the audience. 
 And the more aristocratic the theatre, the louder and 
 more general the talking. 
 
 * I was once going to conduct a rehearsal of an opera which was 
 to be played for a week at a certain provincial town. Conversing 
 previously with the manager, I asked him what sort of a hand he 
 had. "Splendid," was the reply, "you will be delighted with 
 my band." "How many have youf" I asked. "Well," answered 
 he, "in generall have seven, but for you I've engaged two more!" 
 
22 A Manual of Orchestration. 
 
 "When listening to a work perionned by a fine concert 
 orchestra, we cannot fail to realise tliat the main body 
 of tone dwells in the stringed instruments. The strings 
 in an orchestra occupy precisely the same position as 
 do the diapason stops in an organ. The strings are the 
 substance of the orchestra, as the diapasons are of the 
 organ. They are the walls and piUars of the temple, 
 the wind instruments are the decorations of the walls 
 and pillars. Whole pages of a score may be confined 
 to passages played by the strings alone, because in them 
 you have a profound bulk of sonority, together with an 
 enormous range of notes. The salient test of a composer 
 is the maimer in which he writes for the strings. There 
 are popular composers at the present moment riding in 
 carriages obtained out of the profits on their compositions, 
 whose treatment of the string quartet of the orchestra 
 would be a disgrace to their copyists. 
 
 And now suppose we are listening to a smaU orchestra 
 of from twenty to thirty, such as is described above ; 
 we find that the strings, by reason of the poverty of 
 their number, have lost all the fine, substantial sonority 
 that they had in the la/rge orchestra. It is therefore 
 obvious that a totally different method must be observed 
 in scoring for a theatre band, as opposed to a concert 
 orchestra. To be brief, it is in this case necessary to 
 utilise to a far greater extent the wind instruments, 
 especially those of wood, in order to strengthen the 
 strings, which are not powerful enough to be heard much 
 alone. Thus, you may make free use of iihs flute, either 
 in unison, or in octaves, with the 1st violins; the oboe 
 also, if you have one ; in dance-music especially, the 
 1st clarinet is used largely in unison with the 1st molins; 
 and even, occasionally, the 1st cornet is permitted this 
 familiarity with his superiors. The trombone and bassoon 
 may also devote much of their energies to the support 
 of the violoncello and dovMe-bass. 
 
Proportions of the Orchestra. — //. 23 
 
 A skilful master of orchestral writiag will score his 
 music for a band of this size in a manner at once fresh, 
 graceful, and fascinating. It is not, however, a vision 
 of the "orchestra" in its real sense. But there is such 
 a thing as an ^'orchestra dd camera;" that is, a band 
 suitable for hearing in a H/rawing-room. I have heard 
 music exquisitely scored for a band consisting of the 
 following: — 
 
 1 Elute (and Piccolo) 
 
 1 Oboe 
 
 2 Clarinets 
 
 1 Bassoon 
 
 2 Horns 
 
 Pair of light kettle-drums, and Strings 
 
 amounting in all to, say, fowteen performers. I have 
 myself had to score operatic music for a band constituted 
 thus : — 
 
 1 Piute (and Piccolo) 
 
 2 Clarinets 
 2 Comets 
 
 1 Trombone 
 Drums, and 
 Strings 
 
 thirteen in all — and I found it a most interesting study. 
 In the first, you will find a singular absence of the 
 strident brass instruments ; while in the second, the 
 delicate reed instruments give way to the trass. Of 
 the two bands, I infinitely prefer the former; but in 
 what was done in both cases there was an illustration 
 of the fact, that it is not the rmmler of instriments used, 
 that constitutes fine writing for the orchestra, but the 
 manner in which you use those you ha/ve. An artist will 
 tell us that it is not the number of colours we use that 
 makes our painting fine, but the manner in which we 
 combine the few. 
 
24 A Mcmual of Orchestration. 
 
 I tave mentioned these tHngs witli a view to induce 
 tlie student to beKeve tiat writing for the orchestra 
 is a matter of extreme delicacy and refinement. It is 
 a mixture of poetry, romance, imagination, and above 
 all other feelings, of reverence. Certain persons have 
 written books upon writing for the orchestra, as if 
 it were a matter just on a level with carpentering 
 or cabinet-maker's work. These books have produced 
 composers who work like carpenters and cabinet-makers. 
 Let us take a somewhat higher view of our beautiful art ! 
 
25 
 
 CHAPTER IV. 
 
 THE STRINGED INSTEUMENTS. 
 
 "We must now commence the examination of the various 
 instruments in the orchestra, beginning with the violin, as 
 being the head of the string family, which, as we have 
 before heard, forms the foundation, the hulh, the svhstcmee, 
 of the orchestral structure. 
 
 The violin is, in many respects, the most perfect solo 
 instrument in the world. Perhaps the reason why it is, 
 generally speaking, the worst playeA of all known instru- 
 ments, lies in the fact that there are so few' perfect 
 musicians to play upon it. 
 
 The absolute intrinsic value of the violin as a solo 
 instrument, however, varies according to circumstances. 
 A violin solo in a large haU, if performed by the very 
 finest player on a superb instrument, is a mere display of 
 dexterity. The musical result of the performance is con- 
 temptible. In a small room, the fact of display remains, 
 while the musical features of the performance are a trifle 
 more bearable. It is impossible that the smallest amount 
 of real pleasure can be derived from the ordinary class of 
 violin solos ; those listeners who are themselves violin 
 players experience a sort of pleasure in watching their 
 friend go through his indescribable antics, knowing how 
 difS.cult they are ; but to the general public, the only 
 
26 A Manual of Orchestration. 
 
 sensation that can be felt must be that the gentleman, by 
 his gestures, must be doing something very difficult and 
 praiseworthy : hence they burst, at the conclusion of the 
 piece, into irresponsible applause. Not but that there are 
 solos for the violin which are masterly compositions. 
 Mendelssohn's concerto in E minor, which, to my mind, is 
 not so much a vioUn oorwerto as a short symphony with 
 violin ollligato, contains the maximum of melodic and 
 elegant writing, with the minimum of clap -trap and 
 vulgarisms, and the orchestral part is simply delicious 
 from beginning to end. 
 
 As a solo instrument, in a string quartet, the violin is 
 heard at its best ; a quartet being obviously a solo for four 
 instruments. If the room be not too large, and the per- 
 formers competent, a string quartet is an exhibition of the 
 highest form of musical intellectuality. To their quartets 
 for two violins, viola, and violoncello, Beethoven, Haydn, 
 and Mozart have devoted the very selected treasures of 
 their genius. 
 
 The violin is also heard to extreme advantage in sonata 
 combination with the pianoforte. This is, granting always 
 that the violin in question is a fine instrument, and in the 
 hands of a performer who can at once elicit the riches 
 of its tone and play in tune. An inferior violin, played 
 upon by a half-educated performer, is an instrument of 
 torture'; and the slip-shod, half-hearted fiddling one hears 
 in many of our public orchestras, is a disgrace to our 
 country. Out of every dozen violin players, in the 
 ordinary ranks of the musical profession, six do not know 
 how to hold their bows, while ten are absolutely ignorant 
 of the rudiments of phrasing. 
 
 The molin as an orchestral instrument is the glory of the 
 musical world. A mass of good violin players — say any 
 number from a dozen upwards — possesses the means of 
 giving out a quality of tone absolutely superior to any 
 other known sound. The tone of the united first violins 
 
The Stringed Instruments. i.7 
 
 can be as slirill as an alarm whistle ; as gentle as the voice 
 of a dove ; as quiet as a sigt ; as ricli as an autumn sun- 
 set ; as wooing as the whisper of the softest female voice ; 
 as fierce as the roar of a hurricane. In melodic passagesi 
 the tone is of a purity surpassing anything in this world ; 
 in joyous passages, it is full of exuberant life, and the 
 most ravishing gaiety ; in stormy passages, it is menacing 
 as the crash of huge breakers on a rock-bound shore ; and 
 in pathetic passages, its tender, sorrowful wail is beyond 
 aU description. 
 
 These remarks apply in an equal degree to the viola and 
 the violoncello. As to the viola, as a melodic instrument it 
 presents, as compared to the violin, a singular compromise. 
 By its nature, it is destitute of much of the brilliancy and 
 gaiety of the violin — I am now speaking exclusively of 
 masses of instruments as you see them assembled in an 
 orchestra — but i£ one comes across a melodic passage, 
 judiciously and tenderly written for the violas, there is a 
 certain refined, veiled beauty perceptible, which belongs 
 exclusively to this instrument. 
 
 As to the violoncellos, it is difficult to estimate justly 
 their superlative qualities. As I before remarked, they 
 are the natwal lass of the orchestra, supported, or supple- 
 mented, underneath by the 16-foot tone of the double 
 basses. This is the drnty of the violoncellos ; but at proper 
 times, and under judicious management, the violoncellos 
 are found to be capable of vastly more beautiful offices 
 than the mere duty of supplying a bass to the orchestra. 
 The combined violoncellos, if playing a melody in some 
 movement, of a character at the same time romantic and 
 serious, are found to possess a quality of tone richer and 
 more significant than either the violins or violas. 
 
 As an instance, and the very finest that I can call to 
 mind, of the supreme qualities of the strings as melodic 
 instruments in combination (that is to say, in a body), I 
 would point to that most transcendently beautiful concep- 
 
28 A Mam/ml of Orchestratwn. 
 
 tion, the andante in Mendelssohn's " Scotch Symphony." 
 Here, for some ten minutes, the atmosphere breathed by 
 one who has the good fortune to listen to a worthy 
 rendering of this andante, is almost oppressive with the 
 rich and entrancing burden of divine melody that takes 
 possession of his senses and his soul. No words of mine 
 can convey a faithful description of it. 
 
 In writing for the stringed instruments, the rules which 
 should govern the student are chiefly supplied by the 
 peculiar difficulties of fingering them. ITothing short of 
 a careful and complete study of the way in which every 
 scale upon each of these instruments is played, can 
 furnish a safe guide to him who would compose for them 
 suitable music. But this is by no means the gigantic task 
 that it appears at a first glance. While allowing to a 
 composer all fair play in the matter of imagination and 
 fancy, the fairest guide is reason ; and if, after gaining a 
 tolerably accurate knowledge of the way in which 
 instruments are played, you avoid viriUng passages which, 
 if played, sound ridiculom, the probability is that you wiU 
 steer clear of writing unplaycMe passages. 
 
29 
 
 CHAPTER V. 
 
 STEINGED INSTEUMENTS. 
 
 [coNinniED.J 
 
 One of the points upon which most caution is necessary, 
 from a purely mechanical view, is the question of writing 
 chords or double stops for the stringed instruments ; for, 
 whereas certain chords of three or even four notes are easy 
 and effective, a chord composed of two notes only may be 
 extremely awkward, or impossible. The rule to be 
 observed is this: if the lowest note of the chord be on 
 the fourth string, the next note must be on the third or 
 next string to it, and so with the other notes. You cannot 
 play on the fowrth and second strings together, because it 
 would be impossible to prevent sounding the one hetween. 
 Further, the convenience of the player in the disposal of 
 his fingers must be rigidly cared for. 
 These chords are easy : — 
 
 Ex. 3. I I ^ 
 
30 
 
 A Manual of Orehesiration. 
 
 These are difficult 
 Ex.4. 
 
 "Wiile these are impossible : — 
 Ex. 5. 
 
 m 
 
 3 
 
 =iM5 
 
 
 :&c. 
 
 1 i j |-^r^ f*f% 
 
 The reason why this is so shall be briefly explained. 
 
 In Ex. 3, all the notes lie so that they are conveniently 
 under the fingers, and involve no awkward contortion of the 
 hand. 
 
 In Ex. 4, the fingers (if the chords be tried upon a 
 violin), will be found so cramped in getting hold of some 
 of the notes, that the performer will require a certain 
 number of seconds of time in order to arrange his fingers 
 on the strings ; and ia some cases, one short finger will 
 have to reach over inconveniently beyond a long one — ^the 
 proper order of the fingers being, as a rule, the first 
 fimger to the fowth string, the second to the third, and so 
 on. 
 
 In Ex. 5, the impossibility of playing the chords arises 
 partly from the enormous stretch of the fingers, and partly 
 from the fact that, as in chord No. 4, while the two Gr's 
 and the C are easUy playable, there is no string upon 
 which the EJ2 can be sounded. 
 
 It must be observed that all chords of more than two 
 notes are unavailable, except as played with a dash, thus : 
 
 g) £ or ^^ 
 
 f 
 
 f 
 
 the two top notes continuing to sound. This is because 
 
Stringed Instruments. — Continued, 
 
 31 
 
 by the construction of the fingerboard, it is impossible to 
 draw the how over more than two strings at a time. 
 
 If you desire to have chords on the strings which cannot 
 be played by any single instrument of the particular part, 
 it is customary to divide them, and indicate this by the 
 word divisi, thus : — 
 
 Ex. 6. I , , 
 
 divisi. _ <y « 
 
 1st Violin. 
 
 i 
 
 -:m 
 
 gp= 
 
 _ei. 
 
 :g= 
 
 A further illustration of this arrangement will be given 
 later. 
 
 The simplest method of writing for the stringed instru- 
 ments is always the best, and the fewer notes you write 
 (except, of course, for special effects), the letter they will 
 he played. Beethoven is astoundingly reckless occasionally; 
 in his overture to Fidelio, he writes thus for the 1st and 
 2nd violins at the commencement : — 
 
 Ex. 7. i ' 
 
 Ist Violin. 
 
 1*1 
 
 m 
 
 ^ 
 
 #-!*- 
 
 % 
 
 E 
 
 IS* 
 
 ±; 
 
 #-P^~- 
 
 ff: 
 
 2iid Violin. 
 
 ^ 
 
 w 
 
 ff- 
 
 T I 
 
 ^ 
 
 zEzT: 
 
 The chords of three notes at the end of this phrase are a 
 peculiarly injudicious arrangement, and abortive in the 
 effect when performed ; it is a matter of mechanical fact 
 that a far safer and more satisfactory result would be 
 gained by writing the last two bars thus : — 
 
 
 m^ 
 
 _£__-_ 
 
 -P 
 
32 
 
 A Manual of Orchestration. 
 
 and the grounds upon which I excuse my assurance in 
 interfering with Beethoven are simply these : in stretching 
 their three fingers oyer the strings to catch these three 
 notes, the violinists not only run a naxrow risk of not 
 getting them perfectly in tune, but, by setting three 
 strings in vibration at once, they only get the same degree 
 of sonority out of the three that they would out of one, 
 thus producing three tceai notes instead of one strong one. 
 The 2nd violins, following the same example, contribute 
 their contingent of weak notes, whereas, if the 1st violins 
 confined themselves to the upper notes, they would get a 
 fine, round tone ; and the 2nd violins, if playing the two 
 lower notes, would fill up the harmony with a tone quite 
 strong enough to balance the sonority of the single notes 
 played by the Ist violins. 
 
 In writing for the violoncellos ia the orchestra, it is 
 almost unvaryingly injudicious to write double notes. 
 Occasionally, for special effects, it is allowable to write 
 fifths, especially in music of a pastoral character, but very 
 rarely any other interval, not even octaves. In rare 
 instances, fifths are found effective, thus : — 
 Ex 
 
 ^ 
 
 ^ 
 
 ^ 
 
 They should almost invariably occur on the open strings. 
 Sometimes, in solemn passages, when the double basses are 
 silent, a fine effect is produced, according to the combina- 
 tion of other instruments, by holding the two lowest notes 
 thus : — 
 
 Ex. 9. 
 
 I'nV 
 
 
 — 
 
 (v. . . 
 
 
 
 \ — .■ 
 
 
 
 1 s) 1 
 
 1 — ^ i 
 
 L 
 
 I would desire to impress upon the student the absolute 
 necessity of regarding the string portion of the orchestra as 
 a quartet, and not as a quintet, although there are_/J»» kinds 
 
stringed Instruments. — Continued. 
 
 33 
 
 of instruments. The habit with some persons of treating 
 the strings as a quintet, leads them into the utmost 
 extravagances and incongruities. They divide the violon- 
 cellos from the double basses, and sometimes set up three- 
 part harmony between the two. In cases such as this, 
 they lose entirely the proper q^uality of the bass, namely, 
 the S-foot unison, and the 1 6-/00^ octave. ITeither is 
 anything gained ; what addition may be actually acquired 
 as to the number of notes in the harmony, is rendered 
 useless by the unsatisfactory grunting occasioned by fifths 
 and sixths in the lower part of the chords, thus : — 
 Ex. 10. 
 
 - t * # I * P f "r r-P^ 
 
 1 
 
 lie I 
 V 
 
 &c. 
 
 It 
 
 =t 
 
 ^ 
 
 =iez= 
 
 =t: 
 
 There is a most pernicious habit brought into fashion by 
 certain half-educated composers, notably those of the 
 third-rate French comic opera school, recently so popular 
 in this coimtry. This is, the manner of constantly 
 employing the violoncello in counter-melody. Instead of 
 devoting itself to the sober and dignified work of preserv- 
 ing a good solid bass for the whole orchestra to stand 
 upon, some young composers make this superb and most 
 obedient servant dance up and down amongst the 
 harmonies, wasting its strength in all manner of frivolous 
 littlenesses, designed to display the composer's talent, but, 
 in the result, only revealing his puny imagination. 
 
 Should it become necessary to employ the violoncello on 
 any other work than that of keeping up the foundation, 
 care should always be taken to fill up the gap which wUl 
 be created in the best part of the bass, by the temporary 
 removal of the 8-foot toned instrument. There are two 
 ways of doing this. In many cases, the double-bass part 
 may be written up so high as almost to take the 8-foot 
 
34 
 
 A Manual of Oroheitration. 
 
 tone part into its own care; but if the character of the 
 movement be such that a deep bass is requisite at the same 
 time that the violoncello is employed in melody or arpeggio 
 as the case may be, the 8-foot part must be supplied 
 either by one of the lassoons or a trombone playing very 
 gently. With this rule before him, the student will 
 discern with the utmost ease, as the occasion presents 
 itself, which will be the more judicious instrument to use. 
 
 This question of the due relation between 8-foot and 
 16-foot tone is at the root of much that constitutes 
 excellent orchestral writing, and the judicious combination 
 of the two forms a most important element in organ 
 music, as well as in music for the orchestra. 
 
 Knowing when effectively/ to leave out the 16-foot tone, 
 and let the piire four-part harmonies be heard, constitutes 
 one of the greatest niceties of composition ; that is to say, 
 to discern when it wiU be judicious to give the pedals a 
 rest VD. regard to organ music, and the double basses in 
 regard to the orchestra. 
 
 Here is an instance : — 
 
 1st Violin. 
 
 2nd Violin. 
 
 Viola. 
 
 Violoncello. 
 
 Double-Babs. 
 
 For the strings in the orchestra. 
 Ex. 11. 
 
mtnngedi Instruments. — Continued. 
 
 35 
 
 For the organ. 
 
 I 
 
 Manual. 
 
 Fedal. 
 
 _^l^ I J J -*- ^d-J J I , I I J-X n 
 
 ,1 .-^ I I , 
 
 EE 
 
 EtE 
 
 My meaning here will be clearly discerned, tlirougli the 
 actual identity between the doulle bass part and the pedal 
 part of this fragment, treated both as a passage for strings 
 and for the organ. 
 
 An examination from time to time of the scores of good 
 orchestral works, wiU reveal to the student vast fields of 
 example, and funds of encouragement, when he observes 
 the really simple means by which great composers realise 
 their most beautiful effects. 
 
 The method of treating the stringed instruments is 
 infinitely varied. If you require them to announce a 
 phrase alone, they are capable of the most emphatic and 
 dignified utterance ; whereas, if you wish the whole 
 strings of the orchestra to act simply as an accompaniment 
 to a faint wailing cry of one ohoe, clarinet, or bassoon, 
 they will subdue themselves into the expression of the 
 tenderest sob, scarcely audible, but felt in every fibre of 
 the frame of the intelligent listener. The strings are 
 almost a mighty orchestra in themselves alone, and yet the 
 great and powerful host of vibrating cords wUl reduce 
 itself into something like the fiutter of a tiny bird's 
 wing. 
 
 On examining the best orchestral scores, it will be seen 
 that amongst various methods of utOising the melodic 
 qualities of the violins, it is permitted frequently to write 
 
36 
 
 A Mmmal of Orchestration. 
 
 them in octaves, the 2nd violins being an octave below 
 the first. In rapid allegro passages, this plan is also often, 
 adopted with very fine efEect ; but when both the 1st and 
 Ind violins are employed in melodic work, whether 
 cantalile or agitato, it is obvious that the violas alone are 
 scarcely strong enough to supply the inner harmonies ; 
 therefore the student must be careful to employ, in a 
 judicious manner, certain other instruments. Here is a 
 case : — 
 
 Ex. 12. 
 
 1st 
 Violin. 
 
 2in} 
 
 ViOlIN. 
 
 Viola. 
 
 'Cello. 
 
 Double- 
 
 ^^^^^^ 
 
 P tres. 
 
 ^^ 
 
 ifczt 
 
 fi (f 
 
 ^-ijT^^ 
 
 i 
 
 P ares. 
 
 m:^. 
 
 ff 
 
 m 
 
 ?3=^ 
 
 t=kaE 
 
 *7-6 
 
 5 
 
 3 T 
 
 and it will be clear that the harmonies must be filled up 
 by other instruments, as there are essential notes in the 
 chord at the sign * which are not heard on the strings at 
 aU. 
 
 Another mode of using the violins is to divide them ; 
 that is, to write two or more parts for each. If written 
 on the same line, you signify it by the word divisi thus (as 
 before remarked) : 
 
stringed Instruments. — Continued. 
 
 37 
 
 Ex. 13. 
 
 1st 
 Violins. 
 
 .Andante. 'Jrl jft^ .m- ' — -»- 
 
 „ JL divisi. .-. ^ -f P"*" m f y f" 
 
 divisi 
 
 2nd 
 Violins.]: 
 
 Violas. 
 
 'Cellos 
 
 
 divisi. 
 
 fci^-s=i= 
 
 
 I£31 
 
 divisi. 
 
 ■ ^Sitl 
 
 Double- 
 basses. 
 
 1^ 
 
 
 PP 5 
 
 [| 
 
 1^= 
 
 ^ 
 
 ^e^^^E^ 
 
 This is sometimes extremely effective, especially when 
 played witli mutes, indicated as cm sordini. 
 
 As to the use of the pi%%ieato, or plucking the strings 
 ■with the finger instead of hewing, there is no special rule. 
 It must he regulated by the judgment of the composer, 
 and actuated 'hy the greatest caution, and reserved for 
 peculiar effects. A single pizzicato note, delivered pp on 
 the hasses, wiU often make you start at the weird, 
 menacing, mysterious effect it produces. 
 
3S 
 
 CHAPTER VI. 
 
 THE WOOD-WIND. 
 
 In endeavouring to present a few of my experiences witli 
 regard to tie nature and character of the various 
 orchestral instruments, I must make it clear to the 
 student that, ■within the compass of this little volume, 
 I shaU be able to do but little more than introduce them to 
 him ; the acquaintance must be carried on by himself. 
 Also, I assume that he is already familiar with the form 
 and structure of every instrument ; likewise, more or less, 
 with its compass. I must assume further, that in con- 
 sideration of the boundless wealth of orchestral treasures 
 at his disposal in the way of scores of the best works, 
 which are now procurable for a very trifling charge, he 
 will regard it as his privilege and duty to study them 
 constantly and devoutly. In treating of the various 
 instruments therefore, and their combinations, I shall 
 illustrate their effective employment a liberd manu, as it 
 may occur to me, because, if I were to commence quota- 
 tions from the great composers, I should never know when 
 to stop. 
 
 The Fitjte (and Piccolo). 
 
 As the youngest member of the flute family, and the 
 very top-tone of the orchestra, we will commence with the 
 piccolo. 
 
 The value of this, the smallest of all musical instru- 
 ments, is determined entirely by good judgment in its use. 
 
TU Wood- Wind. 
 
 39 
 
 By reason of its extremely high pitch, it forms the 
 topmost poiat of the highest pinnacle in the whole 
 orchestral structure. Sounded alone, it is so shrill and 
 harsh as to be perfectly unbearable ; while, when properly 
 used, and associated with fhejlute, it will play good notes 
 several semi-tones higher than can judiciously be written 
 for the 1st violins. The music for the piccolo is written 
 the same as for the flute, but sounds an octave higher ; thus 
 piccolo and flute, written for in unison, but sounding in 
 octaves, are very effective, especially in loud passages. 
 The compass of the piccolo is from the low D : — 
 
 to the high C : — 
 
 i 
 
 -f2- 
 
 i 
 
 --t^ 
 
 all sounding an octave higher than written. It is unwise, 
 however, to write higher than G : — 
 
 1^ 
 
 W 
 
 the five semi-tones between that and the highest C being 
 not only extremely harsh, but difficult to sound, by reason 
 of the immense force with which the breath has to be sent 
 into the instrument. 
 
 In light music, especially dance movements, the piccolo 
 is found very effective if used in unison with the 1st 
 violins (sounding, of course, an octave higher), whether 
 its companion, the flute, be playing or not. For a certain 
 effect, a melody may be given to j^the flute and piccolo, 
 sounding in octaves, and passages in thirds, or sixths, are 
 very often most brilliant, thus : — 
 
40 
 
 A Manual of Orchestration. 
 
 Ex. 14. 
 
 ^ Flvte. 
 
 i 
 
 eI®^ 
 
 sounding 
 
 Piccolo. 
 
 ^i 
 
 I 
 
 f^^f-^ 
 
 m 
 
 I 
 
 frFf^fir 
 
 Boiindiag 
 
 i^-^ 
 
 i^^t- 
 
 £EE^£^ ^ 
 
 -^ — H — 
 
 This is expressly the case when the upper notes you desire 
 to use are too high for the 1st flute to play. 
 
 The flute, being the next highest of the wind instru- 
 ments, having available some six or seven good notes 
 higher than can be attempted by the oboe or clarinet, is a 
 very important and efiective instrument.* 
 
 When merely required to fill up, or utUize itself by 
 adding to the tone of the orchestra in loud passages, it 
 can be written in unison with the 1st violins, or at times 
 an octave above them; while in soft, cantdbile parts, an 
 octave above the 1st violins, it sounds particularly sweet 
 and tranquil; just adding a fine, delicate point, so to 
 speak, to the melodic flavor of the violins. Playing in 
 unison with them, and especially in louder passages, it 
 sharpens the edge of the violin tones. 
 
 • There are flutes in various keys used in military bands and 
 elsewhere, but it is to be understood that I confine my attention 
 exclusively to the concert ox flute in 0. 
 
The Wood-Wind. 
 
 41 
 
 Written with tlie ohoe, an octave Mglier, the flute is 
 intensely efieotive, especially in pathetic melodies ; 'while 
 in bright, gay phrases, such as occur in ballet music, 
 the union in octaves of these two instruments produces a 
 pleasing "twitter,'' like very fine bird-voices trained to 
 music. With the clarinet, also, an octave higher, some 
 remarkably effective results may be obtained, but the 
 united tone of the flute and clmrinet is not so romantic as 
 that of the flute and oboe. 
 
 In songs and operatic pieces, it is often very judicious to 
 introduce the flute an octave above the voice. The singer 
 is assisted by it, and the effect is sometimes very good ; 
 but a too constant use of the same method, in any part of 
 the orchestra, is apt to degenerate into a mannerism, and 
 denotes lack of resource. 
 
 Taking their place as the summit of the orchestral 
 edifice, very fine effects are attainable, especially in chords 
 given to the wind instruments alone, by writing notes for 
 the two flAites very close together, such as : — 
 
 m 
 
 i 
 
 and in music of an agitated description, where stormy, 
 sea-wavy passages are introduced, splendid effects are 
 obtained by writing quick passages for two flutes in thirds 
 or sixths, thus : — 
 Ex. 15. 
 
42 
 
 A Manual of Orchestration. 
 
 but this should rarely be done except in parts which are 
 fortissimo, or certainly forte, because it is extremely 
 difficult to play the Mgh notes of the flute piano, and 
 pianissimo is impossible. 
 
 Generally speaking, the best part of the flute for 
 orchestral purposes, is above the lower octave, and the 
 most eflective notes, especially in loud parts, are above 
 theG:— 
 
 _Q 
 
 i 
 
 but there are many very beautiful effects obtainable in 
 slow and mournful music, by giving the two flutes such 
 phrases as the following* : — 
 
 jlndante. 
 
 The flute, owing to the vast improvements in the 
 fingering introduced within the last few years, is available 
 in almost any key, and can play any reasonable passage. 
 But in writing for this as for any other instrument, bear 
 always in mind that, if you write notes which are either 
 ineffective or inaudible, you are inflicting unnecessary exertion 
 upon the performer, and causing bim to waste his breath. 
 
 * A very remarkable instance of the beauty of the lower and middle 
 registers of the flute is afforded in the andante of Mendelssohn's 
 " Ifajian Symphony " (oommoDly called the " Pilgrim's March "), 
 where flowing harmonies are played by the two flutes in the middle 
 of the octave of melody. 
 
43 
 
 CHAPTER VII. 
 
 THE OBOE. 
 
 The Ohoe, wiih. its delicate meolianism, and tiay double- 
 reed, is the most refined of all wind instruments. 
 
 Like all other musical instruments, it is constantly 
 subjected to the grossest abuse ; the mere spectacle of a 
 soldier marching along the street, and playing an oboe, in 
 company with trombones, cornets, side-drums, and other 
 engines of robust noise, is suggestive of a pigeon harnessed 
 to a cart with horses. Moreover, in modem compositions 
 for the orchestra, the oboe is cruelly maltreated, being 
 frequently made to shuffle through all manner of rapid 
 passages in unison with the violins. This is not only a 
 waste of the delicate powers of the instrument, but it is 
 an injustice to the performer ; exacting from him the 
 most grievous exertion, with no thanks for it. The oboe 
 is the most distressing of all wind-instruments ; the reason 
 of this is that the opening in the reed through which the 
 breath is conveyed into the pipe, is so extremely minute, that 
 the quantity of wind received scarcely relieves the lungs 
 at aU. In other words, the amount of air required to set 
 the instrument in vibration is so infinitesimally small, 
 that the performer, instead of blowing into it, is almost 
 literally holding his breath the whole time. The oboe- 
 player consequently suffers fatigue from the fact of being 
 
44 A Manual of Orchestration. 
 
 unable to get rid of his breath fast enough, vhUe a 
 trombone-player can go on emptying his ■wind-chest into 
 his capacious tubes the whole day without becoming 
 unpleasantly tired. For this reason, the oboe should 
 always be written for with the greatest care. 
 
 The tone of the oboe has two peculiar qualities ; it is 
 at the same time infinitely tender and soft, and astonish- 
 ingly piercing ; by the latter term, which I use in the 
 absence of a better, I mean that its quality of sound is 
 immensely more penetrating when heard, with other 
 instruments, than one would believe when listening to it 
 alone, especially in its lower notes. For this reason, the 
 lower notes of the oboe should be used with extreme 
 caution when playing with other instruments, the fkctes, 
 clarinets, and bassoons especially, as it is apt to usurp the 
 principal place in the harmonies to a rather disagreeable 
 extent. 
 
 The enormous value of the oboe as a medium for the 
 illustration of every degree and phase of pathos and 
 tenderness has found ample acknowledgement at the 
 hands of all the greatest composers. In the time of 
 Handel, however, it was by no means the delicate 
 instrument that it is in these days. Anyone who has 
 happened to see an oboe of the old pattern, will have 
 noticed that in the bell, or lower part of the instrument, 
 there is a hole of the size of a large pea, bored 
 through both sides of it. This was used for the intro- 
 duction of a piece of tow, with the purpose of deadening or 
 softening the tone. 
 
 The tone of the oboe, as the instrument we now know, 
 is eminently qualified for the expression of melody, not 
 necessarily sad, but in the most intense degree romantic. 
 In pastoral effects it is heard at its best, especially when 
 there are two, playing together. A most enhancing 
 effect is produced at certain times by writicng for two 
 
Ths Oloe. 
 
 45 
 
 oboes in thirds, with some light genial accompaiiimeni 
 tmdemeath ; the following passage mil illustrate mj 
 meaning : — 
 
 Ex. 17. 
 
 and for the delivery of sentiments in •which plaintive 
 sadness, despair, and woe are predominant, such a phrase 
 as the following will be found an apt example : — 
 
 Ex. 18. Andante. 
 
 The music for the oboe is written in the same manner 
 as that of the flute or violins, and as it is an instrument 
 which now enjoys great facility in the matter of fingering, 
 no serious restriction as regards keys need be enforced. 
 It blends exquisitely in serious melody when written in 
 octaves with the horn. 
 
4a 
 
 CHAPTER VII 
 
 THE CLAEINET. 
 
 The Clarinet is by many regarded as the most beautiful of 
 all -wind-iiistniments, aad its tone bas been stated to be 
 nearest of all in quality to tbe human voice. I consider 
 this to be but faint praise, as there are very few human 
 voices possessing a tone that is fit to be compared to the 
 sound of a good clarinet. In the hands of a fine player, 
 the tone of the clarinet is almost oppressive in its 
 ineffable sweetness. 
 
 It is probable that no orchestral instrument has ever 
 been made to do such all-round work as the clarinet. In 
 the orchestra it will afford the most substantial assistance 
 to the \st violins, the Ind violins, the viola, and even the 
 violoncello; for i£ a melody be given to the latter 
 instrument, the union with it of the clarinet, playing in 
 its lower register, wiU enrich the effect most palpably. 
 In a military/ hand, it does the whole of the work of the 
 violins, the clarinet being the leading melodic instrument 
 in military music. 
 
 The clarinet is not only supreme in the conveyance of 
 the most exquisite melodic phrases, but it is also 
 invaluable in numerous ways when used in accompaniment. 
 It is the genial companion of the horns and bassoons, and 
 has one rare quality which is not shared in with any 
 
The Clarinet. 
 
 47 
 
 otter orchestral instrument ; tiis is the furnishing, in its 
 lower register (which is called the "chalameau") of a rich, 
 •warm, and eminently feeling arpeggio, in accompaniment ; 
 thus : — 
 
 Ex. 19. Moderato. 
 
 m 
 
 
 and this effect is so charming, that one is apt to employ 
 it too frequently. 
 
 When writing for a full orchestra, the powers of this 
 heautiful instrument should be mostly reserved for the 
 finest effects. Although as with the entire body of 
 instruments, it must share in the duty of filling up, 
 especially in loud parts ; due regard should be had for its 
 inestimable quality as a melodic instrument, and as is the 
 case with any particular instrument of which a solo- 
 passage is expected, a reasonable period of rest should be 
 accorded before it is called upon for an important 
 utterance. 
 
 The 2nd Clarinet is the most important of all the 
 instruments in a small orchestra, a fact which I will 
 warrant is unknown to some of the most loudly-voiced 
 authorities on orchestral writing. The reason of this is, 
 that when passages occur in which thirds are introduced ; 
 the 2nd clarinet is pre-eminently the instrument to employ 
 for the lower part. 
 
 In such a case as this : — 
 
 Ex. 20. 
 
 | jgzt/;g^g= ^s^ 
 
48 
 
 A Manual of Orchestration. 
 
 if there be no 2nd clarinet, you vould either hare to 
 divide your attenuated violins, or give the lower part 
 to the flute, the effect of which would be meagre in the 
 extreme. 
 
 In operatic, or even in sacred music, such as oratorios, 
 the clarinet is a magnificent instrument for furnishing an 
 olhligato in soprano songs and scenes. It will blend 
 perfectly with the finest voice ; the only risk in its use 
 for this purpose in opera being, that the notes sung by opera- 
 singers are so frequently out of tune, that in many cases 
 the beautiful playing of the solo-clarinet in the orchestra 
 would be foiled and thrown away by the shortcomings of 
 the singer on the stage. 
 
 With good playing, and a fine rich tone, it is almost 
 impossible to imagine the clarinet obtrusive. Its 
 sustained notes are as solid and firm as the sound of 
 an organ diapason, whereas, in rapid passages, its 
 articulation is as clear and distinct as the notes of a grand 
 pianoforte. 
 
 The clarinet has only one weak point, and that is in 
 the construction of a part of its scale, difficult to finger 
 with certainty, thus : — 
 Ex. 21. 
 
 and descending. 
 
 ^ii^4j j ^ ^ V r^r ofcl^ig^ 
 
 Passages such as the following must be written with 
 extreme caution : — 
 Ex. 22. 
 
 i 
 
 ^ 
 
 -m I b l?gq: 
 
 i 
 
 M 
 
 a 
 
 ^^ 
 
 F^ 
 
 -\ — r 
 
 And, 
 
 
The Clarinet. 
 
 49 
 
 but it has been already enforced that no one can write 
 properly for an instrument "without knowing the me- 
 chanical treatment of it, and I have only to remark now, 
 that anyone who has practised the clarinet for a week will 
 have found out the difficulty and almost impracticability 
 of such passages as the above. 
 
 The clarinet has fcmr distinct registers, each possessing a 
 quality of tone peculiar to itself; they are thus illus- 
 trated : — 
 
 Ex. 23. First. 
 
 i 
 
 flffpiP^^F^ 
 
 :i=* 
 
 Second. 
 
 i 
 
 ^g 
 
 Third. 
 
 ^ ^E^^t^Jzl^^ 
 
 iJr^tee^ 
 
 -|-"l — ^ 
 
 And fourth. 
 
 i 
 
 ilkiaaMM^ 
 
 E 
 
 
 -I 1 H 
 
 The higher register (the fourth), is of the least value, and 
 the notes above !F j3- 
 
 i 
 
 are uncertain, and frequently harsh, except in the case 
 of the most superior players, and should in no case be 
 used in orchestral music. 
 
50 A Manual of Orchestration. 
 
 Of the three kinds of clarmets mostly in use, that is to 
 say the C, B flat, and A, amongst superior players the one 
 in C is very rarely used. A first-class player wiU often 
 use but one clarinet (the B flat) throughout an entire 
 opera or oratorio. The H flat clarinet is only used in 
 
 "We shall learn more of the treatment of this instrument 
 while speaking of the bassoon. 
 
51 
 
 CHAPTER IX. 
 
 THE BASSOON AND CONTEA-FAGOTTO. 
 
 The bassoon is one ol tte most important and dignified of 
 all the orcliestral instruments. It has a range of about 
 fow octaves, ascending from the lowest note, B7. 
 
 125- 
 Its resources iaclude a capacity for utterances the most 
 weird and plaintive, and antics the most intensely comical. 
 A '^caden%a" placed upon the lower ootave-and-a-haLf of 
 the bassoon, can be made irresistibly ludicrous. 
 
 The bassoon is perhaps heard to the best eflEect when 
 in company with the clarinets and horns, in. such a case as 
 the following : — 
 Ex. 24. 
 Clakinets in ] 
 
 ^^r# p s^g ^^ 
 
 BASSOONS.i^ 
 
 ^^r h 
 
 ffi^^^f^^^Nl 
 
 i 
 
 HOENS IN F. 
 
 ^k 
 
 EE 
 
 s=^ 
 
 ^^ 
 
 ptzz. 
 
 e3^^^ 
 
 3j«^e: 
 
 ^ 
 
52 
 
 A Mcmual of Orchestration. 
 
 or in octcwes witli the claxinets, the horns, as in the 
 foregoing instance, supplying sustained harmonies, as : — 
 Ex. 25. 
 
 Claeinets 
 
 INBb- 
 
 Bassoons. 
 
 Horns 
 inF. 
 
 Basses. 
 
 'm^m 
 
 mf '. 
 
 ^^ 
 
 i^^ 
 
 "if \ ^ 
 
 4-J L 
 
 7S*- 
 
 ^ 
 
 P^ 
 
 ^ 
 
 ^33 
 
 A very great charm in the quality of the bassoon is 
 discovered when two are used with the strings, and no 
 other instruments sounding — they add a soft warmth to 
 the lower harmonies that cannot be realised with any 
 other instrument. 
 
 If you are writing a funeral march or a dirge^ or any 
 very solemn movement of a mournful character, you will 
 find a fund of wealth in the bassoons, especially if treated 
 more or less as solo-instruments ; the following are 
 examples : — 
 Ex. 26. 
 Bassoons. Adagio. , 
 
 ^^^yryy-p — F ^ ^^i^ 
 
 Timpani, f 
 
 - e-J^- 
 
 = ^=F 
 
 =J^-*^ -^=^ * ^ 
 
 
 I^eMseIe^^ 
 
 ^ 
 
 ii^^SziEz 
 
 
The Bassoon and Contra-Fagotto. 
 
 53 
 
 Ex. 27. Jindante. 
 
 Bassoons. 
 
 m 
 
 '^*& 
 
 P^s^ 
 
 s 
 
 
 ^^ 
 
 ^ 
 
 The ricliest of aU combiiLatioiis in whicli the bassoon 
 takes part is, as already shown, ■with the clarinets and 
 horns. One hassoon playing a melody an octave below 
 one clarinet, has a very rich and dignified efEect. It also 
 blends well with the oloes, either singly or in thirds or 
 sixths, but the result, although more striking, is not so 
 rich and satisfactory as when combined with the clarinets. 
 
 Another very obvious use of the bassoons, whether 
 there be one or two, is to furnish a hass where light chords 
 of wind are played, and where the strings are for the time 
 silent. All the lower notes of the bassoon from below the 
 C, 
 
 m 
 
 are firm and solid, and equal to the task, particularly if 
 there be two, thus: — 
 
 Ex. 28. 
 
 m 
 
 m 
 
 of carrying some very substantial chords on their 
 shoulders. Gounod, the French composer, and a con- 
 summate artist in orchestral writing, is so fond of this 
 rich and genial iustrument, that in his sacred works he 
 frequently uses/ow at a time. 
 
 As one instance to illustrate this use of the clarinets, 
 horns, and bassoons iu combiuation, I will point to the 
 Andante in Beethoven's 2nd Symphony in D. You will 
 
54 A Manual of Oreheatration. 
 
 find this movement an exquisite study, such as will 
 repay you for the most prolonged and earnest examiuation. 
 Of the contra-fagotto, or douhle-lass-lassoon, it is mine- 
 oessary to speak further than to caution the student as to 
 the propriety of usiug it as sparingly as possible, partly 
 because its quality of tone is such as can seldom he really 
 Qeeded, and also because a merciful consideration for the 
 player should induce him to remember that he is a man. 
 and not a hlast-fwnace! 
 
CHAPTER X. 
 
 THE COENO-INGLESE. 
 
 The Corno-IngleBe, Cor Anglais, or English Horn, as it is 
 variously called, is a large kiad of oboe, and is played 
 with a larger reed; being of much, greater length than 
 the oboe, the upper part of the pipe, which is of metal, 
 is bent, so as to be more convenient to the performer. 
 
 It is written for in the key of F, the notes sounding a 
 fifth lower ; thus : — 
 
 Ex. 29. 
 
 p=f=rt 
 
 ^^ 
 
 i 
 
 Sounding. 
 
 'f=w F 
 
 The quality of this instrument is so surpassingly tender 
 and romantic, that to use it for anything but the 
 occasional utterance of phrases indicating almost over- 
 whelming gentleness and pathos, would be to use pearls, 
 when pehbles would do. 
 
56 A Manual of Orchestration. 
 
 The two masters who have specially shown their 
 appreciation of this heautiful instrument, not only by 
 using it, but by treating it as a rare and invaluable 
 treasure, are Meyerbeer and Gounod. 
 
 It is essentially a solo or ohlligato instrument, which 
 should be heard once in an opera or oratorio. Like 
 certain rare essences, the tone of the Como-Inglese is 
 so delicately rich, and so richly sweet, that more than a 
 taste of it would soon paU upon the ear; and, as a good 
 oboe-player can very soon master it, the proper treatment 
 of this instrument is to write one piece or so for it, in 
 the \st oboe-part, so that the performer can spend the rest 
 of the evening playing his oboe. I close my description 
 of the Como-Inglese by advising the student at all times 
 to regard it as the rarest of luxuries, and never for 
 general use. 
 
 Other instruments of wood, such as the loss clarinet, 
 the tenoroon (a small bassoon, but vastly inferior), are so 
 very rarely of any use in the orchestra, that they do not 
 demand special notice. 
 
67 
 
 CHAPTER XI. 
 
 BEASS INSTEUMENTS, 
 
 TJndee this head are included all instruments made of 
 metal tubes ; most are really formed of brass, but 
 occasionally silver is used, and there is no reason, should 
 any performer desire to possess such a speciality, why 
 gold should not be utilised. The trumpets, used on the 
 occasions of royal pageantry, are made of solid silver. 
 Clarinets are also occasionally made of brass and even 
 silver, while silver flutes are quite common amongst the 
 dilletanti, and there are golden flutes in existence. 
 But I believe that I am correct in statiag that all genuine 
 wind-instrument players prefer flutes and clarinets of 
 wood, and Jiorns, trumpets, and trombones of brass. 
 
 THE HORN. 
 
 The Jiorn, or more strictly speaking, the French horn, 
 is the most genial of all instruments, provided, of course, 
 that your band contains two. Four horns are generally 
 to be found in all orchestras of any consequence. One 
 horn in a band suggests a condition of melancholy solitude. 
 
 In small orchestras, as we have them in theatres, two 
 horns are of immense value ; they add a warmth to the 
 
58 A Manual of Orchestration. 
 
 inner harmonies wMch. is beyond estimating. If yon 
 hear a small band without horns, there is a certain hard, 
 cold, wintry feeling about the sound of it ; whereas, 
 add a pair of horns, and they seem to bring summer 
 with them. 
 
 As a melodic instrument, the horn is of a most sublime 
 character. Its tones are full of passion, pathos, and 
 solemnity. The scores of Weber, Gounod, and Men- 
 delssohn will afford numerous illustrations of the supreme 
 qualities of this gorgeous instrument. Beethoven uses 
 it too recklessly in many cases, seemingly implying 
 that practically he had very little knowledge of the 
 instrument ; while Kossini frequently treats them like 
 bnffoons. In the opening of "Weber's superb overture to 
 Ber Freyschut%, in the " hunting scene " in the same 
 opera, in the " nocturne " in Mendelssohn's music to 
 A Midsummer's Night Dream, and in the scene where the 
 apparition of Marguerite is revealed to Faust, in the 
 1st Act of Gounod's opera, the highest treatment of 
 the horn is revealed. 
 
 A,B this little volume does not pretend to deal with the 
 mechanical means by which one learns to play on any 
 instrument, I must here point out to the student that 
 for information as to the use of the various crooks, and 
 the different keys in which it is judicious to pitch the 
 horn, so as to be most convenient for the performer, and 
 most suitable to the exigencies of his instrument, he 
 must either undertake to practise the horn himself for 
 a time, or seek the necessary information from some 
 book written for the purpose, as I can only undertake, 
 in the scope of these few pages, to speak of instruments 
 individually, from a general view of their powers and uses. 
 
 On the French horn proper, or as the Germans call it, 
 the "Wald-hom, or "horn of the woods," there are neither 
 valves, ventUs, pistons, nor cylinders. Modem use has, 
 however, introduced unon horns all these contrivances 
 
The Horn. 
 
 59 
 
 in one form or other. The old-fashioned instrument, 
 now often called, the hand-horn, from the fact that 
 chromatic passages are produced by the partial or complete 
 introduction of the right hand into the bell of the 
 instrument, contains the following scale of open notes, 
 mostly harmonics, and capable of being sounded by the 
 lips unaided : — 
 
 Ex. 
 
 30. As they sound. 
 
 ^^4^^£|q;p j^MJi^ 
 
 The note F is always sharp and unsatisfactory, and has 
 to be treated as a haU-closed note ; while by the partial 
 or complete closing of the beH by the right hand, the 
 following additional notes marked x are obtained. 
 
 Ex. 31. 
 X X 
 
 ^^f^ffff^ 
 
 fSii- 
 
 --I' 
 
 X 
 
 #^ri-;hi^t^-Ml3T^ II- ' 'C ^'n^ 
 
 On the low B flat, C, B, and even E fl,at horns, the 
 upper A, B flat, B natural, and C are pretty easily 
 played, but when pitched in higher keys, one should 
 never write above G — 
 
 ^ 
 
 sounding 
 
 i 
 
 or an octave lower than written. 
 
 Valves, and the other varieties of mechanical appliances 
 above indicated, supply the means of producing a perfect 
 chromatic scale, leaving it at the option of the player 
 whether to use his closed notes or not. 
 
60 
 
 A Manual of Orchestration. 
 
 Eegarding the horn as the instrument it is in its 
 original form, and not as the ^mere "beast of burden" 
 that latter usage has made it, the introduction of these 
 artificial appliances is to be received as in some respects 
 a very lamentable innovation. For, whereas the real 
 French horn, revealed in every different key, according 
 to the "crook" used, distinct and individual beauties, the 
 use of these valves and pistons has resulted in the almost 
 exclusive employment of the horn in F, by all average 
 horn-players: They play music written for horns in C, 
 D, JE flat, and -E", on a horn crooked in F, transposing, 
 and trusting to guess-work as they go on. This inflicts 
 great injustice on composers, for if one writes a passage 
 for the horn in C, and designs that the tone of the C horn 
 shall be heard in it, perhaps including some of its finest 
 veUed sounds, or closed notes; it is only just that one 
 should enjoy the common right of hearing one's design 
 carried out. But the horn-player sits stni, and com- 
 placently performs it upon the F horn. 
 
 It is clearly discerned that by this arrangement some of 
 the most noble qualities of this grandest of the brass 
 instruments are crippled, and others totally lost. Tet, 
 if a horn-player desires to perform a solo more fit for 
 the flute, let him have his valves ; but it is not 
 horn-playing. , 
 
 I must now point out a few of the infinite methods by 
 which the beautiful qualities of the horn may be elicited. 
 First, in the form of upper melody : — 
 
 Ex. 32. 
 
 Solo. Andante. 
 
 Stmnqs. 
 
The Morn. 
 
 61 
 
 or, -with, two Horns sounding together — 
 Ex. 33. 
 
 Andante 
 
 HOBNS IN 
 
 F. 
 
 Stbinss 
 or Bassons. 
 
 Another, and perhaps more generally useful mode of 
 employing the rich harmonies of the horn, especially in 
 the lower parts of the instrument, is by writing them in 
 octaves, and frequently on the fifth of the chord ; thus : — 
 
 Okchestka. 
 
 i 
 
 M 
 
 i 
 
 iwzpc 
 
 ^ =^^ 
 
 jg— -1— rPT^r 
 
 &0. 
 
 i=^ 
 
 -A 
 
 "^" 
 
 '"P" 
 
62 A Manual of Orchestration. 
 
 A lamentable perversioa of tlie fine qualities of the horn 
 is constantly perpetrated in modem light music, especially 
 in waltzes, and other dances, by using it thus in the 
 accompaniment. : — 
 Ex. 35. 
 
 ^ ^=^^^ lH-^j^--p =^ 
 
 The superb tone of the ■ instrument is sputtered away 
 in these jerky utterances, and the performer is sadly 
 fatigued. But in military music, the degradation of the 
 horn reaches a climax, when a man has to waddle through 
 the streets trying to steady a mouthpiece to his lips, 
 which, when seated quietly in the orchestra, he can 
 never control with absolute certainty. For mere parade 
 purposes, it is a ridiculous waste of delicate material to 
 make use of either ohoes, bassoons, or horns. To play 
 upon violins at the head of a regiment would not be 
 much more absurd. 
 
 The French horn is an instrument which it is scarcely 
 possible to render obtrusive ; it blends exquisitely with 
 any or all other instruments, and there is no ordinary 
 combination which it will not enrich. It wiU strengthen 
 strident chords on the trumpets and trombones, and play 
 the tenderest melody in unison with the violas. There is 
 no limit to its genial and universal utility. 
 
63 
 
 CHAPTER XII. 
 
 THE TEUMPET AND COENET. 
 
 "When I enumerated tte instruments of whicli an 
 orchestra is composed, I remarked that the trumpet's 
 place has been usurped by the cornet. This is now almost 
 universally the case. Lamentable as this is from an 
 artistic point of view, there are certain excuses to be 
 made for the practice. 
 
 In the first place, the difficulty of playing the trumpet 
 with certainty, is enormous. Its scale of notes is also 
 so limited that it can scarcely be allowed a place amongst 
 the melodic instruments. The only fragment of a scale 
 producible on the trumpet is — 
 
 Ex. 
 
 i 
 
 =[= 
 
 -^ 
 
 and the F, which would appear to be a "freak of nature," 
 is too sharp for F natural, and too flat for F sharp. The 
 use of a slide, by which to alter the length of the tube 
 at will, was found necessary in order to play this note 
 in tune. It will be remembered that on the horn also, 
 this note is imperfect. 
 
64 A Manual of Orchestration. 
 
 Useful, and even effective as the cornet when properly 
 played may be, the magnificent trumpet ohhligati of 
 Handel, and the fine and noble use of the instrument 
 m. the works of all the great composers, call relentlessly 
 for the trumpet, which was written for, and will lend 
 themselves to due illustration upon no substituted instru- 
 ment. 
 
 But the comet, having in all directions been admitted 
 as the trumpet's successor, it is only necessary to say that 
 if you desire to write pu/re trumpet pa/rts in your com- 
 positions, you wUl have them played correctly, though 
 with an inferior tone, by cornets. 
 
 The prevailing vice of performers upon this instrument 
 (and strangely enough, it is mostly to be found with the 
 most celebrated players), is the habit of over-blowing; 
 the effect produced by this fault is one of blatant 
 vulgarity. The consequence is that sometimes, if you 
 have a band of your own, you will have to request the 
 oomet-players to play about one-fourth as loud as they 
 are accustomed to. 
 
 The instrument itself, at the best, is in a measure 
 faulty in construction, but as it is in constant and 
 increasing use, we had better accept it, and make the 
 best we can of it. 
 
 There may be said to exist three methods of writing for 
 the comets. In serious works, such as oratorios, sym- 
 phonies, &c., it is proper to treat them as trumpets, in 
 this manner : — 
 
 Ex. 37. 
 
 -J C=3-<2 I pVf 
 
 3 
 
 "^ 
 
 *- -*- -c»- 
 
 The second method is to use them, but only in lighter 
 styles of music, as melodic instruments, but with the 
 
The Trumpet and Cornet. 
 
 65 
 
 greatest moderation, and avoiding the higher notes of the 
 scale. As a rule, moreover, the best qualities of the 
 comet are obtained in memo-forte and piano passages ; if 
 written /wi«, they are apt to get into their solo "Mare." 
 
 The third method is to use them in the harmonies of 
 the accompaniment. I refer now exclusively to light 
 music : dramatic overtures designed for theatrical use, 
 operas, dance-music, and so on. Combining them judi- 
 ciously with the horns (I speak of music destined for 
 performance mostly in such places, as there are only two 
 horns), with a trombone playing, or adding to the bass-part, 
 very bright effects are procurable ; thus : — 
 
 Ex. 38. 
 
 Horns in 
 
 COENETS 
 IN A. 
 
 Tkombonb 
 
 ^^^^^^m 
 
 m 
 
 ^— F 
 
 EEjEjEEEi 
 
 gj^ 
 
 £=£ 
 
 iiE=E 
 
 -P-P- - 
 
 and sometimes the effect is improved by making the 
 2nd cornet and \st horn cross over ; thus : — 
 
 Ex. 39. 
 
 HoENS IN 
 
 F. 
 
 Cornets 
 IN A. 
 
 i 
 
 w 
 
 :;=f: 
 
 -«--' — t— 
 
 i=|: 
 
 =^:q: 
 
 =P= 
 
 mm 
 
 'V^ri. 
 
 -p — w — o ,- 
 
 which sounds, of course, so 
 
 =1 
 
 S3f 
 
 ^& 
 
 
 11 
 
 ^ 
 
 -Ti—* 
 
 Li- 
 
 =Ef=t^ 
 
66 
 
 A Manual of Orchestration. 
 
 although this use of the horn is the lamentahle one which 
 custom has rendered so common. 
 
 A modification of this method is afforded in the following 
 example, in which, in a large orchestra where there are 
 three trombones, the Comets in company with the trombones 
 are very effective in emphasising the first note of each 
 bar by a full rich chord (this is peculiarly applicable to 
 the higher class of waltz-music). 
 
 Ex. 40. 
 
 Cornets 
 inBIj. 
 
 Thrbs 
 Trombones. 
 
 ^^ 
 
 -F-P- 
 
 l^ 
 
 -P-P-i%.«-P- 
 
 m^ 
 
 £ p r r I i P-H- ' ^ ^ I V'''^ 
 
 ^ iTi- I 
 
 Common judgment will teach all further necessair 
 things in respect to writing for this instrument. 
 
67 
 
 CHAPTER XIII. 
 
 THE TEOMBONE. 
 
 The Trombone is an instrument of remarkable power, and 
 of a versatility truly remarkable. It is the only wind- 
 instrument whicb possesses absolute perfection of in- 
 tonation, the entire scale being equitonal. Wiat would 
 be otherwise tenderly sympathetic in the tone of the 
 trombone is unfortunately marred somewhat by the 
 square, uncouth nature of its mechanism ; for, whereas 
 the notes on the horn glide smoothly and almost melting 
 one into the other, on the trombone the performer has to 
 go through a species of athletic exercise in order to 
 lengthen his tube so as to get a lower note out of it. 
 
 In a small orchestra where there is only one trombone, 
 that unfortunate is compelled to hide some of his best 
 qualities through the lack of the companionship of two 
 of his brethren, three trombones being capable of producing 
 the noblest effects. Thus a trombone in a state of 
 loneliness cannot do much more than here and there 
 supplement the other bass iastruments. In light music, 
 a staccato bass on the trombone is bright and pleasing. 
 
68 
 
 A Manual of Orohestration. 
 
 But in a complete orctestra, the tromtones fumisli the 
 three lower notes of a magnificent quintet, of -which the 
 two trumpets (or comets) represent the two higher parts. 
 
 Chords such as the following are hugely effective, with 
 or without the trumpets : — 
 
 Ex. 41. 
 
 & 
 
 -s- -|Q- 
 
 '^yl^ r. ^ 
 
 m 
 
 # 
 
 ^^ 
 
 :t: 
 
 Formerly, and indeed until quite recently, alto, tenor, and 
 bass trombones were used, each written for in their 
 respective clefs, and on a different line. One method is to 
 write for two tromhones in the tenor or alto clef, on one 
 line, and the bass on a line by itseK; but the simplest 
 method is to write the 1st and 2nd trombones on one line, 
 the third on another, and aU three in the bass clef. 
 
 If your score be cramped for room, there is no reason 
 why you should not write them all three on one line, but 
 in this case you must be extremely careful to keep each 
 part distinct, as in such a case as follows : — 
 
 Ex. 42. (1st & 2nd). (1st & 2nd). 
 
 m 
 
 BE 
 
 ^ 
 
 lE: 
 
 T^ 
 
 (3rd Trombone). 
 
 ^ 
 
 Mh: 
 
 m 
 
 ^ 
 
 &0. 
 
 (3rd). (2nd). 
 
 The trombones are capable of the loftiest utterances. 
 The initial announcement by three trombones in unison 
 
The Tromhone. 
 
 69 
 
 of the principal motive in tie " Lobgesang " of Men- 
 delssohn, mLl fully hear out this statement. And a strain 
 of martial or heroic melody, if given to two tromhones in 
 octaves, in the higher register of the instrument, so — 
 
 Ex. 43. Maestoso. _ _ 
 
 ^g^ 
 
 
 &c. 
 
 ■will be found superb, if with proper accompaniment. 
 
 In the oratorio of Elijah, in the tenor song near the 
 end, "Then shall the righteous," Mendelssohn uses two 
 trombones in octaves with singularly lofty and beautiful 
 effect. 
 
 A fine trombone-player can give a blast upon his 
 instrument absolutely horrific in its fury, and shortly 
 afterwards he will play a solo worthy of the violoncello ! 
 
 There are two kinds of trombones, the original one 
 played with a slide, and an inferior one played with 
 valves. The valve-trombone is largely in use on the 
 Continent, but in England it is mostly found in second- 
 rate regimental bands. 
 
70 
 
 CHAPTER XIV. 
 
 THE OPHECLEIDE, EUPHONnJM, 
 
 BOMBAEDON, BASS-TUBA, 
 
 AND DKTJMS. 
 
 There are, in tie present day, very iew performers on the 
 Opheeleide, consequently its almost entire disuse. The 
 other bass brass instruments enumerated above, have 
 severally taken its place. Being constructed somewhat 
 on the principle of bass and double-lass cornets, they are 
 comparatively easy to play, considerably more so than 
 the ophecleide, which was a sort of reproduction, octaves 
 below, of the old-fashioned hey-bugle, an enormously 
 difficult and laborious instrument. 
 
 When introduced into an orchestral score, the proper 
 position of any of these instruments is either in unison 
 with (in loud parts), or an octave below, the Zrd trombone. 
 
 In military bands, these instruments naturally occupy 
 the position of the violoncellos and double-basses of the 
 
The Ophecleiie, Euphonium, Bombardon, Sfe. 71 
 
 orchestra, and if judiciously subdued, they form a very 
 fine bass. 
 
 DRUMS, &c. 
 
 It is a common belief with the untutored that a drum is 
 purely an engine for the production of noise. A more 
 pitiable mistake was never made. 
 
 The offices rendered by various kinds of drums in 
 orchestral music, whether purely symphonic, operatic, 
 religious, or oratorio performances, are as significant, 
 potent, and dignified as those of the finest human voices. 
 
 The most refined of the drum family is the kettle- 
 drum, so called from the resemblance of its shape to 
 that of a large kettle or cauldron. Kettle-drums are made 
 better in Germany than in this country. In English 
 orchestras you frequently hear a whole performance 
 ruined by the excessive banging of skin-covered cauldrons 
 about three times too large for the realisation of any 
 musical purpose. 
 
 Kettle-drums, which are generally tuned to the tonic 
 and dominant of the key, for the time being, ought to be 
 made, both as to the true acoustic perfection of their shell 
 (as in the case of a church bell, cast so as to be true in 
 soimd), and the accuracy of their tuning apparatus, as 
 that their sound, when struck, should resemble several 
 violoncellos playing the note in pizzicato. 
 
 To the kettle-drums belong the wonderful gift of 
 imparting to orchestral utterances the character of accent 
 and emphasis, of which no other instrument, or body of 
 instruments, is capable. And how can this quality be 
 over-rated ? 
 
 In a certain degree, in colossal and tremendous effects, 
 the same quality appertains to the lass-drum and cymbals. 
 
 The side-drum is an instrument of inferior character, 
 and is most in its element when in the company of 
 bayonets, carried by men who march to it. It is by no 
 
72 A Manual of Orchestration. 
 
 means an orchestral instrument. At the same time, it is 
 useful in peculiar situations ; the alarm-like, menacing, 
 angry rattle of the side-drum finds a place in certain 
 stirring moments, even va. orchestral music, while in opera 
 it is useful because it serves to sharpen the significance 
 of certain warlike moments ; but the employment of 
 the side-drum alone, without either the timpani, or the 
 hass-drum and cymbals, in a small orchestra, and especially 
 in dance-music, is like regulating the movements of a 
 ball-room by a policeman's rattle. 
 
 The cymbals, generally clashed in company with the 
 strokes on the bass-drum, produce a legitimate, and at 
 times a very fine eflect. In military music they are 
 quite necessary. The triangle is also capable of adding 
 much to the effect of graceful passages, but in the use 
 of all kinds of solid and artistic instruments of percussion, 
 judgment is the only guide. According to their proper 
 use, drums of all kinds are but as the deeper and more 
 solemn colours in a picture. 
 
 Once, while taking a country walk, I happened on the 
 funeral of a military ofB.cer of high rank. The road I 
 wished to cross was occupied by the passing hundreds of 
 the procession, and the spot being in the neighbourhood of 
 an important garrison, there were several military bands. 
 As I stood, watching the impressive and pathetic pageant, 
 I discerned the sounds of a military band some distance 
 away, but slowly approaching the spot where I stood. 
 They were, however, near enough for me to catch the 
 sublimely simple and touching strains of Handel's " Dead 
 March " in Saul. The music was just audible, and at 
 stated intervals the sound of the muffled hass-dnim fell on 
 the serene aii- of this October afternoon. Should I live 
 for a hundred years I shall never forget the effect 
 produced upon my feeUngs by the almost more than 
 human " sobs " that thrilled through the atmosphere 
 from this solemn instrument. 
 
The Opheoleide, JEuphmium, Bombardon, Sfc. 73 
 
 "When I first lieaa-d. an oratorio performance under the 
 dome of St. Paul's Cathedral, I experienced many 
 wondrous revelations. The henign loveUness of many- 
 orchestral comhinations chastened me by reason of their 
 ineffahle sweetness ; but it was not until the drums rolled, 
 that I realised that I was in the presence of music in its 
 divine majesty. 
 
74 
 
 CHAPTER XV. 
 
 COMBINATION OF THE INSTETJMENTS. 
 
 In the following pages, it must be understood, that my 
 remarks as to the treatment of the various orchestral 
 instruments, will apply to them only as being parts of a 
 grand orchestra, such modification of their uses as may 
 become necessary in dealing with a hand of curtailed 
 proportions being left to the judgment and fancy of 
 the student. 
 
 I must first warn my readers as to the extremely 
 limited quantity and quality of the actual information it 
 will be possible to convey while dealing practically with 
 this subject. He who would teach the mystery of 
 orchestral writing is in the same position as one who 
 would teach you to paint or to write verses. AU that 
 the artist can do is to reveal the mere mechanical ways 
 of mingling colours, and the best way to lay them upon 
 the paper or canvas ; he cannot teach you to invent 
 combinations. Nor is any living soul capable of teaching 
 poetry ; one can instruct you in the mechanical formation 
 of correct verse, but no one can teach you to conceive a 
 
Comlination of the Instruments. 75 
 
 poetical idea. My office in ■writing this little book is as 
 that of a gardener who takes you into his garden, and 
 shows you his beautiful flowers ; he can give you seeds 
 and cuttings, and teach you how to plant them, but 
 neither he nor you can make them grow. That belongs 
 to a higher power ; and so with all manner of musical 
 work : one may be taught the methods, but the secret 
 of using them is kept by nature to herself, and reserved 
 alone for her own handiwork. This assistance on the 
 part of nature is called by some people genius, by others 
 inspiration. And let me faithfully and gently offer one 
 further remark before proceeding to details . never 
 imagine for a moment that the orchestra is a medium 
 for the exhibition of your talents. It is the greatest 
 privilege of the greatest composer that could possibly 
 exist, to be permitted to use his genius in the display of 
 the endless and divine beauties of the orchestra. 
 
 The study of the orchestra is like a vast collection of 
 treasures ; and when you have devoted a long life to this 
 subject, you will end by having a far more lofty estimate 
 of it, and a much lower opinion of your own powers of 
 dealing with it. But this is the lot of all who hold 
 communion with the Infinite. However, learn little as 
 you will, it is the most beautiful study known. 
 
 I have already given a full description of the treatment 
 of the stringed instruments, and we will now proceed to 
 consider the method of combining with them the wind 
 instruments, in such ways as may be as nearly as possible 
 what orchestral "tone-painting" ought to be. I use this 
 popular cant term with the deepest significance, as I 
 wiU show. ^ 
 
 The orchestra is constituted of three distinct bands — 
 the wood-land, the brass-hand, and the string-hand, with an 
 element of percussion over and above. The judicious 
 mingling of these three bands is the secret of scoring 
 for the orchestra. 
 
76 A Manual of Orchestration. 
 
 And in order to render clear the process of this heautiful 
 art, it is necessary to recur to, and enlarge upon, a certain 
 analogy which I brought forward in the first chapter, the 
 relation between oolovr and sound. 
 
 One who writes for the orchestra stands in a peculiarly 
 similar position to that of one who paints a picture. The 
 musician is dealing with form, shade, and colour that 
 appeal to the ear, while the painter is making similar 
 provision for the gratification of the eye. I have already 
 urged upon the student the absolute necessity, in both 
 these cases, of making form all that it ought to be, before 
 attempting to introduce colour. 
 
 The analogy between music and picture is so close, and 
 so important, that I am utterly unable to understand how 
 it is that it has never been insisted upon as a most 
 important element in the education of musicians. I will 
 fully explain this statement. 
 
 A composition scored for the orchestra, and then 
 arranged, or compressed, as a piece for the pianoforte, 
 represents to the smallest detail of method, the repro- 
 duction of a painting by an engraving, etching, or 
 other monochrome. 
 
 In the orchestral form, as with the painting, you have 
 form, light and shade, expression, and colour; in the 
 pianoforte arrangement, as in the engraving, you have 
 form, light and shade, and expression, but no colour. 
 
 But we can carry the analogy much further. There is 
 absolute sympathy between the qualities of colour in 
 painting, and the qualities of sound in music. I would 
 scarcely suggest, however, that the comparison should be 
 carried out so far as to assign a similarity to actual, 
 individual colours, to each class of instrument ; chiefly 
 because there are only nine varieties of instrument in an 
 ordinary orchestra, while no man can number the varieties 
 of colour that are visible in nature ; therefore it is 
 impracticable to go beyond the idea of general resemblance. 
 
Combination of the Instruments. 77 
 
 My theory is based upon the fact, that while the 
 substance of the orchestra is the strings — ^which axe all of 
 one quality of sound, but infinitely yarious according to 
 treatment, expression, and so on — the vastly prevailing 
 colour in nature is grey, in ten thousand varying hues. 
 
 No matter how brilliant the colours in a picture may be, 
 we shall find that sombre tints pervade the greater portion 
 of it, the bright, flashing colours being greatly in the 
 minority ; just as in the orchestra, the tone of the strings 
 pervades the whole mass. Furthermore, if you look at 
 any object in nature which consists entirely of a bright 
 colour, the light falls unequally upon it, and shade varies 
 even its one hue ; this may be said to be what expression 
 is in the performance of a bright-toned instrument, such 
 as the trumpet, the brightness of its tone being varied by 
 the power the performer possesses of playing from 
 pianissimo to fortissimo. 
 
 The application of this theory is that the tones of the 
 ohoes, clarinets, bassoons, and horns answer to the quality 
 of such colours as are moderately bright and rich, while 
 those of the trumpets and trombones are as those more 
 approaching to scarlet, purple, deep blue, and rich brown. 
 
 Try to imagine a picture in which these four latter were 
 the only colours, even allowing for "varieties of shade 
 and a degree of mingling, and you will have before your 
 mind's eye something like what would be presented to 
 your mind's ear, if you sought to realise the eflect of a 
 movement played entirely by trumpets and trombones* 
 
 And now imagine that you are gazing upon a beautiful 
 and varied landscape composed of trees, hills, meadows, 
 and flowers ; a blue, sky, in which are careering a host of 
 ever-changing clouds, some bright as burnished silver, and 
 others of dark ■ grey ; while somewhere amongst the 
 infinitely various tints of tender green there is seen a 
 
 • It ia this whicli renders It impossible to listen -with much pleasure for any 
 length of time to a band composed entirely of }yi-a$s instruments. 
 
78 A Manual of Orchestration. 
 
 group of figures, a few of them in scarlet cloaks, and you 
 will have a display of colour, certainly, it must be 
 admitted, of infinitely greater actual variety, but blended 
 in the same beautiful proportions that govern the resources 
 of orchestral music when the work of a master. 
 
 I state plainly, without fear of ridicule, that the only 
 lesson in scoring that I ever received from man (for what 
 little I otherwise know I owe to nature, assisting me in 
 observing the works of her great pupils), was derived from 
 sitting once beside a great water-colour artist, while 
 he painted one of the exquisite little landscapes for which 
 he is so justly famous.* 
 
 But I must now leave this theory in the hands of such 
 as may think it worth their while to investigate it further 
 for themselves, dismissing it with the remark that no hard 
 and fast rules either in music or picture will avail to make 
 a great colourist. Genius alone can guide the hand. 
 
 • Birket Foster. 
 
79 
 
 CHAPTER XVI, 
 
 COMBINATION, kc— Continued. 
 
 The most important principle to be observed in all 
 orchestral writing is to keep your score clear, transparent, 
 and free from any combinations wHcli will produce 
 confusion wben heard. There is no restriction as to writing 
 any conceivable passage for any instrument, or combination 
 of instruments — of course provided that they are such as 
 are playable — as long as you show a reason for yowr doing so. 
 By this I mean that as long as you steer clear of the 
 slightest pedantry or purposeless eccentricity, the whole 
 range of instrumental wealth and treasure is absolutely at 
 your disposal, to deal with at your will. An eternal and 
 infinite space, full of the elements of beauty, awaits 
 your command to shape themselves into lovely worlds 
 and planets. 
 
 And I cannot here refrain from a passing remark as to 
 an aspect of the orchestra, that is to say of an orchestral 
 band, at such moments as it happens to be a mere 
 company of individuals awaiting control. I allude to the 
 
80 A Manual of Orchestration. 
 
 interval whioli occurs between the time, say, at a concert, 
 ■when the musicians begin to take their places in the 
 orchestra, and the moment when the conductor gives the 
 signal to commence the performance. To me, personally, 
 this is a period of intense enjoyment. And why? It is a 
 time of exciting expectation, not unaccompanied by rich 
 promise. Each musician, as he arrives, prepares his 
 instrument: the violinist is adjusting his "fifths;" the 
 wood instruments are throwing off roulades and cascades 
 of joyous notes ; the brass instruments are trying their 
 strength ; bouquets of wild, tender notes, like the sounds 
 one hears in a wood where nightingales are, fall upon the 
 ear ; there is a rich sound of untamed elements, like the 
 voice of the wind as it stirs up the Ufe of a forest ; but the 
 sound we now hear is infinitely more grand and significant, 
 because it is the voice of a chaos which is only awaiting 
 the control of one spirit to reveal the stupendous grandeur 
 of a perfected creation. To such as object to the 
 preliminary tuning of an orchestra, I say, that their 
 affectation blinds them to a noble revelation. 
 
 "We must now speak of the preliminary arrangement 
 of the score. 
 
 Different composers have used several methods of 
 disposition ; some place the drums at the top, followed 
 downwards by the trumpets and trombones ; the horns 
 follow ; then the wood-wind, commencing with the flutes, 
 the bassoons lowest ; finally the strings. Another plan is 
 to place the flutes at the top, the remainder of the wood- 
 wind following ; then the horns, followed by the trumpets 
 and trombones; the drums, and then the strings. Beethoven, 
 Mozart, Schumann, and others, have used both forms; but 
 the second is, and always has been, in most general use, 
 and it cannot be disputed that it is the best of all forms 
 of score, for the simple reason that the higher sounds are 
 at the top of the page, while the lowest are at the bottom. 
 Observe the two forms : — 
 
Combination of the Instruments. — Continued. 81 
 
 First Form. 
 Ex. 44. 
 
 Dbums in F. 
 
 2 Trumpets 
 
 IN C. 
 
 1st & 2nd 
 Tbombones. 
 
 3rd 
 Trombone. 
 
 2 Horns in F. 
 
 2 Flutes. 
 
 2 Oboes. 
 
 2 Clarinets 
 inB|,. 
 
 2 Bassoons. 
 
 1st Violin. 
 
 2nd Violin. 
 
 Viola. 
 
 Violoncello. 
 
 Dodble-Bass. 
 
 tr... 
 
 ^ 
 
 /-^ 
 
 ^ 
 
 f 
 
 i 
 
 f 
 
 s 
 
 TW- 
 
 i 
 
 / 
 
 ■ja. 
 
 ^ 
 
 ^:^:t^ 
 
 E^ 
 
 /-^ 
 
 ^^ 
 
 :^-B^ 
 
 » 
 
 / 
 
 w:, li o 
 
 ^ 
 
 / 
 
 m-r^'-g^ 
 
 ^ 
 
 Second Form. 
 2 Flutes, / 
 
 2 Oboes. 
 2 Clarinets 
 
 INBb. 
 
 2 Bassoons. 
 2 Horns in F. 
 
 2 Trumpets 
 
 IN C. 
 
 1st & 2nd 
 Trombones. 
 
 3rd 
 
 Teombone. 
 
 Drums in F. 
 
 Ist Violin. 
 
 2nd Violin. 
 
 Viola. 
 
 Violoncello. 
 
 Dodble-Bass. 
 
 /-^ 
 
 ^^ 
 
 m 
 
 f 
 
 ^ 
 
 
 / 
 
 ^E 
 
 / 
 
 / 
 
 EE^ 
 
 ^t-?Tg^ 
 
82 
 
 A Manual of Orchestration. 
 
 and a glance will convince anyone as to the superiority of 
 tte second form. 
 
 Wten voices are included in the score, as in opera or 
 oratorio music, the principal or solo voices should he 
 ahove, and the chorus parts underneath them. Some com- 
 posers place the voices in the middle of the strings, that is 
 to say, between the viola and violoncello, but I prefer to 
 place them between the drums and the strings. This leaves 
 the strings undivided, and thus the reading of the score is 
 rendered easier, the strings being, as we have seen over 
 and over again, the most important part of the orchestra. 
 
 If the harp be used, it is best to place it immediately 
 above the strings. The harp is a magnificent orchestral 
 instrument when used discreetly. 
 
 If your composition be a sacred one, and the organ be in- 
 cluded, the organ-part is best vmtten at the foot of the score. 
 
 In the case of a concerto, the solo-instrument part is best 
 discerned when placed immediately above the strings. 
 All other details of arrangement are left to the discretion 
 of the student. 
 
 The proper use of the orchestra depends necessarily 
 upon the particular purpose you are at the time fulfilling. 
 For instance, in loud passages, such as in a march, or 
 certain parts of a symphony or overture, your dealings 
 with the various instruments will naturally be of a much 
 less cautious character than when you are writing delicate 
 passages, where there is scope for the most refined and 
 tender expression. In writing loud chords for the full 
 orchestra, you have merely to regard the most judicious 
 manner of grouping the three bands. 
 
 Take four bars of a march in pianoforte form : — 
 Ex. 45. I , -_ 
 
 J ] , j Jl I ■ I r 
 
Combination of the Instruments. — Continued. 83 
 
 and we will first see how to arrange the loooi-wind. In 
 following out the process of scoring these four bars for full 
 orchestra by taking the wood, irass, and string bands 
 separately, I by no means desire to establish a rule of 
 procedure ; it is merely as a mode of dissecting the 
 anatomy of the score ; a practised writer for the orchestra 
 will cover twenty pages of score-paper with the merest 
 fragments of instrumentation, filling in the remainder 
 afterwards. (In the following example, you will see that 
 the flutes have a line each, which is necessary when 
 the piccolo is used.) 
 
 Fx. 46. Flute. .q. .•. m-p r-, 
 
 ^^^ 
 
 £ 
 
 PlOOOLO. 
 
 ff-^-f-f-f-f-f-f- *Col Flauto. 
 
 ^fcE 
 
 2 Bassoons. 
 
 :^^ 
 
 fef^ 
 
 j=)= 
 
 ^^ 
 
 £ 
 
 -n 
 
 -» — »^m- 
 
 In following with the hrass-wind, it is to be observed 
 that in order to obtain a fair balance of the tone, the 
 utmost care must be taken to write in five good parts for 
 the two trumpets, and three trombones. (I say trumpets, 
 but in a specimen of light composition, such as a march of 
 this character, you would unquestionably use cornets.) 
 The horns are not to be controlled by this discipline, 
 
 * Where two parts are exactly smular for a time, this is a legitimate means 
 of saving trouble. 
 
84 
 
 A Manual of Orchestration. 
 
 because their utility lies more in tte way of sustained 
 
 harmonies, although I do not treat them thus in the 
 
 present case. 
 
 Ex. 47. 
 
 Ist & 2nd HoBNs in F. 
 
 3rd <fc 4th Hoens in F. 
 
 3rd Tbombone. 
 
 ^^r-ETffif 
 
 =s; 
 
 1 — h 
 
 EnPHONIUM. 
 
 ir^FfP^ 
 
 ^ 
 
 1-p- 
 
 ^^^ 
 
 I am supposing that aU three 
 as a rule, it is only in very 
 
 The drums come next, 
 kinds are used ; although 
 
 rare cases, except in the matter of a few final bars, that 
 there is any excuse for using the lass-Arum, side-drum, and 
 kettle-drums all at once. The effect of one would spoil 
 that of the two others, generally speaking. In writing 
 for the timpani or kettle-drums, as has been before stated, 
 the tonic and dominant of the key are used. It is not 
 wise, therefore, to give a note to either of these drums, 
 except it appear in the chord being played. To illusti-ate 
 this, it is only necessary to give two instances. If the 
 piece be in the key of C, the drums will be tuned 
 thus : — 
 
Combination of the Instruments. — Continued. 85 
 
 m^ . 
 
 and ttey stould not be sounded in any chord where the 
 C and Gr are not heard. There are very rare exceptions 
 to' this rule. 
 
 Proceeding to the strings, ve should probably write 
 for them so : — 
 
 Ex. 48. Ist VioLm. .pi. 
 
 I will remark here that if you find no necessity to 
 separate the violoncello and double-lass throughout your 
 composition, you can write for them both as one pa/rt on 
 one line. And even if you should leave out the double- 
 hass occasionally, and let the violoncello be heard alone, 
 you can indicate the same, by supplying rests below 
 the violoncello-part, thus : — 
 
 Ex. 49. I J J -J- J J 
 
 -r — ^ 
 
 "We will now examine the result of our grouping of 
 the distinct bands : — 
 
86 
 
 A Manttal of Orchestration. 
 
 E=< 
 
 n 
 
 K 
 
 W 
 
 C=4 
 
 
 IT. 
 
 
 
 
 a: 
 
 
 
 
 
 
 
 
 
 O 
 
 
 
 H 
 
 
 t1 
 
 ^ 
 
 o 
 
 "B 
 
 
 
 s 
 
 
 
 C4 
 
 <^ 
 
 
 •»i 
 
Combination of the Instruments. — Continued. 87 
 
 a 
 EH 
 t3 
 
 H 
 
 g 
 
 P 
 
 
 a 
 
 > 
 -a 
 a 
 
 o 
 
 =3™ 
 S" 
 s J, 
 
88 A Manual of Orchestration. 
 
 and -we find, that by having arranged them with due 
 regard to the qualities of their component parts, we have 
 produced what may he regarded as an approach to perfect 
 orchestral balance. 
 
89 
 
 CHAPTER XVII 
 
 OTHEE FOEMS OF COMBINATION. 
 
 I whl now bring forward one or two examples of a more 
 delicate form of orchestration, such, as one would find in 
 the more refined portions of a symphony, or other form 
 of orchestral composition. We shall here discover a 
 greater refinement of colouring than in the last-quoted 
 case, which is little more than an attempt to display a 
 fair method of distributing the simultaneous efiorts of 
 the entire orchestra. 
 
 The first of the following examples is a fragment of an 
 imaginary " Gavotte," and it will be seen at a glance that 
 the score is bare of cornets and trombones, there being no 
 necessity for the use of strident brass in order to realise 
 the expression, colour, light, and shadow in such a 
 slender conceit : — 
 
90 
 
 A Manual of Orchestration. 
 
other Forms of Comlination. 
 
 91 
 
 P 
 
92 
 
 A Manual of Orchestration. 
 
 
 i 
 
 
Other Forms of Comlination. 
 
 93 
 
94 A Manual of Orchestration. 
 
 We will now analyse tte fragment contained in the first 
 example, pp. 90 and 91. 
 
 The subject is given out by the strings iu pure four-part 
 harmony ; the two clarinets and two bassoons reproduce the 
 identical notes of the strings, thereby filling two important 
 offices : firstly, the enriching of the tone of the strings ; 
 and, secondly, assisting in the enforcement of the four -part 
 character of the movement. So much for the solid 
 structure of this four-bar phrase. Now as to the orna- 
 mentation or further colouring. In the first strain the 
 1st flute reproduces the notes of the \st violins an octave 
 higher, thus increasing the sweetness of the melodic effect, 
 and adding interest to the idea. In the second strain the 
 \st oboe takes up the duty of the flute, thereby giving 
 variety to the sound, and at the same time continuing the 
 idea commenced by the flAde, and stUl without in the least 
 degree interfering with the character of the motives. 
 Gentle harmonies are added by the two hoi-ns, and a 
 suggestive emphasis by the drums. 
 
 The second example (pp. 92 & 93) is another specimen 
 of orchestration, iu which repose may be said to be the 
 main characteristic. 
 
 In this illustration we find the following characteristics. 
 A tranquil melody, played on some of the wind-instruments, 
 and accompanied by the strings with pizzicato, is the main 
 feature ; but this is not aU. The melody given out by 
 the flute, the oboe, and the bassoon, thus spreading over 
 two octaves, is of a peculiarly peaceful and tender 
 character, and calls for the most delicate accompaniment. 
 To provide this, and to soften the pizzicato of the strings, 
 all the other wind-instruments lend their aid with 
 sustained notes, thus forming long, spread-out chords, 
 as i£ played on an exquisitely-toned organ. The very 
 slight drum-part is added just to accent the first beat 
 in each bar. 
 
 In these two fragments of score, it will be seen that not a 
 
Other Forms of Combination. 
 
 95 
 
 single note is "wasted ; and that wiiereYer two instruments 
 sound the same note, it is intentional, and designed to 
 strengthen or emphasise the particular part of the chord 
 in ■which such note appears. 
 
 All beautiful orchestral effects are the sheer result of 
 the artistic use and combination of the instruments. It is 
 not for a moment to be supposed that the louder and more 
 powerful instruments are to be reserved purely for loud 
 effects. As mere producers of noise, the irass-instruments 
 and drums are obviously the most potent ; but these can 
 be coaxed into the most tender utterances if properly used. 
 Take the following phrase for instance : — 
 
 Ex. 53. 
 
 2 HOBNS IN F. 
 2 COKNETS IN A. 
 
 1st & 2nd 
 Tkombones 
 
 3rd Tbombone. 
 
 Adagio, 
 
 Se 
 
 2i: 
 
 m 
 
 in this you realise the minimum of noise, and almost the 
 maximum of expression and significance. While such a 
 passage (p. 96) given to the strings, wiU seem to suggest , 
 the rage of a hurricane. 
 
 All the strident brass instruments can be wooed to the,' 
 expression of a " sigh " — a " whisper ; " while the strings' 
 will, at your bidding, give utterance to the shrieks of, 
 frenzy. 
 
96 
 
 4- Manual of Orchestration. 
 
 
 
 
other Forms of Combination. 97 
 
 It is obviously impossible that in the compass of this 
 small volume I can give lengthy or " full -face '" examples 
 of complete orchestration ; but as the means of studying 
 orchestral scores, containiag thousands of bright and 
 beautiful conceits, infinitely superior to anything that 
 could be expected of my poor pen, are nowadays easily 
 and cheaply attainable, I do not regret that here my 
 illustrations must end. 
 
 n 
 
98 
 
 CHAPTER XVIII. 
 
 CONCLUSION'. 
 
 I BEiiEVE that I have now done all in my power to 
 discharge my most interesting and pleasant duty as 
 regards detail. In conclusion, I will offer a few remarks 
 hearing upon a general and extended study of the 
 orchestral art. 
 
 In the same manner that you learn more of painting hy 
 seeing a painter at work at his easel, than any hook can 
 possihly teach you ; so likewise, the way to learn how to 
 write for the orchestra is not only to emhrace every 
 possible opportunity of hearing orchestral music, but also 
 to diligently study at home the scores of the best 
 composers. By the "best composers" I do not mean 
 successful musicians of the present day. The symphonies 
 of Beethoven, and more especially the " Eroica," the 
 "Pastoral," the "C minor," and the "Choral," will 
 alone furnish you with useful intellectual nourishment for 
 months at a time. Mozart's symphonies, operas, and 
 masses, are all crowded with the means of orchestral 
 instruction. Haydn's symphonies are also delightful. Of 
 Mendelssohn's orchestral works it is impossible to find too 
 
Concision. 99 
 
 high an expression of admiration ; his music to the " Mid- 
 summer's Night Dream " alone being as fine a work as ever 
 was composed by the human brain. And there are almost 
 tons' weight of modem music, works of such as Brahms, 
 Gounod (the most delicate and fanciful of all orchestral 
 writers), the lately discovered giant, Dvorak, and many 
 others. Of the examination of the scores of Wagner I 
 distinctly disapprove, and my reason is that his method, 
 however much the exhibition of colossal talent and 
 superhuman perseverance, has produced scores of imi- 
 tators, whose works range through all the degrees of 
 imbecility, and not one worthy disciple. 
 
 In writing works of your own, be decided, incisive, and 
 brave. At the same time, whatever you write must be 
 influenced by the most sacred purpose and devout reverence 
 for the transcendent beauty of the means at your disposal. 
 
 In regard to your study of the scores of others, let me 
 warn you sternly to avoid the fashionable priggishness of 
 attempting to read the score of a piece at the same time 
 that you a/re listening to its performance. If your musical 
 intellect be sufficiently cultured as to enable you to follow 
 the strains of the orchestra, you will have quite enough to 
 do to listen. Ton need not expect to enhance your 
 enjoyment of a beautiful landscape by consulting at the 
 same time a map of the country or a picture of the view 
 you are gazing at. Listen with aU your diligence to the 
 sound of the orchestra, and study the score at home, either 
 before or after the performance, and, better still, both. 
 
 And now having placed before you a cursory description 
 of the qualities, characteristics, and judicious uses of the 
 various instruments in the orchestra, will it seem un- 
 reasonable if I ask you to regard them as things somewhat 
 above the level of mere mechanical contrivances ? 
 Assuredly they are far better than this ! A musical 
 instrument is a companion, a consoler, a dear friend, from 
 
100 A Mimtial of Orchestration. 
 
 whose society you will derive interest, amusement, 
 instruction, infinite and unfailing pleasure, and never by 
 any possibility one particle of evil! It is a means by 
 which, if you duly honour its friendship, you may attain the 
 power of giving pleasure to others, and perhaps of helping 
 to solace the lot of such as are afflicted and suflering. 
 
 The information contained in this little book is of 
 necessity scanty, disjointed, and fragmentary ; but if the 
 perusal of it by only one aspiring mind should have the 
 effect of opening out the contemplation of the orchestra, 
 and bringing after it a desire to explore its beautiful 
 regions, the purpose of the work will be amply fulfilled. 
 
101 
 
 APPENDIX. 
 
 Containing details as to the Structure, Conn pass, 
 
 and Peculiarities of the various instrunnents 
 
 of the Orchestra, by 
 
 GEO. OAKET, Mus.Bac, Caotab. 
 
 The main purpose in tte foregoing pages has been to 
 describe the usages of the several instruments, and to 
 convey some idea of those combinations of them which 
 produce the various tone-colours of the orchestral picture. 
 Explanation of the mechanism and technicalities of the 
 different instruments has lain rather outside the purview 
 of the author, who has treated this part of the subject 
 only so far as was necessary to elucidate the particular 
 points that he wished to bring under the notice of the 
 artist-student. The remark in the concluding paragraph 
 as to the information being of necessity scanty, disjointed, 
 and fragmentary, especially applies to the details of the 
 compass, structure, and peculiarities of the various instru- 
 ments. It has been represented to the present writer that 
 an appendix which supplied this lack so that ready 
 reference could be made within the same cover to the full 
 particulars of the scope and adaptability of an instrument 
 would enable the reader the better to appreciate the 
 practicability or impracticability of any passage that 
 might be written for it. With the idea of thus increasing 
 the usefulness of the book the following pages are added. 
 
102 -4 Manual of Orchestration. 
 
 STEINGED INSTEUMENTS. 
 
 The Yiolts. — Its extreme compass ranges from 
 
 ■£i- But the highest notes are very 
 
 — rare, and occur mostly in solo 
 
 ■ Q Q passages. In orchestral music 
 
 ■ (fl) (d) it is seldom that any note is 
 
 ty written ahove -^ 
 
 The four strings of the instrument are 
 tuned in fifths to the notes of the follow- 
 ing pitch — 
 
 $ 
 
 $ 
 
 1st String. 
 
 —m 2nd String. 
 
 ~r3- 3rd String. 
 
 -ZT 4th String. 
 
 The intermediate scale notes are obtained by pressing the 
 
 fingers on the strings at various distances. All notes 
 
 produced by such means are termed stopped notes, as those 
 
 produced from the four strings unstopped are termed open 
 
 notes. In what is termed the first position of the hand, 
 
 that in which it is placed on the finger-board close to the 
 
 nut, the stopped notes produced by the different fingers on 
 
 the four strings are as indicated by the crotchets in the 
 
 following example, the semibreve representing the open 
 
 note. 
 
 I 
 
 Ex. 55. 12 3 
 
 1234 1234 1234 
 
 -m-f^ 
 
 IKO: 
 
 ■^ 
 
 W^ 
 
 -*' 
 
 Ty- 
 
 ''^ith String. 3rd String. 2nd String. Ist String. 
 
 i 
 
 331 
 
 32Z 
 
 o* 
 
 Here it wiU be seen that the notes 
 
 ,are not only to be produced as open notes of their respective 
 strings but as stopped notes of the respective strings 
 below them. Further examination of the order of notes 
 
Appendix. 103 
 
 in Ex. 55 will also show that there must be some difference 
 in the positions of the fingers on the different strings to 
 produce the notes there written. The positions of the 
 fingers would be the same for the third and second strings, 
 but for the fourth and first strings would be different from 
 either. The same positions of the fingers that produce the 
 notes on the fourth string would, if repeated on the third 
 string, give F^ for FCf, and the lower octave scale of Gr 
 would be produced. Similarly if the same finger positions 
 were repeated on the second string CJf and the middle 
 octave scale of D would be produced; and again, if the 
 same finger positions were repeated on the first string FJ 
 and GJ and the middle octave scale of A would be produced. 
 By change of finger position all semitones can be produced, 
 and thus all scales are practicable. "While, however, 
 diatonic scales are easy of execution the chromatic scales 
 are somewhat difiicult, and to some extent ineffective. By 
 shifts o| the hand toward the bridge the compass of each 
 string may be extended to as much as two octaves. This 
 will reveal the fact to the student that there are other 
 notes thai the open notes of the D, A, and E strings that 
 may be produced in two and even three ways. He must, 
 too, bear in mind that each string has its own peculiar 
 character and quality. Especially is the fourth string- 
 covered with spun wire, and sometimes called the silver 
 string — different from the others, and it is sometimes made 
 use of for an entire passage for its own effect. 
 
 Beference to the positions of the notes on the tour 
 strings in Ex. 55 wiU enable the student to fully under- 
 stand the practicability, difficulty, or impracticability of 
 the combinations of notes in Exs. 3, 4, and 5. It may be 
 as well to add that any two notes within an octave and 
 within the range covered by the fib:st position of the four 
 
 strings are practicable except those lying below 
 
104 A Manual of Orchestration. 
 
 Any interval more than an octave is also practicable if the 
 lower of the two notes is that of one of the open strings 
 G, D, or A. The remarks on p. 31 that " the simplest 
 method of writing for the stringed instruments is always 
 the best, and the fewer notes the better," should show 
 that passages of double stopping for orchestral purposes 
 are the exception and not the rule. In solo playing tones 
 of a light and clear quality are obtained from the natural 
 sounds generated by any open string or tube. These tones 
 are called Harmonics. They are produced by touching 
 the string only instead of pressing it against the finger- 
 board, and are indicated by placed above the notes 
 required. The most simple and common of the natural 
 harmonic tones give the octave of the four open strings — 
 Q -m- These are occasionally used in 
 
 Q J T" orchestral works. There are 
 
 Vp * I also artificial harmonics avail- 
 
 able for solos, though used still more rarely than the' natural 
 harmonics. The artificial harmonics are produced by 
 pressing the forefinger upon one portion of the string and 
 touching with the little finger another portion of the 
 string. 
 
 Some differences of eifect by mechanical means have 
 been mentioned (on p. 37). It may here be added that 
 when the mutes are to be removed it is indicated by sema 
 sordini, and when the pizzicato playing — generally indi- 
 cated pizz. — ^is to be discontinued the words col arco are 
 written. Two other devices are also occasionally resorted 
 to for particular effects, viz., playing with the bow quite 
 near the bridge, indicated by the words sul ponticello, and 
 playing with the back of the bow, radicated by the words 
 col legno. 
 
 The Viola.— The ordinary orchestral compass of this 
 
 instrument extends from its lowest note 
 
 M'°^ 
 
Appendix. 105 
 
 m 
 
 or occasionally a note or two higher. It has four strings, 
 like the violin, hut is a larger instrument. Its first string 
 equals the second string of the violitt, and its fourth string 
 is a fifth below the fourth string of the violin. Both 
 the third and fourth striags are covered with spun -wire. 
 The tuning of the four strings and the open notes, there- 
 fore, of the instrument are as follows — 
 
 _o 1st String. 
 
 ~ rj 2iid String. 
 
 zmzzz. 3rd string. 
 
 -c^ 4th String. 
 
 The Yiola is sometimes termed the Tenor Violin. The 
 term fairly represents its quality of tone and is appropriate 
 in respect to the part in the string quartet that is usually 
 assigned to it. But the music for the instrument is 
 invariably vsrritten on the alto stave, i.e., with the C clef 
 on the third line, except in passages ranging on the higher 
 notes, when to save leger lines the stave with the treble clef 
 is used. The fingerings and the various ways of producing 
 the notes on the violin apply to the viola, considered a 
 fifth lower. All the various effects obtainable on the 
 violin are also available on the viola, though some of 
 them, like the harmonics, are more rarely employed. The 
 violas, on the other hand, are more frequently divided than 
 the violins to gain an additional part to the harmony. 
 The Violoncello. — The compass of this instrument for 
 
 orchestral purposes is from -^ ^ ^ 
 
 y- 
 
 In solo passages the range upwards exceeds this by several 
 
 notes. The tuning of the 'cello,* as the instrument is 
 
 popularly named, is similar to that of the viola, but the 
 
 pitch of the strings is exactly an octave lower, as follows, 
 
 -rxs: — & 1st String. 
 
 3^— e 2nd String. 
 
 © 3rd String. 
 
 -&- 4tli String. 
 
 * Pronounced tchello. 
 
106 A Manual of Orchestration. 
 
 The music for the instrument is mostly written on the 
 bass stave, but when it runs high and several leger lines 
 would be required were it written on the bass stave, the 
 tenor stave is used. In the highest passages of solos the 
 treble stave even is employed. In old scores the G clef 
 was sometimes used, instead of the tenor clef, in immediate 
 succession to the bass clef, and in this case the notes in 
 the treble stave were written an octave higher than the 
 true pitch of the sounds intended. Double notes and 
 chords are far less available than on the violin and viola, 
 and as shown on p. 32 are almost confined to fifths on the 
 open strings. The octave is, however, almost equally easy 
 when the lower note is on an open string. The double 
 note iu octave can, then, be obtained on every string but 
 the first. 
 
 The Double Bass, or Contrabasso, as it is sometimes 
 called, is the largest of the violiu class, and the deepest in 
 tone. Supplying, as has been hinted by the author, the 
 16 ft. tone and corresponding to the pedal in the organ, it 
 is a most important instrument in the orchestra. The 
 extreme compass of the instrument may be said to lie 
 
 between ^Sb '■ and vS^ ■ the sounds produced 
 
 being an octave lower than the notation. Bat the range 
 differs in the lower part of the instrument, as will 
 presently be seen. There are two distinct varieties of the 
 double bass, one with three strings and one with four 
 strings. The three stringed instrument is in England 
 
 „ , ... ,, 7p7v^ <r> 1st string. 
 
 usually tuned in fourths -v^ < o > 2nd string. But to 
 
 r2 3rd String. 
 
 extend the compass downwards the third string is some- 
 times tuned down to Gr, and in France and Italy the first 
 string is tuned a fiith to the second, so that the three strings 
 are then in relation of fifths to each other, thus — 
 
Appendix. 107 
 
 ■■ & 1st String. 
 
 Q 2nd String. 
 
 e 3rd. String. 
 
 The foTir-stringed instrument, said to have been originally 
 introduced in Germany; extends the compass down to B, 
 and the tuning is in fourths, thus — 
 
 fri\ • fi 1st String. 
 
 3^ (SI 2na String. 
 
 ~n 3rd String. 
 
 -f^- 4th String. 
 
 The music for the instrument is written on the bass stave. 
 Grenerally one line serves for the 'cello and the double 
 bass, the latter instrument, of course, producing the 
 sounds an octave below those of the 'cello. "When, 
 however, the part for this instrument goes below E the 
 double bass will play in actual unison with the 'cello. 
 The adapted phrases are often indicated on the one stave 
 by turning the stems of the notes upwards for the 'ceUo . 
 and downwards for the double bass where the parts appear 
 to cross. On account of the great length of the strings 
 and the consequent difference in the fingering from all the 
 other instruments of the class all rapid and florid passages 
 easy of execution for the 'cello have to be simplified for 
 the double bass. In this case the parts for the two instru- 
 ments are often written on two separate staves. Whenever 
 the parts for the two instruments are written on one stave 
 and it is desired that the double basses shall be silent the 
 fact is indicated by the word 'Celli, or by the plan men- 
 tioned on p. 85, and when the double basses are again to 
 be united with the 'cellos it is indicated by the term Tutti 
 or Bassi. 
 
i== "i 
 
 108 A Manual of Orchestration. 
 
 THE WOOD-WIND. 
 
 The Pitjte. — The compass of the concert flute, or flute 
 iu C, as the author describes it on p. 40, is from 
 
 including all the inter- 
 mediate semitones. The 
 
 instrument is sometimes 
 
 called the Great Flute, 
 
 and it is often described as in D because D is the normal 
 scale produced by uncovering in succession the six holes 
 in the tube. 
 
 The Piccoi.0. — The compass of this instrument has 
 been already described, and the fact has been mentioned 
 that the sounds produced are an octave higher than the 
 ■written notes. It should be added that on this account 
 the instrument belongs to the class termed " transposing 
 instruments," i.e., one which produces different sounds 
 from the written notes, as does the double bass already 
 noticed. 
 
 The Tieroe Fiute is another variety that finds 
 occasional use in the orchestra, though mostly met with in 
 military bands. It has the same compass as the ordinary 
 flute but the sounds produced are a minor third above the 
 written notes and it is, therefore, a transposing instru- 
 ment. The following, for instance, 
 
 m 
 
 p- 
 
 would sound /k V n I — -- — I- 
 
 e 
 
 The instrument is generally termed Flute in ElZ, but as 
 the ordinary flute has D for its normal scale and this 
 Third Flute has its normal scale a minor third higher it is 
 sometimes, though incorrectly described as the Third Flute 
 inF. 
 
 Piccolo in Dfi is yet another variety that, formerly used 
 exclusively in military bands, has come to be used occasion- 
 ally in the orchestra. The sounds produced are a minor 
 ninth higher than the written notes, and the composer 
 
Appendix. 109 
 
 must, therefore, ■write a minor ninth lower than the notes 
 he requires. For a similar reason to that mentioned in 
 the description of the former-named instrument this 
 Piccolo in D^ is sometimes, as iu Schumann's score of the 
 Paradise and the Peri, called a "Piccolo in Ejj," or a small 
 flute in ES. The instrument is principally of use where 
 a movement lq a key with many flats would be too difficult 
 for the ordinary piccolo. 
 
 The Oboe or Hatjtbois is an instrument whose tone, 
 already fuUy described, is produced by means of a double 
 
 M'-m 
 
 reed. The ordinary compass extends from 
 
 though occasionally the upward range extends to a note or 
 two higher. The two lowest notes also are seldom written, 
 the CJt especially being somewhat difficult. The notes Ai2 
 and G( in the first octave are also difficult in rapid 
 passages if alternated with the notes immediately above or 
 below them. Similarly the alternation of D2: and Et, or 
 C# and DJt in the second octave is difficult in phrases like 
 
 E^ 
 
 - S I I -t- 
 
 i 
 
 ± 
 
 -t=i^=t 
 
 Even the B2 in the first octave in alternation with the C 
 above is difficult in any rapid passage. The best keys for 
 the instrument are those which have not more than three 
 flats or three sharps in the signature. 
 
 The Coeno Inglese. — The compass of this (transposing) 
 instrument is, according to the written notes from 
 
 n . —Q- ~~ but according _ a —a- 
 
 : ^^~: to #=:= to the sounds Azzir *" ffi: 
 c^ -ri- *^ nroduced, from ^^ — *-^ 
 
110 A Manual of Orchestration 
 
 The Bassoon, or Fagotto, is aa instrument whose tone, 
 like the Oboe, of which it may be considered to be the 
 bass, is produced by a double reed. It is said on p. 51 to 
 have a range of about four octaves, but for orchestral 
 purposes the compass does not exceed three octaves from 
 
 its lowest note "^^ The 'Bassoon gives the con- 
 
 seoutive harmonics of an open pipe and the real 
 fundamental scale ends with "^ The notes below 
 
 n — 
 
 this are produced by mechanical means and are rarely used 
 except in slow passages. The best keys for the instru- 
 ment are, as in the oboe, those with not more than three 
 flats or three sharps in the signature. In other keys 
 rapid passages must be avoided. Where the music runs 
 high it is written in the tenor stave. The tone of the 
 instrument in its upper register resembles to some extent 
 the tenor voice. 
 
 Thb CoNifiA. Fagotto, or Double Bass Bassoon, is, as its 
 name implies, an octave in pitch below the ordinary 
 bassoon. Its extreme compass covers three octaves, but 
 the range upwards for ordinary orchestral purposes does 
 not extend beyond the fifth of the third octave. In 
 notation this compass wiU be represented as from 
 
 ^" But the sounds produced will, as 
 M: to -(f)j in the Double Bass, be an octave 
 
 ' - lower. 
 
 The Clabinet. — The tone of this instrument, unlike 
 the oboe and bassoon, is produced by a single reed. The 
 
 ordinary compass extends from f^^ to yf 
 
 O" 
 
 but solo passages often run a few notes higher. Of the 
 
Appendix. 
 
 HI 
 
 tkree varieties of the instrument named on p. 60, only 
 that in C produces the sounds as written. The other two 
 are " transposing instruments." On the Bl;- clarinet the 
 sounds produced are a tone lower than the written notes. 
 The notation for this instrument is, therefore, a tone 
 higher than the music. This may be seen in Ex. 24, 
 where the clarinet parts are written in C and the effect 
 produced is 
 
 \M3^k?3f3^m 
 
 Again, on the A clarinet the sounds produced are a minor 
 third lower than the written notes, and the notation for 
 this instrument is, therefore, a minor third higher than the 
 music. The passage of Ex. 20, for instance, would be 
 written for an A clarinet thus — 
 
 i 
 
 *^ 
 
 The prime reason for the use of three clarinets of different 
 pitch is to provide for all the scales and to avoid the 
 difficulties that belong to the instrument in scales that are 
 at all distantly related to its own normal scale. Except in 
 the extreme keys it is always possible by the selection of 
 the suitable instrument to avoid a key that will involve 
 more than two flats or two sharps in the signature. 
 On this consideration alone the clarinet in B2 would be 
 chosen for music in its own key and for aU those keys 
 having more flats in the signature ; the clarinet in A would 
 be chosen for music in its own key, for the key in two 
 sharps, and for all those keys having more sharps in the 
 signature ; and the clarinet in C for music in its own key 
 and for the keys having only one sharp or one flat in the 
 signature. But there is another point to consider, viz., 
 that each clarinet has its own distinctive quality of tone. 
 It has already been mentioned by the author (p. 50) that 
 
112 A Manual of Orchestration. 
 
 the clarinet in C is very rarely used, and this is because it 
 is, in some portions of its register especially, somewhat 
 hard in tone. The clarinet in A is much richer, and that 
 in BiZ, which the author has referred to as often preferred 
 by first-class players throughout an entire work, is the 
 richest and most brilliant in tone. It will be seen, then, 
 that while the passage in Ex. 20 could be played on the C 
 clarinet, involving only one sharp in the signature, that, 
 other things being equal, the A clarinet, requiring two 
 flats in the signature as already shown would probably be 
 preferred, while some players and some composers for par- 
 ticular effect would prefer the clarinet in B2:, involving 
 three shari)s in the signature. 
 
 The Basset-Hokn, or, according to its Italian name, 
 Como di Bassetto, is a clarinet of large size, bearing the 
 same relation to the clarinet in C that the Como Inglese 
 does to the Oboe. The instrument is sometimes termed 
 the Tenor Clarinet. Its noi-mal key is F. It has been 
 
 seen that the lowest note of the clarinet in C is 
 
 and on the basset-horn, which stands a fifth lower, this 
 would give ^Sb - By additional keys and a prolonged 
 
 bore the range downwards is extended to 
 
 and the entire compass extends from this to 
 
 i 
 
 In notation, however, the compass would be represented 
 
 i 
 
 as from tg; ^i — to 5?C The music for the instru- 
 
 ment is mostly written on the treble stave, in which case 
 the notation is always a fifth higher than the sounds 
 produced. But in the lowest register to avoid leger lines 
 
Appendix. 113 
 
 the bass stave is used. In tMs case the notes are an 
 octave lower than the proper position, and the sounds 
 produced are a fourth higher than the notation. Thus the 
 
 passage M|' # f =H would sound -(gj-rJ^zzg 
 written -^=^ — r-\ r- -^^"^ — i i i I 
 
 ^m 
 
 Music for the instrument is rarely written now, and its 
 chief interest lies in the music that has been written for 
 it by Mozart in his Requiem, where it replaces the clarinet, 
 and in his operas Die Zauberflbte, Clemenza di Tito, and 
 Le JVbz%e di Figaro. Mendelssohn is the only other com- 
 poser of note who has written for the instrument. 
 
 The Bass Clabinei is an instrument an octave below 
 the ordinary Bfe clarinet, having a similar compass. The 
 part for the instrument is usually written on the treble 
 stave, in which case the notation is a major ninth higher 
 than the sounds produced. The bass stave is, however, 
 also employed, the notation being then only a tone higher 
 than the sounds produced. The instrument, so rich and 
 effective in its lower register, was formerly confined to the 
 military band, where it is often used instead of the 
 bassoon. Meyerbeer in £es Sugenots, Auber in his 
 Exhibition March, and "Wagner in Lohengrin and the Ring 
 der Nilelungen, are the chief composers who have intro- 
 duced the instrument into the orchestra. 
 
114 
 
 A Manvml of Orchestration. 
 
 BEASS INSTKUMENTS. 
 
 The Hoen. — It has already been, said (p. 58) of the 
 natural horn, as it is sometimes designated, that it has 
 neither valves nor pistons. The natural sounds are given 
 in Ex. 30, and the stopped or artificial sounds that are 
 produced with the assistance of the hand are given in 
 Ex. 31. The series of notes in this latter example 
 represents the full resources and the compass according to 
 the pitch of the real sounds produced on the horn in C. 
 But, as may be gathered from the author's subsequent 
 remarks in respect to the highest note it is advisable to 
 write, the notation is an octave higher than the sounds 
 produced. By means of separate pieces of coiled tube, 
 called crooks, the rustrument is practically lengthened in 
 the whole extent of its tube and put into other keys. 
 The notation is, however, mostly in the key of C and in 
 the treble stave, the composer indicating at the coromence- 
 ment of the movement what key or keys he wishes the 
 horns to stand in by the words " Comi in Eli," " Comi in 
 G," &o. "When a change of crook is required during the 
 course of a movement it is indicated by the words " Muta 
 in Eli," &c. The horn in " high C" is little used. In 
 the other keys most usual for the horns the sounds pro- 
 duced when the music is written in the treble stave is as 
 follows : — 
 
 Horn in BC (alto) a tone lower than the notation. 
 
 ,, A a minor 3rd 
 
 ,, Gr a perfect 4th 
 
 ,, Fa perfect 5th 
 
 ,, E a minor 6th 
 
 ,, E|2: a major 6th 
 
 ,, Da minor 7th 
 
 ,, C an octave 
 
 ,, BiZ (basso) a major 9th 
 
Appendix. 115 
 
 It is possible to get other keys by tbe use of an inter- 
 mediate crook, wMob lowers the pitch of an ordinary crook 
 by a semitone. In this -way are obtained Horns in AJZ, 
 Gl2 (or F#), Dfe, B hasso (or Cb), and A lasso. 
 
 Though the compass is nominally the same for all horns 
 as that referred to for the horn in C it should be noted 
 that in horns of low keys the low notes of the series 
 (Ex. 30) are difficult of production, and in the horns of 
 high keys the higher notes of the series are unavailable. 
 The lowest notes are often written on the bass stave, and 
 in this case, as in the basset-horn, the curious custom 
 prevails of writing the notes an octave lower than their 
 true position. Thus the first six notes of the series in 
 
 Ex. 30 would be written 
 
 i 
 
 -e>- 
 On the C horn, as already seen, the last three notes would 
 
 sound an octave lower, but the first three would sound 
 
 according to the pitch represented. On the F horn, 
 
 again, the last three notes would sound a 5th lower, and 
 
 the first three would sound a 4th higher, thus 
 
 J2. 
 
 ffi\' 
 
 
 — ^; — 
 
 -& , 
 
 
 
 
 <J 
 
 
 
 
 In scoring for two horns they need not necessarily be in 
 the key of the movement, especially if that be an unusual 
 key for the horn, like Ai2. In this case a horn in El2 could 
 be used. Here it may be as well to remark the first horn 
 part should not q nor the second 
 
 j% snouia not q nor tne secona q 
 
 go below ^ horn part above ^E 
 
 When four horns are used it is mostly desirable to have 
 each pair in a different key. If the movement is in the 
 major key one pair will be in the key of the piece and the 
 other may be either in the dominant or sub-dominant key, 
 and if the movement is in the minor one pair wiU be in 
 
116 A Manual of Orchestration. 
 
 the key of the piece and the other may be in. the relative 
 major. Usually, though not always, the third and fourth 
 horns are in the lower rather than in the higher key. 
 Sometimes all four horns stand in different keys. The 
 selection in all cases is made on the principle of ohtaiaing 
 the greatest number of open notes. 
 
 Of the valve or ventil-hom the increasing use of which 
 the author admits but deplores, the mechanism may be 
 briefly described by which all notes axe obtained through- 
 out the compass of the instrument without recourse to 
 crooks. The valves or pistons divert the column of air into 
 extra portions of the tube which practically increase it in 
 its entire length, and this of course lowers the pitch. There 
 are three valves in the kind of horn now under notice, but 
 it has been pointed out by Dr. Stone that from the closeness 
 of the harmonics to one another in the part of the scale 
 chiefly used two valves — ^the first and second — ^would be 
 sufficient. The first valve depresses the pitch by a tone, 
 the second valve by a semitone, and the third valve by three 
 semitones. In this -way all the notes between the open 
 notes of the natural scale of the instrument are provided 
 for, and by the simultaneous use of all three valves the 
 downward range is increased by six semitones. Taking, for 
 instance, the third note of the series in Ex. 30 as it would be 
 
 written on the treble stave ^ ) the same blowing 
 
 would produce the following series of notes by the use of 
 the pistons indicated by the figures 
 
 1 &2 
 or 3 2 & 3 1 & 3 1, 2, & S. 
 
 i 
 
 Though the valve horn provides by mechanical means for 
 all the closed notes of the natural horn these closed notes, 
 
Appendix. 117 
 
 whicli have their own peculiar effect can still be obtained 
 in the usual way — ^by the assistance of the hand in the 
 bell — ^whenever the composer desires them. They are 
 indicated in the score by the words "closed" or "bouchee," 
 or the sign X placed over the note. One advantage in the 
 use of the ventil-hom is that a transposition can be 
 obtained instantaneously, while in the natural horn there 
 must be time allowed to change the crook, and some 
 changes require especial caution, as from a very high 
 to a low key, or from a very low to a high key. Some 
 composers use ventil-homs and natural horns together in 
 one score. 
 
 The Tetjmpet {ltd. Tromba or Clarino). — The modem 
 instrument — or slide trampet, as it is sometimes termed — is 
 of brass, mixed metal, or silver, formed of a continuous 
 tube twice turned, forming three lengths and termiaating 
 in a bell. The natural notes produced by the mere 
 difference in blowing are the same as for the French horn, 
 but the lowest note and the higher notes of the series are 
 dLflS.cult to obtain, especially in the higher keys, and the 
 practical compass for the instrument for the orchestra is as 
 foUows : — 
 
 X X ^ 
 
 i 
 
 =^ 
 
 The author has already mentioned that the F is not in 
 tune, and that the use of the slide is necessary to bring the 
 note into tune. The student may be reminded that the 
 Bfe is, as in the horn, also out of tune, being too flat, and 
 the use of the slide will correct this inaccuracy. The 
 slide is also used to produce an under semitone to the 
 natural notes and is of special use in the upper part of the 
 register for chromatic passages. The instrument is also 
 furnished with five additional pieces or crooks by which 
 the whole instrument is put into other keys, as in the case 
 of the horn. Before mentioning these keys it should be 
 
118 A Manual of Orchestration. 
 
 said that music is written for tlie iastrument oa the treble 
 stave, and in the open key. On a trumpet in C the notes, 
 say, of those given above as the compass of the instrument, 
 would be produced at the same pitch and not an octave 
 lower as iu the horn. In the other most usual keys for 
 the trumpet the sounds produced would be as follows : — 
 Trumpet in F a perfect 4th higher than the notation. 
 
 E a major 3rd 
 
 Elz a minor 3rd 
 
 D a major 2nd 
 
 B17. a major 2nd lower 
 
 A a minor 3rd lower 
 The last named is little used. Two other keys are possible 
 by means of a lengthening piece, viz., DlZ and B, but these 
 keys also are seldom used. If a key is required for which 
 there is no crook in general use, like Gr, the trumpets will 
 be put into a relative key. Generally only two trumpets 
 are used in the orchestra which are set in the same key. 
 The valve trumpet has the same mechanism as that 
 described for the ventil-hom and possesses the same 
 advantages in obtaining all the extra notes for the 
 chromatic scale throughout the entire compass. But the 
 quality of tone is inferior, and most musicians would prefer 
 the instrument that the author terms the trumpet's 
 successor, which is next to be described. 
 
 The Coknei. — The natural sounds produced by the 
 instrument are represented by the notes 
 
 i 
 
 On a comet in B|2, the instrument that is mostly used in 
 the orchestra, the actual sounds produced would be a tone 
 lower. All the intermediate notes between these are 
 produced by the mechanism of the three pistons with 
 which the instrument is furnished, and the downward 
 compass of the instrument is extended by the same means 
 
Appendix. 119 
 
 as already fully described for the ventil-tom. The comet 
 also has crooks which lower the pitch of the entire instru- 
 ment, the most common being those which put the 
 instrument in A, AlZ, and Gr. 
 
 The Teombonb. — This has its own natural sounds 
 common to an open tube, the series being similar to those 
 given for the comet with the exception of the sound 
 written as Bt which is not available. All the intermediate 
 notes are obtained by means of the slide. By drawing 
 this out the whole tube is lengthened and the instrument 
 depressed in pitch throughout, just as the same efEeot is 
 accomplished by the mechanism of the valves or pistons in 
 the ventil-hom and cornet. The three varieties of the 
 trombone are named by the author on p. 68. The compass 
 
 of the alto trombone in E 5 is from 
 
 to 
 
 -Tzr 
 That of the tenor trombone in Bi2, whose natural pitch is 
 
 ... ^ 
 a fourth below the alto 
 
 instrument, is from 
 
 to 
 
 E 
 
 The bass 
 
 trombone is made of various sizes, but that in Gr is most 
 
 used, a minor third only below the tenor trombone, and the 
 
 -et- 
 
 compass is from '~— -" : to -szzzz The particular 
 
 means by which these extra sounds are obtained that 
 extend the compass downwards may now be described. 
 The sHde is used in seven different positions, the first 
 giving the normal sounds of the instrument. Each of the 
 other positions depresses the pitch by a semitone. The 
 effect of the different positions of the slide on the three 
 instruments may be thus represented. 
 
120 
 
 A Manual of Orchestration. 
 
 v% 
 
 Alto Teombone in El7. 
 
 ■^ 
 
 g 
 
 
 I 
 
 I 
 
 Tenob Tbombone dt Bb. 
 
 a 
 
 §. 
 
 s. 
 
 a 
 
 o 
 
 'O 
 
 1^ 
 
 _j^ 
 
 ^ 
 
 ^ 
 
 
 1 
 
 o 
 
 
 1 
 
 Bass Tbombonb in G. 
 
Appendix. 121 
 
 Practically tlie performer has seven instruments in one at 
 his command, and by a single movement of his slide can 
 pass from one to the other. But it must be remembered 
 that as a certain portion of time is required to shift the 
 tube from one extreme to another, all rapid passages must 
 be avoided which necessitate the alternate changing of 
 extreme positions of the slide, such as would be involved 
 in the following passage for the bass trombone— 
 
 M 
 
 S=^^ 
 
 It will be seen that the Ajz is, as the equivalent of Gfl, 
 obtainable only in the seventh position, whUe the Gr is 
 in the first position. The various methods of writing the 
 parts for the diflerent instruments are sufficiently indicated 
 on p. 68. It is only necessary to add that the notation is 
 always according to the key of the movement. 
 
 The Ophicibidb. — This has the natural sounds of the 
 series common to all brass instruments, which of those 
 available, are as follows for the more common ophicleide 
 inC— 
 
 "{7S\- - ■ n 
 
 
 
 
 By the keys with which the instrument is provided the 
 compass can be extended from v£dJ ■ to ^ '' ■ ' 
 
 but for orchestral use the upward range does not exceed 
 the G of the primary series given above. The effect of 
 the use of the difEerent keys is similar to that described 
 for the ventn-horn and trombone. But while in those 
 cases the mechanism depresses the pitch, in this case it 
 raises the normal pitch of the instrument with the 
 sole exception of the first key which lowers it throughout 
 
122 A Manual of Orchestratton. 
 
 by a semitone. The several keys of the instrumeiit ■will 
 alter the pitch as follows 
 
 1st key. 2nd key. 3rd key. 4tli key. 6tli key. 6tli key. 
 
 m-- 
 
 |s: TT ^ H^ 
 
 the normal pitch being represented by the open note. All 
 the derivatives of these notes are included according to 
 the series named above. There are also extra keys •which 
 produce these respective notes — 
 
 -|g o l>^> t K - * ^ 
 
 and these allow of a complete chromatic scale in the lower 
 octave. As in the trombone, several of the notes may be 
 produced in different ways, and as a result more accurate 
 intonation is obtainable than in an instrument with three 
 or four valves like the tuba or bombardon and the 
 euphonium, which, as said on p. 70, have taken the place 
 of the ophicleide. The chief objection to the instrument 
 is that its tone is too powerful for general blending with 
 the other brass instruments. Besides the ophicleide in C 
 there is one in Bi, a tone lower. The music for it is, 
 however, usually written according to the key of the 
 movement, as in the case of the trombones. Sometimes 
 the part for the ophicleide is written on the same stave 
 as that used for the trombones. 
 
Appendix. 123 
 
 PEECUSSION INSTEUMENTS. 
 
 DjiTjMS. — The Kettle-Drums {Ital. Timpani) are usually 
 employed in pairs. Each has a compass of a fifth, the 
 
 smaller drum covering this range -@j '^ and the 
 
 larger drum this range -1^ ^^ They are most 
 
 commonly tuned to the tonic and dominant of the key. 
 In the keys of F and Bfe it will be easily seen that the 
 dominant may occupy different positions in relation to the 
 tonic, i.e., either above or below the tonic. In all other 
 keys the tonic and dominant can only be in one relation. 
 In the keys of B, C, C#, D, E!2, and E the dominant will 
 be below the tonic, and in the keys of A, Ajj, G, and F# 
 the dominant will be above the tonic. In old scores the 
 part for the drums is written on the bass stave with the 
 notes C and Gr, whatever the key of the piece, the tuning 
 being indicated by the words " Timpani in Gr, D," 
 " Timpani in Ei2, Bi," &c. It is now the custom to 
 write the notes of the tonic and dominant according to 
 the key, though without accidentals. This latter plan is 
 the more necessary since composers have taken to write 
 other notes than the tonic and dominant. Beethoven has 
 the drums tuned in octaves as [in his Eighth and Niath 
 Symphonies, the passage in the Scherzo of the latter 
 
 5=3 1 ' s 2 
 
 being a well-known instance. Mendelssohn and others 
 have also for special effects adopted special tunings. 
 Occasionally both drums are used at once, a device first 
 used by Beethoven. Some composers also, notably Auber, 
 Spohr, and Meyerbeer, have written passages that require 
 three drums. The roU of the drum is indicated in notation 
 in either of the following ways — 
 
124 A Manual of Orchestration. 
 
 
 ^ 
 
 
 tr. 
 
 l'r^\- 
 
 /"nV 
 
 
 
 
 
 
 
 ■(m- 
 
 TT" 
 
 The Bass Drum has been sufficiently described on pp. 
 71 and 72. It is not tuned to any particular sound and is 
 used for marked rhythmic effect, mostly in company with 
 the cymbals, one player taking the two instruments. The 
 part is written on the C of the bass stave. If the two 
 instruments are named together thus " Big Drum and 
 Cymbals," " Grosse Caisse et Cymbales," or " Gran Cassa 
 e Piatti," it is understood that the stroke of both is to be 
 coincident. 
 
 The TniAtTGLE is another instrument occasionally used 
 in the orchestra to mark the rhythm in movements of a 
 light and airy character. It is usually taken by the per- 
 former on the drums, who is generally otherwise unoccupied 
 when the triangle is used. The part is written sometimes 
 on C in the treble stave, sometimes on the G- in the fourth 
 space of the bass stave, and sometimes on a single line, 
 thus — 
 
 tr. 
 
 _J_p. j ^ [J J r I 
 
'N\^< t">''\'? VfT^ W n N ^'^ ^ 
 
 \ ^■ft.