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LIBRARY 1‘ Michigan State University THESIS THE The continual ris music departments in t. which the traditional . longer practical. Onc- tion and adaptation of ABSTRACT THE DEVELOPMENT AND PRELIMINARY EVALUATION OF A PROGRMIMED COURSE OF INSTRUCTION IN ORCHESTRATION FOR THE STRINGED INSTRUMENTS by Richard D. Worthing The continual rise in enrollment in college and university music departments in the last few years has created a situation in which the traditional, personal manner of teaching music is no longer practical. One solution to this problem has been the adop- tion and adaptation of certain mass teaching methods previously considered inappropriate in the arts, and in music particularly. Programmed instruction is one such method. Programming has already been applied to some of the basic factual aspects of music such as fundamental vocabulary and part- writing principles. Certain subjective aspects of music such as melody harmonization and aural perception have also been success- fully presented in a programmed format. These efforts have all been concerned, however, with basic, core material required of all first and second year college music majors. The next logical step was to test the application of programmed instruction in more advanced, hence more subjective, subject areas. The present experiment is an effort in this direction. in developing suct be answered. Can the s intelligible manner in material teach the sub} traditional class-lectll The first questior position of a linear p': orchestration. It was could be satisfactorily The second questic of the program with 5m $101195. In developing such material, two principal questions must be answered. Can the subject matter at hand he presented in an intelligible manner in a programmed format? And, can programmed material teach the subject matter as well as, if not better than, traditional class-lecture methods? The first question was answered through the supervised com- position of a linear program of 838 frames on stringed-instrument orchestration. It was found that all necessary subject matter could be satisfactorily presented in this format. The second question was answered through preliminary testing of the program with small (6-8 students) eXperimental and control groups. Although such limited testing can hardly be considered conclusive, the results of this preliminary evaluation indicate that more subject matter can be presented in a given amount of time through a programmed course of instruction than through con- ventional classroom methods. In Part THE DEVELOPMENT AND PRELIMINARY EVALUATION OF A PROGRAMIVlED COURSE OF INSTRUCTION IN ORCHESTRATION FOR THE STRINGED INSTRUMENTS by Richard D. Worthing A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC Department of Music 1968 No experiment of 2 without the assistancev individuals. Inasmuch not to be found anywhei of opinion among many i the material presented Acomplete listin; iovever, special acknm willing advice offered Pif. Louis Potter, lir. z “WI. Nelson Cleary, U; ' ...thigan State Univers The overall direc an: assistance in the ' by my thesis advisor. alpreciation. ACKNOWLEDGIENTS No eXperiment of the type presented in this thesis is possible without the assistance, both casual and concentrated, of numerous individuals. Inasmuch as the subject matter contained herein is not to be found anywhere in concise, authoritative form, a sampling of opinion among many accomplished performers provided the basis for the material presented. A complete listing of contributors would seem unnecessary. However, special acknowledgment is hereby made of the frequent and willing advice offered by Dr. Theodore Johnson, Mr. Romeo Tata, Mr. Louis Potter, Mr. and Mrs. Lyman Badman, Mr. Dinos Constantinedes and.Mr. Nelson Cleary, instructors in stringed instruments at Michigan State University. The overall direction of the thesis and invaluable training and assistance in the preparation of programmed material provided by my thesis advisor, Dr. Paul Harder,deserve a special word of appreciation. Technical assistance in the preparation of trial copies of the program for preliminary testing purposes was graciously pro- vided by the Michigan State University Department of Music. Students for the experimental and control groups for the testing situation were drawn from the Music 380 and Music 880, Materials of Music, classes of Dr. Merrell Sherburn and Mr. Thomas Richmond. ii Acknowledgnents . lntroduct i on frapter I The Violin , II The Viola III The Cello Iv The Double Ba 5. V BO“ 111g . to} Special EffeC‘ VII Scoring for S Vlll Results of ti Acknowledgnents . Introduction Chapter I The Violin II III IV The Viola The Cello V Bowing . VI VII VIII Bibliography The Double Special Effects CONTENTS iii Scoring for String Orchestra Results of the Preliminary Evaluation Page ii 27 45 63 79 115 229 296 298 l —! Historically speakrl orchestra,although this that the stringed instr fore the wind or percus' ions reign. Another re ““89. and endurance. orchestration with a st orchestra. it is inportant fc | the instruments for vhi areall sililar in desi henorize the terminolo.‘ toknov it to use this INTRODUCTION Historically speaking.the string section is the mainstay of the orchestra,although this concept is waning in modern.music. The fact that the stringed instruments reached a high level of development be- fore the wind or percussion instruments is a major reason for their long reign. Another reason is their great versatility, expressive range, and endurance. For these reasons we will begin this study of orchestration with a study of the stringed instruments of the modern orchestra. It is important for the orchestrator to understand the anatomy of the instruments for which he is writing. As the stringed instruments are all similar in design save for size, one illustration will suffice. ‘Memorise the terminology shown on the drawings below as you will need to know it to use this book. point~~~~ ”A or fi‘ ,_ Pe’ tip 'ff___————nut——-—““' a neck i ingerboar- hair .\ strings ~--wood 1 bridge/ tail- piece frog VIOLIN BOW Chapter I The Violin l. The smallest of the stringed in- struments is the violin. Foreign names for the violin which are found in scores include the fol- lowing: violino (It.), violon (Fr.), and.Violine or Geige* (Ger.). All of these except Geige are easy to recognize because of their similarity to the English name of the instrument. Place a check (8’) before the word below which means violin. a. Geige a. b. viola .34 _ c. Bratsche 2. Proceed as above. a. Bratsche b. alto Lc. __c. violino 3. List four foreign names for the violin on the lines below. violino violon Violine Geige (An: order.) *In German all nouns are capitalized. 2 To save space in scores the names of instruments are often abbre- viated. The abbreviation for violin is Vln.* Place a check before the abbreviation for violin in the list below. a. Vc. b. Vla. c. Vln. The abbreviation for violin Vln. is . 6. The four strings of the violin are tuned as follows: i I L ?V From this one can deduce that the lowest possible note on the violin is: E ‘4"? '1’ ii a??? (notate) (Answer on next page.) 7. A practical upper limit for ad- vanced violin players is shown below. Oh no; e Higher notes are possible but are rare. (Continued on nex§_gggs) *Abbreviations in scores are always capitalised. False. (It is the hig practical note higher notes a. 'possible.) ‘2‘ False. aE_ is the highest note possible on the violin. (It is the highest practical note but higher notes are 'possible.) (True/False) Circle those notes in the fol- lowing group which are not within the practical range of the violin. (The F 3 can be played en- harmonically as CH.) 9. Proceed as in Frame 8. ar-1 "3‘ 4; s a i!) :5 z a lO. Notate the overall practical range of the violin on the staff below. % 41L 11. For purposes of identification the strings are sometimes num- bered with Roman numerals. The "E" or first string is indicated by a I, the "G" or fourth string by a IV, etc. IV What Roman numeral would iden- II tify the "A" string? 12. a. D a. III indicates the string. b. E b. I indicates the string. c. IV c.'What Roman numeral identifies the "G" string? 13. To what pitches are the strings of the violin tuned? (lowest to highest) G D A E (No response necessary.) 16. The two most important aspects of orchestration are uniformity and variety. The balance be- tween those two factors can de- termine the success or failure of a score. To maintain uni- formity where necessary and achieve variety where desirable, one must know the characteristic timbre of each string of the violin. 15. The string having the most car- rying power is the E string. Some of the reasons for this are its construction, (usually steel wire) greater tuning tension, and the range in which it sounds. A singing, forte melody would be well suited to the E string. 16. Brilliant is another good term for the E string. A bright, gay passage (would/ would not) be would suited to the E string. a. Carrying power. b. Brilliance. c. Clear, ethereal sound. (Or equivalent.) 17. The E string can also produce a clear, ethereal sound when played softly. List three different character- istics of the E string. less 18. The A string may be made of steel or gut. The A string is somewhat weaker than the E string and loses carrying power as the pitch ascends because it is thicker than the E string. The A string has (more/less) carrying power than the E string. The A string. \ The E String- The A string. 19. The greater warmth of the A string makes it ideally suited for soft, eXpressive passages ranging up to: it it: ._ fiat---” On what string would the following passage sound best? Answer: The E string. 20. Which string is best suited to the following passage? (Con- sider tempo and dynamics.) Answer: Yes 21. Is the following example appro- priate on the A string? Answer: (Answer on next_pagg.) 22. The D string, made of gut wound with wire, or entirely wire wound, is the weakest of the four strings. It lacks both the carrying power of the E string and the full, rich tone of the G string. (Continued on next page.) 50ft, qifiet 9 1 (Or ecuiva. (NO IESponse I E / if Soft, quiet, subdued. (0r equivalent.) For what type of passage do you think the D string would be apprOpriate? Answer: (No response necessary.) The G string. 23. 24. The G string is also made of gut, or wire, wound with wire and is second only to the E string in sheer power. Its full, rich, dark sound is ideal for broad, sonorus melodies. The following melody is traditionally played entirely on the G string. Symphggy No. l Brahms .flnhnonoafnv?” On what string would the fol- lowing example sound best? j#_flhha£r Answer: 25. In the second octave above the Open pitch the G string becomes somewhat hoarse and nasal sounding. Place a bracket over that por- tion of the following passage which might sound hoarse and nasal if played on the G string. L i a a l 26. Name the string which best fits each of the following descrip- tions. a. E a. Most brilliant. b. C b. Rich, dark sound. c. A c. Suitable for soft, expressive passages up to d. D __ d. Weakest of the four strings. 27. List the four strings of the violin in order from most brilliant to weakest. E G A D (No response necessary.) 28. An important rule for orches- trators is to achieve the de- sired effect with the least possible difficulty on the part of the player. In order to do this the orchestrator must have some knowledge of the technique of the instrument for which he is writing. On the violin (and all bowed string instruments) the various pitches are produced by stopping the strings by pressing them down against the fingerboard with one of the fingers of the left hand. This stoppipg shor- tens the vibrating length of the string thus raising the pitch. 10 29. For pedagogical purposes the fingers of the left hand are numbered, index to little finger, 1-4. Note that this numbering is different than for the piano as the thumb is not used in playing the violin. In terms of the violin, what number indicates the index finger, 3 the ring finger, ? F. F F” 30. Traditionally the left-hand technique for the violin has been taught in terms of position. The left hand is in first ppr sition when the stopped pitch of the first (index) finger is ppg letter name above the pitch of the open string. For example, in first position on the D string the first finger may play Eb, E, or E1. Second position will place the first finger on the second letter name above that of the open string etc. What three possible pitches could the first finger stop (play) in second position on the D string? G? G G“ 31. What three pitches may the first finger play in third position on the D string? ll 32. Notate the possibilities that are open to the first finger in first position on the A string. L -.. .— - , .—_-‘----.‘--. -.__—__- - - —-——- -——--—-———- string. the G 33. What notes can the first finger stop in first position on the E string? —- _—- « —‘ s—w -—. «...... ~W..-----p—. —. “m-. ‘_——.—o‘_-»‘_—-¢—-_— — -4-‘--_.—— In second position on string? the E (No response necessary.) 34. You will notice that enharmon- ically speaking there is an overlap of a half step between any two adjacent positions. However, because string players can adjust their intonation and "play in the cracks" so to speak, the F in first position on the E string will traditionally be played higher than the G in second position. The exception to this rule is in twelve-tone music where the tempered scale and its enharmonic equivalents must be adhered to. When scor- ing this type of music the or- chestrator should notate the enharmonic which is easiest to reach and trust the performers to use the appropriate intona- tion. 12 35. So far we have discussed only the first finger of the left hand. Letting logic prevail, we find that each succeeding finger stops a pitch one letter name above that of the preceding finger. In first position on the G string the first finger stops some kind of A. The second finger will B stop some kind of . 36. What letter name will the third finger stop in first position on C the G string? D The fourth finger? 37. What four letter names can be covered in first position on the A string? 38. Continue as in the preceding frame. Second position on the D string. Third position on the E string. (Answer on next page.) 39. The natural span of the left hand encompasses a perfect fourth (ie. E to B' or F” to B in first position on the E string). (Continued on next page.) (first and 2nd W 2nd (E (W (first and third.) 13 How many positions would be used to play the following example on the D string? 2nd 4th 2nd (and) 4th 40. What positions would probably be used to play the following example on the A string? (No response necessary.) 41. Notes just above or below a given position can be played by using extensions (stretching the left hand) rather than by shifting (changing positions). Consider the following exerpt: New World Symphony. Dvorak The speed of this passage sug- gests that it be played on one string (D) and in the same position. The B can be reached by extending the 4th finger up- ward in first position,but an easier solution is to extend the lst finger downward in second position. The two possible fingerings are shown below. first position fig 0431 second position m o 4 1 1 1st (2;) 2nd 14 42. In what positions could the fol- lowing pattern be played on the D string using extension? Answer: or 3rd 43. What one position could be used to play the following pattern on the G string? Answer: (No response necessaryg) 2.1.. It is important to remember that the higher the position, the closer together the fingers must be placed because the sounding length of the string is shorter. Study the following exampée. p._.fi_£hIn% i ‘ L g 1* Notice that each successive oc- tave required half as much string to sound as did the preceding octave. Remember that the high- er positions are harder to play if scalewise (especially half- step) patterns are required but easier to play when skips are required because a larger inter- val can be spanned by the same reach of the hand than in a lower position. (No response necessary.) 15 45. The concept of position may also serve as the basis for discussing performer ability. Advanced players may generally be expected to play through the twelfth posi- tion (including extensions) on the E string. The D and A strings are harder to play in the upper positions and also "speak" less well as pitch ascends. For these reasons,the sixth position is a practical limit for advanced players on the inside strings. Fifth posi- tion is a common limit on the G string. Twelfth Sixth Fifth 46. What position on the E string is considered a general limit for advanced players.? What position is a practical limit on the D and A strings for advanced players? On the G string? It will lower it. (Answer on next page.) -_\ A7. 48. For high school players the limits are naturally lower. Fifth position on the §_string should be the maximum eXpected. How will this affect the upper limit of range for high school performers? A practical high-note limit for high school performers is 5 - (Continued on next page.) One octave. 16 How much lower is this than the general range limit for the violin given at the beginning of this chapter? . Yes. 49. In fifth position on the E string does the range limit expressed in Frame 48 require the use of extension? . No. It is only a half step beyond fifth position and in this area of the string the half steps lie quite close together due to the shorter sounding length of the string. 50. Do you feel that this would be a difficult extension? Why? The hand cannot span as many notes in the lower positions because the greater sound- ing length of the strings places the notes farther apart. 51. For high school performers the use of extensions should be kept at a minimum expecially in the lower positions. Why would extensions be more difficult in the lower po- sitions? 52. On the G string the limit is much lower than on the E string. Third position would be maximum for high school students as a general rule. What limit would this set as a high note on the G string? a, 31— Y (No response neces Fifth Po o- W (No response necessapy.) 17 53. The use of higher positions on the G string is usually limited to solo work for more advanced players. For this reason high school performers are usually not proficient above third position on the G string. No. 54. On the inside strings, third or fourth position is a safe lim- it for high school violinists. It would be good to remember that due to pedagogical tradi- tion, less advanced players are more proficient in the odd-numbered positions. (lst, 3rd, 5th) Excluding the use of extensions, is the following example appro- priate for high school players on the D string? Fifth position. 55. What is the highest position required to play the example in the preceding frame without an extension, on the D string? (No response necessary.) 56. Let us now review the techni- cal limitations for violinists. For advanced players (college or professional) tenth position on the outside strings and eighth on the inside strings are safe. For high school violinists, fifth position on the E string, third position on the G string, and third or fourth position on the inside strings are practical. E twelfth A suth D fixth G fifth E fifth A third or 0 third 0, G third \ 18 57. What positions are practical for professional violinists on each string? E twelfth E A sixth A D sixth D G fifth G 58. What positions are safe for high school performers on each string? E fifth E A third or fourth A D third or fourth D G third G 59. lib it; E; “— What is the overall practical range for high school violin- ists? bfl Em-.:,a__._w Yes. 60. Would the following example be suitable for high school violinists? Symphony No. 2 Ives Answer: 19 61. Professional. For which ability group, high school or professional, would the following excerpt be appro- priate considering that it is to be played on the é_string? ff 3521155. Answer: 62. Circle those notes in the fol- lowing excerpt that would be beyond the range of high school violinists. 3 Bruckner Symphosx No. 63. No. Could a high school performer be expected to play the fol- lowing excerpt on the G string? 3 Mahler Symphony No. Answer: (No response necessary.) 20 64. An important factor to remem- ber in reference to these ability standards is that they are only norms. In any given group of performers there are apt to be those who can sur- pass them and those who cannot measure up at all. If a score is intended for a particular ensemble, check with the play- ers as to their limitations before starting to work. lowest 65. The one aspect of violin technique yet to be discussed is the choice of string for a given note or passage. One usually thinks of a given note as being played on the string whose open pitch is immediately below that note. Another way of saying this is that a given note is usually played in the (highest/lowest) possible position. 66. Circle those notes in the fol- l owing group that would normally be played on the D string. E53??? 67.. Circle those notes in the fol- l owing group that would usually be played on the E string. :E L i 4E3 (No response 1 (No response necessary.) 21 68. For reasons of technical impos- sibility and uniformity of tim- bre, notes are not always played on the "usual" string. One technical impossibility is producing vibrato on an Open string. If the orchestrator wishes vibrato on a pitch iden- tical to one of the open strings he must mark that note to be played as a stopped pitch on a lower string (usually the next string below the Open string not desired). Study the following example. The "IV" over the D in the above example tells the player that the D should be played as a stOpped pitch on the G string rather than on the open D string. The "III" over the A directs the performer to play that note on the D string. In this way the entire passage can be played with vibrato. 69. Mark the following example so that it can be played entirely with vibrato. Amhmb (Answer on next page.) 70. The examples in Frames 68 and 69 are extremely simple for peda- gogical reasons. Most performers make the necessary adjustments without being told by judging the character of the music. (Continued on nextgpage.) (iv'o response ne cg non vib . 22 (NO response necessary.) Therefore, in orchestral music this practice is not widely used. The rule to follow is: If you think there is any doubt as to how the part should be played, MARK IT! 71. Violinists traditionally play long notes with vibrato. If, for reasons of effect, the orchestrator wishes a long note to be played without vibrato it should be marked. Writing "non vib." over the note or passage will achieve the desired effect. If no vibrato is desired on a note that can be played on an Open string it is marked writing over the note or non vib. passage. 72. Mark the following passage so that the long notes possible on open strings will be played without vibrato. mnwdh J _I T l ' 1" r Writing non vib. above the beginning of the passage. 73. Usually when the non-vibrato effect is desired it will in- volve stopped strings as well as Open notes. For these sit- uations write "non vib." above the beginning of the passage. Which method of indicating the non-vibrato effect can be used in all cases? (a O r85 On! (Aug? (S 23 74. Sometimes even in non-vibrato passages the brighter sound of an Open string is undesirable. In these cases the notes pos- sible on Open strings gay be marked with Roman numerals to indicate that they are to be played as stopped pitches. Add the necessary Roman numer- als to the following example to show that no open strings are to be used. (NO response necessary.) 75. As you can see, the above method adds many extra symbols to the music and might confuse the players more than help them. A simpler method is shown below. "Sul A" means on the A string". This is the recommended method for marking passages Of this type. 76. Mark the following passage so that no Open strings will be used. (Answer on next page.) ‘ 77. Often a composer or orchestra- tor simply wishes to exploit the unique timbre Of a specific string and will want a melody played entirely on that string even though its range would sug- gest the use of two or three strings. The following excerpt (Continued on next page.) The G be hard 1 24 (NO response necessary.) is an example of this type of writing. Sibelius Second Symphony One can see by the dynamic marking that this passage is well suited to the D string. The marking "Sul D" directs the players to use that string. 78. The G string. What string do you feel would be appropriate for the follow- ing passage? Mahler SymphonypNo. 3 Answer: 79. The fortississimo dynamic level would be hard to attain on the weak D string. (Or equivalent.) Why would the above exerpt probably not sound well on the D string? 80. Mark the following exerpt as to choice of string. Consider dy- namics and eXpression. Sui D (01') II The practical l \51 to . The fou‘. IheE string posess is more subdued, gr is the weakest of t sound. The fingers produce the various l-i Advanced play position on the E ar. 1 units for per‘m _l Mye fawor th 25 81. Two ways Of marking a passage to be played on the D string are or Sul D (or) III. . SUMMARY The practical range of the violin is four octaves from ‘- 5-1 tO E. The four strings are tuned as follows: fizzz. 5‘1““ -s The E string posesses the greatest brilliance while the A string is more subdued, growing weaker as the pitch rises. The D string is the weakest of the four and the G string has a full, rich, dark sound. The fingers Of the left hand which stOp the strings to produce the various pitches are numbered, index to little finger, 1-4. Advanced players may be expected to play through the twelfth position on the E string, sixth position on the D and A strings, and fifth position on the G string. High school violinists should not be expected to play beyond fifth position on the E string limiting their high note to g3. Third or fourth position on the inside strings and third position on the G string are practical limits for performers Of this level. Remember that less advanced players favor the Odd numbered positions (1, 3, and 5). A passage definitely in fourth position would be more difficult for many high school violinists than one in third or fifth position. Generally speaking, a given note is played in the lowest POSsible position. For reasons Of technique and timbre this is not always possible or desirable. In most cases good players will sale the necessai where the perfori with indications to exploit the t Few orches‘ technical aspec t specific musi good performer 26 make the necessary adjustments without being told. In any situation where the performer might "guess wrong" the part should be marked with indications such as "Sul D". These markings may also be used to exploit the unique timbre of one of the strings. Few orchestrators are complete authorities on all Of the technical aspects Of the various instruments. When in doubt as to a specific musical situation, the best solution is to consult a good performer on the instrument in question. Chapter II The Viola 1. The next largest instrument Of the string family is the viola. The foreign names for this in- strument with which you should be familiar are: viola (It.), alto (Fr.), and Bratsche (Ger.). The Italian name presents no problem as it is identical to English. Place a check (~/) before the equivalent of viola in the fol- lowing list. \/c. a. violino b. Geige c. alto 2. Proceed as above. a. Kontrabass )4 b. b. Bratsche c. Violoncell 3. The name viola is identical in Italian the English and languages. 4. Write three foreign names for viola on the lines below. viola alto Bratsche (An: order.) —\ 27 (W 28 5. The abbreviation for viola is Vla. Place a check before the abbreviation for viola in the list below. a. D.B. b. Vla. c. Vln. Vla. 6. The abbreviation for viola is (NO response necessary.) 7 The viola is slightly larger than the violin,but is other- wise identical in construction and manner Of playing. For this reason the information concerning the viola can be presented in terms Of comparison with the violin. 8 A very important difference in notation exists between the viola and the violin. Whereas the violin uses the treble clef the viola uses the alto clef almost exclusively. §=E On the staff provided, show the alto clef equivalents of the fol- lowing notes: -a:# H Ev L: E (1)ed%91 alto lin r e 2 d e 1 29 9. The viola uses the alto clef because of its range: Considering this range, if viola parts were written in either the treble or bass clef exclusively, many 1 _____ lines would (1)edger have to be used. 10. alto Viola parts are written in the clef to minimize the ledger lines use of . ll. The four strings of the viola are tuned as follows: a E -11: r,“ .-- 17 Give the letter names of these pitches. 12. Let us now review the practical range of the viola, which is: -W“ -.. .,_ ,_ _ Circle those notes in the fol- lowing group which are not with- in the range of the viola. v “m 1* a? s 13. Proceed as in Frame 12. q a: 9- gel”: 3O 14. Proceed as above. .2}: ‘é 1 ;¥:: 9% g;__ 15. Notate the overall practical range of the viola. ESQ; a. A b. C c. II d. IV 16. As with the violin, Roman num- erals are sometimes used to identify the strings of the viola. a. I indicates the string. b. III indicates the string. c. The D string is indicated by a . d. The C string is indicated by a . l7. Notate, from lowest to highest, the pitches to which the strings of the viola are tuned. E . False. 18. In cases where the viola part goes unusually high and stays there for more than a few notes the treble clef may be used. For one or two notes, however, it is easier to read ledger lines than to adjust to a different clef. The viola always uses the alto clef. (True/False) Does the pa; ledger line: (30 w m / 31 19. A good rule to follow is: Don't use the treble clef un- less the part requires ledger lines in the treble clef. In which example below should the treble clef be used? Answer: Does the part require ledger lines in the treble clef? 20. What is a good question to ask yourself in deciding when to use the treble clef? (No response necessary.) 21. In comparison to the violin the viola has a more sombre, less brilliant sound. This is due to the fact that the in- strument is somewhat larger and the strings and bow are slightly thicker than the violin. (Answer on next pagg.) 22. As to timbre characteristics of the individual strings, the viola is somewhat less even in quality than the violin. The A string of the viola is gen- erally more removed in timbre from the other strings than is the violin's E string from the other strings of that instru- ment. (Continued on next page.) I K Penetratix (0r ecu N.— Th, Penetrating, nasal. (Or equivalent.) 32 The A string of the viola easily becomes penetrating and nasal as pitch rises. It may sound very much like an oboe. What sound would you eXpect from the A string of the viola in its second octave? 23. On many violas the A string becomes nasal as low as Keeping this in mind circle the notes in the following group which might sound nasal on the A string. 19 ”A — E23: ND The D string. 2A. The D string is much more unob- trusive and gentle than the A string. Passages that would be too penetrating on the A string can often be played in better taste on the D string. On what string would the fol- lowing example be appropriate? Answer: BL . D (and) G. 33 25. The D and G strings both possess a good solid rich sound, the D string being more powerful than the D string of the violin. This sound often performs the important function of support- ing and filling in the tex- ture of the violins. Secondary melody and harmony parts would be well suited to the and strings of the viola. No. 26. The C string is full and re- sonant like the violin's G string. Unlike the violin's G string, however, the D string of the viola becomes hoarse or choked sounding upward due to its greater thickness. There- fore it does not receive the type of melodic assignments common on the G string of the violin. Is the example below well suited to the viola's C string? Answer: No. 27. Is the C string frequently used for expressive melodic passages similar to those often played on the violin's G string? less 28. Generally speaking the four strings of the viola are (more/ less) balanced in timbre than the strings of the violin. (No resoa \ F C D E (No response necessary.) 34 29. The general sound of the viola will vary with the type of strings used. Two common types currently used are wire wound over gut and all-wire wound strings. The all wire strings produce a more forceful sound. 30. Position technique on the viola is identical to the violin with slight exception. Judging from what you know about the violin, circle those notes in the following group which are available in first position on the viola's C string. 31. What four letter names would be available in second position on the D string? In third position on the A string? 32. What letter names can be stopped in first position on the C string? In second position on the G string? 35 33. Circle the notes in the follow- ing example that would be con- sidered beyond first position on the G string. 34. Circle the notes in the follow- ing example that are beyond the third position on the A string. 35. An important factor concerning position technique on the viola is that the slightly greater length of the strings places more the notes (ie. the fingers of the left hand) farther apart. This makes the use of extensions (more/less) difficult than on the violin. 36. Could the following figuration be executed on the C string g£_ the tggpo requegted without the use of extension? Probably not. . flflrrbcuwa¢ j] . .W Answer: 37. Spanning a P 5th in a low posi- tion is difficult for any vio- list who does not have large hands. Therefore, rapid accom- paniment figures should be closely examined for "playabil- try". (Continued on next page.) ill- , Extensl more d! lin, e: Positic \ 36 The A in the figure above could be played on the C string in lst position but moving over to that string and back is also hazardous in a fast tempo. Considering these two factors would you consider the example in Frame 36 good viola writing? Extensions on the viola are more difficult than on vio- lin, especially in the low positions. 38. What general statement can be made concerning the use of ex- tensions on the viola? (No response necessary.) 39. Because of the fact that his- torically the violas were given a supporting role in orchestral music and due to a rather lim- ited solo repertoire, violists, as a rule, are less proficient in high positions than violin- ists. (For reference one need only examine eighteenth century orchestral and chamber music to find entire compositions re- quiring only first position for the viola.) Eighth position is a practical limit for advanced players. 9 AL it g: 35 40. Notate the four baSic pitches available in eighth position on the viola's A string. A JL a eighth 41. A practical limit for advanced players is position. Third position. 37 A safe limit for high school violists is third position. What pitch does this indicate as the upper limit of range for high school violists? (excluding the use of exten- sions) E 43. Notate the highest pitch advisable for high school violists in terms of the treble clef. % E 44. What position is a practical limit for high school violists? Fifth position. 45. What is the highest position required to play the following passage on the A string? 1% h! APh‘E: ’ _'_ M T Answer: 46. Would the passage in Frame 45 be suitable for high school violists? Second position. 38 47. What is the highest position required to play the following passage assuming that it will be played on the A string? Roman Carnival Berlioz Answer: 48. Would the above example be Yes. within the range of high school violists? 49. For which ability group, high school or professional, would the following example be appro- priate? (Notice that it is marked to be played on the D Professional. string.) Variations for Orchestra Carter null .... (3*; If F ' Tfi Answer: What is the highest note one should expect high school violists to play? Le E False. 39 51. Due to the greater distance between pitches, violists (particularly the less advanced) make greater use of the even numbered positions than do violinists. High school vio- lists are more at home in second position than high school vio- linists. High school violists tend to avoid second position as do high school violinists. (True/ False) 52. As in violin playing, one usually thinks of a given note as being played in the lowest possible position. Circle those notes in the fol- lowing group that would normally be played on the D string. —ae~ “iii: iii; :3:: 53. Circle those notes in the fol- lowing group that would normally be played on the C string. E“ 11:... a; i; (Answer on next page.) 54. In discussing the violin we have seen that a given note is not always played in the low- est possible position for var- ious reasons. This is equally true on the viola. One of these reasons is the impossibility of producing vibrato on an open string. (Continued on nextpage.) .g.-—,“‘.. I .' a Willi / / 40 Using the recommended method, mark the following example so that those pitches possible on Open strings will be played as stopped pitches on a lower string. Ahéufiriwlé Ihhmfiefiulfl J 56. The markings used in the above frames compensate for the fact that cannot be vibrato produced on an open string. (No response necessary.) 57. As you learned in the previous chapter,most performers will make the necessary adjustments in the situation described in the preceeding two frames. However, in the case of inex- perienced players it would be wise to mark the parts. 0 non vib. 58. . The possibility also exists of desiring that a note or passage be played without vibrato. Violists, like violinists habitually play all long notes with vibrato. You have learned in Chapter I that when no vi- brato is desired on a pitch equivalent to one of the open strings it is marked either by placing a above the note or by writing over the note or passage. 41 59. Mark the following passage so that the long notes possible on open strings will be played without vibrato. 60. Write in non vib. Which of the above methods is usuable when stopped as well as open pitches are to be played without vibrato? 61. Mark the following passage so that it will be played entirely without vibrato. 62. namdh E Sometimes even in non-vibrato passages the sound of an open string will destroy the de- sired unity of timbre in a melodic passage. While not as noticeable on the viola as on the violin due to the more sombre general timbre of the viola, this factor should pos- sibly be considered in solo passages. As in violin nota- tion, Roman numerals may be used to show that an open string should not be used in a passage for the viola. Mark the following passage to show that open strings are to be avoided. 42 63. A simpler method in the case of passages that are generally diatonic is simply to mark the passage to be played entirely on a lower string so that all notes will be played stopped. Mark the following passage using this method. vibrato vib. 64. It is important to remember that once a part is marked non vib. the players will continue to play in that manner until instructed differently. Therefore when using this effect, be sure to write "vibrato" or "vib." when you wish the play- ers to return to that sound. When vibrato is desired again after a £22 vibrato passage, the word or the abbreviation must be written above the passage at the point where the vibrato sound returns. would not 65. Effects eXploiting the timbre of a specific string are as for- eign to the viola as they are characteristic of the Violin. This is partially due to the supporting, as opposed to melodic, role to which the viola was relegated in traditional music. Considering the statement above, one (would/would not) expect to see many indications such as Sul D in viola parts. 43 66. One possible exception to the above practice concerns the A string which becomes nasal and penetrating as its pitch rises. What marking might be appro- priate for the following pas- sage especially in view of the dynamic marking? O 2’? Sul D. Answer: SUMMARY The practical range of the viola is three octaves plus a major it third, from E to E. Viola notation uses the alto clef almost exclusively, and the four strings of the viola are tuned as follows: HEEEEEEEEEEE. The four strings of the viola are less bal- 1, anced in timbre than the violin and the general timbre of the instru- ment is mellow and sombre compared to the violin. The A string does become nasal and penetrating as its pitch rises. The technique of playing the viola is identical to the violin except that the notes lie slightly farther apart due to the slightly greater length of the viola's strings. This fact also makes extensions more difficult on the viola than on the violin. Eighth position for advanced players and third position for high school violists are practical limits. Traditional music made little use of the higher positions on the viola because the instrument was usually relegated to second need for As w in the la this is n violin no string is lusical s 44 to secondary parts. More recent music has shown us that there is no need for this to be the case. As with the violin, a given note for the viola is usually played in the lowest possible position. For reasons of uniformity of timbre this is not always true. In such cases the same markings used in violin notation apply. Exploitation of the timbre of a specific string is rather rare on the viola but may be used where a specific musical situation warrants it. Chapter III The Cello l. The second largest instrument of the string section is the violon- cello. Commonly referred to as the cello, its foreign names are easy to recognise: violoncello (It.), violoncelle (Fr.), and Violoncell (Ger.). Place a check (\/) before the equivalent of cello in the fol- lowing group. a. alto b. tenor c. violoncelle 2. Proceed as above. a. Violone 35 b. b. Violoncell c. Geige W 3. The foreign names for the violon- cello are practically identical True. with its English name. (True/ False) . 4. In English the violoncello is com- cello monly called simply the . 45 46 5 The abbreviation for cello is Vc. from the complete name of the in- strument. Place a check before the abbreviation for cello in the list below. a. Vln. b. D.B. c. Vc. Vc. 6. The abbreviation for cello is . 7 The cello is tuned to the same notes as the viola but an octave lower. Notate, from the lowest to highest, the four pitches to which the cello is tuned. IV II 8 As with the other stringed instru- ments, the four strings of the cello may be identified with num- bars. a. III indicates the string. b. I indicates the string. c. The C string is indicated by 8 . d. The D string is indicated by l . lfifi (“Jim W 47 19. From the tuning of the instrument we can ascertain the lowest pos- sible pitch which is E E? _v T (notate) 10. The highest practical pitch on the cello is .&—_—O___—_ #2 although higher pitches 1r False. are possible. .&___a_____ fiEE::::::: is the highest note (Higher notes are possible ‘ but igpractical.) possible on the cello. (True/ False) 11. Circle those pitches in the fol- lowing group that are outside the practical range of the cello. a;@r 9—.— H a. a ll "' ‘6. 1' 12. Continue as in Frame 11. ii l3. Notate the overall practical range of the cello on the staff provided. ¥$° g—se ‘l' \P 48 14. Cello parts are written primarily in the bass clef. Because its range extends quite high above the bass staff, the tenor clef and (sometimes) the treble clef are also used. The tenor clef places middle C on the fourth line. E32:==EE£L__ Give the bass clef equivalents of the following pitches. E i G“ W 3%“- “‘0 Answer: a: : V 4E1F:jt_1,_liiEEEEEEEEE 15. Give the treble clef equivalents of the following pitches on the blank staff provided. EEEEEgEEEEEE it —4r it: _L_ 1? (Answer on nextypagg.) 16. The tenor clef should not be used unless the cello part stays as above E for more than a measure or two. In which of the following passages should the tenor clef be used? Academic Festival Overture Brahms 8.W v *— (Continued on next page.) 49 Symphony No. 6 Tschaikovsky b. g§g§%§¥ I 5%] ggl I EE! 5% Answer: a. Alto clef. b. Tenor clef. 17. It is important not to confuse the tenor clef with the alto clef which is used for the viola but never for the cello. Identify the clef signs below. 8.E mg (name) (name) 18. The treble clef is also used in cello parts though rather infre- quently in traditional music. The treble clef should be used only when the part stays above a: E for more than a measure or two. In which of the following examples should the treble clef be used? Firebird Suite Stravinsky Answer: (No response necessary.) SO 19. An old and awkward tradition (found as recently as Tchaikovsky and Donak) regarding the use of the treble clef in cello parts was to write the part in the tre- ble clef an octave higher than the desired pitch. This practice is no longer in use. 20. A more recent innovation regarding the use of the different clefs in cello notation is to ignore the tenor clef and use only the bass and treble clefs. The reason for this is that the tenor clef par- tially duplicates both the treble and bass clefs and its use only avoids one ledger line, the one on which middle C is placed on the great staff. This avoidance of the tenor clef is not univers- ally accepted by cellists but is sufficiently used to warrant no- tice. When writing for a specif- ic ensemble or cellist, consult the musician who will be reading the part and notate it according to his preference. A. In current practice often only the bass and treble clefs are used in cello notation. B. This avoidance of the tenor clef is not universally accep- ted by cellists. Place a check (v’) before the choice below which best evaluates the above statements. a. A is true. b. B is true. c. Both are true. d. Both are false. False. 51 21. Cello parts should be written in the treble clef an octave higher than the desired sound. (True/ False) bass tenor treble (Any,order.) 22. An important factor to remember in regard to clefs is that one does not change clef for one or two notes or even for just one measure. Players would rather read a few ledger lines than change clef frequently. On the lines below list three clefs that may be used in cello notation. 23. The general timbre of the cello is warm and mellow but like the violin, it is extremely versatile where tone quality is concerned. The A string is singing and vi- brant, even intense when neces- sary. The melodic use of the cello in this register is exten- sive, especially where vivid ex- pression is desired. The following excerpt would be well suited to the string. Tristan und Isolde, Prelude These 52 24. The D string is also "warm" sounding and smoother and less nasal than the A string. Higher passages at a soft dynamic level might well be marked to be play- ed on the D string. Add the appropriate marking to the following passage. The A string. 25. Which string, D or A, would be more appropriate for the follow- ing example? Symphony No. 1 Sibelius Answer: The G and C strings. 26. The two lowest strings, G and C, are very evenly matched in timbre. Both are dark and rich in over- tones. Both are appropriate for full melodic passages or the dark foreboding sound often given the cellos. What strings are suitable for the following passage? 2’ Mistesioio Answer: I“ the 53 27. Apply the necessary marking to the example used in Frame 26 to prevent the cellos from crossing over to the brighter D string when the part enters the range of that string. Due to the greater thickness of the G and C strings they will tend to sound "stuffy" and weak when their sounding length is shortened in the second octave above the open pitch. Which passage below might sound stuffy if played as marked? Salt Answer: In their second octave. 29. At what point above their open pitch do the C and G strings be- gin to sound stuffy and weak? __, a. warm, intense, singing b. warm, smoother, less nasal than A string. c. dark, rich in overtones d. dark, rich in overtones (Accurate synonyms are acceptable.) 30. List the timbre characteristics of the four strings of the cello. a. A string b. D string c. G string c. C string 54 A minor third. 31. Position technique on the cello varies significantly from the viola and violin due to the con- siderable greater length of the strings. Understandably the notes lie farther apart on the fingerboard. The normal span of the hand encompasses only a minor third. A major third is a practical limit for the exten- sions up or down. What interval does the normal hand position cover in the first position on the cello? A major third. 32. What interval is practical with extensions up or down? (No response necessary.) 33. The interval which the normal hand position can span becomes larger, of course, in the higher positions as on the other stringed instruments. More often. 34. Considering the smaller interval spanned by the hand on the cello would you expect a cellist to shift more or less often than a violinist? less 35. The necessity of more shifts coupled with a larger instrument and a shorter and heavier bow would tend to make the cello (more/ less) agile than the violin. . . _. a—d ..-_~».-.~_e_ -fi. _,,__ y _ (No regponse necessary.) 55 36. Usually only three fingers are used in a given position unless a chromatic passage is being played. Study the following examples involving first posi- tion on the C string. Examples (c) and (e) above would be considered an extension of the second finger. (Normally a whole step is played 1-3.) 37. It will be sufficient to remember that the practical maximum span from first to fourth finger is a major third anywhere below fifth position. The numbering of the positions is based on the same letter-name relationship to the Open string as on the violin and viola. Circle those notes in the follow- ing group that are available in first position on the D string. W+ m T“ " 1 38. Circle the notes below that are available in second position on the C string. ZIP~— 4‘ :figv‘ramz:_trm_aiF;3F;:§§EEEEE§ 39. Circle the notes below that can be played in third position on the A string. 1L. -::::3EE:::£jt:::: “E?” LIE ry— 56 Second (and) third. 40. What positions would be required to play the following example on the D string? Answer: and . Third (and) fifth. rd H. "I r t n I 5 H'Lt L W 41. What positions would be required to play the following example on the G string? Answer: and . (No response necessary.) 42. As with the viola, the even num- bered positions on the cello are not avoided by less advanced players as they often are on the violin. Cellists are just as proficient in second and fourth position as they are in first, third, and fifth. (Answer on next page.) 43. Another difference in left hand technique on the cello is the use of the thumb. Because the instru- ment can be supported by the floor and the player's knees, the left hand need not help to support the instrument and can move more freely than on the violin or viola. When the left hand is in seventh position the body of the cello forces the thumb to leave its po- sition behind the neck of the in- strument. The side of the thumb may then be used to stop the strings, thus increasing the span of the hand. This is called a thumb position. (Continued on next page.) 57 True. Thumb positions normally occur in seventh position or above. (True/False) It increases it. 44. How does the thumb position alter the interval that the left hand can span? 45. The symbol indicating the use of the thumb is Q . How many times is the use of the thumb called for in the following passage in which the fingering has been Two. indicated? Answer: 46. In indicating cello fingerings The thumb. which finger does 9 indicate? 47. The thumb can also be used below the seventh position but is not employed in this area as often as in the higher positions. Thumb position should be expect- ed only from advanced players. A. The thumb position is pos- sible in any area of the fingerboard. B. Cellists of any ability are capable of using thumb po- sition. Check the choice below which best evaluates the above state- ments. a. Both are true. b. Both are false. c. A is true. d. Bistnm. No. 58 48. As you can see,the thumb posi- tion is a great aid in playing passages which incorporate wide skips. One must take care, how- ever, to allow sufficient time for the cellist to move the thumb from behind the neck of the cello to a position on the fingerboard. Would it be wise to include a skip requiring thumb position in a ra- pid and otherwise diatonic pas- sage? Yes. No. 49. 50. As with the other stringed instru- ments some limitations must be. set for players of various abil- ities. The overall practical range of the cello expressed at the beginning of this chapter in- dicates that tenth position on the A string can be expected from advanced players. Would tenth po- sition normally be considered one of the thumb positions? Positions above sixth are not as common on the three lower strings, especially the G and C strings, as they tend to sound stuffy in high positions, but may be called for in difficult orchestral and solo writing or for special ef- fects. Would you expect a cell- ist to be as proficient in tenth position on the G string as on the A string? lb 51. A safe limit for high school cel- lists is fourth position. Ex- cluding the use of extensions, what high-note limit would this set on the A string? 35f II 1 fl E . It is 59 It is an octave lower. (Or equivalenty) 52. How does this limit compare to the upper limit of the general practical range of the cello? 53. Considering the limitations ex- pressed above, which example be- low would be suitable for high school cellists? Third Symphony, Harris a. 8' rr fjfifi i T i 1 54. For what ability group, high school or professional, would the following excerpt be appro- priate? Professional. Symphony No. 4 Mahler Answer: 55. Circle those notes in the follow- ing excerpt which would be beyond the normal limit for high school cellists. §ymphony_No. 5 Shostakovich E _ “—‘W-‘—-—_ 60 56. As with the other stringed in- struments, one usually thinks of a given note for the cello as being played in the lowest possible position. Circle those notes in the following group that would probably be played on the D string. W *7— 57. Circle the notes below that would normally be played on the C string. 3?? C. It is impossible to produce vibrato on an Open string. The "clear" sound of an open string may destroy uniformity of timbre. One may wish to ex- pliot the unique timbre “of a specific string. Awkward shifts can be avoided. (Any ordegg) 58. For reasons of technical impos- sibility and uniformity of timbre, a given note is not always played on the Open string immediately below it. You have encountered some reasons for this in the previous chapters of this book. List four reasons for not play- ing a note on the "usual" string. (No response necessary.) 61 59. As the various ways of indicat- ing that a note is not to be played on the "usual" string have already been studied in connection with the violin and viola, further drill would seem redundant. It will be suffi- cient to remember that the same procedures apply to the cello. Stuffy, ineffective (Or equivalenty) 60. The idea of exploiting the unique timbre of a specific string on the cello does deserve special men- tion. The timbre of the G and C strings when played in their se- cond octave has already been dis- cussed. How would you describe the sound of these strings in their upper register? No. 61. Would you expect to see many mark- ings such as Sul G or Sul C in cello literature? My” in ml, 3? n A a r '1 .4 F HLJE 62. While the C and G strings are not used much in their upper regis- ters, the second octave of the D string is often preferred over the more nasal A string. Add the appropriate marking to the following example. flbfiufi! gag; f: E ' 7 L 'J 1: 2’? Because of the pianissimo dynamic level. 63. Why would the above example pro- bably not sound good on the A string? The fc as the four octave lowe Plus a peri uses primal used for hi The gs is singing sound. The and rich it and ineffec The 11 the Violin SUMMARY The four strings of the cello are tuned to the same letter names as the four strings of the viola. The actual pitches, however, are an octave lower in the case of the cello. These pitches are as follows: g§§ZZIZZIEEIfEEEE. The practical range of the cello is three octaves _..__._._.°_._____._._ 3 plus a perfect fifth or from EEEEEEEEEE to . Cello notation 3 uses primarily the bass clef but the tenor and treble clefs are also used for high passages. The general timbre of the cello is warm and mellow. The A string is singing and vibrant while the D string has a warm and less nasal sound. The G and C strings are quite evenly matched, both being dark and rich in overtones. These two lowest strings tend to become stuffy and ineffective in their upper two-thirds. The left-hand technique on the cello differs significantly from the violin and viola due to the considerably greater length of the strings. The normal hand position on the cello encompasses only a minor third as opposed to a perfect fifth on the violin. Another major dif- ference in cello technique is that the thumb of the left hand may be used on the fingerboard. Tenth position on the A string is a practical limit for advanced players and fourth position is safe for most high school cellisgs. This would limit the high note for high school cello parts to giEééiiii. The choice of string on which a given note is to be played follows the same normal procedures and exceptions as on the other stringed instru- ments. Exploitation of the unique timbre of a specific string is less common on the cello than on the violin but may be used if specific musical considerations require it. 62 Chapter IV The Double Bass 1. The largest of the stringed in- struments is the double bass, often referred to simply as the bass. The three common foreign names for the double bass are very similar: contrabasso (It.), contre basse (Fr.), and Kontra- bass (Ger.). Place a check (b/) before the equivalent of double bass in the list below. a. Kontrafagott g b. b. Kontrabass ____c. Bratsche wrv 2. Proceed as above. a. alto v’ c. b. violoncello c. contre basse 3. The English equivalent of contra- double bass basso is . 4. The double bass is often referred bass to simply as the . 5. The abbreviation for double bass is D.B. Place a check before the abbreviation for double bass in the list below. v’ c. a. Vc. b. Vln. c. D.B. 63 D.B. 64 6. The abbreviation for double bass is . MN 7. The double bass is the only string- ed instrument which does not sound the same pitch that is written in the part. In other words, it is a transposing instrument. Double bass parts are written an octave higher than the sound desired. Notate the sounding pitch on the double bass for the following writ- ten notes on the staff provided. i v True. 8. The double bass is a transposing instrument. (True/False) . 9 The sounding pitch of the double one octave bass is below the written pitch. lO. (1)edger (l)ines The reason for this transposed no- tation is the normal sounding range of the instrument which is 35:4 _J O QM If the double bass parts were no- tated at the sounding pitch an abundance of l 1 would be required. 65 11. 12. 13. (No response necessary.) vogue for many years. performance standards and more sig- nificant double bass parts demanded that the actual pitch be sounded, changes in instrument construction became necessary. double bass (limited primarily to Europe) and the four-string instru- ment with an extension of the fin- ger board for the fourth string (the type most used in America) ex- tended the range pf the double bass down to -~ Let us now review the normal range of the double bass in terms of written pitch (as it is usual- ly considered.) The normal writ- ten range of the double bass is 1ND 33 e f Circle those notes in the follow- ing group that are not within the normal written range of the dou- ble bass. 8’1 1: giggif. igrr =3 I" W5 Proceed as in Frame 11. 92 g :3? §;f*’ 23%;: 5 So far only the normal range of the double bass has been discussed. It is important to realize that as far back as Beethoven, double bass parts extending below were .__.1§___ being written. The poor substitute of sim 1 playing pitches below Egan octave higher was in “““”1F‘*‘ When higher The five-string Vie L e ’ ii 66 14. Circle the notes in the group be- low that are not possible on a double bass with an extension. ::E::u:_F'r;EE:r ——— 'i' ‘U z 15. Notate the lowest written pitch possible on a double bass with an extension. 35::— _£— perfect fifth. 16. The tuning of the double bass also differs from the tuning of the other stringed instruments. The interval between the open strings of the cello, viola, and violin is 8 . 0 17. The interval between the open strings on the double bass is a perfect fourth. The lowest string (on a four-string instrument) is if“ tuned to a: (written pitch) On the staff provided notate the written pitches to which the four strings are tuned. n1 1‘ l ii 18. The numerical identification of the strings is the same as for the other stringed instruments, IV be- ing the lowest string. a. 11 a. The D string is identified by 8 . b. III b. The A string is identified by a . c. G c. I identifies the string. d. E d. IV identifies the string. (No response necessary.) 67 19. The double bass is notated pri- marily in the bass clef. The tenor and treble clefs are also found in double bass parts but less frequently than the bass clef. Dark, ominous. (0r equivalent.) 20. The general timbre of the double bass is deep and rather ominous in its lower octave. Some listen- ers find it difficult to hear the "center" of a low pitch on the double bass. The sound becomes clearer and "more centered" as pitch rises. In traditional music, the basses are often doubled by the cellos an octave higher for greater clarity. What sound would you expect from the double basses in the follow- ing passage? Answer: No. 21. Because the double bass serves primarily a supporting function in traditional music, effects exploiting the timbre of a specific string may generally be said to be foreign to the instrument. Would you expect to see many indications such as Sul D in double bass parts? lie or. 68 A major second. 22. You may remember that on the cello the normal span of the left hand covered fewer pitches than on the violin or viola due to the greater length of the strings. 0n the dou- ble bass, the interval that the left hand can span is even smaller. In first through sixth position, the normal span of the left hand from first to fourth finger is only a major second. What interval can be spanned by the normal left-hand position in first through sixth position? More shifts are necessary on the double bass. 23. How would you compare the number of shifts required on the double bass with the violin? No. 24. Judging from the deduction made in the preceeding frame, do you think that rapid, scale-wise passages are idiomatic on the double bass? (Answer on nextypage.) 25. The greater distance between "stop- ping points" on the double bass requires considerable use of the half positions which are used to some degree on the smaller stringed instruments, specifically the viola and cello. So far we have consider- ed position in terms of the letter name stopped by the fourth finger regardless of the accidental ap- plied to it. On the double bass, the accidental makes a difference. Study the following example concern- ing the fourth finger on the G string of the double bass. (Continued on next page.) 69 (No response necessary.) What note does the fourth finger stOp in first position on the G string? In 2% position? 27. By transposing the identifying pitches on the G string downward by perfect fourths, the pitch lo- cations of the positions on the other three strings can be found. On what pitch is the fourth finger placed in third position on the G string? 28. What pitch does the fourth finger stop in second position on the D string? fourth. 29. Notice that there is no 1% position and no 4% position. The whole num- bered positions on the G string place the fourth finger on natural notes. The half positions on the G string place the fourth finger on sharped or flatted notes. Positions on the E, A, and D strings are located by transposing the pitches on the G string down a perfect There is no 1% position on any string. 30. What pitch does the fourth finger stop in 1% position on the E string? 70 (No response necessary.) 31. Fingering on the double bass also differs from the other stringed instruments. The third finger is not used by itself below sixth position but is placed right behind the fourth finger. At the sixth position, the third finger replaces the fourth finger. Study the fol- lowing example. 11 114' 11 a;E3EEiBgzjt£§§1t11235§§Btfhééieta 6 “:5“: V1. post lit pa: 1'“ 905. ‘- c-.——-— —-—... A major second. 32. What interval is spanned by the hand through 6% position? Sixth position. 33. In what position does the third finger replace the fourth finger? A major second. 34. What interval can be spanned by the left hand in sixth position? 35. Circle those notes in the group below that can be played in second position on the D string. W raw—«n— .— 36. Circle those notes in the follow- ing group that can be played in 3% position on the A string. ~57 w 1 Q 71 '/s ‘ 2 V: '(1. 37. What two positions can be used to play the following example on the E string? A '— . J I —Lr_x I - W- Answer: and First, fourth, (and) second. 38. What positions are suggested to play the following passage on the D string? Answer: , and one octave 39. The thumb is also used on the double bass as it is on the cello. The first thumb position on the double bass is one octave above the open string, although the thumb may be used in lower posi- tions if necessary. The thumb positions on the double bass normally begin above the open string. less 40. Thumb position on the G string begins a perfect fourth below the upper range limit of the instru- ment. With this in mind, one would expect the use of the thumb on the double bass to be (more/ less) frequent than on the cello. No. 72 41. In view of the factors discussed thus far, would you consider the double bass to be a very agile instrument in comparison to the other members of the string section? . 42. This problem of agility is a good point with which to begin a dis- cussion of the limitations con- cerning the double bass. Rapid running passages are possible if well written but should be kept reasonably short for best results. Which example below would you con- sider more playable on the double bass? Answer: (No response necessary.) 43. This point must be considered when the basses are doubled by the cel- los as they often are in tradi- tional music. Study the follow- ing situation. As you can see,the basses were given a simplified version of the cello part which can be played more cleanly. Notice that it is the non-essential notes of the cello part which are left out and the descending scalewise motion of the line which is preserved. (The C“ is optional.) 73 44 Write a suitable double bass part which essentially doubles the cello part given below. Vb 45. Could the double basses be expec- ted to play the same written part as the cellos in the example be- _. low? ii Yes. Tragic Overture Brahms { Aflkpvjanfevv . ' . 4L Answer: 46. Aside from the general limitations of the instrument, some limita- tions must be set for players of different abilities. A very im- portant point is the lower range limit of the double bass. Very few, if any, high school orches- tras own a double bass with a "low C" extension. In view of this fact what would be the lowest practical pitch for high school double bass parts? \ g? 74 47. Most professional orchestras, however, have at least part of their double bass section equip- ped with extensions. Notate the lowest possible writ- ten pitch for a professional double bass section. ifi—um “...—u Professional. 48. For which ability group, high school or professional, is the following passage appropriate? Hanson W Answer: . Symphony No. 4 H T. .2“ *~--~ 49. The highest position generally practical for high school double bass players is sixth position. What high-note limit does this indicate on the G string? IUD } m“- ——-‘ _— What is the upper limit of the general practical range eXpressed at the beginning of this chapter? 1 .— ...—r._._..______. c—A—g ——.— 75 perfect fourth 51. . The pitch shown in Frame 50 is, of course, the practical limit for advanced players. The upper range limit for high school performers is a (interval) lower than for professionals. Professional. 52. For which ability group is the following passage suitable? Symphony No. 5 Shostakovich $3 mi 1 Answer: Yes. 53. As far as range is concerned, is the following example appropri- ate for a high school double bass section? Symphony No. 3 Beethoven Answer: 54. Circle those notes in the fol- lowing example that are beyond the practical range of high school double bass players. Symphony No. 3 Riegger W -——.—. —m~ a-.. 76 l 55. As on the other stringed instru- ments, a given note is usually played in the lowest possible position. Circle those notes in the follow- ing group that would normally be played on the D string. _._ as g; *1: *7— H em.— .. m.- 56. 57. Circle those notes in the follow- ing group that would usually be played on the A string. gigii ‘j£_ 33:2: ’6’ Circle those notes below that would normally be played on the E string on a double bass with an extension. $6.; 3 i3““i‘r‘7%”v““ 58. It is impossible to produce vibrato on an open string. The "clear" sound of an open string may destroy uniformity of timbre. One may desire to exploit the unique timbre of a specific string. Awkward shifts can often be avoided. (Any order,) The above practice is not always observed for various reasons. List four reasons for not play- ing a given note on the "usual" string. fro? M 77 59. The eXploitation of the timbre of a specific string is seldom used on the double bass because the general timbre of the instru- ment is quite uniform. This does not mean that it should not be (No response necessary.) used. One may find the "thick" sound of the E and A strings in their upper register quite appro- priate for specific effects. In this case the orchestrator is advised to experiment with the instrument before making up his mind. SUMMARY The double bass is the only transposing instrument of the string section. It is notated one octave higher than the desired sound. The double bass is tuned in fourths rather than in fifths and the written pitches of the open strings are d_._. as The practical range of the double bass is 32% but ___,:FM__~__-__ E§§E;————-————— instruments with an extension can play down to _; . 15 Double bass notation uses the bass clef almost exclusively but may use the tenor or treble clef for extremely high passages. The general timbre of the double bass is deep and ominous and one may eXperience difficulty in hearing the "center" of the low pitches on the instrument. The left hand technique on the double bass differs greatly from the other stringed instruments in that only a major second can be spanned by the hand below sixth position due to the much greater length of the strings. The double bass also makes extensive use of t hand is of the ‘ but six This we It procedz Ploita 0“ the 05 the and t. 78 use of the half positions. As on the cello, the thumb of the left hand is used in the extreme high positions. The practical range of the instrument takes advanced players into the thumb position but sixth position is a practical limit for high school perfosflfrs. This would limit the high note for high school players togggégigggég. The choice of string for a given note follows the same normal procedure and exceptions as the other stringed instruments. Ex- ploitation of the unique timbre of a specific string is seldom used on the double bass but might be appropriate when the "thick" sound of the lower strings is desired. In writing for the double bass one should remember that its size and technique make it the least agile member of the string section. (b)owing Chapter V Bowing l. The usual manner of producing a sound on the violin, viola, cello and double bass is to cause the strings to vibrate by drawing the bow across the strings, or, in other words, by bowing. In or- chestration we must define bowing more specifically in terms of the direction in which the bow moves and in terms of the weight and speed with which the bow engages the strings. Sometimes the choice of bowing is left up to the per- formers but more often the bowing is indicated in the score and parts. A composer or orchestra- tor must be able to mark the score and parts so that the desired sound will be produced. The act of marking a part to show how it is to be bowed is called b _____ the part. up(bow) 2. The two most elementary bowing indications are those which indi- cate the direction in which the bow is to move. The bow is drawn across the strings in either an upward (from point to frog) or downward (frog to point) direc- tion. Drawing the bow downward is called downbow. Drawing the bow upward then is called __bow. upbow 3. The indication for downbow 15"! and the marking for upbow is V . The first note in the example be- low would be played . 79 8O downbow. The first four notes of the follow- ing example are played a org? H u Mark the cello part below so that the third beat of each measure is played upbow. SymphonygNo. 3 Beethoven Mark the following violin part to show that the G in the second measure is to be played downbow. (Answer on next page.) Very often two or more notes are played without a change of how di- rection. In string notation a slur mark usually means that the group of notes to which the slur applies are played without a change of bow direction or, to use a string play- ers' expression, "on one bow". In the following example the four eighth notes at the beginning are all played on one upbow. The two quarter notes are then on one down- bow. In other words the bow changes di- rection once in this example. (Continued on next page.) Twice. 81 How many times does the bow change direction in the following example? S hon No. 4 Piston /—\ _lf _’lr_ T7 —'— LTI _._[ Answer: 8. Mark the following example to show that pairs of sixteenth notes are to be played on one bow. Faust Symphony Liszt Notes not included in a slur re- quire a change of bow direction. Sygphony No, 4 Hanson fl a ‘,~ 1 y-e * EL f! Six The asterisks in the above example indicate single notes that are played "on separate bows". How many times does the bow change direction in the above example? times. 10. How many times does the bow change direction in the following example? Four Third Symphony Copland Answer: times. None. 82 11. What marking is necessary to show that each note in the following example is to be played on a se- parate bow? _ld_i ir‘l 1L Answer: 12. In marking bowing slurs one must be careful to use an equal amount of how in both directions. Tempo and dynamics must always be consid- ered. At a slow tempo the actual duration of a note is greater than for the same note at a faster tem- po. Hence more bow will be used at a slower tempo and more changes of bow direction will be necessary. Which example below will require more changes of bow direction? (Answer on next page.) [33$ J L AW ,g 1 , F “a '0, L b. , . Answer: 13. A balanced bowing for each of the above examples is shown below. (Continued on next page.) em a: (No 83 (No response necessary.) Indicate a balanced bowing for the following example. Leonore Overture No. 3 Beethoven Lee's m fears 14. Proceed as in Frame 13. as,» we. ‘1— ' __.I—I' l A y ' In addition to tempo the relation- ship between dynamics and bow speed is also very important. At a constant dynamic level the bow speed will generally remain con- stant. Therefore an equal number of beats played in each direction is usually best. The following example illustrates a balanced bowing in terms of tempo and dynam- ics. 15. 16. The bowing indicated in the next example is not at all balanced. The player would probably "run out" of downbow in the second measure. Ahéud: fl f Add bowing slurs to the following example that will indicate a bal- anced bowing. .flnqmdfia h "2" i“ 84 17. Proceed as in Frame 16. fig“ fff at J “'1’" 2’3 (No response necessary.) 18. When the dynamic level is not con- stant,bow speed will vary accord- ingly. Players tend to use more bow for loud playing than in a pianissimo passage. By changing the dynamic markings in the poorly bowed example from Frame 16 the bowing can be made to work. 21‘ H r 2*! He .1 With the new dynamics the player could balance the amount of down- bow useJ on the three pianissimo beats of each measure with an equal amount of upbow on the forte fourth beat. 19. Dynamics,of course,are never changed to accommodate poor bowings but bow- ings must agree with the dynamic markings in the music. Add directional marks and slurs which indicate a balanced bowing for the following example. Begin downbow. 85 20. Proceed as in Frame 19 but begin upbow. down(bow) Returning to the signs for upbow and downbow certain general prin- ciples regarding their use should be expressed, at least in terms of less subtle music. Metrical stresses (strong beats) or any accent are best achieved downbow. From this one can deduce that the first beat of a measure is usually played _ _ _ _bow. up(bow) 22. From the above principle it fol- lows that an anacrusis or upbeat is usually played _ _bow. 23. Keeping the above principles in mind, add directional bowing indications to the following passage. New I»! upbeat or anacrusis. 21.. The most obvious place to use an upbow is on an Accents. 25. For what purpose other than metri- cal stresses is a downbow usually used? fiflJllte n n g 86 26. Place downbow indications over appropriate notes other than me- trical stresses in the following example. The most important aspect of bow- ing is planning ahead. A note several beats ahead may require a specific bowing and the orche- strator will have to satisfy its requirements first, then work backward. Bow the following exercises work- ing around the specific bowings given. The following exercises contain notes which require specific bow- ings. Be sure to plan ahead in bowing them. (No response necessary.) 87 29. The upbow is often considered the "emotional" bow and short cre- scendi or other romantic nuances are usually played upbow. The following example illustrates this use of the upbow. Adhfir n,_. V/I—T} .# _1t E u? «d: >’ 30. Remember that this use of the up- bow applies only to short cre- scendi. A long crescendo would require more than one bow and would be bowed according to con- siderations other than dynamics. Indicate a "romantic" bowing for the following excerpts. Violin Concerto, Opy_26. Bruch Symphony No, 3 Mahler 1W3 IQW:\ 88 31. In actual music.of course, it is not necessary to place direction- al marks above every note. If the first notes of phrases and places where the player might have a choice are marked, the rest of the phrase will take care of it- self. Place directional marks only where needed in the following example. 32. Bowing slurs,of course,must always be indicated anytime that more than one note is to be played on one bow. In the following phrases place directional marks only where necessary and add bowing slurs to provide a balanced bowing. Bowing is without a doubt the most difficult aspect of the study of the stringed instruments. There may easily be as many opinions on how to how a given piece or phrase as there are violinists to play it. In that portion of the orchestral literature which is played most often (classical and early roman- tic) certain bowings have become traditional in certain pieCes but even in the "old standards" concert- (Continued on next page.) (Answer on next page.) (No resn< (No resE. l: (No response necessary.) 89 masters sometimes disagree. The ultimate aim of bowing is to communicate accurately-what is on the printed page and to this end all other considerations must remain secondary. (No response necessary.) 3h. In addition to the direction in which the bow moves and the num- ber of notes taken on one bow, it is also necessary to consider more precise aspects of bowing dealing with the specific quality of sound, attack, or release. These aspects of bowing will be used to describe the various styles of bowing. 35. The first style of bowing to be considered is the legato style. This style of bowing is more or less synonymous with the bowing slur. If several notes are played without a change of bow direction, legato. they will obviously be connected very smoothly. The style of bowing that is more or less synonymous with the bow- ing slur is called . 36. What style of bowing would be used in the following example? Icgato. §ymphony No. 41 Mozart Alkr'd T % $334.; Irg 1 Answer: . 9O 37. It is also possible to play in a legato style and still change bow direction on each note. In this case slurs are gg£_used as slurs also indicate bowing. Simply write legato above the passage to be played in legato style. Mark the following passage to be played in a legato style without changing the bowing. gymphony No. l Brahms Aflyvlnihwr' by"; E Ms!" M 5m E E hf . 13’ 38. The word legato must be written above the part if that sound is desired on an unslurred passage. In the absence of slurs string performers will play non-legato unless instructed otherwise. Which example below would be played legato? Adah L Mfi‘b _l _l Answer: . Aflqw W 91 39. 40. It is important to remember that consecutive notes on non-adja— cent strings cannot be played in a perfect legato style because the bow must skip over the "un- used" string. In the following exercise draw a slash (/) between the notes that could not be connected in legato style assuming that each note is played in the lowest pos- sible position. may” E .77 If such passages must be played legato, they must be marked to show that certain notes are to be played on a string other than the "customary" one or in other words so that the entire passage can be played on adjacent strings. in?” 5“” """ "I‘M-"Hi H EEEE%;;;,’:“ ' “}'E33‘“ In the example above "Sul A" means that all of the notes under the broken line are to be played on the string. 41. Mark the following example so that the legato bowing can be executed as indicated. Ahludc ,,__‘ Cello_Lr1, _r _ I s +, _. a? It is] but ea a 399a :2 lo. SuIA"" 92 42. Proceed as above. Variations for Orchestra Schoenberg Gamma: Solo Violin 2’ I Loure. A3. Louré is a style of bowing very similar to legato in that sev- eral notes are played on one bow. It differs from legato in that each note is given a separate, subtle "push" even though the bow does not stop or change direction. A type of legato in which each note receives a separate, subtle "push" without a change of bow direction is called It is much like legato but each note receives a separate, subtle push. (Your own words.) aa. / The notation for the loure style of bowing is illustrated in the example below. Symphony No. 2 Sebelius Describe’the sound produced by the loure style of bowing in your own words. / Loure. 93 45. What style of bowing is called for in the following example? Symphony No. 6 Tchaikovsky Answer: It is used here to heighten the eXpres- siveness of a legato passage. 46. The loure style of bowing is often used to heighten expressiveness (or give a lingering effect) in legato passages. (Frequently a crescendo is also involved.) The slight "push" on each note gives a subtle emphasis that would be overdone if separate bows were used for each note. Loure bowing is also useful when a subtle delineation of rhythm is desired on repeated notes while still retaining an overall legato effect. Which use of loure bowing is de- monstrated in the following example? §1mphony No. 2 Sebelius Laure is used here for subtle delineation of rhythm on repeated notes while still re- taining a legato effect. 94 47. Which use of loure is demonstra- ted in the following passage? Symphony No. 2 Sebelius a. To heighten the ex- pressiveness (or give a "lingering"effect) in legato passages. b. For delineation of rhythm on repeated notes while still retaining a legato effect. 48. List two reasons for using the louré style of bowing. (Answer on next page.) 49. Mention has already been made of the non-legato style of bowing. This style of bowing is often simply called separate bows. In non-legpgo bowing the beginning of each note is slightly more obvious than in true leggto but the notes are not spparated or detached from one another. The bow remains on the string and does not stop when changing direction. Non-legato (Continued on next pegs.) False. 95 is one of the most frequently used styles of bowing and can be execu- ted at any tempo or dynamic level. In the non-legato style of bowing the notes are detached from one another. (True/False) . True. 50. The non-legato bow does not stop when changing direction. (True/ False) . (No response necessary.) 51. Non-legpto bowing is used when no bowing indications (slurs, dots, accents, etc.) are included in the music. The following excerpt is an example of a passage that would be played non-legato. Die Meistersinger, Prelude Wagner The beginning of each note is slightly more Obvious than in true legato but the notes are not separated or detached from one another. (Your own words.) Describe the sound of non-legato bowing. (de)tached 53. If each note of a passage is to be played with a separate bow and not in lggggg style the term detaché applies. As the sound of this French word implies, the notes are de ______ from one another. (No re 96 54. The detache sound is achieved by emphasizing the change of bow di- rection by stOpping the bow momen- tarily as it changes direction. The how does not leave the string. Various degrees of detache are possible depending upon the style and dynamic level of the music. Below are three ways to indicate (No response necessary.) detache. / preferred In which of the following examples is detache bowing called for? Answer: 97 56. The detache style of bowing is appropriate whenever a slight separation between notes is de- sired. Many string players con- sider detaché'and non-legato (separate bows) to be synonymous. Current thinking generally repud- iates this Opinion and considers detache’to be slightly more se- parated than simple non-legato. The important difference between detaché'and non-legato is that in detache the bow stops momen- tarily as it changes direction between notes, whereas in p93: legato it does not. A. Detache is the same as p23: legat . I ' B. In detache the bow stops mo- mentarily as it changes di- rection. Check the choice below which best evaluates the above statements. a. A is true. b.Bistnm. c. Both are true. d. Both are false. In detache the bow stops momentarily between notes. In non-legato it does not. (Your own words.) 57. Explain the difference between detache and non-legato. 58. Using the preferred method, mark the following passage to be played detachez Petrouchka Stravinsky I” Cello r-::;..4:: 4T .1 m {If louder 98 59. Another detached but more force- ful style of bowing is the Egg- cato style. As in M the bow stays on the string in fig;- cato bowing. The marcato bow stroke is begun more suddenly than M and the bow is pressed harder against the string. One may deduce that this pressure would cause dynamic level of Egg- cato bowing to be generally (louder/softer) ‘ than that of detashéo 60. For the above reason, the marcato style of bowing is reserved for loud passages or accents. Which of the following examples is better suited to marcato bowing? (Answer on nex:_pegg.) The notation for marcato bowing is illustrated in the following example. SygphonypNo. 3 Harris ’ fill! ,0 ‘ y ’ ’ ’ *7 ceno fiflé 5’ (Continued on next page.) 99 Which passage below requires marcato bowing? Symphony No. l Piston Age," 0 I a; . b. Answer: 62. Mark the following passage to be played marcato. Enigma variations. IV Elgar fiufipvdéuufib Amyn’dfluflb {I 63. Give the name for the style of bowing described below. Slurred notes with a subtle I Loure, push giving slight emphasis to each note. Answer: 64. Proceed as in Frame 63. ngggche, Slightly more detached than non-legato but not accented. Answer: Marcato. 100 65. Proceed as in Frame 64. A forceful detached style appropriate for loud passages and accents. Answer: (No response necessary.) 66. The staccato style of bowing pro- duces a more sudden attack than marcato even though the dynamic level may be much lower. In other words, the staccato attack involves bow speed whereas the gag: cato attack involves bow pressure. In staccato bowing, as in detgché and marcato, the bow stops between notes. The staccato sound is short but unaccented and may be used at any dynamic level. 67. True. Stgcgato is a more sudden attack than marcato, (True/False) 68. False. Staccato bowing produces an accen- ted sound. (True/False) 69. A. The staccato bow stops between notes. B. Staccato bowing may be used at any dynamic level. Check the choice below which best c. evaluates the above statements. a. A is true. b.81stnm. c. Both are true. d. Both are false. I] -. =$ We SL‘ ur 101 70. The notation of staccato bowing is the same as staccato notation for any other instrument. Which of the following examples requires staccato bowing? Symphony No. 8 Schubert Die Meistersinger, Prelude Wagner Scbrgewhihq . ‘,‘ 1’! Answer: b. 71. Mark the passage below so that the third beat of each measure will be played staccato. AWbflcfib Sudden or short but unaccented. (Your own words.) 72. Describe the sound produced by the staccato style of bowing. (Answer on next page.) 73. A more severe type of staccato is the martelé (or hammer stroke) style of bowing. Like staccato, the martelé stroke begins pg the string with a sudden attack. Notes are then (Continued on next page.) (No response necessary.) 102 separated by stopping the bow. Martelé, however, combines the sudden attack of staccato with the forceful arm pressure of marcato. This style of bowing should be reserved for forte or fortissimo passages, however, it may be used for staccato ac- cents in an otherwise soft pas- sage. 74. The indication for margelé is a small wedge (V) placed above the notes (regardless of stem direction.) Mark the following passage to be played martelé. Firebird Suite Stravinsky The sudden attack of staccato and the force- ful sound of marcato. (Your own words.) What features of stgccato and mar- cgto are combined in the martelé style of bowing? No. 76. Would martelé be appropriate in the following passage? Italian Symphopy Mendelssohn lflhfltfib D. B. 23’ Answer: 103 77. For staccato accents. When is martelé appropriate in a passage in which the general (Non-staccato accents dynamic level is soft? are usuallypplayed marcato.) 78. Each example below is to be play- ed with a "staccato" type of bow- ing. Add the appropriate bowing marks to each excerpt. (Both are not the same.) La Mer Debussy ' E‘I—Jh b. ful—....“ 1 79. Because of the difference Why is staccato used in excerpt in dynamic levels. (a) above, whereas martele is used in excerpt (b)? (0r equivalent.) 80. Give the name for the style of bowing described below. A short unaccented sound Staccato. possible at any dynamic level. Answer: Martelé. 104 81. Proceed as in Frame 80. A very severe, accented staccato. Answer: 0‘” ”00.0 g. legato non-legato (separate bows) loure detache staccato martelé marcato (Any order.) 82. The bowing styles discussed thus far have all had one fea- ture in common. They are all executed with the bow remain- ing 33 the string. For this reason the bowings discussed thus far are classified as on-the-string bowings. List the on-the-string styles of bowing. (Answer on next page.) 83. The styles of bowing which re- main to be studied, all make use of a bouncing action of the bow upon the string. Since the bow is 22$ the string during part of the execution of these strokes, they are classified as off-the- string bowings. These off-the- string bowings are used to produce (Continued on next page.) 105 (b)ounc(ing) several variations of the sound generally classified as "staccato". The off-the-string styles of bow- ing all make use of a b_ _‘_ _ ing action of the bow upon the string. staccato. 84. Off-the-string bowings are used to produce several variations of the sound generally classified as spiccato 85. A very small and controlled bounce produces the spiccato style of bowing. The bow is dropped on the string and al- lowed to rebound. A very light and sparkling effect is produced. A small and controlled bounce produces the style of bowing. 86. Because the spiccato bounce is small it is usually not attempt- ed above a forte dynamic level. In which example below is spiccato practical? My". . Answer: 106 87. The spiccato style of bowing is often used when a staccato sound is desired at a tempo too fast for true staccato bow- ing. Both are indicated by the same marking (see examples below) and the player is left to decide which style he will use. Which of the following examples would probably be played spiccato? ‘ flflfiurfih. ‘ . , Answer: 88. As the notation for spiccato is the same as for staccato it is best to write spiccato or spice. above or below the notes to be played spiccato when this effect is specifically desired. Mark the following passage to be played spiccato. Scheherazade Rimsky-Korsakoff (Answer on next page.) Spiccato is usually applied to rapidly moving passages and both tempo and note values are deter- mining factors in using this style of bowing. In moderate or slow moving passages, staccato bowing is more appropriate. (Continued on next page.) 107 In which example below is spiccato more appropriate? 8. Answer: 90. Which example below is better suit- ed to spiccato bowing? was, . b. Answer: (Answer on next page.) 91. A. The spiccato style of bow- ing a small and controlled bounce. B. Spiccato is practical at any speed or dynamic level. Check the choice below which best evaluates the above statements. a. Aistnw. b. Bistnm. (Continued on next page.) 108 c. Both are true. d. Both are false. When the dynamic level is too loud for true spiccat . 92. A type of gpiggggg_used when the spiccato effect is desired at a dynamic level that is too loud for true spiccato (fortis- simo or louder) is the so-called "chopped" bow. When should "chopped" bowing be used rather than spiccato? Short and heavy with little finesse. (Your own words.) 93. The term "chopped" describes this style of bowing very well. Its sound is short and heavy and has little finesse. It is done at the frog of the bow and for this reason is impractical at more than a moderate speed. Describe the sound of "chopped" bowing. (Answer on next page.) 94. In which example below is "cho ed" bowing practical? First Symphony, Barber More ”4‘". (Continued on next page.) 109 Symphony Nos 5 Shostakovich ”(crab b. b. Answer: 95. The notation for "ch022ed" bowing ? ? is as follows: 41 f Mark the following passage to be played with "chopped" bowing. Identify the off-the-string style 2 of bowing that is called for in each of the following examples. Be sure to consider speed and dy- namics. Enigma variations Elgar a. spiccato. a. Answer: §ymphony No. 5 Prokofieff flbiuaéu, b. "cho ed". b. .4 Answer: (No response necessary.) 110 97. One off-the-string style of bowing remains to be discussed. This is the saltando style of bowing in which a group of notes (usually 3 to 6 notes) are play- ed all on one bouncing bow. This style of bowing is also known as jeté (French for "thrown"). The notation for saltando is shown below. A likely bowing for this example has been added. Variations for Orchestra Mate Schoenberg Saltando bowing is usually applied to groups of rapid notes as in the example in Frame 97. When slower moving staccato notes are grouped by a bowing slur they may be play- ed gg the string without the bounc- ing effect of saltando. This type of bowing is referred to by some string players as group staccato. Which example below is best suited to saltando bowing? Answer: 111 99. To avoid doubt on the part of the players, it is best to write saltando above the part in ad- dition to the slurs and dots when a true saltando effect is desired. Mark the following excerpt to be played saltando. . Symphony No. 2 Mahler Piano or pianissimo. 100. Saltando is somewhat simpler to achieve at a piano or pianissimo dynamic level. When this style of bowing is requested at a forte or fortissimo level, it would be wise to indicate down-bow in the part. Consider the following ex- ample. Firebird Suite Stravinsky At what dynamic level is saltando best achieved? Down-bow. 101. In what bow direction is a forte saltando best achieved? 112 5‘11““ (g) Tofz’ 72"” 61' f0 102. To the excerpt below add 2;; of the markings necessary to insure an effective galtando sound. Notice how the notes are group- ed as to pitch. Rite of Spring Stravinsky Spiccato 103. Identify the style of bowing de- scribed below. A small and controlled bounce. Answer: Saltando (or jete). 104. Proceed as in Frame 103. A group of staccato notes played on one bouncing bow. Answer: Chopped. 105. Proceed as above. A short, heavy, bouncing stroke down near the frog. Answer: SUMMARY The subject of bowing is one of much debate among string players and one of much avoidance and ignorance among non string players. Although there are few "right" and "wrong" answers, some general principles may be stated. Concerning bow direction, the downbow is usually used for strong rhythmic pulses and most accents while anacrusis, weak beats and short crescendi are more often played upbow. Bowing slurs indicate the number of notes played on one bow and care must be taken to indicate a balanced bowing so that the performer will not "run out of bow" in one direction. In addition to bow direction, various styles of bowing must be considered. These styles of bowing are divided into two gen- eral groups, on-the-string and off-the-string bowings. In the on-the-string group, the legato style of bowing is more-or-less synonymous with the bowing slur, but notes played on separate bows can also be connected in lggggp style. LEEEé bowing is 13; ggpp with a separate, subtle push on each note. Simply playing each note on a separate bow without the smoothest possible con- nection is the non-legato style of bowing. various degrees of separation and accent are also possible. Detaché bowing incor- porates a stop in bow motion while changing direction for each note, while a more sudden motion combined with arm pressure pro- duces the marcato style of bowing. A more sudden attack but with- out arm pressure results in staccato bowing. When arm pressure as in marcato is added to a staccato attack, the martelé style of 113 114 bowing results. The off-the-string bowings all produce a staccato effect, the most used being the lightly-bouncing spiccato style. A severe spiccato played near the frog is called chopped bowing, and a group of rapid notes taken all on one bouncing bow requires the saltando or lggé style of bowing. Performers often disagree on the finer points of these styles of bowing, sometimes apparently for the sake of argu- ment. The most important point for the orchestrator to keep in mind, is that if his bowing indications suggest the effect that he is trying to achieve, he will usually receive an ac- curate performance even though the players do not follow his bowing literally. Chapter VI Special Effects a. Varied tone quality. b. Two or more pitches sounded simultaneously on the same instrument. (Any order.) 1. Previous chapters were devoted to the conventional manner of playing stringed instruments, that is producing one sound at a time by drawing the bow hair across the strings at a point between the bridge and the fin- gerboard, while the strings are stopped against the fingerboard by the fingers of the left hand. In this chapter we will discuss the so-called "special effects" which the orchestrator may use, either to achieve a varied tone quality, or when he wishes two or more pitches to be sounded simultaneously on the same in- strument. What two phenomena can be achieved through the use of special effects? 8. b. overtones 2 One method of altering the normal tone quality of any of the stringed instruments is through the use of harmonics. These harmonics are sim- ply the overtones which are present to varying degrees in the composite tone of the instrument. By employ- ing a special left-hand technique, a string player can cause certain of these overtones or harmonics to soundjwithout the presence of their fundamental (the tone by which the harmonic series is generated). A harmonic is one of the present in the composite tone of the instrument. 115 116 No. 3. Harmonics have soft, airy, flute- like sounds. Do you think that harmonics would be effective in a forte passage? Soft, airy, flute-like 4. Describe the sound of harmonics. natural (and) artificial 5. Two types of harmonics are possible on stringed instruments, natural and artificial. Natural harmonics are the overtones of open strings. The two types of harmonics possible on stringed instruments are and . open 6. Natural harmonics are the overtones of strings. 7. Natural harmonics are produced by touching one of the open strings lightly, (not hard enough to stop it against the fingerboard) with' one of the fingers of the left hand while the string is vibrating. If a string is touched lightly at a point one octave above its open pitch, the harmonic one octave above the open pitch will sound. This is called the first natural harmonic. Notate the sounding pitch of the first natural harmonic of the vio- lin's A string on the staff below. A L— a: 117 8. Notate the sounding pitch of the first natural harmonic of each of the strings of the viola on the staff below. ——ae~ I‘ w- A v-__a_..___.-*-_._- E“..- -.._ 9. Notate the sounding pitch of the first natural harmonic of each of the strings of the cello on the staff below. A r r g as; 10. Notate the sounding pitch of the first natural harmonic of each of the strings of the double bass on the staff below. Remember that the double bass sounds an octave lower than written. _A 122:“: % ...:nf:.:___.___.___.,--___ g: __. --.... “...—......— 11. The first natural harmonic is notat- ed by writing the written pitch of the harmonic with a small circle aboveo it as follows: W §__=t=_=—:—E This circle is not to be confused with the zero used to show that a note is to be played on an open string. Show the proper notation of the first natural harmonic of the G string of the viola on the staff below. E i E: "be _‘ ...—~— 118 12. Notate the first natural harmonic of the cello's A string. -‘.~--.~—. -_ .H‘fla 13. Notate the sounding pitch of the natural harmonic illustrated below on the treble staff provided. v1.1. E22 14. The second natural harmonic has a pitch one octave and a perfect fifth above the pitch of the open string on which it is played. Notate the sounding pitch of the second natural harmonic of the D string of the cello on the staff below. L J 15. Notate the sounding pitch of the second natural harmonic of each of the violin's strings on the staff below. Use the ottava sign where appropriate. §%= E r 16. Notate the sounding pitch of the second natural harmonic of each of the strings of the viola on the staff below. _L _L a: __ -.I‘" 119 18. The second natural harmonic can be produced in two ways: (a) by touch- ing the string lightly at a point a perfect fifth above the pitch of the open string or (b) by touching the string lightly at the point where the same pitch as the harmonic would ordinarily be played. Method (a) is notated by a diamond- shaped notehead representing the pitch a perfect fifth above that of the open string and by identifying the open string as follows: sets? IF mun E ..- fig __,____ Notate the pitch which would result if either of the above examples was played. l9. Notate the sounding pitches of the following harmonics on the staff provided. 34¢ 2 saleL : Viola ‘ | £1 4% Answer: §E* 20. Proceed as above. I! Sate Sglfi I (2.11. W T l L TE L L Answer: E 120 21. On the staff below, notate the second natural harmonic of each of the strings of the double bass. Be sure to identify the Open string for each harmonic. (95) Eur! i fif?‘ 0-3.3" 22. Write the sounding pitch of each of the harmonics in Frame 21 on the staff below, (remember that the double bass is a transposing instrument.) . f‘ We. p 3L 23. Method (b) in Frame 18 is notated by indicating the written pitch of the harmonic as a conventional notehead with a small circle above it and by identifying the open string as follows: 1;; Sula On the staff below notate the pitch which would result if the above ex- amples were played. Answer: E $.12 0 g (2;) fl; 1: 11!: 121 24. Using the above method, notate the second natural harmonic of the A string of the double bass on the staff below. Remember to use the written pitch of the har- monic, pp; its actual sounding pitch. D. B. 33?: ’— 25. On the staff below, notate the sounding pitch of the harmonic in Frame 24. Answer: E Sal '5 ans . i; ‘1{‘ 10r with Roman numerals.) 26. Using method (b) as in Frame 24, notate the second natural har- monic of each of the strings of the violin on the staff below. Use the ottava sign where ap- propriate. Violin Afinfl Sal 6 (Or with Roman numerals.) 27. Cello Proceed as above. 28. What is the sounding pitch of the harmonic notated below? I i: Cello 5E M as 122 29. What is the sounding pitch of the following harmonic? Viol in if _— Answer: -%3 if 30. What is the sounding pitch of the harmonic notated below? A $21.16 D. B. FE.— .‘ . _‘l Answer: % 31. Using a diamond shaped notehead, notate the pitch given below as the second natural harmonic of Sal 9 IE; 9 one of the strings of the viola. % ’0— Sounding pitch: (3) k i e: we 32. Using the above method, notate the following pitch as the second natural harmonic of one of the “in strings of the double bass. :EEEEEEEEEEE (or) Sounding pitch: .LE 55 mm fiEEESEEEEEEE D. B. ESEEEEEEEEEEE Sale 123 33. Proceed as in Frame 32. Sounding pitch: if 34. The same pitch as the second natural harmonic of the vio- lin's G string (Frame 33) can be produced as the first natu- ral harmonic of violin's string. (letter) 35. Show how the sounding pitch given in Frame 33 would be notated as the first natural harmonic of the violin's D string. (No response necessary.) 36. The fact that some natural har- monics can be played on two dif- ferent strings, prompted earlier composers and writers on orches- tration to notate pll_natural harmonics simply with the small circle above them, and let the performer decide which string to use. This "guessing-game" method places an unnecessary burden on the performer, and may lead to disasterous hesitations or wrong notes in performance. It should not be used! If it re (2.1;) suuo 124 37. In most cases either method of notating or playing the second (and higher) natural harmonic is equally satisfactory. In some cases, however, this is not true. Consider the follow- ing example. When reading the notation above, 1 the player will produce the har- { monic in the same left-hand position P as the notes proceeding it. If the 1 harmonic had been notated as follows, 11' i%§§:§§§§ an unnecessary shift would result. In the following example, the com- poser wishes the note indicated by an arrow to be played as the second natural harmonic of one of the strings of the violin. On the staff provided show the best way of notating this harmonic. Answer: i (Answer on next page.) 38. The third natural harmonic sounds two octaves higher than the open pitch of the string on which it is played. (Continued on next page.) lb 125 Notate the sounding pitch of the third natural harmonic of the D string of the viola on the staff below. pa if 1 1 39. Notate the sounding pitch of the third natural harmonic of the cello's A string. m Like the second natural harmonic, the third can be played in two ways: (a) by lightly touching the string at a point a perfect fourth above the pitch of the open string, or, (b) by lightly touch- ing the string at the point where the written pitch of the harmonic would ordinarily be played. If method (a) is desired, the notation is as follows: a “E I— Violin Hm What pitch would result if the above example was played? L 11: Answer: é SulO W (23;) 41. Using the above method, notate the sounding pitch given below as the third natural harmonic of one of the strings of the double bass. A :ag;::::::::: Sounding pitch: ;::: a Notation: §§§§§§§§§§§ .... ‘I-l 'n'. I}, \. 0'1 126 42. If the string is to be touched lightly at the point where the pitch of the third natural har- monic would ordinarily be played, (method b in Frame 28) the written pitch of the harmonic is notated with a circle above it and the string is identified (as in notat- ing the second natural harmonic). p Using this method, notate the third natural harmonic of the G string of the viola on the staff provided. Viola :11: F 43. On the staff provided, notate the actual pitch of the harmonic illus- trated below. (Use the ottava sign). Violin Answer. Egg; 44 On the staff provided, notate the sounding pitch of this harmonic: Viola Egggégggggg Answer: ...a..- 45. On the staff provided, use a diamond- shaped note to indicate the third natural harmonic of the G string of the double bass. Double bass EEEEEEEEEEE ----.—.— . 127 46. Notate the actual sounding pitch of the harmonic in Frame 45 on the staff below. 47. As in the case of the second natural harmonic, the choice of notation (and playing position) of the third natu- ral harmonic may depend on the notes surrounding the harmonic. Which of the examples below illus- trates the easier way of playing the harmonic? Sn} 5 /“. \ a. Cello /‘ .1." Answer: 48. Because the left hand would Why is answer (b) the better choice be much closer to where c in the preceding Frame? would be played on the G string than to where g would be played on the G string. (Or equivalent.) 49. A fourth natural harmonic is also possible but is seldom used because the same pitch can usually be ob- tained as a harmonic in a simpler way. The fourth natural harmonic is located two octaves and a major third above the pitch of the open string on which it is played. (Answer on next page.) (Continued on next page.) 128 Notate the sounding pitch of the fourth natural harmonic of the violin's A string on the staff below. (Use the ottava sign). A major third above the Open pitch. A major sixth above the Open pitch. A major tenth above the Open pitch. At a point where the same pitch as the harmonic would ordinarily be played. (0r equivalent.) 50. The fourth natural harmonic can be played in four different ways. The following example shows four ways of notating the same harmonic. (The diamond-shaped note heads mark three different places, in addition to the point where the note is or- dinarily played, at which the string may be touched.) in Violin Efim: i Identify the four points at which the string may be touched to pro- duce the fourth natural harmonic. (No response necessary.) 51. It should be noted here that play- ing the fourth natural harmonic by touching the string a major tenth above its open pitch is rarely done. Any of the other three positions are easier to find and produce a more solid tone. 129 52. Show the three commonly-used methods notating é as the fourth natural harmonic of one of the strings Answer: 53,“? 53. What pitch would sound if the follow- ing example was played. Sal 6 a; 54. Proceed as above. ful D Cello .—.— (No response necessapyp) 55. Higher natural harmonics than the four discussed there are possible, but are rarely used except in vir- tuoso solo writing because the same pitches can be obtained as harmonics more easily in another way. 56. Notate the sounding pitches of the following harmonics on the staff provided. S c d €149 ' 5‘46 I 0 Viola F) I L i I; I Answer: 2E _ 130 57. Proceed as in the previous frame. I 5:13.10 1! a 5a16_1g .9. Cello W g; h;_ 7 i Answer: W s j r 58. Proceed as above. Use the ottava sign where appropriate. 546 e m I o 9516 Violin 'j: VT % $ 1, 4 3--1 #2: 4~ 48: as EEE “L ::i: ... Answer: -.. 1 II F 59. Proceed as above. If 0 S‘JD L E 551‘ W ., :' 9.3- iii? if? A 1 5%: :11— Answer: 3% 4333 60. Thus far we have discussed only those harmonics which are found in the over- tone series of the open strings. Obvi- ously these natural harmonics do not include all twelve tones of the chro- matic scale. The missing notes (as well as the pitches available as natural harmonics) are present in the overtones generated by the various stapped pitches. These are called artificial harmonics. Artificial harmonics are necessary because all twelve pitches of the chromatic scale are not available natural as harmonics. artificial 131 61. Harmonics found in the overtone series of a stopped pitch are call- ed harmonics. 62. The left-hand technique for pro- ducing artificial harmonics will obviously be different than for natural harmonics as one must first have a stopped pitch to generate the artificial harmonic. Only one type of artificial har- monic is commonly used in orches- tral music. It is produced as follows: the first finger stops a given pitch; the fourth finger i touches a point a perfect fourth above the stopped pitch; a har- monic two octaves above the stop- ped pitch is produced. The nota- tion of an artificial harmonic is shown below. 0" . Violin The conventional notehead indicates the stopped pitch and the diamond notehead indicates the point where the string is touched. Notate the sounding pitch of the artificial harmonic illustrated above, on the staff below. (Answer on next page.) 63. Notate the sounding pitches of the following harmonics on the staff provided. Use the ottava sign where practical. Violin (Continued on next page.) 132 Notice that the diamond notehead is always "open" while the con- ventional notehead indicates the rhythm. Answer' 1%; 64. There is usually no need to identi- fy the string on which the artificial harmonic is to be played, as it will usually be played in the lowest possi- ble position. (An exception to this principle is discussed later.) Notate the following sounding pitches as artificial harmonics for the viola on the staff provided. Use the given rhythmic values. EéflE Sounding pitches: E r I Viola E 65. Notate these sounding pitches as artificial harmonics for the cello on the staff provided. Sounding pitches: % Cello 3. (Answer on next page.) 66. Because the notes lie farther apart on the fingerboard, artificial har- monics are impractical below fifth or sixth position on the double bass and cello except for advanced players who are adept in using the thumb positions. (Continued on nextppaggp) 133 Circle those harmonics in the group below, which are practi- cal only for advanced players if played in the lowest possi- ble position. Bass WM“: 67. F Sometimes an "impractical" arti- ficial harmonic can be made prac- tical by playing it in a higher position on a lower string. For example: E is rather w aid"? impractical on the G string but if notated in this manner: Sdb Su( 6 g it is quite playable. Add the proper direction to the harmonic below to make it more (BE) playable. 111' 68. Can the following harmonic be given a more playable notation? No. Because there is no lower string. Answer: Why? (Or equivalent.) 134 69. The preceding practice is not used extensively in orchestral music and should be used only when absolutely necessary. Use natural harmonics whenever possible on the double bass. 70. A second type of artificial har- r monic is also possible but is seldom used in orchestral music, because of the greater stretch of the left hand which it re- quires. If the string is touch- i ed lightly a perfect fifth above the stopped pitch, a harmonic one octave and a perfect fifth above the stopped pitch results. Harmonic: E Sounding pitch: I. E Notate the sounding pitches of the following artificial harmonics on the staff provided. Use the otta- va sign where appropriate. $4; Violin gE-4 1 IL Answer: % No. 71. Is the type of artificial harmonic illustrated in the previous Frame widely used in orchestral music? Answer: 135 72. The following general procedure is recommended for writing any pitch as a harmonic. First see if the desired pitch is available as a natural harmonic. If so, notate it as such. Circle those pitches in the follow- ing group which are available as natural harmonics on the violin. a.-- 5 their T 73. Circle those pitches in the follow- ing group which are available as natural harmonics on the double bass. 74. If the desired pitch is not avail- able as a natural harmonic then no- tate it as a practical artificial harmonic. Circle those pitches in the follow- ing group which are practical as artificial harmonics on the double bass. m I 711;" if dfl (Answer on next_page.) 75. Avoid the use of any artificial harmonic for the double bass and avoid artificial harmonics touched a perfect fifth above the stopped pitch on the other stringed instru- ments unless you are writing for advanced players. (Continued on next page.) 136 What type of harmonics should be avoided for the double bass? Artificial. 76. The following type of harmonic, $ is practical for string players of any ability. False. (True/False) 77. For what ability group is the harmonic illustrated in Frame 76 Advanced. practical? 78. The three commonly used natural harmonics and most artificial harmonics, are not actually too difficult for high school string players, in spite of the fact (N0 response necessary.) that harmonics are not taught in many high schools. The rule to follow here is know the players for whom you are scoring, before writing harmonics for them. 79. All harmonics should be avoided in high school string parts. False. (True/False) If you know that the group for which you are scoring can play them. (Or equivalenp,) 137 80. Under what circumstances are har- monics appropriate for high school string players? Sur la touche. 81. The timbre of the stringed instru- ments can also be altered by the way in which the bow is used. One such effect is identified by the Italian term sul tasto. (Ger. pp Griffbrett, Fr. sur la touche). To achieve this effect the strings are bowed over the fingerboard rather than between the finger- board and the bridge. What is the French term for bow- ing over the fingerboard? The strings are bowed over the fingerboard. 82. Describe the bowing called for in the following example. Symphonic Elegy Krenek V1011“ '3' ‘ Answer: (Answer on next page.) 83. This effect is notated by writing the appropriate term above the pass- age to be bowed over the finger- board. (Continued on next pagg.) (No resppnse necessary.) 139 A rare example of double sul tasto harmonics is shown here. Sheherazade Ravel 5‘” lo [oue‘e This effect must be heard to be appreciated. Another bowing effect which produces a unique timbre is identified by the Italian term sul_ponticello (Ger. am Ste , Fr. au chevalet). This effect is achieved by bowing over, or very close to, the bridge. Place a check (V6 before the term below which means "at the bridge". a. §ur l§_touche b. martele c. am Steg Proceed as above. a. sul tasto b. sul ponticello c. am Griffbrett Au chevalet. What is the French equivalent of sul_ponticello? 138 Using the German terminology, mark the following passage to be bowed over the fingerboard. Symphony No. 4 Mahler am Gin-“bust ’ Violin Violin “htrc f? sew-{re ff 84. The timbre of sul tasto bowing lacks the "edge" and carrying power of the normal string tone. This effect is synonymous with a soft dynamic level. Describe what is wrong in the following example. suited ,.. ,..\ Sul tasto is used in soft Cello W passages but not for loud k! playing. Answer: (Or equivalent.) 85. Describe the timbre of sul tasto Sul tasto lacks the edge bowing. and carrying power of the normal string tone. (Or equivalent.) 86. Sul tasto is sometimes combined with other effects such as the glissando and tremolo (discussed later). (Answer on nextppage.) (Continued on next page.) False. 140 90. The sound of sul ponticello is thin and "glassy". This char- acteristic timbre will be lost if the effect is attempted above a piano dynamic level. (In traditional orchestral music, it is usually accompanied by the bowed tremolo which will be explained later.) 9 Sul ponticello is practical at any dynamic level. (True/False) Thin and "glassy". 91. G. As are other bowing indications, this effect is indicated above the staff as in the following ex- ample. Five Pieces for Orchestra Webern Solo Br. Describe the sound called for in the excerpt above. 92. When the Italian terminology is used it is usually abbreviated sul pont. Using this terminology, mark the following passage to be played at the bridge. Five Pieces for Orchestra Schoenberg 141 93. Place a check (V6 before the term below which means "at the bridge". a. sur la touche b. au chevalet c. sul tasto 94. Place a check before the term below which means "over the finger- board". a. am Steg b. sul pont c. sul tasto (Answer on next page.) 95. Col legno (It. and Ger.) directs the player to use the bow stick against the strings. (The French term, avec le bois, is seldom used.) This may be done in two different ways. The bow stick may be bounced against the string as in the follow- ing example: (a) Rite of Spring Stravinsky iu/hyn Cello H or the stick may be drawn across the string as in this example: (b) Symphony No. 1 Mahler Violin .' (Continued on next page.) The bow stick may be drawn across the strings or bounced against the strings. (0r equivalent.) 142 Describe two ways in which col legno may be performed. 00/ Lynn 6171‘ a 7‘0 Cello .——. _“I—— -. 1. '—-----—--——--I ...:grrr-vr—V‘I;.r'rr 96. Example (a) above will produce a clicking sound of semi-definite pitch and is best suited to rhythmic figures. This is the usual interpretation of the di- rection col legpo. To avoid doubt on the part of the player, the complete direction, 221 legno battuto (strike with the wood) mgy be written above the staff. Mark the following example to be played in the above manner. (Notice the saltando-like group- ing of the notes.) Firebird Suite Stravinsky A clicking sound of semi- definite pitch. 97. Describe the sound called for in the answer to the question in Frame 96. 143 Co)k1no tra #0 /\ mun figw Z’Z’ 98. The second type of col le no, in which the bow stick is drawn across the string, is less fre- quently used and for this reason should always bear the complete direction col legno tratto (draw with the wood). Only a "dry whisper" of sound can be pro- duced in this manner due to the small amount of friction between the stick and the string. Mark the following passage to be played in the above manner. /‘\ Violin 71’ A dry whisper. 99. Describe the sound called for in the answer to Frame 98. The bow stick is struck or bounced against the string. (Or equivalent.) 100. Describe the manner in which the type of col legno indicated in the following example, is played. iano Concerto Schoenberg The bow stick is drawn across the string. (Or eqpivalent.) 144 101. Proceed as in Frame 100. Piano Concerto Schoenberg Answer: Col legno. (Answer on next page.) 102. 103. As stated in Frame 79, the usual interpretation of the simple di- rection col legpo is col legno batutto When this style is ob- viously correct, as in rhythmic figures, the simple direction, col le no, is sufficient. What direction is necessary to indicate that the following ex- cerpt is to be played with the wood. Rite of Spring Stravinsky WWg ‘I ,l Answer: In cases where there could be any doubt as to the orchestra- tor's intentions and especially in scores where both types of col legno are used, complete directions should be given. (Continued on next page.) I. s.'------_—-— I'- 'vrrv-r'r'r ‘ 145 Mark the following exercise so that the first measure will be struck with the wood and the second measure will be drawn with the wood. Violin (No response necessary.) 104. The col legpo effect can also be used in conjunction with other special effects such as - the glissando and tremolo (dis- i cussed later) and even with her- monics as in the following excerpt. Firebird Suite Stravinsky Goldman D. B. is \‘J' ‘ ‘ ‘ c ‘ | (The above notation of natural harmonics is incorrect by current standards.) (Answer on next page.) 105. The duration of any of these three effects: sul tasto, sul ponticello, and col legpo, may be indicated in two ways. The first method is the broken-line bracket over those notes to be played with the special effect. Study the following example. Symphony, Op. 21 Webern (Continued on next ppgg.) 60/47» --., Violin fi/ 146 Using this method, mark the example below in Italian so that the first measure will be played with the wood. sul Pm} ad. (or nai'.) Violin ...—“fix“ ...— 2' "f 106. An alternate method of indicat- ing the cessation of a special effect is by the indication modo ordinario or naturale (in the ordinary manner). The complete indication or the abbreviations 253. or pap. may be written above the staff at the point of cessation. Using the above method, mark the following passage so that the sulgponticello will cease at the beginning of the second measure. 107. Give the Italian, French and German terms for bowing over the fingerboard. Sul tasto. It. Sur la touche. Fr. Am Griffbrett. Gr. 108. Sulgponticello. Au chevalet. Am Steg. Give the Italian, French, and German terms for "at the bridge". It. Fr. Gr. 147 109. Explain col legno in your own words. The bow stick is bounced against or drawn across the strings. (Your own words.) 110. Another special effect avail- able to the orchestrator is the " glissando. On stringed instru- ments a glissando is achieved by sliding a finger of the left hand along the string (keeping the string pressed against the fingerboard throughout the slide) while the bow is being drawn. This produces a smooth sliding, "swooping" sound which A smooth sliding or "swoop- passes through every fractional ing" sound which passes pitch gradation between the ini- through every fractional tial and final pitches of the pitch gradation between glissando. the initial and final pitch of the glissando. Describe the sound of a glissando. (Or equivalent.) 111. The glissando may be notated in two slightly different ways. Notice that the important abbre- viation gliss. is included in both notations. Notation (a): Effgigfgfff L Notation (b): % (Answer on next page.) (Continued on nextypage.) ¥ lwm.ti..ii‘ 148 Notice that the straight or wavy line goes from one note- head to the next. Indicate a glissando between each pair of notes in the fol- lowing example. Concerto for Orchestra Bartok y: (a) 112. Although in some scores the string on which the glissando is to be played is indicated, this would seem unnecessary as the glissando must always be played on that string whose open pitch is immediately below the lowest pitch of the gliss- ando. Place a check (V3 before the example below which contains unnecessary markings. Dance Suite Bartok Symphony No; 4 Mahler f5 em (Answer on next_pagpp) 113. The most important fact about the true glissando is that it must be played on only one string. Some composers have been known to write "impossible" glissandi as in the following excerpt: (Continued on next page.) 149 La Valse The beginning note, g3, is not possible on the G string of the violin so the players will have to begin on the D or A string and cross over to the G string coming as close to a true gliss- ando as possible. (Probably Ravel realized this and preferred a "faked" glissando to starting on a lower pitch.) Generally speaking, any gliss- ando beyond the interval of an octave is difficult to play with a good solid tone and an octave plus a perfect fifth should be considered the maximum practical limit for a trueyglissando. Circle those glissandi in the fol- lowing group which are practical as a true glissando. True. 114. Generally speaking, any glissando beyond the interval of an octave is difficult to play with a good solid tone. (True/False) An octave plus a perfect fifth. 115. What interval should be considered the maximum practical limit for a true glissando? Answer: (No response necessary.) 150 116. The glissando may incorporate harmonics in one of two ways. The first is the glissando to a natural harmonic as in the following example: La Valse Ravel O 117. Notice that the harmonic is notated at its written pitch P with the small circle above it and that the string is not identified as it is part of a glissando. On the staff below notate a glissando from the starting pitch given to the second natural harmonic of the vio- lin's D string. W1 +i flFZif' T 7 118. On the staff below, notate a glissando from the start- ing pitch given to the third natural harmonic of the cello's G string. W 119. Proceeding as above, notate a glissando from the given pitch to the first natural harmonic of the viola's C string. 151 120. The practical interval for a glissando to cover (Frame 113) also applies to the glissando to a harmonic. Circle those glissandi in the group below which are practical. Violin 4 (épswer on nextypagg.) 121. The second way in which the glissando may be combined with harmonics, is the glissando entirely in natural harmonics as illustrated in the follow- ing example: Rite of Spring. Stravinsky The pitches notated in this case are the second through the eighth natural harmonics of the open string. The sound produced is more an "errie slide" than any definite pitches. Another example using the first through the fifth natural har- monics of the violin's D string, is shown below. Study the no- tation of the example. Firebird Suite Stravinsky "‘5 . lb - _ i 0 ° '1?” ' ’1'; Violin II . 'rj [fr (Continued on next page!) More an errie slide than any definite pitch. (Or equivalent.) 152 Describe the sound produced by a glissando in harmonics. 122. The glissando in harmonics usually encompasses at least six pitches of the overtone series and should be written only for advanced players. On the staff below, notate a glissando in harmonics ranging from the first through the sixth natural harmonic of the violin's G string and back down. Use sixteenth notes. :i: E 1 advanced 123. The glissando in harmonics is appropriate only for players. (ability group) gfiuu 124. On the staff below, notate a glissando in harmonics from the first through the seventh natural harmonic of the viola's C string and back down. Use sixteenth notes. 153 (No response necessaryp) 125. The glissando may also be com- bined with other special effects as in the following examples: Ravel gamma. A. a. Cello W . 7""‘73 Daphnis and Chloe -r‘—-. ...- 0 Symphony No. 1 Milhaud SUI b. Cello A short and barely perceptible glissando. (Or eqpivalengy) 126. The portamento is a rapid and barely perceptible glissando. It is done more suddenly than a true lissando, and is usually inserted by players without direction to give an extremely legato effect. Define portamento. (Answer on nextppage.) 127. The portamento has often been notated simply with a line be- tween the notes to be joined, as in the following example: Symphonero. 4 Mahler 74 Violin I ”<”‘> ‘4 (Continued on next page.) mm .... 154 However, it is best to write the abbreviation port. along the line joining the two notes to avoid doubt as in this ex- ample: Cello Mark the following passage so that each pair of eighth notes will be joined in portamento style. Music for String Instruments Percussion and Celesta Bartok The glissando is a definite "sliding" effect while the portamento is a barely perceptible slide. (Your own words.) 128. In your own words, explain the difference between glissando and portamento. bowed 129. Probably the most used special effect is the tremolo. There are two types of tremolo: (a) bowed tremolo is the rapid reit- eration of one pitch; (b) finger- ed tremolo is the rapid alter- nation between two different pitches. The rapid reiteration of one pitch is called tremolo. fingered 155 130. The rapid alternation between two different pitches is called tremolo. bowed (and) fingered (w) 131. The two types of :gemolg, and , can each be broken down into P two subdivisions: measured and unmeasured. We will first dis- cuss the unmeasured, bowed tremolo. a. Tension. b. Peaceful, shimmering effect. (Any order,) 132. In the unmeasured, bowed trem- I pip, up and downbows are alter- nated as rapidly as possible in a detaché manner. Two general aesthetic effects can be achiev- ed with this tremolo. If played loudly and forcefully, a high degree of tension can be created; while at a high pitch and soft dynamic level a peaceful, shim- mering effect can be produced. Perhaps a word of caution at the outset is in order. The two tgemglg effects described above have been so widely used, espe- cially in the nineteenth century, that they may sound trite if over— used. Name two aesthetic effects that can be achieved by a tremolo. b. In? [33!” j in, peaceful, shimmering (Or gquivalent.) 156 133. A tremolo at a high pitch and soft dynamic level produces a effect. A loud and forceful tremolo. 134. What type of tremolo is used to create tension? f False. 135. that can be used extensively without becoming trite or boring. (True/False) The tremolo is a fresh effect i (l\nswer on next page.) 136. The unmeasured, bowed tremolo is notated by drawing three slashes above or below a whole note, or through the stem of a half or quarter note. The ab- breviation trem. is written above the note. (For several tremolo notes in succession, the abbreviation trem. need only be written above the first tremolo note.) The following example illus- trates the notation of unmea- sured, bowed tremolo in whole, half and quarter notes. (Continued on next page.) 157 Supply only the necessary slashes to each note in the following group to indicate an unmeasured, bowed tremolo. lbema 4_ fimw- q f eel: “W fifig‘f 137. Mark the following passage to be played entirely in unmeasurg ed. bowed tremolo. La Mer Debussy A i ’W i D. B. Egg 1 I L LT’T f—ll 138. Proceed as above. Russian Easter Overture Rimsky-Korsakow Violin 0' 139. To notate the unmeasured, bowed tremolo with notes having flags or beams, one less slash per flag or beam is used. In other words, each flag or beam takes the place of one slash. Study the following example: fikfli 15am Supply only the necessary slashes to each note in the following group to indicate an unmeasured, bowed tremolo. \ 158 140. Proceed as in Frame 139. Symphony No. 3 Beethoven Vla. 141. At a very slow tempo it is ad- visable to use ppg extra slash for each note value so that the players will definitely play an unmeasured tremolo rather than thirty-second notes. In other words, four slashes for whole, half and quarter notes, three for eighth notes, and so forth. Mark each note below to assure an unmeasured, bowed tzemglp at the tempo indicated. [up MW 142. Add all markings necessary to each passage below to indicate an gnmegsuged, bowed tremolg on every note. 70%”? a. Vln. W Alma Use one slash more than the usual number for each note value. (Or equivalent.) 159 143. What principle is followed in notating an unmeasured, bowed tpemolg at a very slow tempo? A definite number of re- peated notes per beat. (Your own words.) 144. As the name measured, bowed tremolo implies, this variety involves a definite number of repeated notes per beat. The measured, bowed tremolo was widely used in classical or- chestral music to notate the repeated-note and repeated- chord accompaniment parts, characteristic of that period. Define measured, bowed tremolo in your own words. (Answer on next paggp) 145. The measured, bowed premolo is notated with slashes like the unmeasured, the difference being the number of slashes used. The abbreviation trem. is pp£_used for this type. One slash indi- cates that a note will be sub- divided into eighth notes as follows: (Except when the slash is applied to an eighth note or smaller value.) This is not real- ly a tremolo but a much-used no- tation for repeated eighth notes. (Continued on next page,) 160 Following the preceding example, fill in the right-hand column with the prOper number of eighth notes. 4 m it a b. =§gi fl. V.. T %’l J 146. In the right-hand column below, give the equivalent measured, bowed tremolo notation for the corresponding groups in the left- hand column. Use the largest note value possible for each pitch. 147. One slash through the stem of an eighth note, indicates that the eighth note is divided into two sixteenth notes. On the staff provided, write out the actual sound of the following example: Symphony No. 3 Beethoven Alley» m M. Viola ...— “Ho Answer: _ 161 148. Using premolo notation, write the following "written out" passage on the staff provided. Piano Concerto No. 3 Bartok Violin ;_ Answer: E: 149. The largest note value possible for each pitch is used unless the orchestrator wishes the in- dividual beats clearly defined, or accented, when one pitch lasts more than one beat. Study the following examples: .. m ordinary eight. 77 note tremolo b. m each beat clear- ly defined each beat accented Notate the following "written-out" tremolo so that each beat is clear- ly defined. Cello Answer: 3% 162 150. Notate the following "written- out" tremolo so that each beat is accented as indicated. Violin ,5 Answer: & 151. Notate the following example as an ordinary, eighth-note tremolo on the staff provided. V1018 3.: Answer: E 152. Two slashes applied to a note (except an eighth note or short- er value) indicate subdivision into sixteenth notes as follows: Following the above example, fill in the right-hand column below with the proper number of sixteenth notes. % L i i i W 163 153. In the right-hand column below give the equivalent measured, bowed tremolo notation of the corresponding groups in the left- hand column. Use the largest note value for each pitch. 154. Use eighth notes to notate the following written-out tremolo. %> Answer: E 155. Use quarter and eighth notes to notate the following written-out ogemolo. (Answer on nextgpage.) 156. Two slashes through the stem of an eighth note indicates sub- division into thirty-second notes. This would be used only at a slow tempo as in the follow- ing example: (Continued on next page,) 164 Violinz On the staff below, write out the actual note values called for in the first measure of the above example. so if F 157. The notation in the above example is the same as for an unmeasured, bowed trepolo. To be sure that i actual thirty-second notes are played, the word measured should be written above a passage no- tated in this manner. Add the proper direction to the following example to indicate that accurate thirty-second notes are desired. (Answer on next page.) 158. With values larger than the eighth note,three slashes are used to in- dicate subdivision into thirty- second notes. This tremolo also is useful only at a slow tempo and should be marked "measured" to avoid confusion with the ppy measured, bowed tromolo. (Continued on next page.) Ihlpfléianéhaé: & Mlala’t/ 165 Write out the following passage in tremolo notation on the staff provided. Be sure to include pll necessary markings. 'AAmédfi'sxfihufib_—__W, Answer. E F 159. Place a check (V6 before the I choice below which indicates a measured tremolo. .k“ 160. Place a check before the choice below which indicates an unmea: sured tremolo. B— 166 161. Place a check before the choice below which indicates a measureo tremolo in eighth notes. 162. Place a check before the choice below which indicates a meooogeo tremolo in thirty-second notes. 163. Place a check before the choice below which indicates a meooureo tremolo in sixteenth notes. 9——:jF———— a. fiyzzzdizzzz 1_ b. E men J ._____c0 €E§§Eg§éggg 167 164. Place a check before the choice below which is only used at a slow tempo. LE T b. .1 . -: 165. Proceed as above. 6 “E ..E nuaiuna/ ___., E 166. Place a check (V6 before the choice below which indicates a measured tremolo in six- teenth notes. a . T“ a b. % __c. g 168 167. Which statement below defines bowed tremolo? a. Rapid alternation between two pitches. b. Rapid reiteration of one pitch. Answer: major second A l I I 1 68. 69 The rapid alternation between two pitches is called fingered tremolo because the effect is achieved with the fingers of the left hand, not with the bow. The rapid alternation between two pitches a minor or major second apart is usually called a trill. Therefore,we can more specifically define fingered tremolo as the rapid alternation between two pitches more than a apart. (interval) The intervals most used for finggred tremolos are the major and minor third. How- ever, the violin can tremolp intervals up to and includ- ing the tritone. Circle those intervals in the following group that gap be played as a fingered tremolo on the violin. 169 major (and) minor third. 170. The intervals most used for the fingered tremolo are the and tritone. 171. The largest interval for a fingered tremolo on the violin is the 172. The largest interval practical for a fingered tremolo on the viola is the perfect fourth. Circle those intervals below which are practical as fingered tremoli on the viola. A perfect fourth. 173. What is the largest interval practical for a fingered tremolo on the viola? 174. The largest interval practical for a fingered tremolo on the cello ppg double bass is a major third. Circle those intervals in the fol- lowing group which ppg practical for a fingered tremolo on the cello. 170 175. Circle those intervals below which ppg_practical for a fingered tremolo on the double bass. major third. 176. The largest interval practical for a fingered tremolo on the cello or double bass is a *ifi tritone. (Or equivalent.) 177. The largest interval practical for a fingered tremolo on the violin is a perfect fourth. 178. The largest interval practical for a fingered tremolo on the viola is a major (op) minor third. 179. The interval most used for the fingered tremolo is the or (Answer on next page.) 180. The fingered tremolo is usually unmeasured and is notated in one of the following ways: (Notice that the number of slashes for each note value is the same as for the unmeasured, bowed trem- olo.) (Continued on next paggp) 171 Unmeasured. Is the fingered tremolo usually measured or unmeasured? (No response necessary.) 181. The two note values used to in- dicate a fingered tremolo must each be equal to the duration of the tremolo on those particu- lar pitches. Study the chart‘ below. 182. Place a check (V5 before the tremolo which is rhythmically incorrect in the group below. LE b. m 183. Proceed as above. 172 184. Proceed as in Frame 183. 185. The fingered tremolo may be no- tated as a measured tremolo. (The number of slashes used is the same as for the EEQSEEEQJ bowed tremolo of the same note value.) A measured, fingered tgemolo in eighth notes may be notated in one of the follow- ing ways. _32) 02!: “5’4; ull A. A ll! III. 11 T I W 1- " L-‘ .... ————- —v— -‘ nil Type (c) above is really un- necessary as it differs so little from actually writing out the necessary eighth notes. Actually the eighth-note trem- olo is useful only at a fast tempo as it will lose the trem- olo effect at a medium or slow tempo. Which example below may be con- sidered unnecessary? Answer: 173 186. Which example below will actually result in a tremolo effect? flflzfi am ‘Lfikné WW ah Answer: 187. Place a check (V6 before the choice below which illustrates a tremolo in eighth notes. m V_‘ #5 188. Proceed as above. C. W (Any two pitches.) @ (Any twomitches.) 174 189. 190. The measured, fingered tremolo in sixteenth notes is notated as follows: This is the most useful type of measured, fingered gnomolo. Using whole notes on any two pitches, notate a fingered tremolo in sixteenth notes on the staff below. r 1] tr 1] L-.. “.....- -‘B Using dotted-half notes, notate a fingered tremolo in sixteenth notes on the staff below. m—m‘au‘ H—.——-.’——.—_——-_—. .. .- m (Any two_pitches.) 191. Proceed as above using quarter notes. )4 1 I] a—--—-——-—-~--ii 1'1 -_..._..-... -.._. .. ..-- -_.]J ...---. ..—.—.—_ ..- m (Any two_pitches.) 192. Proceed as above using half notes. —]1 —II _L —.-.—.—’..--..—----.-- --.; -—. -...—.__ -_.—...- 175 193. The measured, fingered trem- olo_in thirty-second notes, practical only at a verypslow tem o, is notated the same as the unmeosured, fingered trem- olo with the addition of the direction measured, written above the part as follows: fig ’3: Under what circumstances is the poosured, fingered pygmy At a very slow tempo. olo in thirty-second notes practical? (Orpoquivalent.) 194. Using quarter notes, notate a fingered gremolo in thirty- second notes on the staff below. Any pitches will sug- fice. mural f: a 1 -——11 195. Proceed as above using dotted half notes. measured 22.....__1.3 196. Proceed as above using whole notes. r &+~—--—-;E$ 176 197. Proceed as in Frame 196 using dotted-quarter notes. measana/ E eeeeeeee 3* 198. Proceed as above using eighth P. notes. . scanned Ira“ E ~—:]' (No response necessary.) 199. Various types of tremolos are i often combined with other special effects. The follow- ing excerpts illustrate a few such cases: Rondes de Printemps Debussy Sur la (nuke 8 . Pacific 231 Honneger {as Is cheValei' I The Swan of Tuanela Sibelius .m/kpw c. Vla. , . .- “'37—“- . Symphony No. 2 Sessions sul pent. d. Vln. pizzicato. 177 200. We have seen how the charac- teristic timbre of the string- ed instruments can be changed by the way in which the bow and the fingers of the left hand are used. Another method of changing the timbre is by pluck- ing the string with a finger rather than using the bow. _ This is called pizzicato. . Technically there are four types 1 of pizzicato but three of these _1 are rarely used. ‘ Plucking the string with a finger is called index (or first) right 201. In the ordinary pizzicato, the right index finger plucks the string over the end of the fin- gerboard while the bow is held out of the way by the other fin- gers of the right hand. This type of pizzicato is indicated by the abbreviation 2122. written above the part as in the follow- ing example: Classical Symphony Prokofieff Vln. In the above example the strings are plucked with the finger of the hand. $29522. 178 202. Pizzicato is essentially a staccato sound. The sound dies away quickly, especially on the smaller instruments (violin and viola). For longer note values, players can prolong a pizzicato sound somewhat by using vibrato. Pizzicato is essentially a sound. Double bass. 203. Which instrument, double bass or violin, can sustain a pizz- icato sound longer? Answer: Vibrato. -‘+ 204. What device is used by string players to prolong a pizzicato sound? Answer: 305. Mark the following passage so that a performer will pluck the strings with the right index finger. Lieutenant Kije Prokofieff When pizzicato is desired among or immediately after bowed notes. (Or equivalent.) 179 206. For the sake of comparison, this type of pizzicato will be called ordinary pizzicato. A string may also be plucked with one of the fingers of the left hand. This left- hand pizzicato is used when pizzicato is desired among or immediately after bowed notes, thus not allowing the player time to change his grip on the bow to play ordinary pizzicato. Left- hand pizzicato is easier on an open string, though stop- ped pitches may also be play- ed in this manner. Under what circumstances is left-hand pizzicato used? False. (It is easier on an open string but stillgpossible on a stopped pitch.) 207. Left-hand pizzicato is possible only on open strings. (True/False) (Answer on nextApage.) 208. The left-handypizzicato is notat- ed by placing a cross (+) opposite the note-stem plus the indication pizz. as in the following example: Symphony in C Stravinsky fist. Violin (Continued on next page.) 180 Mark the following passage so that the note B on the third beat of each measure is played as a left-hand pizzicato. Viola Ev 209. Circle the note in the follow- ing example that would be played as a left-hand pizzicato. Symphony No. 9 Shostakovich 210. The left-hand pizzicato is not practical on the cello and double bass due to the greater length of their strings. On what instruments in the left- hand pizzicato not practical? Cello and double bass. 211. Another type of pizzicato is the snap pizzicato. Béla Bart6k is given credit for discovering this device. The snap pizzicato is executed by plucking the string with the right index finger at such an angle as to make it snap down against the fingerboard. A slapping or twanging sound of semi-definite pitch results. In the snap pizzicato the string is snapped against the fingerboard. 181 212. A slapping or twanging Describe the sound of the snap sound of semi-definite pizzicato. pitch. (0r eguivalent.) 213. The snap pizzicato is notated as follows: V v 6 b 0r;::E£;§§::r Notice that the symbol for snap pizzicato is placed above the note regardless of stem direction. Mark each note in the following example to be played with the snap pizzicato. True. 214. The snap pizzicato is a very colorful effect and is practical on all of the stringed instru- ments. A rapid succession of snap pizzicato notes, however, is extremely difficult if not impossible as the finger has to "get set" before each note in order to pluck the string hard enough and at the proper angle. The snap pizzicato is practical on any stringed instrument. (True/False) (b) 182 215. Which example below illustrates an impractical use of the snap pizzicato. (a) Ceno W (b) Violin Answer: Because in the snap pizzicato the finger has to "get set" before each note. (Or equivalent.) 216. Example (b) above is actually impossible. Why? The string is plucked with the finger nail of the right index finger. (Or equivalent.) 217. Another contribution of Bart6k is the nail pizzicato. This variety is little used,perhaps because it is rather difficult. As the term nail pizzicato sug- gests, the string is plucked solely with the finger nail rather than with the fleshy part of the right index finger. Describe how the nail pizzicato is executed. 183 218. The nail pizzicato produces a metallic twang. The notation is as follows: 9 a Mark the following excerpt to be played with the nail pizzicato. Music for String Instruments ’ Percussion and Celesta Bartok a A metallic twang. (Or equivalent.) 219. Describe the sound produced by the nail pizzicato. 220. The nail pizzicato requires even more "getting set" than the snap and is appropriate only for ad- vanced players. Would you consider the nail pizz- icato appropriate for a rapid No. passage? 221. The nail pizzicato may be written for string players of any ability. False. (True/False) Nail pizzicato. 184 222. The nail pigzicato is possible on all of the stringed instru- ments. What type of pizzicato is required in the following example? Answer: Left-hand pizzicato. 223. practical on the cello and What type of pizzicato is not .1 double bass? I Ordinary pizzicato. 224. What type of pizzicato is re- quired in the following excerpt? Mphony No . 4 Diamond fflto Cello Answer: Snap pizzicato. 225. What type of pizzicato is called for in this example? Viola Answer: Left-hand pizzicato. 185 226. Identify the type of pizzicato required in the following pass- age. Rapsodie Espagnole Ravel tflkrv an a; .w Cello Answer: Amhufi' 227. The direction to cease playing pizzicato is the word area (with the bow ) written above the part, as in the following example. Appalachian Spring Copland 4e» our Vln. f’ Mark the following example so that the pizzicato will cease in the third measure. Academic Festival Overture Brahms flthb Vla. /' The third measure. 228. In what measure of the following excerpt does the pizzicato cease? §ymphony_No. 6 Beethoven Iflmymfib '1’ Bass Answer: pizzicato. 186 229. The word arco written above a string part is used to indicate the cessation of Some vibrations are absorbed before they reach the resonating body of the instrument. (Or equivalent.) 230. There is one more method of a1- tering the basic timbre of a stringed instrument. This is r by muting. Mutes are usually made of wood or metal and are fitted onto the bridge of the instrument. Their function is to absorb some of the vi- brations of the strings before they reach the resonating body of the instrument. The result is a "muffled" or less vibrant, but not necessarily softer, sound. How does a mute affect a vibrat- ing string? False. 231. The primary function of a mute is to produce a softer sound. (True/False) "Muffled" or less vibrant. 232. Describe briefly the sound pro- duced by a muted string. 187 con sord. 233. The complete Italian direction for "with mute" is con sordino. Usually the abbreviation Egg sord. is written above the part as in the following example: Appalachian Spring. Copland The German terminology, mit Dampfer. is also frequently . used. The common abbreviation, y mg£_Dmpf. is shown in the follow- ing example: Symphonic Webern nit hag}. IL} 1.- t 2 The Italian abbreviation for "with mute" is 234. The German abbreviation for "with mit Dmpf. mute" is 235. Using Italian terminology, mark the following part to be played muted: Fourth Symphony. Diamond 1" “VJ: 7! 188 [236. Using German terminology. mark the following passage to be play- ed with mute. Konzert Webern uni Dmgf. 237. The abbreviated Italian term senza sord. (literally "without mute") written above the part, instructs players to remove mutes. The following example illustrates the use of this di- rection. Symphony No. 4 Mahler The abbreviated Italian term for "without mute" is senza sord. 238. The abbreviated German term for "without mute", ohne Dm f. is shown below. ”flog ”if" I J 0h! 'm'fa 1 f _l at. Ll E What is the abbreviated German term for "without mute"? ohne Dmpf. 189 239. The most important factor to remember when writing for muted strings is that it takes time to put-on or take-off mutes. A minimum of two measures at a moderate tempo should be allow- ed for either operation. Egg more time the better. Which example below illustrates impractical writing for muted strings? (b) Answer: 240. The minimum amount of time re- quired to put-on or remove mutes two at a moderate tempo is measures. 241. (a) con sord. (b) senza sord. Give the Italian directions for the following: (a) with mutes (b) without mutes (a) mit Dmpf. (b) ohne Dmpf. 242. Give the German directions for the following: (a) with mutes (b) without mutes 1" " lama-‘41 multiple stopping 190 243. One category of special ef- fects remains to be discussed. This is the simultaneous pro- duction of two, three, or four pitches on the same instrument. This effect is called multiple stopping. The simultaneous production of two, three, or four pitches on the same instrument is called 244. This ability to perform multiple stops is unique with the string- ed and some percussion instru- ments. The sounding of two pitches simultaniously is called a double stop. Three pitches con- stitute a triple stop and four a quadruple stop. A double stgp is the simultaneous two sounding of pitches. 245. A triple stop produces three simultaneous sounds. quadruple 246. Production of four pitches at the same time is called a stop. L ‘11 191 247. The most frequently found multi- ple stop is the double stop. Double stops are notated by join- ing the two pitches involved with a common stem as in the following example: Cello In the following group, circle those pairs of notes which are correctly notated as double stops. Violin 248. In the right-hand column below, show the proper double-stop no- tation for each pair of notes in the left-hand column. (Apswer on next page,) 249. In the case of whole notes, the notation of double stops is slightly different as no stems are involved. In this situation a bracket is placed to the left of the two notes, as in the fol- lowing example. Note the place- ment of accidentals. We; (Continued on next page.) 192 In the right-hand column be- low, show the proper double step notation for each pair of notes in the left-hand column. 250. Which example below requires the use of double stOps? Answer: (Answer on next page.) 251. Triple stops may be notated in the same manner as double stops, except that three notes are in- volved. In the right-hand column below, show the proper method of notat- ing each group of notes in the left-hand column as triple stops. (Continued on next page.) 193 afi=g 252. In the following group, circle the correctly notated triple- stops. 253. Quadruple stops are notated in the same manner as double and triple stops. In the right- hand column below, illustrate the proper quadruple-stop no- tation of the corresponding notes in the left-hand column. 254. Circle the correctly notated quadruple stOps in the follow- ing group. inside 255. When using a bracket to indicate a multiple stOp in whole notes, any necessary accidentals are spaced (inside/outside) of the bracket. 194 256. Due to the curvature of the bridge on all stringed instru- ments, all of the notes in a triple or quadruple stop can- not be sounded exactly togeth- er. Instead, the notes are arpeggiated very quickly. The upper note (or two notes) may be sustained for any de- sired rhythmic value, but the entire chord cannot be held. Due to the curvature of the bridge a triple or quadruple arpeggiated step must be quickly rather than sounding all notes simultaneously. 257. In a triple or quadruple stop, can any note or notes be sus- Yes. tained? 258. What notes may be sustained The top note or the in a triple or quadruple stop? upper two notes. (0r equivalent.) 259. When the conventional notation is used, string players will generally sustain the top note for the rhythmic value notated. The following example illustrates the actual sound produced. A written: fl played: g (Answer on next page.) (Continued on nextgpage.) 195 In the right-hand column be- low notate the actual sound of each of the multiple stops in the left-hand column. //‘\ /"\ b. $ b. $= E 1 r}. i c. as? c. $= E 260. ’. In the examples above, the no- I tation is not at all descriptive of the sound produced,especially when larger note values are in- volved. The methods of notation advocated below are much more as as graphic. In the right-hand column below, illustrate a more graphic notation for each of the multiple stops in the left-hand column. W_____.__.____ .0 5er 196 261. In the case of quarter-note- or-smaller values the common notation for multiple stops is appropriate. Study the fol- lowing example: .1: In the group below, circle those multiple stOps which can best be notated in a different manner. assets. i" Proceed as above. 263. We have already mentioned the possibility of sustaining the upper two pitches of a triple or quadruple stOp. This prac- tice is used less frequently than sustaining one pitch, but is often desirable. The nota- tion for this practice is de- monstrated below: Notate the following triple stops with the upper two notes sustained. 3F t T Answer: EEE;__§§;_2.;£fiE:.__ ELM 197 264. Notate the following quadruple stops with the top two notes sustained. a 41 J J i? I I a a 3 Answer: E 51: :1. 3? ‘I 265. Any combination of two, three, or four notes at any point in a score is not always practical as a multiple stop. No set rules in this regard are practical as the number of possibilities is too great. Some general guide- lines, however, are in order. It goes without saying, of course, that double stops are easier than triple stops,and quadruple stops are the most difficult of the three. In any case the most im- portant consideration is the musi- cal context of which the multiple stop is a part. A series of multiple stops in rapid succession is impractical if not impossible, because the player must have time to get his left hand set for each succeeding multiple stop. Which example below is impractical? Because the rests permit time for the preparation of the left hand for each multiple stop. (Or equivalent.) 198 266. Why is example (b) in the pre- ceding frame practical? a. The player needs time to set his left hand for each multiple stop. b. The bow must be recovered before each multiple stop. 267. Another factor is also important in the example in Frame 265. Triple and quadruple stops are usually played downbow. There- fore the player must not only set his left hand for the next multiple stop. but recover the bow as well. List two reasons why multiple stops in rapid succession are impractical. 8. (Answer on nextgpage.) 268. To insert a multiple stop in the course of any rapid single- note melody is also impractical for the reasons eXpressed in Frame 267. (Continued on next page.) 199 Which example below demonstrates an impractical use of multiple stops? 8. b. b. q Answer: 269. 4 Multiple staps are never prac- tical at a fast tempo. False. (True/False) 270. Multiple stops require time for preparation and therefore should follow rests at a fast tempo. True. (True/False) Because the arpeggiation of the triple stops will break the legato effect of the melody. (0r equivalent.) 271. Attempting to incorporate the upper note of a triple or quad- ruple stop into a legato melodic line is also impractical. The fact that a triple or quadruple stop must be arpeggiated will,of course, destroy the legato effect of the melody. Why does the following example demonstrate an impractical use of multiple stops? " 00/ ”are“. Answer: True. 200 272. Attempting to incorporate the upper note of a triple or quad- ruple stop into a legato melodic line is impractical. (True/False) 273. The pitches of any multiple stop F1 must be available on separate but adjacent strings. Consider this double stop: 57% Both of these pitches are avail- able only on the C string of the cello. Therefore, it is an im- possible double stop. ‘IEE-F Circle the impossible double stops in the following group: Viola 274. This principle also applies to triple and quadruple stops. Circle the impossible multiple stops in the following group: Violin (Answer on next page.) 275. The basic principle here is that each pitch of a multiple stop must be available on sepa- rate but adjacent strings. Consider this double stop: (Continued on next_page.) 201 Hi l l #3 The two pitches required are possible on the G and D strings of the violin but certainly not available simultaneously to any player with less than a super- human left hand. Circle the double stops in the following group which are not available on adjacent strings: Cello 276. This principle also applies to triple and quadruple stops. Circle the impractical multiple stops in the following group: Violin separate (but) adjacent 277. Each pitch of a multiple stop must be available on but strings. 278. The most playable multiple stops are those which incor- porate as many open strings as possible. Circle the mul- tiple stops below which make use of open strings. Viola Hr- 279. 280. Proceed as above. Cello Proceed as above. Violin 202 281. Naturally the more open strings involved, the better. The use of an open string even makes possible many compound intervals. You discovered earlier that this interval; iEEE§§§§§9 is impossible as a dou- ble stop on the violin, because the left hand cannot reach both notes simultaneously. But this interval; , is completely practical d .-.. because only the "e" is a stopped pitch. A. Any compound interval is poss- ible as a double stop. B. Compound intervals involving one open string are possible as double stops. Check (V6 the choice below which best evaluates the above state- ments. a. A is true. b. Bistnm. c. Both are true. d. Both are false. 282. Circle the compound intervals in the group below which are practi- cal as double stops. e. Cello :fgéifigi Y 3:— LI ii 203 283. Proceed as in Frame 282. 284. The principle exemplified in the preceding frames also ap- plies to triple stops involv- ing two open strings, as in the following examples: Possible % Impossible % Circle the practical triple stops in the following group: 4 i .1 e .L ViolinW 6%? 285. Proceed as above. Cello ‘— (Answer on next page.) 286. Quadruple stops involving com- pound intervals are rarely found. They may be used, how- ever, if the lower two strings are unstOpped as in this chord: Cello 5; £1 ...._ 3..-- _ (Continued on next page.) WE. 3 L13?- 3 204 Circle the playable quadruple stops in the following group. Violin two lower 287. Quadruple stops containing compound intervals must leave at least the strings unstopped. Because it is easier to hear when they are out of tune. (Or equivalent.) 288. Some general guidelines may be stated concerning specific in- tervals as practical double stops. The perfect intervals present the greatest intona- tion problems because it is easier to hear when they are out of tune. The most trouble- some of this group, is the per- fect fifth. Why do the perfect intervals, present the greatest intona- tion problems as double stops? perfect fifth 289. The most troublesome interval in terms of intonation is the same 205 290. To produce a perfect fifth as a double stOp, the same finger must stOp two adjacent strings. This is not difficult in itself, but there is no way to correct faulty intonation of one pitch without changing the other as well. The intonation of a perfect r} fifth as a double stop is al- ‘ most impossible to correct, because the finger stops two adjacent strings. 291. The perfect octave and the per- fect fourth as double stOps, are somewhat safer intonation-wise, because they can at least be ad- justed as two fingers are in- volved in producing them. Place a check (V6 before the in- terval below, which does not per- mit intonation adjustment when played as a double stop. a. Perfect octave. b. Perfect fourth. c. Perfect fifth. (No response necessary.) 292. In spite of the fact that the perfect octave and the perfect fourth are possible as double stops, with good intonation, their use should be reserved for performers with well-trained ears. 206 293. Double-stopped unisons are oc- casionally used when greater volume or resonance are de- sired. They almost always in- volve an open string. The fol- lowing example illustrates the use of the double-stapped uni- son combined with tremolo. Chout Prokofieff r1 Vln. I A double-stapped unison may be i used to produce greater volume (pp) resonance. or 294. E; ....“ _.——.—— Since double-stopped unisons almost always involve one open string, they are most practical on the pitch of one of the upper three strings of the instrument. In this situation: E the violinist fingers D on the G string and draws the bow across the G and D strings. On the staff below, notate the three most practical pitches for double-stopped unisons on the viola. E.--“ 5E; 207 295. On the staff below, notate the three most practical pitches for double-stopped unisons on the cello. $~flw 296. Notate the three most practical pitches for double-stOpped uni- sons on the violin on the staff below. .- -- -..—‘— sixth 297. The imperfect intervals (major and minor) may be ranged from easiest to most difficult as follows: sixths, thirds, sev- enths, seconds. The easiest imperfect interval to play as a double stOp, is a major or minor second 298. The most difficult imperfect interval to play as a double stop, is a major or minor less 299. Thirds are (more/less) difficult than sevenths as double stops. 208 300. Thirds are more difficult than sixths as double steps. True. (True/False) 301. Sevenths are (more/less) less difficult than seconds as double steps. 302. Thirds are more difficult than seconds as double stops. False (True/False) ' 303. i In the right-hand column below, rank the intervals given in the left hand column in order of difficulty. Begin with the easiest. a. sixths a. thirds a. b. thirds b. seconds b. c. sevenths c. sixths c. d. seconds d. sevenths d. (Answer on next page.) 304. In discussing the relative prac- ticality of triple and quadruple steps, one must necessarily be less inclusive due to the far greater number of combinations possible. The advisability of using as many open strings as possible has already been dis- cussed. Beyend that it is suf- ficient to say that when only stopped strings are involved, chords of superimposed major and/or minor sixths are most practical in terms of both in- tonation and technical facility. (Continued on next page.) 209 Circle the triple stop below which is most practical con- sidering both intonation and technical facility. violin % 305. Circle the quadruple stop in the group below which is most practical in terms of intona- tion and technical facility. Viola sixths 306. For multiple steps containing no open strings, chords of superimposed major and/or minor are most practical in terms of intonation and tech- nical facility. 307. Somewhat more difficult but still practical are triple stops with no epen note, combining the in- tervals of a major or minor sixth and a minor seventh. Quadruple stpps with no open note contain- ing sevenths are not recommended. Circle the impractical multiple steps in the following group. he— 210 308. A. Triple or quadruple steps with no open note contain- ing the interval of a minor seventh are equally prac— tical. B. B. Only triple stops with no open note containing a minor seventh are recom- mended. Which statement above is true? 309. Which multiple stop below is easier? Answer: 310. Are both examples in Frame 309 Yes. practical? (Answer on next page.) 311. Triple and quadruple stops con- taining a perfect fifth along with one or two sixths, are the easiest type in terms of tech- nical facility, but are the most difficult in terms of intonation. (Continued on next page.) 211 The intonation problems are somewhat less acute, however, than with the double-stopped perfect fifth,as the accompany- ing sixths tend to obscure faulty intonation of the fifth to some extent. These multiple steps should not be used to ex- cess, however, just because they are possible. Which multiple step below, possesses greater intonation problems? Because the accompanying sixth tends to obscure faulty intonation in the fifth. (Or equivalent.) 312. Why are the intonation problems less severe in (b) above? False. 313. Multiple steps containing per- fect fifths, may be considered equally practical with those containing only sixths. (True/False) (No response necessary.) 212 314. This discussion has not, of course, included all of the possible multiple steps as the list is practically end- less. The question remains then. "How can I find out what other combinations are possible or practical?" The best source of information is the accomplished perform- er on the instrument in ques- tion. At times when such consultation is not possible, the following chart may prove helpful. This is an accurate full- G D A scale drawing of a portion of a violin fingerboard. The pitches are Gk D” A“ F indicated as closely as pos- sible to the point where they are stepp- ed. By study- ing this chart or by actual- ly holding it A? F1 C in your left hand in play- ing position, F1, C17 you can get some idea of the difficulty of various mul- C G tiple stops. D 213 315. Multiple steps which place the left hand in a more natural position, that is with the lower-numbered fingers on the lower- pitched strings. are less difficult to produce. In view of this factor, which multiple step below is easier to produce? (Consult the chart in the preceding frame if you wish.) 316. Proceed as above. Answer: 317. Proceed as above. Answer: lower 214 318. The natural position of the left hand places the lower- numbered fingers over the - pitched strings. (No response necessary.) 319. Charts similar to the one in Frame 314 may be made for the other stringed instruments as well, but computing the actual distance between pitches is a rather lengthy process. A better solution is for the orchestrator actually to hold the instrument in his hands and eXperiment with various com- binations himself. False. 320. The double bass has been notice- ably avoided in this discussion of multiple steps. Triple and quadruple stops are pp; practi- cal on this instrument. Double stops having one or two open strings are practical technical- ly speaking, but usually do not sound effectively in the pitch register of the double bass. Some triple and quadruple stops are practical on the double bass. (True/False) These having one or two open strings. (Or equivalent.) 321. What double steps are technical- ly practical on the double bass? True. 322. Aesthetically speaking, double stops do not sound effectively in the pitch register of the double bass. (True/False) (No response necessary.) 215 323. Multiple stops,of course, may be combined with other special effects as illustrated in the following examples: Carnival of the Animals Saint-Saens ”a 51%,» £"fi‘. an»; False. 324. Some general guidelines may be expressed concerning multiple steps for high school string players. Double steps having one or two open strings are prac- tical for all instruments, except double bass,at a slow or moderate tempo. Double steps having one or two epen strings, are practical for all instruments of a high school string section. (True/False) Double bass. 325. What stringed instrument should not be given double stops in a high school orchestra? slow (pp) moderate 326. Double stops having one open string are practical for high school violinists, violists, and cellists at a or tempo. 216 327. Double-stepped thirds and sixths with both notes stepped, are prac- tical for high school violinists and violists at a slow or moder- ate tempo. For what instruments of the high school string section are double steps containing no epen note Violins and violas. practical? r} 328. Double steps containing no epen note should be limited to thirds (pp) sixths. or for (interval) (interval) high school violinists or violists. 329. Circle the double steps in the following group that are ppp practical for high school orches- traS. E‘ -.. f ___. Violin _ _, ______ _ p . 330. Proceed as above. mm. M r 331. Proceed as above. 1 J C: - j .. J -: Ceno W: - T --.- . --- 217 332. Double steps for high school cellists should be limited to epen those having at least one string. 333. Which example below is appro- priate for high school orches- tra? Roman Carnival Berlioz 8. Symphony No. 36 Mozart saw ..\ b. b. Vla. HE f’ Answer: (Answer on nextgpage.) 334. Study the following examples in terms of their practicality for high school orchestra. Sheherazade Ravel 6. Fifth Symphony Beethoven 72%,. b. Vln. I (Continued on next page.) 218 Check the choice below which best evaluates the preceding examples in terms of high school musicians. a. (a) is practical. b. (b) is practical. c. Both are practical. d. Neither is practical. volume 335. The primary purpose of multiple steps is to achieve greater vol- ume and resonance when scoring for added voices. When sheer volume is not a requirement, parts scored divisi (divided) are technically easier than mul- tiple stops. Multiple stops are used primarily to achieve greater and resonance when scoring for added voices. divisi 336. The Italian term divisi indicates that the multiple voice parts are to be "divided" among the players in the section rather than played as multiple steps. The Italian term for "divided" is D. H. F 219 337. The abbreviation for divisi is £11. This abbreviation may be written above the staff when a section is to be divided into Egg voices as in the following example: Fates Divisi is indicated by writing the abbreviation above the staff. 338. Mark the following example to be played divisi. Roman Carnival Berlioz (Answer on nextgpage.) 339. The method of indicating divisi illustrated in the preceding frame cannot be used if the rhy- thm of the two voices is differ- ent. In such cases separate note- stems are required and the direc- tion ply. may be omitted. Study the following example. Pelleas et Melisande Debussy (Continued on next page.) fa." n... 7 rhythm 220 Separate stems are required in the preceding example because the of the two voices is different. 340. On the staff provided, score the two parts below as one div- isi part. Appalachian Spring Copland Vln. II Vln. II Answer: E No. 341. Are separate stems needed to score the following two parts as one divisi part? Prelude to Parsifal Wagner Vla. Vla. Answer: (Answer on next page.) 342. A multiple divisi of three or four parts is also possible. The abbreviation div. a 3 in- dicates a divisi of three parts. The abbreviation is placed above the staff as in the following example. (Continued on next page.) three 221 Symphony No. 4 Mahler The above example illustrates a multiple divisi of parts. 7&M¢:3 343. Mark the following excerpt to be played as a divisi of three parts. Piano Concerto No. 3 Bartok 344 . Divisi into four parts is in- dicated by the abbreviation div. a 4 above the staff. Mark the following example to be play- ed as a divisi of four parts. (Answer on next page.) 345. It is often necessary to use more than one staff for divisi parts, especially when a multiple divisi is being scored. This practice will prevent one staff from be- coming unduly cluttered and is absolutely necessary when two dif- ferent clefs are involved as in the following example. (Continued on next page.) 222 below Debussy Nuages Vla div. Notice the brace (to the left of the bracket) joining the two staves for the violas. The abbreviation giy. in the ex- ample above is placed (below/ above) the abbreviation for viola. Vc. Jiv. 346. Add the necessary brace and labels to the following excerpt for divided cellos. Firebird Suite Stravinsky an“... “- (Answer on next page.) 347. The examples on the following page illustrate two different score arrangements for divisi strings. There are of course as many such arrangements as there are ways of dividing the instru- ments of the string orchestra. These two are offered only as models. (Continued on next page.) 223 (No response necessary.) Vln. I div. Vln. II div. Vla. div. Vln. I div. a3 Vln. II div. a3 Vla. div. Vc. div. a3 D.B. div. Vln. Vln. Vla. div. Vc. div. 224 348. Using separate staves for each divisi part, set up the blank score below for the following instrumentation: First Violins Second Violins Violas, div. a3 Cellos, div. Double Basses -—_-——‘__— _- ~ ..__ _q— ._ __——‘__._._.-_-..-_. ......- —-—— -——-.~¢-_—.-~ ‘ ~.——_-..._._.—.— .-__ - _. --—. _o-G‘ ".-.-...— ..-~.»- .———-—0 -..-...—__.._.-_.._, _. M_ -... ...—...... _- ‘_-___. av... —-—.~—. —.—- _-___ .—_. _._—-r.__—__ —___. — ...- ‘— I1 Vln. div. Vln. div. Vla. div. Vc. div. D.B. div. II a3 a3 a4 225 349. Using separate staves for each divisi part, set up the blank score below for the following instrumentation: First Violins, div. a4 Second Violins, div. a3 Violas, div. a3 Cellos, div. a4 Double Basses, div. _ -_ ..--.. --..._ -.. -... ..-... _— .—._ . _-__ __ —. ‘__,.._.,.'___ _-—— _-—- ..‘a ——._- ....--‘_._..—;_._——.—_._- .— —. ~_—--‘-—.__.—-_.“.. - ___.—‘r-_—-__.—_._—.—_—— -———..—_——s — __.-.. -..—-___.‘_.--- _"“.__.__. _ -“_—— » ~— —_.-— -..,_.. -_ “a ——- -uw.— -..—_- -..—_- —-~..—-— __ _r—‘ a... —“-'—"' _. ...-,,.-——. __ _ _ _ - ---... Summary Many so-called special effects which deviate from the normal timbre and manner of playing are possible on the stringed instruments. Most of these effects are called for quite frequently, although not constantly, in string writing and for this reason are not as "special" as the traditional term "special effects" implies. Harmonics are simply the sounding of partials of the overtone series without the presence of the fundamental. They are soft and flute-like in timbre. A natural harmonic is an overtone of an epen string while an artificial harmonic is an overtone of a stopped fundamental. The latter type is somewhat more difficult to play and usually only the pitch two octaves above the fundamental is requested. The direction sul tasto (Fr. sur Lg touche, Ger. pp Griffbrett) means that the strings are bowed over the fingerboard rather than at the normal place. The sound of ppl'pgppp is usually associated with a soft dynamic level and lacks the "edge" of a normal string tone. By drawing the bow across the strings either over or right near the bridge, a different sound is produced. This effect is called sul ponticello (Fr. pp chevalet, Ger. pp Spgg) and produces a soft and thin or "glassy" sound. The bow stick rather than the hair makes contact with the string when gpl_lggpp is called for. The stick may either bounce against the string (col legno batutto) to produce a clicking sound, or be drawn across the string (col legno tratto) producing a mere dry whisper of sound. 226 227 A glissando is produced on a stringed instrument by sliding the finger along a string while pressing it against the finger- board. A smooth sliding or "swooping" sound results. A less noticeable and more sudden slide is called a portamento. This effect may be notated in the score and parts but in many cases is simply added by the players where a more "romantic" legato seems appropriate. The rapid reiteration of one pitch is called bowed tremolo. The rapid alternation between two pitches is called fingered tremolo. Either type may be measured or unmeasured. The unmeasured, bowed tremolo is a frequently used effect which produces a "shimmer- ing" sound. This tremolo is often used in combination with sul ppnticello. Plucking the strings with the finger is called pizzicato. This effect is usually produced with the right index finger but the left hand may also be used. Bela Bartok was responsible for two unusual types of pizzicato. These are snap pizzicato which is executed by lifting the string high enough to cause it to "snap" against the fingerboard, and the nail pizzicato which is executed with the fingernail. The cessation of pizzicato is indicated by the word 3522. A less vibrant, but not necessarily softer, sound may be achieved by using mutes. The indication ppplpppg. directs players to "put on mutes." Senza sord. indicates the removal of mutes. A miminum of two, four-four measures of rest at a moderate tempo (or equivalent) should be allowed for either "putting on" or removing mutes. 228 Although the normal manner of playing stringed instruments produces only one pitch at a time, the simultaneous production of two, three, or four pitches is possible. These double, triple, and quadruple stops are easier to play when notated so that as many open strings as possible are employed. In cases where practical multiple steps are not possible, divisi writing may be used. Divisi means that one half of a section plays a different part than the other half. Divisi §_2 (in three parts) and _Hg (four parts) are also possible. More than four parts are infrequent but possible if one is scoring for an extremely large orchestra. One final possibility regarding these special effects is that many combinations such as the tremolo sul ponticello already mentioned are available. The glissando lg harmonics, tremolo col lggno, muted pizzicato, and tremolo glissando are only some of the possibilities. Chapter VII Scoring for String Orchestra (No response necessary.) 1. There are several factors which make scoring for string orchestra a most satisfying task. The pitch and dynamic ranges are extensive. Through the use of special effects many varied timbres are possible. The technical versatility and en- durance of the stringed instru- ments have no peer and the problems of blend are fewer than in any other instrumental family. 2. Some difference in overall pitch range exists between the profes- sional and high school string section or string orchestra. Most professional orchestras include double basses with extensions en- abling them to play down to written E- — 10 The practical upper limit for professional calibre violinists is 8’2"! - - —-. _W. m— ..-- On the great staff below. notate the overall sounding range of the pro- fessional string orchestra. (Answer on next page.) The high school orchestra, as a rule, does not use the extended double bass thus limiting its lower written range to E. ...—- (Continued on next page.) 229 230 HR LE m-fifi-“ ...—— f $-a._a-a._. .. 8- .J The practical upper limit for high school violinists is On the great staff below, notate the overall sounding range of the high school string orchestra. u“ -‘-«-_ _— (No response necessary.) 4. In scoring for the entire string family, the practical limitations for players of varying abilities eXpressed in the preceding six chapters must, of course, be ob- served. Refer to these chapters. if necessary,concerning any spe- cific problem which may arise. a. Vln. I b. Vln. II c. Vla. d. Vc. 5. There are five sections within the string orchestra: first violins, second violins, violas, cellos, and double basses. The modern standard string orchestra score is set up as follows: FA Vln. I ..._._. -__-_.._ -..—M... ._—._..-_.__—— Vln. II _. —. -..—~.— — Vla. —-. ~—- «.......__..___.——~.._ --—‘..—_._._.__. Vc. D. B. I. —_._‘_.—--__‘_d__‘_.__._.._. .._—__. With abbreviations, list the five sections of the string orchestra on the lines below. a. d. b. e, Vln. I EEE_yyy‘_*___ 4% V111. II “37:22:; Vla. +-r.. Vc. r y_yg~-*__ D. B. pgyyygg‘muart 6. Add the necessary labels, bracket, brace, and clef signs to the staves below to illustrate the setup of a modern string orchestra score. a..._‘_4_‘-. ____...._-._. _-__ -.‘-_ -....-_‘_-.—_--.. _.-..—._.. -..... “g“-w ~.-.'H -— .__-._._ - _ -.. -..- r“ _ ...-.. _,_..... - — -___.._....._.__ _— _. __-. (No resppnse necessary.) 7. In classical orchestral music (in- cluding string orchestra) the basses usually doubled the cellos at the octave below, that is, both sections played the same written part. For this reason, classical scores for string orchestra often employ only four staves set up as follows: Vln. I ‘fl _———-—.—-.—o~— Vln. II Vla. Vc. and D. B. _dw‘**-— ‘__—— —‘-—-—-—-—.-- -- ...-_- (Answer on next page.) 8. Scoring for string orchestra may be studied in terms of the three basic musical textures: mono- phonic, homophonic, and polyphonic. We shall define these textures and examine them in terms of their use in providing each of the two basic components of a good score: unity and contrast. (Continued on next page.) 232 a. Monophonic. b. Homophonic. c. Polyphonic. 0n the lines below, list the three basic musical textures. unity (and) contrast (Any order.) 9. The two basic components of a good score are and A texture of only one musical element. (Or equivalent.) 10. The simplest musical texture is a texture of only one element. This is called a monophonic texture and may be employed in either of two ways. The first of these is the unison demonstrated below. Variations pp_g_Theme pf Frank Bridge Britten [fluapv Vln. I {1’ Vln. II /2’ Vla. ff Vc. D. B. Define monophonic texture. mon0phonic 11. The unison is one way of employing a texture Vibrant and forceful. 12. The sound of the unison is vibrant and forceful, especially at the dy- namic level of the example in Frame 10. There are two reasons for this. The first is simply the large num- ber of instruments playing the same pitch. The second reason is the difference of timbre produced by the various instruments. The violins are on the dark and resonant G string; the violas and cellos are in the middle area of their range; and the basses are using the more nasal upper region of their range. Describe briefly the sound of the unison. (Answer on next page.) 13. In the example in Frame 10, the unison provides unity at a point which is generally cadential. It also places this portion of the composition in contrast to what has come before. Score the following line as a unison on the staves provided. Indicate dynamics and articulation for eaCh part. The tempo is indicated only above the first violin part. (Continued on next page.) 234 ult-vt.t.nvii-1|-4uiixtt--111xt- n . . u m 9 L1... .111 11.11.1111 I 1” 00> 1 ill 11 11111111111111.1.11 1.11 1,14. -11 O m~> 111111111 1' 11111111111101-1111 111 0 HH c~> Ha 1.1111111--- 11 1 i113. 4111. 1.1. 1.111, 1. o H c~> ‘ ks kt w 00> OQH> HH .c~> H .c~> 235 14. Where are the dynamics and articu- lation indicated in a string orches- Below each part. tra score? 15. Where is the tempo indication placed in a string orchestra score? Above the first violin part. 16. The string unison is seldom used for one important reason: only a small portion of the practical ranges of the violin and double bass overlap. Because of this diversity of instru- mental ranges it is easier for the string orchestra to play the same part in octaves rather than in a true unison. Playing the same part in octaves is called octave doubling and is the second method of employ- ing a monophonic texture. unison (and) octave The two types of monophonic texture doubling. are and (Any order.) 17. Varied spacing or voicing of parts is possible when octave doubling is used. One possibility is illus- trated in the following example. (Discounting the initial chord.) (Answer on next page.) (Continued on next page.) three 236 Eine Kleine Nachtmusik Mozart Vln. I Vln. II Vla. Vc. and D.B. f The total "spread" anterval be- tween violins and double basses on any given note) of the above is octaves. Each note is sounding in every octave. 18. Look again at the example in Frame 17. Are there any gaps in this passage or is each note sounding in every octave? Answer: Yes. First and second violins. l9. In the example in Frame 17 are any two or more sections of the string orchestra playing in unison? Which sections? (a) 237 20. Identify the example below which illustrates octave doubling. (a) Vln. Vln. Vla. Vc. and D.B. (b) Vln. Vln. Vla. Vc. D.B. Answer: (Answer on next_page.) 21. Proceed as in Frame 20. (a) Vln. Vln. Vla. Vc. II (Continued on next page.) 238 (b) Vln. I Vln. II Vla. (b) Answer: 22. As you can see in Frame 21 it is not necessary to use all the instruments of the string orches- tra all the time. Indeed, the occasional ommission of one or more instruments is an important (No re§ponse necessapy.) factor in achieving contrast. 23. Let us return to the problem of spacing or voicing. Voicing plays a very important role in the over- all aural effect of any passage. Two general types of voicing are possible when octave doubling is used. These are close and open. Close voicipg means that each note is sounding in every octave between the lowest and highest voices. The following example illustrates close voicing. (Answer on next page.) (Continued on next page.) close (and) open. 239 Divertimento for String Bartok Orchestra Vln. Vln. Vla. Vc. D.B. Two general types of octave doubling are and Each note is sounding in every octave between the lowest and highest voices. (Or equivalent.) 24. Define close voiced octave doubling. (Answer on next page.) 25. Several types of close voicing are possible depending upon the inter- val between the outside parts. The following example illustrates the narrowest through the widest close voicing on a given note. Vln. I Vln. II Vla. Vc. D.B. (Continued on next pegs.) 240 In the spaces provided below give the number of octaves between the first violin and double bass in each of the examples at the begin- ing of this frame. a. 1 a. b. 2 b. c. 3 c. d. 4 d. e. 5 e. 26. On the staves provided, score the following line in close voicing having a "spread" of three octaves. Double the violas with the cellos; do not write for extended double bass. .Andhnfi: When doubling occurs on other parts. 241 27. In the exercise in Frame 26 you were asked to double the violas with the cellos. The reason for this is that a part played by violas alone will probably not be heard when doubling occurs on other parts due to the mellow and subdued timbre of the viola. In cases where no other doubling is used the violas Egg carry their own part. Under what conditions should the violas not be given a part by them- selves? When no other doublings occur. 28. Under what conditions can the violas carry their own part? 29. On the staves below score the following line in close voicipg_with a "spread" of 5 octaves. Solid and forceful. 242 30. The general effect of close voicing is solid and forceful. This texture is useful for statements of thematic material where unity is desired or will stand out in bold relief in contrast to other textures at points of punctuation or cadence. Describe the general effect of close voicing in octave passages. 31. Close voicing in octave passages is useful for statements of thematic material where is unity desired. 32. Close voicing may be used to set off points of punctuation or cadence in to other contrast textures. 33. (Answer on next page.) It is also possible to write a passage in which each note is pp; sounding in every octave between the outer voices. This type of octave doubling is called open voicing. An example of open voicing is presented below; zingfizfifi Vln. I .... ‘m_‘—-—‘ ... -—-—.._ d“...— Vln. II _. ~-—-_‘. _c-q ’w i Vla. Vc. D.B. -.— (Continued on next page.) 243 Define open voicing. A passage in which each note is not sounding in every octave between the outer voices. (Or equivalent.) 34. Open voicipg has a "hollow" or "empty" sound. The effect might even be described as "exotic." The wider the gaps in the voicing, the more hollow it will sound. Describe the sound of open voicing. Hollow, empty, exotic. 35. Several possibilities exist in open voicing including the omission of one or more instruments. Study the following examples: 0) a) $1 7 h) 7“ My Vln.I Vln.II Vla. Vc. D.B. ,1 1,1- .-/.- - _ _/_ There are of course more possibili- ties than the six illustrated above. (Answer on next page.) (Continued on next page.) Hid. ~f11 ”Jim 244 After each of the following state- ments identify by letter the example from the preceding group which the statement best describes. (Two instruments doubled on the same pitch equal two parts but only one voice, etc.) 1. Most hollow sound. 2. Three voices equally spaced and equally emphasized. 3. Middle voice emphasized. 4. Five parts, two voices. 5. Four voices, widest spacing in the middle. 6. Lower voices emphasized. Anlbaie 36. On the staves below, score the following line in equal, open spacing in three voices. Choose doubling that will give equal prominence to all three voices. Do not write for extended double bass. Vln. Vla. Vc. 245 [Mg/'0 8- -- - --~-1 a} ” ..a..... ...A- v,” if 37. Using first violins and double basses with extensions, score the following line on the staves pro- vided, in open voicing with the most hollow sound possible. Afigfi» ... .....-- // Vln. I .1 1 D C B O w—wm - ‘—-~-‘,.o——-—-‘.q .. - 38. On the staves provided for your answer, score the following line for three evenly-spaced, open voices. Emphasize the middle voice by doubling and dynamics. Write for extended double bass. Vln. Vln. Vla. (No response necessagy.) 246 39. Because of its unique sound open voicing is more in the category of orchestral effects than a standard texture. It is used considerably less than the close voicing. unison (and) octave doubling (Any order.) 40. So far we have discussed only the monophonic texture. The two general types of monophonic texture are the and open (and) close (Any order.) 41. There are two specific types of octave doubling. They are and (Answer on next page.) 42. The second basic musical texture in terms of complexity is the homophonic texture.. Homephonic texture may be defined as one principal melodic voice supported harmonically and rhythmically by other subordinate voices. The following example illustrates homophonic texture. (Continued on next page.) 2'3“ 247 A.mmee axe: no coacmuaouv .hoo~oa wamumououca ewes maaeouenuznu ecu mode meadou> panda ecu nofins_wmmflmuu venue one no ueuea on» no wcfidoou ocean e naadneuae use ecaouwxoen ouceaues one mucosa nuceaauueam nonue one .eo_e> eupofloa Heegocuue enu o>on mamaou>ne mafiaog> emu—u on» we madam a“ ofieaoxe any an .mcues ate usem a“ ouauxou e—aonmoses ocfluem 1!. .1 e 1 N .md mm W was a .2, \In’ libilhmtfirztlml W11 M1 l—lrll 1% 11W WI 0QH> UM/ III .llLWPIIIIIII W F F + m S d; _ . mu xi _N.N H 6; EEE J .vsafiei.8R3aQ undue: douxax .< a“ haenmahm A.mwmmluxec so ueznc ouocfiouonsu henuo he adaeeuesuunu one aflaeeuaoeuen commences oo~e> ofleoaea fieeaocflue 0:0 Contrasting or different. (Or equivalent.) 248 Describe briefly the rhythmic relationship between the melody and the supporting voices in the example in Frame 42. chorale 44. Another homophonic texture is illustrated by the following example: Psalm and Fugue for Hovaness String Orchestra flan/as (a Vln. I _- f f _ figgreu. Vln. II ‘~_7 _ l“. grape“. Vla. _ _ ‘7 T 7, Ericspnts. .5“: VC' - - f . t: _ 2’ espress '11. D.B. 2;- In the example above the rhythm of all parts is essentially the same. This type of homophonic texture is known to students of harmony as _______ style. (Answer on next page.) 45. Obviously the use of a homophonic texture will necessitate working with chords. Therefore some under- standing of chord voicing is a logical prerequisite to a study of this texture. The overtone series illustrated below furnishes a practical guide to voicing chords with the greatest degree of clarity. (Continued on next page.) bottom 249 25 The largest intervals between adjacent tones of the overtone series occur at the (top/bottom) top 46. Conversly the smallest intervals between adjacent tones occur at the of the over- tone series. (b) .47. Chord voicings similar to the voicing or spacing of the overtone series (larger intervals at the bottom, smaller intervals at the top) will result in greater clarity. Identify by letter the chord voicing below which would result in the greatest clarity. a) (M Answer: (a) 48. Identify the chord voicing in the preceeding frame which would result in the least clarity. Answer: i i i 1 i 1 1 i 5'. ‘ . I. o.n.0«r~u' : u 250 49. Chord voicing is affected to some degree by tessitura. Example (a) below is entirely satisfactory as far as clarity is concerned. Example (b) is not. (a) The following practical guideline for chord voicing is offered. :22 lower (in pitch) the lowest voice is, the more open the spacing of the lower voices of the chord. Another principle to remember is that in chords of six voices or less.,one third sounding is enough. Let the other voices sound the (No response necessary.) root or fifth. 50. Add the necessary voices to the chords requested below. The total number of voices and the two outside voices are given. Emphasize clarity in your voicing. Du~)__w (1’) ;Q— c) is oi -_‘-a___._ _. “1"“.“7 _ - - .--._¢.1.__._. “-.- ---JNH:_._.- _‘11 C Major D Mapr b rumor q mnor 4' voice: 5’ voices 4 voices 5 voices : m J‘— _o-d - 1‘ ::E .._,.. ---.flA_- J ,_ _ -...d - - __-_,_,_4 51. Proceed as above. -————_._..._.__ >-‘.--—._'-q_ -» .-. ...“..- K‘-‘4. ”FH‘C‘ ... --'~—‘_.——~._ ~-—1.——4+ppo-—v— aég%'ft‘” ngw___ 49 2 40 it F May a minor 6Major c minor 6 voices 9 voices 7 voices 6 voices ”NWT w- w .- ,4-.. "“j --.—4‘"--. --._‘, 1 ‘0 251 52. The lower a chord is pitched, the more the spacing of the open lower voices of the chord. 53. In chords of six voices or less one third is enough. 54. Thick or heavy. (Or eqpivalent.) It is possible, of course, to use irregular spacing for effect. The thick, heavy sound of close voicing in the low register may be used as a Special sustained effect as in the following examples. flhhofi ./—-\ Close voicing in the low register can also heighten the purely percussive effect of staccato chords as in the example below: (e) Describe briefly the sound of chords scored with close voicing in the low register. -'U""vv—v""" ”UV F'I" Oil-00b“ h- ooammamnwwmm"w 'l' “I - n t . 252 percussive 55. In addition to a thick, sustained sound, completely close-voiced chords can also be used for a effect. 56. Complete the chords requested below using close voicing in the lower register. The outside voices and the total number of voices are given. Do not leave more than an octave between any two adjacent voices. in & minor 1) .7 (”must e ‘7 Moises 8 voices 7 voices 7 voices .3" Close voicing in the low register. 57. The irregular voicing displayed above could properly be considered a special effect,as clarity is the norm in all scoring. Additional voices beyond the five parts of the standard string orchestra can be obtained through the use of multiple steps or divisi. What type of chord voicing may be considered a special effect? Multiple stops and divisi 58. 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H .G~> H .:~> 255 .Hecfiwwue AHe>uouG~v ecu e>one zcedoa one we“ uzefie one ocuaom> uwuau one .o>eno wcmueoo one an . w . .m.a E 33> 6 W H d11F|1 1w Winn...“ : a; fi. . .11wnw a :11. H .:H> “w av “mnw .t. seems comm seamen scan was: :oH .uamz o O>QUOO @fio 256 61. List the voice parts of the chorale played by the other instruments. (a) melody or soprano (a) second violins (b) alto (b) violas (c) tenor (and) bass (c) cellos and (d) bass (d) double basses 62. The doubling of melody one octave higher in Frame 60 produces a more sound than brilliant the original version. 63. Naturally this doubling of the melody will emphasize the melody. Score the following phrase on the staves provided. Emphasize the melody by octave doubling as in Frame 60. Nun Danket Alle Gott Bach ’3 Vln. I Vln. II Vla. Vc. D.B a. More brilliant sound b. Melody emphasized. 257 64. Name the two factors achieved by the type of scoring exemplified in Frame 63. 8. be (Answer on nextypage.) 65. The curious student will probably ask why the cellos were divided in Frames 60 and 62 rather than the violas. The reason is this: the viola has the least carrying power of all the stringed instru- ments. In school orchestras especially, the violas tend to be the weakest section. Therefore, dividing the violas on the alto and tenor while the soprano and bass are doubled in octaves would greatly weaken those parts. The cellos are at their best in the tenor range and half of the section can carry that part without dif- ficulty. Which scoring below will produce a more evenly balanced sound? (a) Jesu, Meine Freude Bach 7hh,b Vln. my Vln. Vla. _ .m? Vc. _‘ ‘_____ 4%? D.B. ....- ”3’ (Continued on next page.) (b) 258 (b) Jesu, Meine Freude Bach Iflhgh' Vln. Vln. Vla. Vc. D.B. Answer: (Answer on next page.) 66. Another question which the curious student may ask is why not give the bass voice to the double basses alone, thereby avoiding the division of any section of the string orch- estra. 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L1 ccemmHeucez 1.11 .1 are sex was :H uuoo camaa< .ecuH eceueom noeues .uoLOHu o eou>eue eu me on ommune wcflseHHem ecu onoom .eoefi>oua mo>oum on» so .Hn e 4 MIL . L1 1? p 1 1 1 1- 1 111 1H1 ‘1 1H— _ _ w 31 e & r11r11bul1411 1 1. I 1 1111 11.1 13111111 1H1 1H 11F 1H1 #1 1” L1 a! G » HH 00> .mH> .:H> 0CH> 264 72. A richer, warmer melody will result when and are doubled at the violas (and) first violins unison. 73. The most vibrant and intense sound possible for a melody is obtained by doubling half the cellos with the first violins at the unison on the melody. This will often, but not always, place the upper part of the cello divisi too high for school orchestra cellists but is appropriate for advanced players. How can the most vibrant and intense sound possible for a By doubling half of the melody be obtained? cellos with the first violins at the unison on the melody. 74. Placing cellos on the melody at its original pitch should never be done when scoring for school False. orchestra. (True/False) 75. Which chorale melody below should not be scored at the original pitch for school cellists. O Fader Var Sweeden (b) Answer: 265 76. Score the following chorale phrase with half doubling the first violins on the melody. (Notice the two staves for the cellos due to the different clefs required.) Jeep,Meine Freude Bach Vln. Vln. Vla. Vc. div. 77. Vibrant and intense. Describe briefly the sound of cellos and violins doubled at the (Or equivalent.) unison. 78. What doubling may be used to provide a richer, warmer melody than violins alone but not as intense as cellos doubled with violins? Violas and violins. Answer: (a) (b) soprano octave alto (and) tenor octave (Answer on nextypage.) 266 79. So far we have studied octave doubling of only the bass and soprano voices. In cases where the soprano is doubled an octave higher the alto and tenor may also be doubled at the octave above to provide a full, massive texture. Analyze the scoring of the follow- ing example. Nun Danket Alle Gott Bach Vln. Vln. Vla. Vc. D.B. Complete the following statements about the score above. (a) The first violins have the voice doubled at the above. (interval) (b) The second violins have the and voices one (interval) above the original pitch. (Continued on next page.) (c) alto (and) tenor (d) bass 267 (c) The violas have the and (d) The cellos and basses have the voice in octaves. eight 80. The total number of parts (not voices) in the example in Frame 79 is . Full and massive. (Or equivalent.) 81. Describe briefly the orchestral effect produced when all voices are doubled in octaves as in Frame 79. (Answer on nextgpage.) 82. On the blank score provided, write an eight-part setting of the following chorale phrase. Jesu, Meine Freude Bach AVE”? 9 (l (Continued on next page.) 268 Vln. I Vln. II Vla. No. 83. Does a full eight-part setting seem appropriate for a soft dynamic level? . To fill in undesirable wide gaps between ad- jacent voices. (Or equivalent.) 84. There are occasions when wide spacing between adjacent voices is undesirable in an orchestral setting. This most often occurs between the bass and tenor voices. In such instances a filler part may be added to fill in these gaps. The filler in a chorale setting is a fifth voice which may be either completely independent or alternate between doubling existing voices on chords where no filler is needed, and filling gaps in occasional wide-spaced chords. What is the function of a filler in a chorale setting? False. 85. A filler is always a completely independent fifth voice. (True/ False) 269 86. No matter how a filler is used it will double existing chord members either at the unison or at the octave. One should avoid doubling the third of a triad (except a diminished triad) or the third or seventh of a seventh chord at the octave whenever possible. The filler must also be written so as not to create parallel fifths or octaves with existing voices. A possible filler part is written in small notes in the following chorale phrase. On the lines beneath the bass part place an "X" at each point where the filler is pop an added voice. Herr Christi Der Ein'ge Sohn Bach m .mcouuu nonmficusde me cemueoexe ecu suds oHnmmmee uo>ecocs chose nuao>om AMNV eanu cuco>om e we we euacu ecu we cmmuu e we ecu we wcHHnsec o>euoe on» pHo>o cHsenm one ueHHHu e weapon Cezz .wm thwnnnwnus .m.D .m.o O JTHHIHHHHIHPUH 0o> 00> 7 2 1. --Pwhrnuh1w111111l1111 - , I oflH> oflfi> .1Hw1. -411 HH oCH> HH ofiHH> I1HUHPHIH1HH H oCH> H oCH> .wwGHHnsec o>euee nonuo >co one uec ea .poHHHu one so meHHoo ozu ufiec usm .3oHon mo>eum ecu co ow oEeum CH eHeEcxe ecu ouoem .nw 271 root 89. In harmony you learned that it is best to double the third rather than the of a dimin- ished triad. 90. Complete a filler part for the chorale phrase below. Double the third of the chord at the asterisk to make a smoother part. 9 * (No response necessary.) 91. While chorale style is not the most prevalent type of homophonic texture found in orchestral music, the scoring possibilities and voicing principles of chorale style apply to other homophonic textures as well. (Answer on next page.) 92. The term chorale style denotes a specific musical character as well as a texture. The chordal texture of the chorale is often used in compositions of quite a different character than the chorale. Study the example below. Notice that, like the chorale, all voices are in basically the same rhythm. 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List the three principal orches- tral textures on the lines below. monophonic homophonic polyphonic 115. On the line following each of the sub-types of texture below, write the name of the principal texture of which it is a type. (a) unison (a) monophonic (b) polythematic (b) polyphonic (c) chorale (c) homophonic (d) melody with (d) homophonic accompaniment (e) polyphonic (e) imitative Summary The string orchestra presents the orchestrator with a wider range of pitch and timbre possibilities than any other homogeneous instrumental ensemble. The overall sounding pitch range of the ...q professional string orchestra is g: through 8?; and the many special effects possible on stringed instruments sq present an incomparable palette of instrumental colors from ‘ which to choose. The standard string orchestra score includes five sections: first violins, second violins, violas, cellos, and double basses. The rudiments of scoring for string orchestra can best be understood in terms of the three basic musical textures: monophonic, homophonic, and pplyphonic. Each of these can be broken down further into various sub-types. Monophonic texture is defined as a texture of one voice. This one voice may be scored as a unison or in octave doublings. The two basic sub-types of homophonic texture are chorale style, and melody with rhythmically independent accompaniment. Polyphonic texture can be broken down into imitative and polythematic textures. Various combinations of these textures are, of course possible, (ie. melody with imitative accompaniment) but are more apt to be found in full orchestra scores where the orchestrator has more instruments (hence more voices) with which to work. It is, of course, impossible to cover all of the scoring possibilities for the string orchestra (or any ensemble) in a 294 295 textbook. The student is therefore encouraged to attempt other and longer exercises in scoring and to experiment with other voicing possibilities. The best way to evaluate results is to hear your score performed. Inasmuch as this is seldom possible, consultation with an experienced conductor or teacher of orchestration is recommended as an alternative method of evaluation. Chapter VIII Results of the Preliminary Evaluation The preliminary evaluation of this programmed course of instruc- tion was done during the Winter and Summer terms of 1967. The same subject matter was presented to an eXperimental group via the pro- grammed material and to a control group via traditional classroom methods. The progress of the experimental group throughout the course of instruction was regularly monitored in two ways. First an item count of correct initial responses in each student's copy of the text was made. Frames producing a predominance of incorrect initial responses were marked for revision. The results of this item count show a correct initial response rate of 97.95%. Forty-one frames were marked for revision. The second method of monitoring class progress in the experi- mental group was spot checking through oral classroom drill and question and answer sessions which permitted the author to make a subjective evaluation of material retention and to spot frames which produced a correct initial response without sufficiently illustrating why that response was correct. Overall retention of subject matter was tested by giving the same final examination to both the experimental and control groups. The results of this testing are as follows: The first experimental group attained a mean test score of 87.5% as opposed to a mean score of 82.5% in the corresponding control group. The second experimental group attained a mean test score of 89% as opposed to a mean score of 75.5% in its corresponding control group. 296 297 These results would seem to indicate that better results are achieved through the use of programmed material than with a con- ventional lecture presentation. There are two significant reasons, however, why these results cannot be interpreted as conclusive. The first, and most obvious reason is the small number of students involved in the two testing situations. Only twenty-seven students were used in this eXperiment. A second, and equally important reason is the unequal general academic and musical ability of the test groups. Students for both eXperimental groups were chosen on a voluntary basis. In the subjective judgment of the instructors from whose classes these students were drawn, the better overall students tended to volunteer for the eXperimental groups. This predominence of generally more conscientious and able students in the eXperimental groups undoubtedly raised the mean scores of their groups unpro- portionally. BIBLIOGRAPHY Anderson, Arthur Olaf, Practical Orchestration, Boston: C.C. Birchard and Co., 1929. Berlioz, Hector and Strauss, Richard, Treatise 93 Instrumentation, New York: Edwin F. Kalmus, 1948. Forsyth, Cecil, Orchestration, New York: Macmillan Co., 1935. Kennan, Kent Wheeler, The Technigue 2£_Orchestration, New York: Appleton-Century Crofts, 1951. Leibowitz, René'and Maguire, Jan, Thinking for Orchestra, New York: G. Schirmer, 1960, McKay, George Frederick, Creative Orchestration, Boston: Allyn and Bacon, 1963. Piston, Walter, Orchestration, New York: W. W. Norton and Co., 1955. Reed, Gardner, Music Notation, Boston: Allyn and Bacon, 1964. , Thesarus g: Orchestral Devices, London: Sir Isaac Pitman and Sons, 1953. Rimsky-Korsakoff, Nicolas, Principles gf Orchestration, New York: Edwin F. Kalmus, 1912. Rogers, Bernard, The Art 2f Orchestration, New York: Appleton- Century Crofts, 1951. Wagner, Joseph, Orchestration, New York: McGraw-Hill, 1959. 298