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Editor's Preface | VII-XII |
Extract from the Author's preface (1891) | 1 |
Extract from the Preface to the last edition | 5 |
Chapter I. — General review of orchestral groups |
A. Stringed instruments | 6 |
B. Wind instruments: |
Wood-wind | 12 |
Brass | 21 |
C. Instruments of little sustaining power: |
Plucked strings | 26 |
Pizzicato | 27 |
Harp | 27 |
Percussion instruments producing determinate sounds, keyed
instruments |
Kettle-drums | 29 |
Piano and Celesta | 30 |
Glockenspiel, Bells, Xylophone | 32 |
Percussion instruments producing indefinite sounds | 32 |
Comparison of resonance in orchestral groups, and combination
of different tone qualities | 33 |
Chapter II. — Melody |
Melody in stringed instruments | 36 |
Grouping in unison | 39 |
Stringed instruments doubling in octaves | 40 |
Melody in double octaves | 44 |
Doubling in three and four octaves | 45 |
Melody in thirds and sixths | 45 |
Melody in the wood-wind | 46 |
Combination in unison | 47 |
Combination in octaves | 49 |
Doubling in two, three and four octaves | 51 |
Melody in thirds and sixths | 52 |
Thirds and sixths together | 53 |
Melody in the brass | 53 |
Brass in unison, in octaves, thirds and sixths | 55 |
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Melody in different groups of instruments combined together | 56 |
A. Combination of wind and brass in unison | 56 |
B. Combination ot wind and brass in octaves | 57 |
C. Combination of strings and wind | 58 |
D. Combination of strings and brass | 61 |
E. Combination of the three groups | 61 |
Chapter III. — Harmony |
General observations | 63 |
Number of harmonic parts — Duplication | 64 |
Distribution of notes in chords | 67 |
String harmony | 69 |
Wood-wind harmony | 71 |
Four-part and three-part harmony | 72 |
Harmony in several parts | 76 |
Duplication of timbres | 77 |
Remarks | 78 |
Harmony in the brass | 82 |
Four-part writing | 82 |
Three-part writing | 84 |
Writing in several parts | 84 |
Duplication in the brass | 85 |
Harmony in combined groups | 88 |
A. Combination of wind and brass | 88 |
1. In unison | 88 |
2. Overlaying, crossing, enclosure of parts | 90 |
B. Combination of strings and wind | 94 |
C. Combination of the three groups | 95 |
Chapter IV. Composition of the orchestra |
Different ways of orchestrating the same music | 97 |
Full Tutti | 101 |
Tutti in the wind | 103 |
Tutti pizzicato | 103 |
Tutti in one, two and three parts | 104 |
Soli in the strings | 104 |
Limits of orchestral range | 106 |
Transference of passages and phrases | 107 |
Chords of different tone quality used alternately | 108 |
Amplification and elimination of tone qualities | 109 |
Repetition of phrases, imitation, echo | 110 |
Sforzondo-piano and piano-sforzando chords | 111 |
Method of emphasising certain notes and chords | 111 |
Crescendo and diminuendo | 112 |
Diverging and converging progressions | 113 |
Tone quality as a harmonic force. Harmonic basis | 114 |
Artificial effects | 116 |
Use of percussion instruments for rhythm and colour | 117 |
Economy in orchestral colour | 118 |
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Chapter V. — Combination of the human voice with orchestra. |
The Stage band | |
Orchestral accompaniment of solo voices | 119 |
General remarks | 119 |
Transparence of accompaniment. Harmony | 120 |
Doubling voices in the orchestra | 122 |
Recitative and declamation | 125 |
Orchestral accompaniment of the chorus | 126 |
Solo voice with chorus | 128 |
Instruments on the stage and in the wings | 129 |
Chapter Vl (Supplementary) — Voices |
Technical terms | 132 |
Soloists | 133 |
Range and register | 133 |
Vocalisation | 134 |
Vowels | 136 |
Flexibility | 137 |
Colour and character of voices | 137 |
Voices in combination | 139 |
Duet | 139 |
Trio, quartet etc. | 139 |
Chorus | 142 |
Range and register | 142 |
Melody | 144 |
A. Mixed chorus | 145 |
Chorus, in unison | 145 |
Progression in octaves | 145 |
Voices divisi; harmonic use of the mixed chorus | 146 |
B. Men's chorus and Women's chorus | 148 |