FLUTE.
Non-transposing. Compass:
Tone. Rich and full but easily obscured in the lowest
octave.
Pure and limpid above this.
Normal use. Doubling 1st Violins or the other Woodwind
at
the octave above. Used also for rapid decorative passages. In
solo
work it has an antique pagan character in its medium register.
PICCOLO.
Sounding an octave higher. Compass:
Not much used in bottom octave.
Tone. Shrill and acute in high registers.
Normal use. Doubling Flutes at the octave above, in
fortissimo
passages for full orchestra. Used quietly it adds great brightness
and piquancy especially in staccato work.
OBOE.
Non-transposing. Compass:
The extreme high and low notes are rarely used. Tone very
Characteristic. Plaintive and reedy. Pastoral in character, but
in
Staccato work playful or even spiteful at times.
Normal use. Solo passages, often very short, but can
draw a
fine long expressive line. Capable of considerable execution,
but
not comparable in this respect with Flute and Clarinet.
COR ANGLAIS.
Sounding a fifth lower. Compass:
Tone. Very characteristic. Hollow and woody on lowest
notes.
Tragic and expressive in medium register. Can be distinguished
from the Oboe by its rounder, more throaty tone.
Normal use. Chiefly used for solo work ; but often
doubles
Violas and/or 'Cellos in melodic passages. Its telling tone makes
it
unfit for unobtrusive filling-in parts. It usually has something
definite and important to say.
CLARINET.
Sounding when in B flat a tone lower, when in A a minor third lower. Extreme high notes rarely used. Compass (written):
Tone. Very rich and characteristic in bottom octave
(known
as the "chalumeau"). Cool and clear in medium register,
shrill
on the top notes. Capable of more variety in loud and soft than
any other wind instrument. When played very fast it can produce
a mere wisp of sound.
Normal use. Very adaptable. Excellent for solo work.
Passages in thirds and sixths for two Clarinets are frequently
used
and are very effective. Very useful for filling-in also. Capable
of
rapid execution. Arpeggio passages very effective and much used,
sometimes at great speed.
BASS CLARINET.
Sounding when in B flat a major ninth lower,
when in A a minor tenth lower. Compass (written):
Alternative notation is in the Bass clef, in which case the trans-
position is a tone and a minor third lower for the B flat and
A
instrument respectively. The Bass Clarinet in A is now obsolete.
Tone. Very velvety and unique in quality in the lowest
octave.
Above that the tone is something between that of a 'Cello and
a
Saxophone. The top notes are very rarely used.
Normal use. Generally employed for the effect of its
low notes.
Quite often used for solo passages, but is also useful as a bass
to
the Woodwind and for doubling other low-pitched instruments in
melodic work. Like the Clarinet it is capable of much variety
of
tone and can produce an equally delicate pianissimo.
BASSOON.
Non-transposing. Compass:
Tone. Rich and deep in bottom register. Expressive
and
'Cello-like in medium register. High notes rather thin and querulous.
Normal use. Of the utmost value in the orchestra. It
can be a
good soloist, double melodies an octave below Violins or the
higher
Woodwind instruments, act as bass to the Woodwind group or take
the bass line with the Double Basses when the 'Cellos are required
for melodic work. Blends admirably with Horns, Clarinets and
Strings, and is of great use in filling-in harmony notes in the
tenor
register, quietly and unobtrusively. It is capable of considerable
execution and its dry staccato is sometimes exploited for its
humor-
ous quality.
DOUBLE BASSOON.
Sounding an octave lower. Compass:
Tone. Very gruff and powerful on lowest notes.
Normal use. Reinforcing the Double Basses in fully
scored
passages.
HORN.
Horn in F, sounds a fifth lower. Compass (Valve Horn):
For other transpositions see THE TRANSPOSING INSTRUMENTS
Tone. Round and rich in medium register. Extreme high
notes rather rare. Bottom notes (chiefly used by 2nd and 4th
Horns) growly, but useful for long held notes. The tone is expres-
sive and poetic in quiet solos, rough and penetrating in fortissimo.
Normal use. Filling in, holding long notes, some solo
work.
Passages for four Horns in unison are effective and frequently
used
in modern music since Wagner. Blends well with Bassoons and
Clarinets and reinforces 'Cellos in melodic passages admirably.
The Horn quartet makes a rich middle for the orchestra. Muted
and hand-stopped effects are common in modern scores.
TRUMPET.
In C (non-transposing). Also in B flat and A, transposition
the same as for Clarinets. Compass (Valve Trumpet):
For other transpositions see THE TRANSPOSING INSTRUMENTS
Tone. Very rich and penetrating in forte and fortissimo;
quiet
tone is equally noble and imposing except on very high notes
which
are rather screamy but highly exciting.
Normal use. Occasional solo passages, but not suitable
for
anything of a romantic character as such melodies become vulgarised
on the Trumpet. Capable of considerable execution, but most
suited to fanfare-like passages, crisp chord-playing with Trom-
bones, or sustained work. Always makes its presence felt -and
is
therefore unsuitable for unobtrusive filling-in. Rapid repetition
of
notes (double or triple tonguing) is very effective.
When muted and played softly it changes its character, pro-
ducing a quiet far-away tone slightly nasal and devoid of all
the
martial pomp associated with the normal sounds. When muted
and played loudly the nasal character is much amplified and the
tone is harsh and very penetrating.
TENOR TROMBONE.
Non-transposing. Compass:
Tone. Similar to that of the Trumpet, taking differences
of
pitch into account. Blend of Trombones and Trumpets is therefore
perfect.
Normal use. Two Tenor Trombones and Bass Trombone are
used as a group in three-part harmony and are capable of all
degrees
of force from ppp to fff. Solo-work is rather rare,
but the three
Trombones are often used in unison for melodies of a grand and
impressive type. When played softly they blend admirably with
the Horns. Effective chord-spacing for Trombones plays a very
important part in the effectiveness of passages for full orchestra.
Crisp chords produce a fine crackling effect, while sustained
work
has a nobility unsurpassed in the orchestra, especially if the
tone
is unforced.
Muted Trombone effects are even more nasal in tone than those
of muted Trumpets.
BASS TROMBONE.
Non-transposing. Compass:
Tone. Similar to Tenor Trombone, but if anything it
is more
powerful and its low notes are definitely of better quality than
those
of the tenor instrument.
Normal use. Acts as bass to the Brass section and works
in
three-part harmony with the Tenor Trombones.
BASS TUBA.
Non-transposing. Compass:
Notes above the Bass staff are rarely used.
Tone. Round and full, never achieves like the Trombones
a
cutting edge.
Normal use. Doubles the Bass Trombone at the octave
below,
and sometimes makes true four-part harmony with the Trombones.
Reinforces important bass lines, and is rarely used as a solo
instru-
ment, and then only for some special dramatic effect as a rule.
TIMPANI.
When two Drums are used they have the following compasses:
and
When three are employed the extra Drum lies between the two
given above, viz:
"Machine-drums" are also used in some orchestras
(see
NOTATION OF PERCUSSION).
Tone. Resonant, and gives true pitch especially on
the medium
and higher notes. Capable of producing all shades of tone from
ppp
to fff both in single notes and rolls.
Normal use. Marking the rhythm, playing long or short
rolls,
crescendo or diminuendo or sustained at equal pressure. Adds
great power to the full orchestra, but is capable of very delicate
effects. A real musical instrument. The timpanist is a very import-
ant member of the orchestra.
Other Percussion instruments.
These give notes of indeterminate pitch, those in most common
use being Bass Drum, Cymbals, Triangle, Tambourine and Side
Drum. Others less frequently used are Gong, Jingles, Castanets,
Tenor Drum, Chinese Block, etc.
Normal use. To mark the rhythm, add weight to climaxes,
introduce local colour and dramatic effects. These instruments
are
not only used loudly, but are all capable of artistic and delicate
use.
THE GLOCKENSPIEL.
Sounding one or two octaves higher. Compass:
Tone. Clear and bell-like, produced by striking resonant
little
metal bars.
Normal use. Isolated notes, simple melodic figures,
and bell-
like passages.
THE XYLOPHONE.
Usually sounding one octave higher, but sometimes sounding
as written. Compass:
Tone. Dry and "chippy ". It is produced by
striking a Series
of wooden bars.
Normal use. Very agile, effective in very rapidly repeated
notes, combines well with pizzicato strings. Hard, expressionless
and brilliant.
THE CELESTA.
Sounding an octave higher. Compass:
This instrument has a keyboard like a piano, the tone being
pro-
duced by hammers striking steel bars. Its part is written on
two
staves like piano-music.
Tone. Clearer and rounder than that of the Glockenspiel.
Normal use. Solo-work of very light and airy character.
capable of considerable execution, the notes have some sustaining
power. Used as a charming colour-effect.
THE HARP.
Non-transposing. Compass:
The Harp has a special technique, the pitch of the notes being
altered chromatically by means of pedals.
Tone. Too well known to need description. Its part
is written
on two staves like piano music.
Normal use. Adding richness to the orchestral ensemble
by-
means of arpeggios, chords and so on. Often used to accompany
solo wind or stringed instruments. Glissandi are often used,
also.
harmonics. When a piece is written in a very sharp key such as
B
or F sharp the Harp part will often be found to be written in
the
enharmonic equivalent, i.e. C flat or G flat, because its special
technique is more favourable to remote flat keys than remote
sharp ones. Those who wish to discover exactly how the Harp
works must consult a text-book of orchestration. It is too. com-
plicated to go into in detail here.
THE VIOLIN.
Non-transposing. Compass:
A few higher notes can be obtained as harmonics.
Open strings
Tone. Too well known to need description.
Normal use. Divided info 1st and 2nd Violins and often
sub-
divided still further (divisi). The 1st Violins on the whole
carry
the most important melodic work in the orchestra. The 2nd Violins
provide an inner part or double the 1st Violins in unison or
at the
octave below. Double stops, tremolos and pizzicato are frequent
devices in the orchestra. The mute is often used. Much brilliance
is often imparted to a passage for full orchestra by rapid running
passages for the Violins while Brass and Woodwind provide the
chief thematic interest, but the 1st Violins are primarily melodic.
THE VIOLA.
Compass:
Higher notes can be obtained especially by the use of harmonics.
Open strings
Tone. Very characteristic in the bottom octave (C string),
powerful and becoming rather reedy as it ascends.
Normal use. Supplies inner parts in alto and tenor
register,
frequently called upon to play double stops and chords, while
tremolo and pizzicato are common. Sometimes used melodically,
especially when doubling the Violins at the lower octave. Not
in-
frequently a melody is written in three octaves for 1st and 2nd
Violins and Violas. In the early classics the Viola part often
doubles
the bass line in unison or at the octave above because Viola
players
could not then be entrusted with much independent work owing
to
their lack of technique.
Mutes are very effective on the Violas. Viola parts are fre-
quently divided into two or more parts (divisi) especially in
modern
works.
THE VIOLONCELLO.
Non-transposing. Compass:
Higher notes may appear in solo 'Cello parts both as ordinary
and
harmonic notes.
Open strings
Tone. Rich, full and powerful in lowest register. Middle
notes
less powerful (the tone of the two middle strings of all stringed
instruments is less powerful than that of the outside ones) but
of
pleasing musical quality. The top string is very expressive and
penetrating and its quality will no doubt be familiar to readers.
Normal use. Plays the bass line with or without the
Double
Basses. Also plays melodies and counter melodies in the tenor
register, either doubled in unison by other instruments of like
pitch
or alone. Combines well in unison with Violas, Horns, Clarinets,
Bassoons and Cor Anglais. Violoncello parts, like those of the
other strings, are frequently divided nowadays into two or more
parts (divisi). The pizzicato is resonant and is much used. Double
stops, chords, tremolos and so on are also frequently to be met
with.
The mute is perhaps less effective on the Violoncello than
on
the higher strings (probably because the mute is often not heavy
enough), but it is used when the other Strings are muted, though
in
early classical days this was not so.
THE DOUBLE BASS.
Sounding an octave lower. Compass:
Higher notes are possible, obtained both in the ordinary way
and as harmonics.
Tone. Rather gruff and dry when used alone, but when
doubled
an octave higher by Violoncellos or Bassoons the Double Basses
give great depth and power to the bass line. They rarely come
out
into the open, as it were, but are extremely important nevertheless
because without them the bass of the orchestra would be lamentably
weak and deficient. Their pizzicato is immensely effective and
resonant, having considerable duration, and is much used. Double
stops and chords are extremely rare, but nowadays " divisi",
especially in octaves or fifths is of frequent occurrence. Long
sustained notes in forte passages are not possible without changing
the direction of the bow fairly frequently, but they are often
written
in scores, the players changing their bows at different times.
Tremolos cannot be kept up long at great speed as they are very
fatiguing.
