{ "schema_version": 1, "id": "berlioz-instrumentation", "title": "Treatise on Instrumentation", "work_title": "Treatise on Instrumentation", "author": "Hector Berlioz · revised by Richard Strauss", "reader_title": "Treatise on Instrumentation", "source_language": "en", "source_label": "English", "reading_versions": [ "en" ], "status": "private-checked-draft", "verification_status": "needs-review", "edition_note": "1948 English translation by Theodore Front of the Berlioz/Strauss treatise. Private reading draft. Reflowed OCR reading draft; original source pages are authoritative. Notation conversion is in progress. Pending examples remain visible and are not presented as playable. Independent 320 dpi Tesseract recognition, paragraph geometry, and representative source comparisons applied. OCR remains subject to editorial review.", "notation_note": "1 checked recognition drafts offer playback; 976 notation regions remain pending. Original engravings stay visible for comparison. No note-for-note verification claim.", "coverage_note": "444 source pages, 72 navigation sections, 85977 reflowed words; 1 playable drafts.", "blocks": [ { "id": "berlioz-instrumentation-b00001", "reading_order": 1, "type": "heading", "english": "Treatise on Instrumentation", "original": "Treatise on Instrumentation", "sources": [], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00002", "reading_order": 2, "type": "paragraph", "english": "Hector Berlioz · revised by Richard Strauss", "original": "Hector Berlioz · revised by Richard Strauss", "sources": [] }, { "id": "berlioz-instrumentation-b00003", "reading_order": 3, "type": "paragraph", "english": "1948 English translation by Theodore Front of the Berlioz/Strauss treatise. Private reading draft.", "original": "1948 English translation by Theodore Front of the Berlioz/Strauss treatise. Private reading draft.", "sources": [] }, { "id": "berlioz-instrumentation-b00004", "reading_order": 4, "type": "heading", "english": "TREATISE ON INSTRUMENTATI", "original": "TREATISE ON INSTRUMENTATI", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00005", "reading_order": 5, "type": "heading", "english": "HECTOR BERLIOZ", "original": "HECTOR BERLIOZ", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00006", "reading_order": 6, "type": "heading", "english": "ENLARGED AND REVISED", "original": "ENLARGED AND REVISED", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00007", "reading_order": 7, "type": "heading", "english": "RICHARD STRAUSS", "original": "RICHARD STRAUSS", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00008", "reading_order": 8, "type": "heading", "english": "INCLUDING BERLIOZ’ ESSAY ON CONDUCTING", "original": "INCLUDING BERLIOZ’ ESSAY ON CONDUCTING", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00009", "reading_order": 9, "type": "heading", "english": "TRANSLATED BY THEODORE FRONT", "original": "TRANSLATED BY THEODORE FRONT", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00010", "reading_order": 10, "type": "paragraph", "english": "Copyright, 1948, by", "original": "Copyright, 1948, by", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8", "bbox_pdf": [ 260.25584531989233, 674.8524650198515, 338.98492558087963, 684.0754487084561 ] } ] }, { "id": "berlioz-instrumentation-b00011", "reading_order": 11, "type": "heading", "english": "EDWIN F. KALMUS", "original": "EDWIN F. KALMUS", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00012", "reading_order": 12, "type": "heading", "english": "PUBLISHER OF MUSIC NEW YORK. N, Y-", "original": "PUBLISHER OF MUSIC NEW YORK. N, Y-", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00013", "reading_order": 13, "type": "heading", "english": "CONTENTS", "original": "CONTENTS", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00014", "reading_order": 14, "type": "heading", "english": "INTRODUCTION............. 0. cee eee eee eee 1 The Instruments.......... 00... ccc eeen ee eeeees 1", "original": "INTRODUCTION............. 0. cee eee eee eee 1 The Instruments.......... 00... ccc eeen ee eeeees 1", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00015", "reading_order": 15, "type": "paragraph", "english": "STRINGED INSTRUMENTS The Violin.......... 0c. ecce cece ee ee cere eens 2 The Viola 2.0... 0... cece cece nett een eneee 60 The Viola d’Amore..........0..0. ce ecccceeceee 75 The Viola da Gamba...........-.0-0ececeeees 76 The Violoncello........... 0. cen cence eceeeeces 77 The Double-Bass............ 222.22 cee eeeeees 96", "original": "STRINGED INSTRUMENTS The Violin.......... 0c. ecce cece ee ee cere eens 2 The Viola 2.0... 0... cece cece nett een eneee 60 The Viola d’Amore..........0..0. ce ecccceeceee 75 The Viola da Gamba...........-.0-0ececeeees 76 The Violoncello........... 0. cen cence eceeeeces 77 The Double-Bass............ 222.22 cee eeeeees 96", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 38.689719442542334, 127.77206671042521, 270.6030958684792, 229.2248872850762 ] } ] }, { "id": "berlioz-instrumentation-b00016", "reading_order": 16, "type": "paragraph", "english": "INSTRUMENTS WITH PLUCKED STRINGS The Harp....-.. 2... cc cece ce cee rene eeens 187 The Guitar.......... cece cece teens 145 The Mandolin............... cee eee ee ec eeeeees 151", "original": "INSTRUMENTS WITH PLUCKED STRINGS The Harp....-.. 2... cc cece ce cee rene eeens 187 The Guitar.......... cece cece teens 145 The Mandolin............... cee eee ee ec eeeeees 151", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 38.46477921322523, 244.74649398053276, 270.15321540984496, 301.8840026855469 ] } ] }, { "id": "berlioz-instrumentation-b00017", "reading_order": 17, "type": "heading", "english": "STRINGED INSTRUMENTS WITH KEYBOARD", "original": "STRINGED INSTRUMENTS WITH KEYBOARD", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00018", "reading_order": 18, "type": "paragraph", "english": "The Pianoforte.........0cceccccceeeneseeseees 152", "original": "The Pianoforte.........0cceccccceeeneseeseees 152", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 38.239838983908115, 334.7268226498463, 270.15321540984496, 342.8250522300845 ] } ] }, { "id": "berlioz-instrumentation-b00019", "reading_order": 19, "type": "heading", "english": "WIND INSTRUMENTS 161", "original": "WIND INSTRUMENTS 161", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00020", "reading_order": 20, "type": "heading", "english": "REED INSTRUMENTS 168", "original": "REED INSTRUMENTS 168", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00021", "reading_order": 21, "type": "paragraph", "english": "The Oboe..........-..00.- Bec ccwenneneeasetes 168 -The Oboe d’amore.............--eeeeeeee eee 188 The English Horn............ 0c eceeeeenenens 188 The Bassoon......-..0s cece cece cence eenees 189 The Tenoroon (Basson Quinte)................. 198 The Double-Bassoon.......-..-.2.2eeceeeeceee 198", "original": "The Oboe..........-..00.- Bec ccwenneneeasetes 168 -The Oboe d’amore.............--eeeeeeee eee 188 The English Horn............ 0c eceeeeenenens 188 The Bassoon......-..0s cece cece cence eenees 189 The Tenoroon (Basson Quinte)................. 198 The Double-Bassoon.......-..-.2.2eeceeeeceee 198", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 35.540556232102844, 401.087315043465, 270.8280360977963, 482.96941413254035 ] } ] }, { "id": "berlioz-instrumentation-b00022", "reading_order": 22, "type": "paragraph", "english": "Clarinets 2.0.0.... ccc cece cere eee te nneenes 199 The Alto Clarinet............. cece cece eens 222 The Bass Clarinet............--.--cc essences 222 The Basset-Horn............cceecte cee ceeeens 226", "original": "Clarinets 2.0.0.... ccc cece cere eee te nneenes 199 The Alto Clarinet............. cece cece eens 222 The Bass Clarinet............--.--cc essences 222 The Basset-Horn............cceecte cee ceeeens 226", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 38.91465967185944, 489.9428896044122, 271.2779165564305, 544.8308900926934 ] } ] }, { "id": "berlioz-instrumentation-b00023", "reading_order": 23, "type": "paragraph", "english": "INSTRUMENTS WITHOUT The Flute......... 00... cece wee e eee ce eeee 227 The Piccolo......-. cece e ese cect eee e ne ceees 2386 The Alto Flute.............c cece cece ee ceees 248", "original": "INSTRUMENTS WITHOUT The Flute......... 00... cece wee e eee ce eeee 227 The Piccolo......-. cece e ese cect eee e ne ceees 2386 The Alto Flute.............c cece cece ee ceees 248", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 39.139599901176545, 559.6776443231302, 271.72779701506477, 617.2650546714907 ] } ] }, { "id": "berlioz-instrumentation-b00024", "reading_order": 24, "type": "paragraph", "english": "WIND INSTRUMENTS WITH KEYBOARD The Organ...-..... ccc cece eect eee eee acee 248", "original": "WIND INSTRUMENTS WITH KEYBOARD The Organ...-..... ccc cece eect eee eee acee 248", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 39.364540130493644, 631.8868580802542, 271.95273724438186, 660.9055140761079 ] } ] }, { "id": "berlioz-instrumentation-b00025", "reading_order": 25, "type": "paragraph", "english": "BRASS INSTRUMENTS WITH MOUTHPIECE The French Horn.........0¢c0eeccceeeeeecees 247 The Valve Horn..........-... esse cece cece eens 259 The Trumpet..... 22.22.22. eee e eee cece eens 281 The Cornet.......0..- cece cece ence nce ecaecees 292", "original": "BRASS INSTRUMENTS WITH MOUTHPIECE The French Horn.........0¢c0eeccceeeeeecees 247 The Valve Horn..........-... esse cece cece eens 259 The Trumpet..... 22.22.22. eee e eee cece eens 281 The Cornet.......0..- cece cece ence nce ecaecees 292", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 39.58948035981076, 675.5273174848713, 272.85249816165026, 748.6363345286886 ] } ] }, { "id": "berlioz-instrumentation-b00026", "reading_order": 26, "type": "paragraph", "english": "The Trombones.........000 cee see cence necceees 298 The Tubas......... 00. c cece e eee e ees ea cence 880 The Bugle.........0 cece cece eet eee ee eee eeeee 836 The Key Bugle.........0... ce see eeeeeeeeceeee 886 The Valve Bugle............-.0ee cece eee eeres 887 The Bass Ophicleide..........¢+eeeeeeeecccues 837 The Alto Ophicleide.....-.... 000 ccc ee eee neces 888 The Double-Bass Ophicleide...........----+-+- 888 The Bombardon.......-..-0-eee cect eeceeceeee 888 The Bass Tuba........00.c cece rect ence enone 889", "original": "The Trombones.........000 cee see cence necceees 298 The Tubas......... 00. c cece e eee e ees ea cence 880 The Bugle.........0 cece cece eet eee ee eee eeeee 836 The Key Bugle.........0... ce see eeeeeeeeceeee 886 The Valve Bugle............-.0ee cece eee eeres 887 The Bass Ophicleide..........¢+eeeeeeeecccues 837 The Alto Ophicleide.....-.... 000 ccc ee eee neces 888 The Double-Bass Ophicleide...........----+-+- 888 The Bombardon.......-..-0-eee cect eeceeceeee 888 The Bass Tuba........00.c cece rect ence enone 889", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 293.9968797174583, 71.08445964875769, 527.0349572899808, 214.60308387631275 ] } ] }, { "id": "berlioz-instrumentation-b00027", "reading_order": 27, "type": "heading", "english": "WIND INSTRUMENTS OF WOOD", "original": "WIND INSTRUMENTS OF WOOD", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00028", "reading_order": 28, "type": "paragraph", "english": "The Serpent.........-.20 cece cere eter erences 848 The Russian Bassoon...-......:0eseeeeeeceeeee 348", "original": "The Serpent.........-.20 cece cere eter erences 848 The Russian Bassoon...-......:0eseeeeeeceeeee 348", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 293.7719394881412, 253.51957602579088, 526.3601366020293, 277.5893139448322 ] } ] }, { "id": "berlioz-instrumentation-b00029", "reading_order": 29, "type": "paragraph", "english": "VOICES 2... cece eect cere eee teneneee 848", "original": "VOICES 2... cece eect cere eee teneneee 848", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 293.7719394881412, 291.3113140669025, 526.3601366020293, 300.0843961121606 ] } ] }, { "id": "berlioz-instrumentation-b00030", "reading_order": 30, "type": "heading", "english": "PERCUSSION INSTRUMENTS", "original": "PERCUSSION INSTRUMENTS", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00031", "reading_order": 31, "type": "paragraph", "english": "Rettledrums....... cece ec eee steer ce eeeeenees 370 Bells..... cece cece cece eee ee ene s eee neeenees 885 Sets of small bells......0....0.. ccc eeeeeceeeee 888 The Glockenspiel.........0.-- 0s eee eeeeeeceeee 888 The Keyboard Harmonica (Glass Harmonica)....891 The Ancient Cymbals............2.2eeeeeeeeeee 891 The Bass Drum....-.... eee en cece reece eteens 891 The Cymbals......... 2. esse ee ec cence eee eeees 892 The Gong......... 2c cee cece ene cece eeeeees 895 The Tambourine......... cece cence en ceeeeees 896 The Side Drum........0 0. cece eee ce eee eeeee 897 The Tenor Drum............. 00sec eee ee eee 897 The Triangle.........0.cc cece cece reer eeeeee 897 The Crescent.......0.c cece eect eect eee eeteeee 899", "original": "Rettledrums....... cece ec eee steer ce eeeeenees 370 Bells..... cece cece cece eee ee ene s eee neeenees 885 Sets of small bells......0....0.. ccc eeeeeceeeee 888 The Glockenspiel.........0.-- 0s eee eeeeeeceeee 888 The Keyboard Harmonica (Glass Harmonica)....891 The Ancient Cymbals............2.2eeeeeeeeeee 891 The Bass Drum....-.... eee en cece reece eteens 891 The Cymbals......... 2. esse ee ec cence eee eeees 892 The Gong......... 2c cee cece ene cece eeeeees 895 The Tambourine......... cece cence en ceeeeees 896 The Side Drum........0 0. cece eee ce eee eeeee 897 The Tenor Drum............. 00sec eee ee eee 897 The Triangle.........0.cc cece cece reer eeeeee 897 The Crescent.......0.c cece eect eect eee eeteeee 899", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 293.7719394881412, 330.45275703805396, 527.4848377486148, 532.9084965440094 ] } ] }, { "id": "berlioz-instrumentation-b00032", "reading_order": 32, "type": "heading", "english": "NEW INSTRUMENTS 899", "original": "NEW INSTRUMENTS 899", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00033", "reading_order": 33, "type": "paragraph", "english": "The Saxophones..........0 cece ee ceeeeseccece 400 Saxhorns..........0.ee00e: sce ee aes eee cee 400 Saxotrombas........00 ces cee c eet teen eenee 401 The Saxtubas.......... cc cece een eee ete eeeeees 401 The Concertina........ 0c c cece ee eee cence eee 401 The Melodium Organ...........-000-- eee ecenee 408", "original": "The Saxophones..........0 cece ee ceeeeseccece 400 Saxhorns..........0.ee00e: sce ee aes eee cee 400 Saxotrombas........00 ces cee c eet teen eenee 401 The Saxtubas.......... cc cece een eee ete eeeeees 401 The Concertina........ 0c c cece ee eee cence eee 401 The Melodium Organ...........-000-- eee ecenee 408", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 294.2218199467754, 560.5774476098233, 528.1596584365662, 645.6088582023245 ] } ] }, { "id": "berlioz-instrumentation-b00034", "reading_order": 34, "type": "paragraph", "english": "Pianofortes and Melodiums with prolonged sounds..404", "original": "Pianofortes and Melodiums with prolonged sounds..404", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 295.57146132267803, 648.0833172407307, 528.8344791245175, 658.8809566810482 ] } ] }, { "id": "berlioz-instrumentation-b00035", "reading_order": 35, "type": "paragraph", "english": "The Octobass.........c cece e eee ce tee tee cence 405", "original": "The Octobass.........c cece e eee ce tee tee cence 405", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 295.34652109336093, 663.1550222928407, 528.3845986658833, 674.6275141981781 ] } ] }, { "id": "berlioz-instrumentation-b00036", "reading_order": 36, "type": "paragraph", "english": "ON CONDUCTING......--.cceeee cere eeeeees 410 GLOSSARY of German terms and phrases used in the full-score examples........--..+0-eeeeees 421", "original": "ON CONDUCTING......--.cceeee cere eeeeees 410 GLOSSARY of German terms and phrases used in the full-score examples........--..+0-eeeeees 421", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 295.57146132267803, 692.1736782886942, 528.8344791245175, 732.439875368212 ] } ] }, { "id": "berlioz-instrumentation-b00037", "reading_order": 37, "type": "paragraph", "english": "- ab", "original": "- ab", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "PDF 10", "bbox_pdf": [ 290.6227762777017, 774.0557773777696, 311.9920980628268, 788.4526299648597 ] } ] }, { "id": "berlioz-instrumentation-section-00", "type": "heading", "heading_level": 2, "english": "Foreword by Richard Strauss", "original": "Foreword by Richard Strauss", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg" } ], "reading_order": 38 }, { "id": "berlioz-instrumentation-b00038", "reading_order": 39, "type": "heading", "english": "FOREWORD", "original": "FOREWORD", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12" } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00039", "reading_order": 40, "type": "paragraph", "english": "When I was asked by the publishers to enlarge and revise the “Treatise on Instrumentation” by Hector Berlioz, I thought at first that the masterwork of the great Frenchman did not need such help to be even today a source of enjoyment and stimulation for all musicians. It appeared to me complete in itself and full of ingenious visions, whose realization by Richard Wagner is obvious to every connoisseur.", "original": "When I was asked by the publishers to enlarge and revise the “Treatise on Instrumentation” by Hector Berlioz, I thought at first that the masterwork of the great Frenchman did not need such help to be even today a source of enjoyment and stimulation for all musicians. It appeared to me complete in itself and full of ingenious visions, whose realization by Richard Wagner is obvious to every connoisseur.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 37.34007806663969, 73.7838695088371, 269.47839472189366, 167.58836214659644 ] } ] }, { "id": "berlioz-instrumentation-b00040", "reading_order": 41, "type": "paragraph", "english": "Upon closer study, however, I could not help noticing the gaps in this work, completed in the middle of the last century. I became aware of the danger that important parts of Berlioz’ work might be considered obsolete and that its lasting value might therefore be overlooked, especially since many other excellent books had developed the subject in the meantime with scientific accuracy (particularly the textbook on instrumentation by the outstanding Belgian authority, Gevaert).", "original": "Upon closer study, however, I could not help noticing the gaps in this work, completed in the middle of the last century. I became aware of the danger that important parts of Berlioz’ work might be considered obsolete and that its lasting value might therefore be overlooked, especially since many other excellent books had developed the subject in the meantime with scientific accuracy (particularly the textbook on instrumentation by the outstanding Belgian authority, Gevaert).", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 37.34007806663969, 167.58836214659644, 269.02851426325947, 271.51564175965353 ] } ] }, { "id": "berlioz-instrumentation-b00041", "reading_order": 42, "type": "paragraph", "english": "Berlioz was the first to arrange and organize this complicated subject with the supreme industry of a collector. Yet the everlasting value of his work lies in the fact that he not only treated questions of mechanics, but stressed above all the esthetic aspects of orchestral technique. These permanent qualities in the work and its prophetic power, which in a few lines often gives the careful reader a vision of the whole Wagner, may justify this revision. To keep Berlioz’ work alive even for the superficial reader, it was necessary to supplement technical details and to point out new achievements, especially in Wagner’s work.", "original": "Berlioz was the first to arrange and organize this complicated subject with the supreme industry of a collector. Yet the everlasting value of his work lies in the fact that he not only treated questions of mechanics, but stressed above all the esthetic aspects of orchestral technique. These permanent qualities in the work and its prophetic power, which in a few lines often gives the careful reader a vision of the whole Wagner, may justify this revision. To keep Berlioz’ work alive even for the superficial reader, it was necessary to supplement technical details and to point out new achievements, especially in Wagner’s work.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 36.89019760800548, 271.51564175965353, 269.02851426325947, 409.4104954453765 ] } ] }, { "id": "berlioz-instrumentation-b00042", "reading_order": 43, "type": "paragraph", "english": "The respect for Berlioz’ completely unified masterwork demanded that nothing be changed in his text (with the sole exception of the chapter on the organ, which was partly revised and enlarged by Prof. Ph. Wolfrum in accordance with latest developments). My additions are indicated by an undulating line at the side of the text. There is always an abundance of material for musical examples; hence I have avoided important and interesting examples which were quoted by Gevaert. Gevaert’s book contains so much worth reading concerning the technique and acoustics of instruments that I should urgently recommend its study in addition to Berlioz’ work.", "original": "The respect for Berlioz’ completely unified masterwork demanded that nothing be changed in his text (with the sole exception of the chapter on the organ, which was partly revised and enlarged by Prof. Ph. Wolfrum in accordance with latest developments). My additions are indicated by an undulating line at the side of the text. There is always an abundance of material for musical examples; hence I have avoided important and interesting examples which were quoted by Gevaert. Gevaert’s book contains so much worth reading concerning the technique and acoustics of instruments that I should urgently recommend its study in addition to Berlioz’ work.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 37.115137837322585, 409.4104954453765, 269.02851426325947, 558.7778410364369 ] } ] }, { "id": "berlioz-instrumentation-b00043", "reading_order": 44, "type": "paragraph", "english": "In the art of instrumentation, as in other arts, the question of theoretical books is highly problematic. I claim that a musician with talent for composition, who plays the violin or some wind instrument in an orchestra, will have more skill in instrumentation (without any knowledge of its theory) than the equally gifted pianist or music critic who has diligently studied textbooks, but has never come closer to orchestral instruments than the first row of a concert hall.", "original": "In the art of instrumentation, as in other arts, the question of theoretical books is highly problematic. I claim that a musician with talent for composition, who plays the violin or some wind instrument in an orchestra, will have more skill in instrumentation (without any knowledge of its theory) than the equally gifted pianist or music critic who has diligently studied textbooks, but has never come closer to orchestral instruments than the first row of a concert hall.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 36.89019760800548, 569.8004312984278, 269.47839472189366, 682.5007929567431 ] } ] }, { "id": "berlioz-instrumentation-b00044", "reading_order": 45, "type": "paragraph", "english": "Therefore, if the student wants to achieve more in the art of instrumentation than just writing a few pleasant-sounding pieces (“excellently scored”, as our critics would call them), and if he has no opportunity to conduct an orchestra and be in daily contact with its magic powers, then he should not only study the scores of the great masters, but above all ask instrumentalists of all kinds to familiarize him with the exact technique of their instruments and with the timbre of their registers. He should, so to speak, try to find out the secrets of the orchestra tuning-room. There are improvements which an inventive player may have discovered for his mouthpiece, for the ‘arrangement of the valves, for other details in the construction or the material of his instrument, technical tricks, devised in an idle hour for the player’s own amusement. All this may open unexpected vistas to a creator in search of new forms of expression for new ideas. It may be more valuable for progress than any treatise which is primarily based on the achievements of the past.", "original": "Therefore, if the student wants to achieve more in the art of instrumentation than just writing a few pleasant-sounding pieces (“excellently scored”, as our critics would call them), and if he has no opportunity to conduct an orchestra and be in daily contact with its magic powers, then he should not only study the scores of the great masters, but above all ask instrumentalists of all kinds to familiarize him with the exact technique of their instruments and with the timbre of their registers. He should, so to speak, try to find out the secrets of the orchestra tuning-room. There are improvements which an inventive player may have discovered for his mouthpiece, for the ‘arrangement of the valves, for other details in the construction or the material of his instrument, technical tricks, devised in an idle hour for the player’s own amusement. All this may open unexpected vistas to a creator in search of new forms of expression for new ideas. It may be more valuable for progress than any treatise which is primarily based on the achievements of the past.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 37.34007806663969, 683.6255470651095, 269.70333495121076, 754.0351542488473 ] }, { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 293.09711880018983, 77.8329842989562, 525.685315914078, 248.34570712730536 ] } ] }, { "id": "berlioz-instrumentation-b00046", "reading_order": 46, "type": "paragraph", "english": "Thus, the practical instrumentalist, through his skill, stimulates the composer to new ideas. Great ideas, on the other hand, which at first do not seem feasible, gradually lift the ambitious instrumentalist to their level. They have had the greatest influence on progress in the construction of instruments, on improvements in their technique, and on the enrichment of their expressive possibilities.", "original": "Thus, the practical instrumentalist, through his skill, stimulates the composer to new ideas. Great ideas, on the other hand, which at first do not seem feasible, gradually lift the ambitious instrumentalist to their level. They have had the greatest influence on progress in the construction of instruments, on improvements in their technique, and on the enrichment of their expressive possibilities.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 303.6693095780939, 248.5706579489786, 525.2354354554438, 259.81819903264284 ] }, { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 284.0995096275056, 260.0431498543161, 525.2354354554438, 271.51564175965353 ] }, { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 293.09711880018983, 271.51564175965353, 525.685315914078, 339.67574072665855 ] } ] }, { "id": "berlioz-instrumentation-b00049", "reading_order": 47, "type": "paragraph", "english": "The development of the orchestra until the appearance of Berlioz is sufficiently known and need not detain us here too long. I should like to refer the reader to Richard Wagner’s magnificent interpretations in his writings, especially in “Opera and Drama”. It would not be appropriate to try to cover here in a few lines a great chapter in the history of music and to show in detail and with all its fine articulations an organic development which was influenced by thousands of seeds, stimuli, mistakes and successes. All I can venture to give here is a brief, compressed survey. I trust the sympathetic reader will understand my intention: not to offer an esthetic system, cleanly divided into separate categories like so many drawers, but simply to develop certain important points, leaving it to the educated reader to fill in the connecting details with the help of his own knowledge and of his feelings. With this reservation, I should like to follow the two main roads of orchestral development from Handel, Gluck and Haydn to Wagner. I might be permitted to call them in brief the symphonic ( polyphonic) and the dramatic (homophonic) roads.", "original": "The development of the orchestra until the appearance of Berlioz is sufficiently known and need not detain us here too long. I should like to refer the reader to Richard Wagner’s magnificent interpretations in his writings, especially in “Opera and Drama”. It would not be appropriate to try to cover here in a few lines a great chapter in the history of music and to show in detail and with all its fine articulations an organic development which was influenced by thousands of seeds, stimuli, mistakes and successes. All I can venture to give here is a brief, compressed survey. I trust the sympathetic reader will understand my intention: not to offer an esthetic system, cleanly divided into separate categories like so many drawers, but simply to develop certain important points, leaving it to the educated reader to fill in the connecting details with the help of his own knowledge and of his feelings. With this reservation, I should like to follow the two main roads of orchestral development from Handel, Gluck and Haydn to Wagner. I might be permitted to call them in brief the symphonic ( polyphonic) and the dramatic (homophonic) roads.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 293.09711880018983, 362.6207245373335, 526.5850768313464, 613.6658415247182 ] } ] }, { "id": "berlioz-instrumentation-b00050", "reading_order": 48, "type": "paragraph", "english": "The origin of the symphonic orchestra is to be found mainly in Haydn’s and Mozart’s string quartets (as well as in Bach’s organ fugues). The symphonic works of these two masters reveal in their style, in their themes, melodies and figurations the character of the string quartet with all its polyphonic possibilities. One might almost call them string quartets with obbligato wood-wind and noise instruments to reinforce the tutti (French horns, trumpets, kettledrums).", "original": "The origin of the symphonic orchestra is to be found mainly in Haydn’s and Mozart’s string quartets (as well as in Bach’s organ fugues). The symphonic works of these two masters reveal in their style, in their themes, melodies and figurations the character of the string quartet with all its polyphonic possibilities. One might almost call them string quartets with obbligato wood-wind and noise instruments to reinforce the tutti (French horns, trumpets, kettledrums).", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 293.5469992588241, 614.1157431680648, 527.2598975192979, 727.9408589347464 ] } ] }, { "id": "berlioz-instrumentation-b00051", "reading_order": 49, "type": "paragraph", "english": "In spite of the greater number of wind instruments used in his Fifth and Ninth Symphonies, even Beethoven cannot hide the mark of chamber music. In Beethoven, more than in Haydn and Mozart, the spirit of the piano injects its characteristic elements— the same spirit which later completely dominates Schumann’s and Brahms’ orchestral works (unfortunately, not always to their advantage or to the listener's enjoyment). Only Liszt with his instinct for tone colors succeeded in filling this spirit of the piano in the orchestra with new poetic life.", "original": "In spite of the greater number of wind instruments used in his Fifth and Ninth Symphonies, even Beethoven cannot hide the mark of chamber music. In Beethoven, more than in Haydn and Mozart, the spirit of the piano injects its characteristic elements— the same spirit which later completely dominates Schumann’s and Brahms’ orchestral works (unfortunately, not always to their advantage or to the listener's enjoyment). Only Liszt with his instinct for tone colors succeeded in filling this spirit of the piano in the orchestra with new poetic life.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12", "bbox_pdf": [ 293.9968797174583, 728.1658097564197, 527.9347182072491, 750.8858427454213 ] }, { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 39.364540130493644, 62.311377603499615, 270.3781556391621, 155.21606695456583 ] } ] }, { "id": "berlioz-instrumentation-b00053", "reading_order": 50, "type": "paragraph", "english": "The beautiful melodic contours of the four equally important parts in the classical string quartet attained their highest freedom, worthy of Bach’s choral polyphony, in Beethoven’s last ten quartets. There is none of this freedom in Beethoven’s nine symphonies. But Wagner found in it the style for his “Tristan” and “Meistersinger” orchestra; he owes to it the unheardof, miraculous sounds of his string quintet.", "original": "The beautiful melodic contours of the four equally important parts in the classical string quartet attained their highest freedom, worthy of Bach’s choral polyphony, in Beethoven’s last ten quartets. There is none of this freedom in Beethoven’s nine symphonies. But Wagner found in it the style for his “Tristan” and “Meistersinger” orchestra; he owes to it the unheardof, miraculous sounds of his string quintet.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 38.689719442542334, 155.21606695456583, 269.47839472189366, 238.22292015200756 ] } ] }, { "id": "berlioz-instrumentation-b00054", "reading_order": 51, "type": "paragraph", "english": "It should be added, of course, that the melodic development from Haydn to Beethoven automatically raised the technical demands upon the orchestra and stimulated coloristic effects alien to the style of chamber music. Thus the orchestra approached more and more the second road of development, which we have already named the dramatic one.", "original": "It should be added, of course, that the melodic development from Haydn to Beethoven automatically raised the technical demands upon the orchestra and stimulated coloristic effects alien to the style of chamber music. Thus the orchestra approached more and more the second road of development, which we have already named the dramatic one.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 38.46477921322523, 238.44787097368084, 268.57863380462527, 309.9822322657851 ] } ] }, { "id": "berlioz-instrumentation-b00055", "reading_order": 52, "type": "paragraph", "english": "Handel and Haydn, as well as Gluck in his operas, consciously stressed the coloristic elements in their predominantly homophonic style (which our dear, easygoing opera audiences even today prefer to polyphony). It was their aim to reinforce poetry and stage by the expressive forces of the orchestra. This transformed the choir of instruments gradually into sensitive groups and finally into “speaking” individuals.", "original": "Handel and Haydn, as well as Gluck in his operas, consciously stressed the coloristic elements in their predominantly homophonic style (which our dear, easygoing opera audiences even today prefer to polyphony). It was their aim to reinforce poetry and stage by the expressive forces of the orchestra. This transformed the choir of instruments gradually into sensitive groups and finally into “speaking” individuals.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 37.5650182959568, 310.43213390913166, 267.9038131166739, 393.4389871065734 ] } ] }, { "id": "berlioz-instrumentation-b00056", "reading_order": 53, "type": "paragraph", "english": "The subjects chosen by the composers of the Romantic School, especially Weber (in “Freischuetz”, “Oberon”, “Euryanthe”), led to further discoveries in this direction. The genius of Richard Wagner finally achieved a synthesis of the two directions. He combined the symphonic (polyphonic) technique of composition and orchestration with the rich expressive resources of the dramatic (homophonic) style.", "original": "The subjects chosen by the composers of the Romantic School, especially Weber (in “Freischuetz”, “Oberon”, “Euryanthe”), led to further discoveries in this direction. The genius of Richard Wagner finally achieved a synthesis of the two directions. He combined the symphonic (polyphonic) technique of composition and orchestration with the rich expressive resources of the dramatic (homophonic) style.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 37.115137837322585, 393.4389871065734, 267.6788728873568, 475.9959386606685 ] } ] }, { "id": "berlioz-instrumentation-b00057", "reading_order": 54, "type": "paragraph", "english": "Hector Berlioz’ aim may have been the same. At the risk of being misunderstood, one might say in short that he was not dramatic enough for the stage, and not symphonic enough for the concert hall. Still, in his attempt to combine stage and concert hall he discovered new and splendid expressive resources for the orchestra. To be sure, he failed to justify his use of dramatic effects in symphonic works by coining his ideas in a dramatic form é which is impossible without rich polyphony) : his works were always lyric or epic. But he was the first to derive his inspiration consistently from the character of the orchestral instruments. Endowed with a special gift for conceiving new combinations of sound, he discovered many new coloristic possibilities and subtle shadings.", "original": "Hector Berlioz’ aim may have been the same. At the risk of being misunderstood, one might say in short that he was not dramatic enough for the stage, and not symphonic enough for the concert hall. Still, in his attempt to combine stage and concert hall he discovered new and splendid expressive resources for the orchestra. To be sure, he failed to justify his use of dramatic effects in symphonic works by coining his ideas in a dramatic form é which is impossible without rich polyphony) : his works were always lyric or epic. But he was the first to derive his inspiration consistently from the character of the orchestral instruments. Endowed with a special gift for conceiving new combinations of sound, he discovered many new coloristic possibilities and subtle shadings.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 36.44031714937127, 475.77098783899527, 267.4539326580397, 630.9870547935611 ] } ] }, { "id": "berlioz-instrumentation-b00058", "reading_order": 55, "type": "paragraph", "english": "No doubt this bold innovator, so ingenious in blending colors, this real creator of the modern orchestra had no feeling at all for polyphony. We do not know whether he was acquainted with the polyphonic mysteries of J. S. Bach’s miraculous scores. But it is certain that his, musically speaking, somewhat primitive sense of melody lacked the understanding for polyphony, the culmination of musical genius, which we admire in Bach’s cantatas, in Beethoven’s last quartets, in the poetic construction of the third act of “Tristan”, as the highest emanation of an unrestrained melodic wealth. And only truly meaningful polyphony can disclose the loftiest tone-miracles of the orchestra.", "original": "No doubt this bold innovator, so ingenious in blending colors, this real creator of the modern orchestra had no feeling at all for polyphony. We do not know whether he was acquainted with the polyphonic mysteries of J. S. Bach’s miraculous scores. But it is certain that his, musically speaking, somewhat primitive sense of melody lacked the understanding for polyphony, the culmination of musical genius, which we admire in Bach’s cantatas, in Beethoven’s last quartets, in the poetic construction of the third act of “Tristan”, as the highest emanation of an unrestrained melodic wealth. And only truly meaningful polyphony can disclose the loftiest tone-miracles of the orchestra.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 36.66525737868837, 630.0872515068679, 268.35369357530817, 764.3828920458184 ] } ] }, { "id": "berlioz-instrumentation-b00059", "reading_order": 56, "type": "paragraph", "english": "A score with awkward or just indifferent inner parts and basses will rarely lack a certain harshness; it will never have the brilliant sonority of a piece in which the second wind instruments, the second violins, violas, violoncelli and basses also take part in the soulful enunciation of beautifully curved melodic lines. This is the secret of the wonderful tone-poetry in the scores of “Tristan” and ‘‘Meistersinger’ as well as of the “Siegfried Idyll”, which was written for “small orchestra”. On the other hand, even Berlioz’ orchestral dramas, constructed with such mastery of sound, as well as Weber’s and Liszt’s scores show by the brittleness of their colors that the choir of accompanying and filling parts was not deemed worthy of melodic independence by the composer; (and each of these masters was, in his way, a great instrumental poet and interpreter of orchestral colors). Hence the conductor cannot achieve that spiritual participation of all parts in the whole which is indispensable for producing a uniformly warm sound.", "original": "A score with awkward or just indifferent inner parts and basses will rarely lack a certain harshness; it will never have the brilliant sonority of a piece in which the second wind instruments, the second violins, violas, violoncelli and basses also take part in the soulful enunciation of beautifully curved melodic lines. This is the secret of the wonderful tone-poetry in the scores of “Tristan” and ‘‘Meistersinger’ as well as of the “Siegfried Idyll”, which was written for “small orchestra”. On the other hand, even Berlioz’ orchestral dramas, constructed with such mastery of sound, as well as Weber’s and Liszt’s scores show by the brittleness of their colors that the choir of accompanying and filling parts was not deemed worthy of melodic independence by the composer; (and each of these masters was, in his way, a great instrumental poet and interpreter of orchestral colors). Hence the conductor cannot achieve that spiritual participation of all parts in the whole which is indispensable for producing a uniformly warm sound.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 293.09711880018983, 61.63652513847976, 527.9347182072491, 268.5912810779009 ] } ] }, { "id": "berlioz-instrumentation-b00060", "reading_order": 57, "type": "paragraph", "english": "The superiority of Wagner, who perfected the modern orchestra, over Berlioz, who created it, is usually said to consist exclusively in the more profound meaning of his poetic and musical ideas. Yet there are three technical points which should be stressed (of course with reasonable reservations), for they are the basis for the perfection of Wagner’s ideas in the modern orchestra: first, the employment of the richest polyphonic style; secondly, the accomplishment of this through the invention and introduction of the valve horn; thirdly, taking over the virtuoso technique of the solo-concerto for all instruments of the orchestra (Beethoven already required this in his last string quartets, but not in his symphonies).", "original": "The superiority of Wagner, who perfected the modern orchestra, over Berlioz, who created it, is usually said to consist exclusively in the more profound meaning of his poetic and musical ideas. Yet there are three technical points which should be stressed (of course with reasonable reservations), for they are the basis for the perfection of Wagner’s ideas in the modern orchestra: first, the employment of the richest polyphonic style; secondly, the accomplishment of this through the invention and introduction of the valve horn; thirdly, taking over the virtuoso technique of the solo-concerto for all instruments of the orchestra (Beethoven already required this in his last string quartets, but not in his symphonies).", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 292.42229811223854, 269.2661335429207, 527.2598975192979, 414.13446270051554 ] } ] }, { "id": "berlioz-instrumentation-b00061", "reading_order": 58, "type": "paragraph", "english": "Thus, Richard Wagner’s scores are the alpha and omega of my additions to this work; they embody the only important progress in the art of instrumentation since Berlioz. But I must warn the student to approach this study with great caution. Generally the score of “Lohengrin” should be considered a basic textbook for the advanced student; only after studying it thoroughly may he proceed to the polyphony of “Meistersinger” and “Tristan”, and to the fairy-tale world of the “Ring”. Esthetically, the treatment of the wind instruments in “Lohengrin” is the apex.of true perfection, never before reached. The so-called third wood wind (English horn and bass clarinet), added for the first time, are employed here in manifold combinations of sound. The second, third and fourth horns, the trumpets and trombones have already attained polyphonic independence. The doubling of melodic parts, so characteristic for Wagner, is used with a sure sense for tonal balance and for beauty of sound, which even today arouses deep admiration. I particularly recommend the study of the scene between Ortrud and Telramund at the beginning of the second act; the wonderful wood-wind passage when Elsa appears on the terrace; the Procession to the Minster; and the end of the second act, where Wagner succeeds in drawing organ sounds from the orchestra, which even surpass the “king of the instruments”.", "original": "Thus, Richard Wagner’s scores are the alpha and omega of my additions to this work; they embody the only important progress in the art of instrumentation since Berlioz. But I must warn the student to approach this study with great caution. Generally the score of “Lohengrin” should be considered a basic textbook for the advanced student; only after studying it thoroughly may he proceed to the polyphony of “Meistersinger” and “Tristan”, and to the fairy-tale world of the “Ring”. Esthetically, the treatment of the wind instruments in “Lohengrin” is the apex.of true perfection, never before reached. The so-called third wood wind (English horn and bass clarinet), added for the first time, are employed here in manifold combinations of sound. The second, third and fourth horns, the trumpets and trombones have already attained polyphonic independence. The doubling of melodic parts, so characteristic for Wagner, is used with a sure sense for tonal balance and for beauty of sound, which even today arouses deep admiration. I particularly recommend the study of the scene between Ortrud and Telramund at the beginning of the second act; the wonderful wood-wind passage when Elsa appears on the terrace; the Procession to the Minster; and the end of the second act, where Wagner succeeds in drawing organ sounds from the orchestra, which even surpass the “king of the instruments”.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 291.97241765360434, 424.4822004974866, 527.0349572899808, 712.4192522392898 ] } ] }, { "id": "berlioz-instrumentation-b00062", "reading_order": 59, "type": "paragraph", "english": "But before the beginner in the technique of composition and instrumentation starts his first timid swimming exercises in the stormy sea of the orchestra, he must be warned against oné danger: the phenomenal sound combinations which a Berlioz or Wagner drew from the orchestra must not be misused. These masters used them for giving expression to unheard-of, great, poetic ideas, feelings and pictures of nature; they must not be reduced to the common property of bunglers, like a child’s toy. I wish it were possible to force everybody desirous of attempting orchestral composition to start his career with a number of string quartets. These string quartets he:should have to submit to the judgment of two violinists, a violist and a cellist. If the four instrumentalists declare, “yes, this is well set for the instruments”, then the disciple of the muses may follow his impulse to write for orchestra (at first preferably for a small one). Finally, when the “young master” can no longer contain his urge for the large orchestra, he should compare Wagner’s eleven scores with each other. Let him observe how each of these works has its own combination of instruments, its own orchestral style; how each says", "original": "But before the beginner in the technique of composition and instrumentation starts his first timid swimming exercises in the stormy sea of the orchestra, he must be warned against oné danger: the phenomenal sound combinations which a Berlioz or Wagner drew from the orchestra must not be misused. These masters used them for giving expression to unheard-of, great, poetic ideas, feelings and pictures of nature; they must not be reduced to the common property of bunglers, like a child’s toy. I wish it were possible to force everybody desirous of attempting orchestral composition to start his career with a number of string quartets. These string quartets he:should have to submit to the judgment of two violinists, a violist and a cellist. If the four instrumentalists declare, “yes, this is well set for the instruments”, then the disciple of the muses may follow his impulse to write for orchestra (at first preferably for a small one). Finally, when the “young master” can no longer contain his urge for the large orchestra, he should compare Wagner’s eleven scores with each other. Let him observe how each of these works has its own combination of instruments, its own orchestral style; how each says", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "PDF 13", "bbox_pdf": [ 292.6472383415557, 714.6687604560226, 527.2598975192979, 767.0823019058978 ] }, { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "PDF 14", "bbox_pdf": [ 35.99043669073705, 66.81039403696529, 269.70333495121076, 282.5382320216445 ] } ] }, { "id": "berlioz-instrumentation-b00064", "reading_order": 60, "type": "paragraph", "english": "what it wants to say in the simplest possible way, and how this noble moderation in the use of means is to be found in all of them. On the other hand, let him be warned against the procedure of one modern composer who once showed me the score of a comedy overture, in which the four “Nibelung” tubas carried on a most lively dance with the rest of the brass— simply as reinforcement of the tutti. Dismayed, I asked the author—otherwise an excellent, highly educated musician—what business the tubas had in this gay overture. Had not Wagner really “invented” them with such wisdom and sure imagination to depict the somber world of the Nibelungs? He answered quite innocently: “Why, nowadays every major orchestra has tubas; why should I not use them?” That silenced me; this man was beyond help.", "original": "what it wants to say in the simplest possible way, and how this noble moderation in the use of means is to be found in all of them. On the other hand, let him be warned against the procedure of one modern composer who once showed me the score of a comedy overture, in which the four “Nibelung” tubas carried on a most lively dance with the rest of the brass— simply as reinforcement of the tutti. Dismayed, I asked the author—otherwise an excellent, highly educated musician—what business the tubas had in this gay overture. Had not Wagner really “invented” them with such wisdom and sure imagination to depict the somber world of the Nibelungs? He answered quite innocently: “Why, nowadays every major orchestra has tubas; why should I not use them?” That silenced me; this man was beyond help.", "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "PDF 14", "bbox_pdf": [ 293.322059029507, 67.03534485863857, 528.1596584365662, 258.4684941026031 ] } ] }, { "id": "berlioz-instrumentation-b00065", "reading_order": 61, "type": "paragraph", "english": "Berlin, Christmas 1904. Richard Strauss", "original": "Berlin, Christmas 1904. Richard Strauss", "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "PDF 14", "bbox_pdf": [ 304.5690704953623, 258.9183957459497, 529.0594193538346, 275.78970737144596 ] } ] }, { "id": "berlioz-instrumentation-b00066", "reading_order": 62, "type": "heading", "english": "INSTRUMENTATION", "original": "INSTRUMENTATION", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00067", "reading_order": 63, "type": "heading", "english": "Introduction", "original": "Introduction", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16" } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00068", "reading_order": 64, "type": "paragraph", "english": "In no period of music history has Instrumentation been discussed so much as at present. This was probably due to the swift development of this branch of art in recent times; perhaps also to the great amount of criticism, of different theories and contradictory opinions, for which the most inferior compositions frequently served as a pretext. Nowadays a great deal of attention is paid to the art of instrumentation, which was still unknown at the beginning of the 18th century; only sixty years ago* its rise was vigorously opposed even by supposedly true friends of music. In more recent times musical progress has again been obstructed, but in a different way. This need not surprise us; it has always been thus.", "original": "In no period of music history has Instrumentation been discussed so much as at present. This was probably due to the swift development of this branch of art in recent times; perhaps also to the great amount of criticism, of different theories and contradictory opinions, for which the most inferior compositions frequently served as a pretext. Nowadays a great deal of attention is paid to the art of instrumentation, which was still unknown at the beginning of the 18th century; only sixty years ago* its rise was vigorously opposed even by supposedly true friends of music. In more recent times musical progress has again been obstructed, but in a different way. This need not surprise us; it has always been thus.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 37.115137837322585, 133.62078807393058, 270.15321540984496, 279.8388221615651 ] } ] }, { "id": "berlioz-instrumentation-b00069", "reading_order": 65, "type": "paragraph", "english": "At first a succession of consonant chords, with a few suspensions here and there, was considered “music”. When later Monteverde dared to introduce the dominant seventh chord without preparation, he was violently blamed and abused for this innovation. In spite of all this, the chord was soon generally accepted; and so-called learned composers eventually came to look down with contempt upon any harmonic sequence which was simple, clear and natural. They admitted only compositions which, from beginning to end, abounded in the harshest dissonances (minor and major seconds, sevenths, ninths, etc.). That these chords were used without reason or method did not matter; it almost seemed as if there were only one intention: to make this music as unpleasant as possible to the ear. These musicians took a fancy to dissonant chords, as certain animals prefer salt, prickly plants or thorny shrubs. What originally was mere reaction had grown into exaggeration.", "original": "At first a succession of consonant chords, with a few suspensions here and there, was considered “music”. When later Monteverde dared to introduce the dominant seventh chord without preparation, he was violently blamed and abused for this innovation. In spite of all this, the chord was soon generally accepted; and so-called learned composers eventually came to look down with contempt upon any harmonic sequence which was simple, clear and natural. They admitted only compositions which, from beginning to end, abounded in the harshest dissonances (minor and major seconds, sevenths, ninths, etc.). That these chords were used without reason or method did not matter; it almost seemed as if there were only one intention: to make this music as unpleasant as possible to the ear. These musicians took a fancy to dissonant chords, as certain animals prefer salt, prickly plants or thorny shrubs. What originally was mere reaction had grown into exaggeration.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 36.215376920054155, 280.2887238049116, 269.25345449257657, 478.2454468774013 ] } ] }, { "id": "berlioz-instrumentation-b00070", "reading_order": 66, "type": "paragraph", "english": "Melody did not exist in these supposedly beautiful musical combinations. Yet, when it gradually started appearing here and there, people decried the decline and ruin of art and of its sacred rules; they believed that everything was lost. But in the course of time melody gained its place, and the usual exaggerations did not fail to appear. Soon there were fanatics of melody who abhorred any piece of music in more than three voice-parts. Some even demanded that the", "original": "Melody did not exist in these supposedly beautiful musical combinations. Yet, when it gradually started appearing here and there, people decried the decline and ruin of art and of its sacred rules; they believed that everything was lost. But in the course of time melody gained its place, and the usual exaggerations did not fail to appear. Soon there were fanatics of melody who abhorred any piece of music in more than three voice-parts. Some even demanded that the", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 36.215376920054155, 477.120692769035, 267.9038131166739, 572.0499395151608 ] } ] }, { "id": "berlioz-instrumentation-b00071", "reading_order": 67, "type": "paragraph", "english": "melody should be accompanied only by a bass. Apparently they wanted to give the hearer the pleasure of guessing the missing inner voices. Others went still further and rejected any kind of accompaniment; to them, harmony was a barbarous invention.", "original": "melody should be accompanied only by a bass. Apparently they wanted to give the hearer the pleasure of guessing the missing inner voices. Others went still further and rejected any kind of accompaniment; to them, harmony was a barbarous invention.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 293.7719394881412, 134.9704930039703, 525.685315914078, 187.15908363217216 ] } ] }, { "id": "berlioz-instrumentation-b00072", "reading_order": 68, "type": "paragraph", "english": "Then came modulation’s turn. At the time when modulation was limited to nearly-related keys, the first who ventured into more distant keys were censured. One might have expected this. Whatever the effect of these new modulations, the masters rejected them vigorously. The innovator pleaded vainly: “Listen to it attentively; convince yourselves how smoothly it is introduced, how well prepared, how skillfully linked with the preceding and following passages, and how wonderful it sounds!” “That does not matter’, was the answer; “this modulation is prohibited and that’s why it cannot be used.” However, modulations into distant keys soon appeared in important works, producing effects as felicitous as they were unexpected. Almost immediately a new kind of pedantry arose: there were people who considered any modulation to the dominant a weakness; even in the simplest rondo they sauntered gaily from C major to F# major.", "original": "Then came modulation’s turn. At the time when modulation was limited to nearly-related keys, the first who ventured into more distant keys were censured. One might have expected this. Whatever the effect of these new modulations, the masters rejected them vigorously. The innovator pleaded vainly: “Listen to it attentively; convince yourselves how smoothly it is introduced, how well prepared, how skillfully linked with the preceding and following passages, and how wonderful it sounds!” “That does not matter’, was the answer; “this modulation is prohibited and that’s why it cannot be used.” However, modulations into distant keys soon appeared in important works, producing effects as felicitous as they were unexpected. Almost immediately a new kind of pedantry arose: there were people who considered any modulation to the dominant a weakness; even in the simplest rondo they sauntered gaily from C major to F# major.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 292.87217857087273, 186.93413281049885, 525.685315914078, 373.6433147993244 ] } ] }, { "id": "berlioz-instrumentation-b00073", "reading_order": 69, "type": "paragraph", "english": "By and by, time restored a reasonable balance. People learned to distinguish use from misuse, reactionary vanity from stupidity and obstinacy. Concerning harmony, melody and modulation, there is now general agreement to-approve whatever produces a good effect, and to reject what has a poor effect. Even the authority of a hundred old men (be they as old as a hundred and twenty years) will not persuade us that what is ugly, is beautiful; and what is beautiful, ugly.", "original": "By and by, time restored a reasonable balance. People learned to distinguish use from misuse, reactionary vanity from stupidity and obstinacy. Concerning harmony, melody and modulation, there is now general agreement to-approve whatever produces a good effect, and to reject what has a poor effect. Even the authority of a hundred old men (be they as old as a hundred and twenty years) will not persuade us that what is ugly, is beautiful; and what is beautiful, ugly.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 292.19735788292144, 374.09321644267095, 524.7855549968097, 467.4478074370838 ] } ] }, { "id": "berlioz-instrumentation-b00074", "reading_order": 70, "type": "paragraph", "english": "Concerning instrumentation, expression and rhythm, the situation is still different. Their turn came much later for being observed, rejected, admitted, limited, liberated and exaggerated. They have not as yet reached the stage of development achieved by the other branches of music. We can only state that instrumentation leads the others and is close to the stage of exaggeration.", "original": "Concerning instrumentation, expression and rhythm, the situation is still different. Their turn came much later for being observed, rejected, admitted, limited, liberated and exaggerated. They have not as yet reached the stage of development achieved by the other branches of music. We can only state that instrumentation leads the others and is close to the stage of exaggeration.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 291.74747742428724, 467.6727582587571, 524.7855549968097, 550.9045622778721 ] } ] }, { "id": "berlioz-instrumentation-b00075", "reading_order": 71, "type": "paragraph", "english": "Much time is needed to find the oceans of music; still more, to learn how to navigate in them.", "original": "Much time is needed to find the oceans of music; still more, to learn how to navigate in them.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 291.97241765360434, 550.6796114561988, 524.5606147674926, 571.3750870501409 ] } ] }, { "id": "berlioz-instrumentation-b00076", "reading_order": 72, "type": "heading", "english": "THE INSTRUMENTS", "original": "THE INSTRUMENTS", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16" } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b00077", "reading_order": 73, "type": "paragraph", "english": "Any sonorous body employed by a composer is a musical instrument. The following is a list of means available at present.", "original": "Any sonorous body employed by a composer is a musical instrument. The following is a list of means available at present.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 36.215376920054155, 628.2876449334816, 267.4539326580397, 660.230661611088 ] } ] }, { "id": "berlioz-instrumentation-b00078", "reading_order": 74, "type": "paragraph", "english": "1. Stringed instruments. a. Strings set in vibration by a bow: Violin, Viola, Viola d’amore, Violoncello, Double-bass. b. Strings plucked: Harp, Guitar, Mandolin. c. With keyboard: Pianoforte.", "original": "1. Stringed instruments. a. Strings set in vibration by a bow: Violin, Viola, Viola d’amore, Violoncello, Double-bass. b. Strings plucked: Harp, Guitar, Mandolin. c. With keyboard: Pianoforte.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 36.66525737868837, 660.4556124327612, 267.4539326580397, 711.7443997742699 ] } ] }, { "id": "berlioz-instrumentation-b00079", "reading_order": 75, "type": "paragraph", "english": "2. Wind instruments. a. With reeds: Oboe, English horn, Bassoon,", "original": "2. Wind instruments. a. With reeds: Oboe, English horn, Bassoon,", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 36.215376920054155, 712.6442030609632, 267.6788728873568, 732.6648261898854 ] } ] }, { "id": "berlioz-instrumentation-b00080", "reading_order": 76, "type": "paragraph", "english": "®All time indications in this work refer to the middle of the 19th century.", "original": "®All time indications in this work refer to the middle of the 19th century.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 36.215376920054155, 751.7856460321145, 286.5738521499938, 761.0086297207191 ] } ] }, { "id": "berlioz-instrumentation-b00081", "reading_order": 77, "type": "paragraph", "english": "Tenoroon (Basson quinte), Double bassoon, Clarinet, Basset-horn, Bass clarinet, Saxo-", "original": "Tenoroon (Basson quinte), Double bassoon, Clarinet, Basset-horn, Bass clarinet, Saxo-", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 332.46165893068354, 627.6127924684617, 525.460375684761, 647.8583664190573 ] } ] }, { "id": "berlioz-instrumentation-b00082", "reading_order": 78, "type": "paragraph", "english": "b. Without reeds: Flute (large and small).", "original": "b. Without reeds: Flute (large and small).", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 307.04341301785047, 663.1550222928407, 504.9908148169043, 673.5027600898118 ] } ] }, { "id": "berlioz-instrumentation-b00083", "reading_order": 79, "type": "paragraph", "english": "c. With keyboard: Organ, Melodium (Amer-", "original": "c. With keyboard: Organ, Melodium (Amer-", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 307.49329347648467, 677.7768257016041, 525.685315914078, 687.8996126769018 ] } ] }, { "id": "berlioz-instrumentation-b00084", "reading_order": 80, "type": "paragraph", "english": "ican organ), Harmonium, Concertina.", "original": "ican organ), Harmonium, Concertina.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 333.13647961863484, 688.1245634985752, 506.565396422124, 698.4723012955462 ] } ] }, { "id": "berlioz-instrumentation-b00085", "reading_order": 81, "type": "paragraph", "english": "d. Brass instruments, with mouthpiece: French’ horn, Trumpet, Cornet, Bugle, Trombone, Ophicleide, Bombardon, Bass tuba.", "original": "d. Brass instruments, with mouthpiece: French’ horn, Trumpet, Cornet, Bugle, Trombone, Ophicleide, Bombardon, Bass tuba.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_label": "PDF 16", "bbox_pdf": [ 307.7182337058018, 700.721809512279, 528.6095388952004, 731.9899737248655 ] } ] }, { "id": "berlioz-instrumentation-b00086", "reading_order": 82, "type": "paragraph", "english": "e. Wooden instruments, with mouthpiece: Rus-", "original": "e. Wooden instruments, with mouthpiece: Rus-", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 53.31083434815425, 102.12767303967084, 269.02851426325947, 112.25046001496862 ] } ] }, { "id": "berlioz-instrumentation-b00087", "reading_order": 83, "type": "paragraph", "english": "sian bassoon, Serpent.", "original": "sian bassoon, Serpent.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 78.27919980235309, 112.92531247998848, 174.7785581793918, 122.59819781193967 ] } ] }, { "id": "berlioz-instrumentation-b00088", "reading_order": 84, "type": "paragraph", "english": "f. Voices of men, women, children, and artificial", "original": "f. Voices of men, women, children, and artificial", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 53.08589411883715, 121.69839452524654, 269.02851426325947, 131.8211815005443 ] } ] }, { "id": "berlioz-instrumentation-b00089", "reading_order": 85, "type": "paragraph", "english": "sopranos and altos.", "original": "sopranos and altos.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 78.27919980235309, 132.94593560891073, 161.0572041910483, 142.61882094086192 ] } ] }, { "id": "berlioz-instrumentation-b00090", "reading_order": 86, "type": "paragraph", "english": "Percussion instruments.", "original": "Percussion instruments.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 53.08589411883715, 142.84377176253523, 152.95935593563246, 150.26714887775358 ] } ] }, { "id": "berlioz-instrumentation-b00091", "reading_order": 87, "type": "paragraph", "english": "a. With definite pitch: Kettledrum, Ancient cymbal, Chime, Glockenspiel, Keyboard harmonica, Bells.", "original": "a. With definite pitch: Kettledrum, Ancient cymbal, Chime, Glockenspiel, Keyboard harmonica, Bells.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 53.08589411883715, 152.06675545113984, 269.02851426325947, 181.76026391201333 ] } ] }, { "id": "berlioz-instrumentation-b00092", "reading_order": 88, "type": "paragraph", "english": "b. With indefinite pitch, producing only noises of different timbre: Drum, Bass drum, Tambourine, Cymbals, Triangle, Gong, Crescent.", "original": "b. With indefinite pitch, producing only noises of different timbre: Drum, Bass drum, Tambourine, Cymbals, Triangle, Gong, Crescent.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 53.08589411883715, 181.76026391201333, 269.25345449257657, 212.12862483790664 ] } ] }, { "id": "berlioz-instrumentation-b00093", "reading_order": 89, "type": "paragraph", "english": "To this list are now to be added:", "original": "To this list are now to be added:", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 60.50892168630167, 212.12862483790664, 212.3435764753486, 220.00190359647158 ] } ] }, { "id": "berlioz-instrumentation-b00094", "reading_order": 90, "type": "paragraph", "english": "- To 1 b: Zither.", "original": "- To 1 b: Zither.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 62.53338375015563, 222.0264609915311, 141.03752378182583, 229.89973975009605 ] } ] }, { "id": "berlioz-instrumentation-b00095", "reading_order": 91, "type": "paragraph", "english": "To 2 a: Oboe d’amore, Double-bass oboe,", "original": "To 2 a: Oboe d’amore, Double-bass oboe,", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 70.85617223488858, 231.6993463234823, 269.02851426325947, 241.14728083376025 ] } ] }, { "id": "berlioz-instrumentation-b00096", "reading_order": 92, "type": "paragraph", "english": "Heckelphon, Double-bass clarinet.", "original": "Heckelphon, Double-bass clarinet.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 120.11808245533491, 241.59718247710683, 268.80357403394237, 251.94492027407787 ] } ] }, { "id": "berlioz-instrumentation-b00097", "reading_order": 93, "type": "paragraph", "english": "To 2 b: Alto flute.", "original": "To 2 b: Alto flute.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 70.85617223488858, 251.94492027407787, 156.78333983402328, 259.81819903264284 ] } ] }, { "id": "berlioz-instrumentation-b00098", "reading_order": 94, "type": "paragraph", "english": "To 2 d: Tuba in F, Tuba in Bb, Euphonium", "original": "To 2 d: Tuba in F, Tuba in Bb, Euphonium", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 70.85617223488858, 261.3928547843558, 269.02851426325947, 271.51564175965353 ] } ] }, { "id": "berlioz-instrumentation-b00099", "reading_order": 95, "type": "paragraph", "english": "(Barytone).", "original": "(Barytone).", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 121.69266406055465, 271.96554340300014, 170.27975359304966, 281.63842873495133 ] } ] }, { "id": "berlioz-instrumentation-b00100", "reading_order": 96, "type": "paragraph", "english": "To 3 a: Xylophone, Celesta.", "original": "To 3 a: Xylophone, Celesta.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 71.08111246420569, 281.8633795566246, 199.2970431749564, 291.76121571024913 ] } ] }, { "id": "berlioz-instrumentation-b00101", "reading_order": 97, "type": "paragraph", "english": "$ To 3 b: Birch rod, Small bells.", "original": "$ To 3 b: Birch rod, Small bells.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 42.96358379956735, 288.8368550284964, 210.54405464081177, 301.209150220527 ] } ] }, { "id": "berlioz-instrumentation-b00102", "reading_order": 98, "type": "paragraph", "english": "The art of instrumentation consists in the employment of these sound elements: either to give a particular color to melody, harmony and rhythm; or— independently of these three great musical forces—to produce special effects (which may, or may not, serve some purpose of expression).", "original": "The art of instrumentation consists in the employment of these sound elements: either to give a particular color to melody, harmony and rhythm; or— independently of these three great musical forces—to produce special effects (which may, or may not, serve some purpose of expression).", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 38.239838983908115, 301.6590518638736, 269.9282751805279, 361.4959704289671 ] } ] }, { "id": "berlioz-instrumentation-b00103", "reading_order": 99, "type": "paragraph", "english": "Considered in its poetical aspect, this art can be", "original": "Considered in its poetical aspect, this art can be", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 48.81202976181213, 361.4959704289671, 269.70333495121076, 371.84370822593814 ] } ] }, { "id": "berlioz-instrumentation-b00104", "reading_order": 100, "type": "paragraph", "english": "Stringed Instruments", "original": "Stringed Instruments", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 157.2332202926575, 397.7130527183658, 395.8948035981076, 425.60695460585293 ] } ] }, { "id": "berlioz-instrumentation-section-02", "type": "heading", "heading_level": 2, "english": "The Violin", "original": "The Violin", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 } ], "reading_order": 101 }, { "id": "berlioz-instrumentation-b00105", "reading_order": 102, "type": "paragraph", "english": "The four strings of the violin are usually tuned in fifths:", "original": "The four strings of the violin are usually tuned in fifths:", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 39.139599901176545, 473.97138126560895, 270.15321540984496, 491.7424961777984 ] } ] }, { "id": "berlioz-instrumentation-b00106", "reading_order": 103, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17" } ], "asset_refs": [ "p-017-m01" ] }, { "id": "berlioz-instrumentation-b00107", "reading_order": 104, "type": "paragraph", "english": "The highest string, E, is generally known as me chanterelle.", "original": "The highest string, E, is generally known as me chanterelle.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 39.139599901176545, 529.9841358622567, 270.15321540984496, 547.755250774446 ] } ] }, { "id": "berlioz-instrumentation-b00108", "reading_order": 105, "type": "paragraph", "english": "These strings are called open strings if the fingers of the left hand do not modify the sound by shortening the part of the string which is set in vibration by the bow. The notes to be, played on an open string are indicated by a zero (0) placed above or below", "original": "These strings are called open strings if the fingers of the left hand do not modify the sound by shortening the part of the string which is set in vibration by the bow. The notes to be, played on an open string are indicated by a zero (0) placed above or below", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 38.46477921322523, 549.7798081695056, 270.6030958684792, 608.716923447906 ] } ] }, { "id": "berlioz-instrumentation-b00109", "reading_order": 106, "type": "paragraph", "english": "Some great virtuosos and composers have deviated from this system of tuning the violin. Paganini raised all strings a semitone in order to give more brilliance to the instrument: Consequently, he transposed the solo 2— part, playing for in-", "original": "Some great virtuosos and composers have deviated from this system of tuning the violin. Paganini raised all strings a semitone in order to give more brilliance to the instrument: Consequently, he transposed the solo 2— part, playing for in-", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 39.364540130493644, 610.0666283779457, 271.0529763271134, 660.0057107894147 ] } ] }, { "id": "berlioz-instrumentation-b00110", "reading_order": 107, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17" } ], "asset_refs": [ "p-017-m03" ] }, { "id": "berlioz-instrumentation-b00111", "reading_order": 108, "type": "paragraph", "english": "stance in D when be. _ the orchestra played in Eb, or in A when the orchestra played in Bb. Open strings being more sonorous than those stopped by fingers, he could thus frequently use them also in keys in which they would otherwise not be possible. De Bériot frequently raised only the G-string a semitone in his concertos. Baillot, on the other hand, sometimes tuned the G-string a semitone lower for the sake of", "original": "stance in D when be. _ the orchestra played in Eb, or in A when the orchestra played in Bb. Open strings being more sonorous than those stopped by fingers, he could thus frequently use them also in keys in which they would otherwise not be possible. De Bériot frequently raised only the G-string a semitone in his concertos. Baillot, on the other hand, sometimes tuned the G-string a semitone lower for the sake of", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 38.91465967185944, 659.1059075027216, 271.0529763271134, 740.0882033051038 ] } ] }, { "id": "berlioz-instrumentation-b00112", "reading_order": 109, "type": "paragraph", "english": "tender or somber effects. Winter, for the same reason,", "original": "tender or somber effects. Winter, for the same reason,", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 39.364540130493644, 741.4379082351434, 270.3781556391621, 750.6608919237481 ] } ] }, { "id": "berlioz-instrumentation-b00113", "reading_order": 110, "type": "paragraph", "english": "taught as little as the art of inventing beautiful melodies, beautiful chord successions, and powerful rhythmical forms. One can only learn what is suitable for the various instruments, what is practicable or not, what is easy or difficult, what is weak or sonorous. It can also be indicated that one instrument is more appropriate than another for creating certain effects or expressing certain feelings. But as for their blending in groups, in small orchestras or large masses; as for uniting and combining them so that the tone of some instruments is modified by that of others, producing an ensemble tone unobtainable by one instrument or by a group of similar instruments: all this can be demonstrated only by studying the achievements realized in the works of the masters and by analyzing their methods. Their results can doubtless be modified in a thousand ways, good or bad, by composers with similar aims.", "original": "taught as little as the art of inventing beautiful melodies, beautiful chord successions, and powerful rhythmical forms. One can only learn what is suitable for the various instruments, what is practicable or not, what is easy or difficult, what is weak or sonorous. It can also be indicated that one instrument is more appropriate than another for creating certain effects or expressing certain feelings. But as for their blending in groups, in small orchestras or large masses; as for uniting and combining them so that the tone of some instruments is modified by that of others, producing an ensemble tone unobtainable by one instrument or by a group of similar instruments: all this can be demonstrated only by studying the achievements realized in the works of the masters and by analyzing their methods. Their results can doubtless be modified in a thousand ways, good or bad, by composers with similar aims.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 293.322059029507, 101.22786975297771, 526.3601366020293, 280.9635762699315 ] } ] }, { "id": "berlioz-instrumentation-b00114", "reading_order": 111, "type": "paragraph", "english": ". The object of this work is, therefore, to indicate the range of the instruments and certain features of their mechanism; then to examine the nature of their timbre, their peculiar character and range of expression—matters greatly neglected up to now; and finally to study the best known methods for combining - them appropriately. To go beyond this would mean to enter the realm of creative inspiration where only a genius can roam and make his own discoveries.", "original": ". The object of this work is, therefore, to indicate the range of the instruments and certain features of their mechanism; then to examine the nature of their timbre, their peculiar character and range of expression—matters greatly neglected up to now; and finally to study the best known methods for combining - them appropriately. To go beyond this would mean to enter the realm of creative inspiration where only a genius can roam and make his own discoveries.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 293.9968797174583, 280.9635762699315, 530.1841205004201, 371.39380658259154 ] } ] }, { "id": "berlioz-instrumentation-b00115", "reading_order": 112, "type": "paragraph", "english": "used even the lower F instead of G. In view of the high degree of skill attained nowadays by our young violinists, the violin may be assigned", "original": "used even the lower F instead of G. In view of the high degree of skill attained nowadays by our young violinists, the violin may be assigned", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 292.87217857087273, 472.6216763355693, 524.5606147674926, 503.43993890480914 ] } ] }, { "id": "berlioz-instrumentation-b00116", "reading_order": 113, "type": "paragraph", "english": "the following range in a good and fully staffed orchestra: net", "original": "the following range in a good and fully staffed orchestra: net", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 291.97241765360434, 503.43993890480914, 524.3356745381755, 525.485119428791 ] } ] }, { "id": "berlioz-instrumentation-b00117", "reading_order": 114, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17" } ], "asset_refs": [ "p-017-m02" ] }, { "id": "berlioz-instrumentation-b00118", "reading_order": 115, "type": "paragraph", "english": "Including all chromatic intervals on Pe’. =a", "original": "Including all chromatic intervals on Pe’. =a", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 306.1436521005821, 522.1108571036917, 503.19129298236743, 538.9821687291881 ] } ] }, { "id": "berlioz-instrumentation-b00119", "reading_order": 116, "type": "paragraph", "english": "Great.virtuosos carry the range several tones higher. By means of harmonics considerably higher notes can be reached, even in the orchestra (more about this", "original": "Great.virtuosos carry the range several tones higher. By means of harmonics considerably higher notes can be reached, even in the orchestra (more about this", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 292.87217857087273, 569.8004312984278, 524.7855549968097, 599.7188905809746 ] } ] }, { "id": "berlioz-instrumentation-b00120", "reading_order": 117, "type": "paragraph", "english": "In the meantime this range E", "original": "In the meantime this range E", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 305.2438911833136, 610.291579199619, 464.9514539984593, 626.0381367167488 ] } ] }, { "id": "berlioz-instrumentation-b00121", "reading_order": 118, "type": "paragraph", "english": "has been frequently ‘extended in t+ ‘tehcstra to", "original": "has been frequently ‘extended in t+ ‘tehcstra to", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 304.3441302660452, 619.9644645315702, 423.3375115747946, 637.9605302654328 ] } ] }, { "id": "berlioz-instrumentation-b00122", "reading_order": 119, "type": "paragraph", "english": "Trills are practicable on all steps of this far-ranging scale of three and a half octaves. But those on the three highest notes, A, B, C, are very difficult; it is advisable not to use them in the orchestra. 3 See the wonderful trill passage in the third act } of “Siegfried” during Bruennhilde’s awakening as", "original": "Trills are practicable on all steps of this far-ranging scale of three and a half octaves. But those on the three highest notes, A, B, C, are very difficult; it is advisable not to use them in the orchestra. 3 See the wonderful trill passage in the third act } of “Siegfried” during Bruennhilde’s awakening as", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 294.44676017609254, 659.7807599677415, 527.709777977932, 725.9163015396869 ] } ] }, { "id": "berlioz-instrumentation-b00123", "reading_order": 120, "type": "paragraph", "english": "she looks into the light of the sun, enchanted and at the same time blinded by the unwonted radiance (Example 1).", "original": "she looks into the light of the sun, enchanted and at the same time blinded by the unwonted radiance (Example 1).", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_label": "PDF 17", "bbox_pdf": [ 306.59353255921627, 720.2925309978548, 527.0349572899808, 750.6608919237481 ] } ] }, { "id": "berlioz-instrumentation-b00124", "reading_order": 121, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_label": "PDF 18" } ], "asset_refs": [ "p-018-m01" ] }, { "id": "berlioz-instrumentation-b00125", "reading_order": 122, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_label": "PDF 19" } ], "asset_refs": [ "p-019-m01" ] }, { "id": "berlioz-instrumentation-b00126", "reading_order": 123, "type": "paragraph", "english": "The minor trill on the fourth string between G and A♭ is to be avoided as much as possible; it is harsh and has an unpleasant effect.", "original": "The minor trill on the fourth string between G and A♭ is to be avoided as much as possible; it is harsh and has an unpleasant effect.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 39.364540130493644, 61.86147596015305, 273.3023786202845, 92.90468935106621 ] } ] }, { "id": "berlioz-instrumentation-b00127", "reading_order": 124, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20" } ], "asset_refs": [ "p-020-m01" ] }, { "id": "berlioz-instrumentation-b00128", "reading_order": 125, "type": "paragraph", "english": "Numerous chords of two, three and four notes can be played on the violin, simultaneously or arpeggio; they vary considerably in their effect.", "original": "Numerous chords of two, three and four notes can be played on the violin, simultaneously or arpeggio; they vary considerably in their effect.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 37.115137837322585, 145.54318162261464, 270.8280360977963, 175.68659172683465 ] } ] }, { "id": "berlioz-instrumentation-b00129", "reading_order": 126, "type": "paragraph", "english": "Chords of two notes, produced by so-called double stopping on two strings, are well suited, both in forte and in piano, to melodic phrases as well as to all kinds of accompaniments and tremolos.", "original": "Chords of two notes, produced by so-called double stopping on two strings, are well suited, both in forte and in piano, to melodic phrases as well as to all kinds of accompaniments and tremolos.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 47.46238838590949, 175.68659172683465, 270.3781556391621, 186.259280345479 ] }, { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 295.34652109336093, 65.91059075027215, 528.1596584365662, 96.27895167616546 ] } ] }, { "id": "berlioz-instrumentation-b00131", "reading_order": 127, "type": "paragraph", "english": "The chords of three and four notes, however, are not of a good effect when played piano. They have vitality only in forte; for then only can the bow strike the strings together and make them sound well simultaneously. It should not be forgotten that in these three and four-part chords two tones at most can be sustained, the bow having to quit the others as soon as they are struck. In a moderate or slow tempo it is therefore useless to write:", "original": "The chords of three and four notes, however, are not of a good effect when played piano. They have vitality only in forte; for then only can the bow strike the strings together and make them sound well simultaneously. It should not be forgotten that in these three and four-part chords two tones at most can be sustained, the bow having to quit the others as soon as they are struck. In a moderate or slow tempo it is therefore useless to write:", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 294.89664063472674, 96.05400085449219, 527.9347182072491, 184.9095754154393 ] } ] }, { "id": "berlioz-instrumentation-b00132", "reading_order": 128, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20" } ], "asset_refs": [ "p-020-m02" ] }, { "id": "berlioz-instrumentation-b00133", "reading_order": 129, "type": "paragraph", "english": "for only the two upper notes can be sustained. In this case it is better to write", "original": "for only the two upper notes can be sustained. In this case it is better to write", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 36.44031714937127, 235.29855947025487, 395.44492313947336, 246.32114973224577 ] } ] }, { "id": "berlioz-instrumentation-b00134", "reading_order": 130, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20" } ], "asset_refs": [ "p-020-m03" ] }, { "id": "berlioz-instrumentation-b00135", "reading_order": 131, "type": "paragraph", "english": "Of course, between the low G and D all chords are impossible since there is only one string (G) to produce the two tones. Should it be necessary to use chords at this extreme end of the scale, they can be obtained in the orchestra only by dividing the violins. This division is indicated in Italian by divisi or a due, in French by divisés or à deux, in German by geteilt, written over the passage:", "original": "Of course, between the low G and D all chords are impossible since there is only one string (G) to produce the two tones. Should it be necessary to use chords at this extreme end of the scale, they can be obtained in the orchestra only by dividing the violins. This division is indicated in Italian by divisi or a due, in French by divisés or à deux, in German by geteilt, written over the passage:", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 37.7899585252739, 298.50974036044767, 271.72779701506477, 340.12564237000515 ] }, { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 295.34652109336093, 300.0843961121606, 527.9347182072491, 340.5755440133517 ] } ] }, { "id": "berlioz-instrumentation-b00137", "reading_order": 132, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20" } ], "asset_refs": [ "p-020-m04" ] }, { "id": "berlioz-instrumentation-b00138", "reading_order": 133, "type": "paragraph", "english": "The violins are then divided, one group playing the upper and the other the lower part. Starting from the third (D) string upward, all chords of two notes in seconds, thirds, fourths, fifths, sixths, sevenths and octaves are playable; but they become progressively more difficult on the two higher strings.", "original": "The violins are then divided, one group playing the upper and the other the lower part. Starting from the third (D) string upward, all chords of two notes in seconds, thirds, fourths, fifths, sixths, sevenths and octaves are playable; but they become progressively more difficult on the two higher strings.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 36.215376920054155, 401.5372166868116, 269.9282751805279, 433.4802333644179 ] }, { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20", "bbox_pdf": [ 293.322059029507, 402.66197079517804, 526.3601366020293, 434.60498747278433 ] } ] }, { "id": "berlioz-instrumentation-b00140", "reading_order": 134, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_label": "PDF 20" } ], "asset_refs": [ "p-020-m05" ] }, { "id": "berlioz-instrumentation-b00141", "reading_order": 135, "type": "paragraph", "english": "Occasionally one note is played on two strings simultaneously. It is advisable to limit this effect to D, A and E. Only these three notes are easy to execute on two strings; they have a different timbre on each and a full tone, due to the open string:", "original": "Occasionally one note is played on two strings simultaneously. It is advisable to limit this effect to D, A and E. Only these three notes are easy to execute on two strings; they have a different timbre on each and a full tone, due to the open string:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 36.89019760800548, 69.5098038970447, 268.35369357530817, 122.37324699026638 ] } ] }, { "id": "berlioz-instrumentation-b00142", "reading_order": 136, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m02" ] }, { "id": "berlioz-instrumentation-b00143", "reading_order": 137, "type": "paragraph", "english": "There is no open string in the other unisons:", "original": "There is no open string in the other unisons:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 36.89019760800548, 171.63747693671556, 237.53688215886456, 181.76026391201333 ] } ] }, { "id": "berlioz-instrumentation-b00144", "reading_order": 138, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m03" ] }, { "id": "berlioz-instrumentation-b00145", "reading_order": 139, "type": "paragraph", "english": "Their execution is rather difficult and, hence, their intonation rarely exact.", "original": "Their execution is rather difficult and, hence, their intonation rarely exact.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 38.91465967185944, 262.7425597143955, 271.0529763271134, 283.21308448666434 ] } ] }, { "id": "berlioz-instrumentation-b00146", "reading_order": 140, "type": "paragraph", "english": "A lower string can cross a higher open string if it is given an ascending movement while the open string continues in the manner of a pedal-point:", "original": "A lower string can cross a higher open string if it is given an ascending movement while the open string continues in the manner of a pedal-point:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 38.689719442542334, 282.98813366499104, 271.0529763271134, 313.8063962342309 ] } ] }, { "id": "berlioz-instrumentation-b00147", "reading_order": 141, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m05" ] }, { "id": "berlioz-instrumentation-b00148", "reading_order": 142, "type": "paragraph", "english": "The D remains open while the ascending scale is played on the fourth string throughout.", "original": "The D remains open while the ascending scale is played on the fourth string throughout.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 38.91465967185944, 417.0588233822682, 271.0529763271134, 437.9792497978836 ] } ] }, { "id": "berlioz-instrumentation-b00149", "reading_order": 143, "type": "paragraph", "english": "Ninths and tenths are possible, but far less easy than the preceding intervals. It is better to write them for the orchestra only if the lower string remains open; in this case they offer no difficulty:", "original": "Ninths and tenths are possible, but far less easy than the preceding intervals. It is better to write them for the orchestra only if the lower string remains open; in this case they offer no difficulty:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 38.46477921322523, 437.529348154537, 271.2779165564305, 478.2454468774013 ] } ] }, { "id": "berlioz-instrumentation-b00150", "reading_order": 144, "type": "paragraph", "english": "Including the chromatic intervals", "original": "Including the chromatic intervals", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 96.49935837703872, 509.5136110899878, 204.9205489078841, 515.8122340968398 ] } ] }, { "id": "berlioz-instrumentation-b00151", "reading_order": 145, "type": "paragraph", "english": "Leaps between double stops are to be avoided because they are extremely difficult if not impossible. They demand too great a change in the position of the hand:", "original": "Leaps between double stops are to be avoided because they are extremely difficult if not impossible. They demand too great a change in the position of the hand:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 35.99043669073705, 574.0744969102202, 269.02851426325947, 613.8907923463915 ] } ] }, { "id": "berlioz-instrumentation-b00152", "reading_order": 146, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m07" ] }, { "id": "berlioz-instrumentation-b00153", "reading_order": 147, "type": "paragraph", "english": "Generally such leaps can be used only if the two higher notes and the two lower notes form one chord which could also be played together, for instance:", "original": "Generally such leaps can be used only if the two higher notes and the two lower notes form one chord which could also be played together, for instance:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 292.6472383415557, 65.01078746357902, 527.0349572899808, 96.72885331951204 ] } ] }, { "id": "berlioz-instrumentation-b00154", "reading_order": 148, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m01" ] }, { "id": "berlioz-instrumentation-b00155", "reading_order": 149, "type": "paragraph", "english": "In the following example the four notes could be played simultaneously only with considerable difficulty (except in the last chord). Nevertheless, the leap is here easy because the two lower notes are played on open strings, the two upper ones with the first and third fingers:", "original": "In the following example the four notes could be played simultaneously only with considerable difficulty (except in the last chord). Nevertheless, the leap is here easy because the two lower notes are played on open strings, the two upper ones with the first and third fingers:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 290.6227762777017, 179.73570651695374, 524.7855549968097, 241.59718247710683 ] } ] }, { "id": "berlioz-instrumentation-b00156", "reading_order": 150, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m04" ] }, { "id": "berlioz-instrumentation-b00157", "reading_order": 151, "type": "paragraph", "english": "Among the chords of three and especially four notes those are always the best and most sonorous which contain most open strings. I consider it even better to confine oneself to chords of three notes if no open string is available for the four-part chord.", "original": "Among the chords of three and especially four notes those are always the best and most sonorous which contain most open strings. I consider it even better to confine oneself to chords of three notes if no open string is available for the four-part chord.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 290.3978360483846, 366.219937684106, 525.460375684761, 417.28377420394145 ] } ] }, { "id": "berlioz-instrumentation-b00158", "reading_order": 152, "type": "paragraph", "english": "The following lists furnish a summary of the most frequently used, most sonorous and least difficult chords of this kind:", "original": "The following lists furnish a summary of the most frequently used, most sonorous and least difficult chords of this kind:", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 290.1728958190675, 417.50872502561475, 524.7855549968097, 446.07747937812184 ] } ] }, { "id": "berlioz-instrumentation-b00159", "reading_order": 153, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m06" ] }, { "id": "berlioz-instrumentation-b00160", "reading_order": 154, "type": "paragraph", "english": "In those marked * it is better to omit the lowest note.", "original": "In those marked * it is better to omit the lowest note.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21", "bbox_pdf": [ 295.57146132267803, 620.4143661749167, 528.8344791245175, 631.4369564369076 ] } ] }, { "id": "berlioz-instrumentation-b00161", "reading_order": 155, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_label": "PDF 21" } ], "asset_refs": [ "p-021-m08" ] }, { "id": "berlioz-instrumentation-b00162", "reading_order": 156, "type": "paragraph", "english": "Easy in a moderate tempo:", "original": "Easy in a moderate tempo:", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 42.96358379956735, 65.91059075027215, 165.10612831875622, 76.25832854724321 ] } ] }, { "id": "berlioz-instrumentation-b00163", "reading_order": 157, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m01" ] }, { "id": "berlioz-instrumentation-b00164", "reading_order": 158, "type": "paragraph", "english": "All sequences of chords combined in this fashion are not difficult. They can also be executed in arpeg-", "original": "All sequences of chords combined in this fashion are not difficult. They can also be executed in arpeg-", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 36.89019760800548, 200.43118211089586, 269.02851426325947, 221.80151016985783 ] } ] }, { "id": "berlioz-instrumentation-b00165", "reading_order": 159, "type": "paragraph", "english": "gio, i.e. consecutively; particularly in pianissimo this often creates the most agreeable effects:", "original": "gio, i.e. consecutively; particularly in pianissimo this often creates the most agreeable effects:", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 292.87217857087273, 202.45573950595542, 524.3356745381755, 222.4763626348777 ] } ] }, { "id": "berlioz-instrumentation-b00166", "reading_order": 160, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m02" ] }, { "id": "berlioz-instrumentation-b00167", "reading_order": 161, "type": "paragraph", "english": "There are furthermore combinations similar to those above, in which the four notes could be played simultaneously only with great difficulty, whereas they are easily executed in arpeggio by means of the first", "original": "There are furthermore combinations similar to those above, in which the four notes could be played simultaneously only with great difficulty, whereas they are easily executed in arpeggio by means of the first", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 37.34007806663969, 299.63449446881407, 269.9282751805279, 340.800494835025 ] } ] }, { "id": "berlioz-instrumentation-b00168", "reading_order": 162, "type": "paragraph", "english": "or second fingers passing from the fourth string to the first in order to play the lowest and then the highest note:", "original": "or second fingers passing from the fourth string to the first in order to play the lowest and then the highest note:", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 293.7719394881412, 299.8594452904873, 525.2354354554438, 327.0784947129547 ] } ] }, { "id": "berlioz-instrumentation-b00169", "reading_order": 163, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m03" ] }, { "id": "berlioz-instrumentation-b00170", "reading_order": 164, "type": "paragraph", "english": "By omitting the lowest or highest notes in the preceding examples, one obtains as many three-part chords. To these are to be added the chords which", "original": "By omitting the lowest or highest notes in the preceding examples, one obtains as many three-part chords. To these are to be added the chords which", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 35.76549646141994, 425.60695460585293, 268.57863380462527, 454.17570895836 ] } ] }, { "id": "berlioz-instrumentation-b00171", "reading_order": 165, "type": "paragraph", "english": "result from combining the various tones of the Estring with the two open center strings, or those of the E and A-strings with the open D-string:", "original": "result from combining the various tones of the Estring with the two open center strings, or those of the E and A-strings with the open D-string:", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 292.42229811223854, 425.38200378417974, 524.5606147674926, 455.0755122450532 ] } ] }, { "id": "berlioz-instrumentation-b00172", "reading_order": 166, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m04" ] }, { "id": "berlioz-instrumentation-b00173", "reading_order": 167, "type": "paragraph", "english": "If it is desired to strike one isolated D-minor or. major chord, it is not advisable to choose the position marked NB in the foregoing example because it is too difficult without similar chords preceding it. It 1s better to use the following position, which is easy to play and more sonorous", "original": "If it is desired to strike one isolated D-minor or. major chord, it is not advisable to choose the position marked NB in the foregoing example because it is too difficult without similar chords preceding it. It 1s better to use the following position, which is easy to play and more sonorous", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 36.89019760800548, 564.1766607565958, 270.6030958684792, 624.9133826083824 ] } ] }, { "id": "berlioz-instrumentation-b00174", "reading_order": 168, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m05" ] }, { "id": "berlioz-instrumentation-b00175", "reading_order": 169, "type": "paragraph", "english": "because of the two open strings: =", "original": "because of the two open strings: =", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 37.34007806663969, 624.4634809650358, 222.6908270239355, 634.5862679403336 ] } ] }, { "id": "berlioz-instrumentation-b00176", "reading_order": 170, "type": "paragraph", "english": "Sequences of diminished seventh chords are also easy because the fingering remains the same while", "original": "Sequences of diminished seventh chords are also easy because the fingering remains the same while", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 49.48685044976345, 676.6520715932377, 269.70333495121076, 698.6972521172196 ] } ] }, { "id": "berlioz-instrumentation-b00177", "reading_order": 171, "type": "paragraph", "english": "The preceding examples show that all three-part chords are possible on the violin if one takes care, in those without open strings, to spread their tones sufficiently to allow intervals of a fifth or sixth between them. The sixth may be placed either above or below, or both.", "original": "The preceding examples show that all three-part chords are possible on the violin if one takes care, in those without open strings, to spread their tones sufficiently to allow intervals of a fifth or sixth between them. The sixth may be placed either above or below, or both.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 293.322059029507, 562.3770541832096, 526.3601366020293, 621.7640711049564 ] } ] }, { "id": "berlioz-instrumentation-b00178", "reading_order": 172, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m06" ] }, { "id": "berlioz-instrumentation-b00179", "reading_order": 173, "type": "paragraph", "english": "; the chord changes to the next position: -", "original": "; the chord changes to the next position: -", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22", "bbox_pdf": [ 297.1460429278978, 673.5027600898118, 483.62149303177915, 689.9241700719615 ] } ] }, { "id": "berlioz-instrumentation-b00180", "reading_order": 174, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_label": "PDF 22" } ], "asset_refs": [ "p-022-m07" ] }, { "id": "berlioz-instrumentation-b00181", "reading_order": 175, "type": "paragraph", "english": "Certain chords of three notes are practicable in two ways, and it is better to choose the one containing an open string, for instance:", "original": "Certain chords of three notes are practicable in two ways, and it is better to choose the one containing an open string, for instance:", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 42.73864357025025, 75.13357443887679, 273.3023786202845, 104.82708289975027 ] } ] }, { "id": "berlioz-instrumentation-b00182", "reading_order": 176, "type": "paragraph", "english": "b = or z", "original": "b = or z", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 108.64613076016248, 125.97246013703894, 242.48556720384087, 156.11587024125896 ] } ] }, { "id": "berlioz-instrumentation-b00183", "reading_order": 177, "type": "paragraph", "english": "Double trills in thirds can be executed, starting from the low Bb:", "original": "Double trills in thirds can be executed, starting from the low Bb:", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 42.06382288229893, 187.3840344538454, 272.85249816165026, 205.3801001877081 ] } ] }, { "id": "berlioz-instrumentation-b00184", "reading_order": 178, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23" } ], "asset_refs": [ "p-023-m02" ] }, { "id": "berlioz-instrumentation-b00185", "reading_order": 179, "type": "paragraph", "english": "No. 2. Walkuere, Act I.’", "original": "No. 2. Walkuere, Act I.’", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 196.14787996451693, 364.64528193239306, 368.0022151627864, 380.61679027119624 ] } ] }, { "id": "berlioz-instrumentation-b00186", "reading_order": 180, "type": "paragraph", "english": "But as they are mere difficult than simple trills and the same effect can be obtained by dividing the violins, it is usually advisable to avoid them in the orchestra.", "original": "But as they are mere difficult than simple trills and the same effect can be obtained by dividing the violins, it is usually advisable to avoid them in the orchestra.", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 297.1460429278978, 75.13357443887679, 528.8344791245175, 113.15026330166177 ] } ] }, { "id": "berlioz-instrumentation-b00187", "reading_order": 181, "type": "paragraph", "english": "The tremolo (simple or double) produces various excellent effects. It expresses unrest, excitement, terror in all nuances of piano, mezzoforte or fortissimo if it is employed on one or two of the three strings, G, D, A, and if it is not carried much above the", "original": "The tremolo (simple or double) produces various excellent effects. It expresses unrest, excitement, terror in all nuances of piano, mezzoforte or fortissimo if it is employed on one or two of the three strings, G, D, A, and if it is not carried much above the", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 296.6961624692636, 114.94986987504802, 528.8344791245175, 164.21409982149717 ] } ] }, { "id": "berlioz-instrumentation-b00188", "reading_order": 182, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23" } ], "asset_refs": [ "p-023-m01" ] }, { "id": "berlioz-instrumentation-b00189", "reading_order": 183, "type": "paragraph", "english": "The tremolo was used with the greatest effect by Weber and Wagner, perhaps most significantly in", "original": "The tremolo was used with the greatest effect by Weber and Wagner, perhaps most significantly in", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 305.0189509539965, 233.04905125352204, 524.7855549968097, 253.0696743824443 ] } ] }, { "id": "berlioz-instrumentation-b00190", "reading_order": 184, "type": "paragraph", "english": "the first act of ‘“‘Walkuere” with Siegmund’s call, “Waelse, Waelse!” (Example 2.)", "original": "the first act of ‘“‘Walkuere” with Siegmund’s call, “Waelse, Waelse!” (Example 2.)", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23", "bbox_pdf": [ 306.3685923298992, 255.99403506419696, 525.460375684761, 276.4645598364658 ] } ] }, { "id": "berlioz-instrumentation-b00191", "reading_order": 185, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_label": "PDF 23" } ], "asset_refs": [ "p-023-m03" ] }, { "id": "berlioz-instrumentation-b00192", "reading_order": 186, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_label": "PDF 24" } ], "asset_refs": [ "p-024-m01" ] }, { "id": "berlioz-instrumentation-b00193", "reading_order": 187, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 40 } ], "asset_refs": [ "p-025-m01" ] }, { "id": "berlioz-instrumentation-b00194", "reading_order": 188, "type": "paragraph", "english": "What a magnificent idea is the picture of the ' by the wind is wonderfully depicted by the followmonotonously raging storm a e beginning o ing sound-conception (Example 3). “Walkuere”. The whipping of the rain and hail \"s P ( pie ®)", "original": "What a magnificent idea is the picture of the ' by the wind is wonderfully depicted by the followmonotonously raging storm a e beginning o ing sound-conception (Example 3). “Walkuere”. The whipping of the rain and hail \"s P ( pie ®)", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44, "bbox_pdf": [ 47.23744815659238, 75.13357443887679, 524.5606147674926, 109.32609933321592 ] } ] }, { "id": "berlioz-instrumentation-b00195", "reading_order": 189, "type": "paragraph", "english": "No. 3. Walkuere, Beginning", "original": "No. 3. Walkuere, Beginning", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44, "bbox_pdf": [ 182.65146620549055, 119.673837130187, 379.69910708727593, 137.89485368572298 ] } ] }, { "id": "berlioz-instrumentation-b00196", "reading_order": 190, "type": "paragraph", "english": "Sturmisch. Wagner.", "original": "Sturmisch. Wagner.", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44, "bbox_pdf": [ 103.02262502723481, 141.04416518914894, 526.8100170606635, 152.74160791615972 ] } ] }, { "id": "berlioz-instrumentation-b00197", "reading_order": 191, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44 } ], "asset_refs": [ "p-026-m01" ] }, { "id": "berlioz-instrumentation-b00198", "reading_order": 192, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44 } ], "asset_refs": [ "p-026-m02" ] }, { "id": "berlioz-instrumentation-b00199", "reading_order": 193, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44 } ], "asset_refs": [ "p-026-m03" ] }, { "id": "berlioz-instrumentation-b00200", "reading_order": 194, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44 } ], "asset_refs": [ "p-026-m04" ] }, { "id": "berlioz-instrumentation-b00201", "reading_order": 195, "type": "paragraph", "english": "a Oss 1 as Os Os Ot eh as es OT Oe os OT", "original": "a Oss 1 as Os Os Ot eh as es OT Oe os OT", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 44, "bbox_pdf": [ 297.82086361584913, 331.57751114642036, 525.685315914078, 342.60010140841126 ] } ] }, { "id": "berlioz-instrumentation-b00202", "reading_order": 196, "type": "paragraph", "english": "The tremolo has a stormy and vehement character on the medium tones of the E and A-strings in fortissimo.", "original": "The tremolo has a stormy and vehement character on the medium tones of the E and A-strings in fortissimo.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 38.689719442542334, 82.55695155409515, 272.62755793233316, 110.67580426325563 ] } ] }, { "id": "berlioz-instrumentation-b00203", "reading_order": 197, "type": "paragraph", "english": "2 It becomes ethereal and seraphic when", "original": "2 It becomes ethereal and seraphic when", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 59.38422053971614, 112.47541083664191, 271.72779701506477, 122.59819781193967 ] } ] }, { "id": "berlioz-instrumentation-b00204", "reading_order": 198, "type": "paragraph", "english": "== employed in several voices and pianissimo Lf on the high tones of the E-string:", "original": "== employed in several voices and pianissimo Lf on the high tones of the E-string:", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 40.264301047762075, 117.19937809178086, 271.72779701506477, 144.19347669257493 ] } ] }, { "id": "berlioz-instrumentation-b00205", "reading_order": 199, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27" } ], "asset_refs": [ "p-027-m02" ] }, { "id": "berlioz-instrumentation-b00206", "reading_order": 200, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27" } ], "asset_refs": [ "p-027-m05" ] }, { "id": "berlioz-instrumentation-b00207", "reading_order": 201, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27" } ], "asset_refs": [ "p-027-m01" ] }, { "id": "berlioz-instrumentation-b00208", "reading_order": 202, "type": "paragraph", "english": "is entirely sufficient. But if in an Adagio the tremolo were also indicated by sixteenths, the performer would, of course, play strictly sixteenths; instead of the quivering one would hear only a heavy", "original": "is entirely sufficient. But if in an Adagio the tremolo were also indicated by sixteenths, the performer would, of course, play strictly sixteenths; instead of the quivering one would hear only a heavy", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 294.2218199467754, 145.09327997926806, 527.709777977932, 187.3840344538454 ] } ] }, { "id": "berlioz-instrumentation-b00209", "reading_order": 203, "type": "paragraph", "english": "and dull repetition of tones. In this case Fs", "original": "and dull repetition of tones. In this case Fs", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 294.2218199467754, 182.88501802037976, 525.460375684761, 205.15514936603483 ] } ] }, { "id": "berlioz-instrumentation-b00210", "reading_order": 204, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27" } ], "asset_refs": [ "p-027-m03" ] }, { "id": "berlioz-instrumentation-b00211", "reading_order": 205, "type": "paragraph", "english": "it is necessary to write", "original": "it is necessary to write", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 294.2218199467754, 197.05691978579662, 397.0195047446931, 206.95475593942112 ] } ] }, { "id": "berlioz-instrumentation-b00212", "reading_order": 206, "type": "paragraph", "english": "and sometimes, if the tempo is still", "original": "and sometimes, if the tempo is still", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 294.6717004054096, 206.27990347440127, 465.6262746864106, 216.6276412713723 ] } ] }, { "id": "berlioz-instrumentation-b00213", "reading_order": 207, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27" } ], "asset_refs": [ "p-027-m04" ] }, { "id": "berlioz-instrumentation-b00214", "reading_order": 208, "type": "paragraph", "english": "It may be mentioned here that, while the violins in the orchestra are customarily divided into two groups (First and Second Violins), there is no reason why these groups should not be subdivided again into two or three parts according to the aim the composer wants to achieve. Occasionally the violins can be divided even into eight groups, either by setting off eight solo violins, playing eight individual parts, against the solid mass, or by dividing the complete first violins and second violins into four equal choirs", "original": "It may be mentioned here that, while the violins in the orchestra are customarily divided into two groups (First and Second Violins), there is no reason why these groups should not be subdivided again into two or three parts according to the aim the composer wants to achieve. Occasionally the violins can be divided even into eight groups, either by setting off eight solo violins, playing eight individual parts, against the solid mass, or by dividing the complete first violins and second violins into four equal choirs", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 36.89019760800548, 307.50777322737895, 269.9282751805279, 408.96059380202996 ] } ] }, { "id": "berlioz-instrumentation-b00215", "reading_order": 209, "type": "paragraph", "english": "I revert to the tremolo. To make its effect complete it is essential thaf the movement of the bow is fast enough to produce a real trembling or quivering. Therefore, the composer must precisely indicate its", "original": "I revert to the tremolo. To make its effect complete it is essential thaf the movement of the bow is fast enough to produce a real trembling or quivering. Therefore, the composer must precisely indicate its", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 36.66525737868837, 419.08338077732776, 268.128753345991, 460.0244303218654 ] } ] }, { "id": "berlioz-instrumentation-b00216", "reading_order": 210, "type": "paragraph", "english": "execution in accordance with the tempo of the piece;.", "original": "execution in accordance with the tempo of the piece;.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 36.44031714937127, 459.57452867851885, 276.00166137208976, 469.4723648321433 ] } ] }, { "id": "berlioz-instrumentation-b00217", "reading_order": 211, "type": "paragraph", "english": "for the performers are always inclined to avoid any mode of execution which is tiring, and they would not fail to profit by any latitude left to them.", "original": "for the performers are always inclined to avoid any mode of execution which is tiring, and they would not fail to profit by any latitude left to them.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 35.76549646141994, 469.6973156538166, 267.6788728873568, 500.5155782230564 ] } ] }, { "id": "berlioz-instrumentation-b00218", "reading_order": 212, "type": "paragraph", "english": "The tremolo on the lower and middle tones of the third and fourth strings in fortissimo is particularly characteristic if the bow strikes the strings near the bridge. In a large orchestra and if executed well by the players, it produces a sound similar to that of a rapid and powerful waterfall. This manner of execution is indicated by sul ponticello..", "original": "The tremolo on the lower and middle tones of the third and fourth strings in fortissimo is particularly characteristic if the bow strikes the strings near the bridge. In a large orchestra and if executed well by the players, it produces a sound similar to that of a rapid and powerful waterfall. This manner of execution is indicated by sul ponticello..", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 291.97241765360434, 268.14137943455427, 525.9102561433951, 339.00088826163875 ] } ] }, { "id": "berlioz-instrumentation-b00219", "reading_order": 213, "type": "paragraph", "english": "A magnificent example of this effect can be found in the scene of the oracle, in the first act of “Alceste” by Gluck. The effect of the tremolo in the second violins and violas is reinforced by the heavy, menacing steps in the basses, by the blow struck from time to time in the first violins, by the gradual entry of the wind instruments, and finally by the majestic recitative which this turbulent orchestra accompanies. I know nothing of this kind more dramatic or more terrible. However, the idea to execute this tremolo sul ponticello cannot be ascribed to Gluck; it is not indicated in his score. The honor for it belongs entirely to M. Habeneck, who, when rehearsing this wonderful scene at the Conservatoire, had the violins play it in this energetic fashion; its superiority in this case is incontrovertible. (Example 4.)", "original": "A magnificent example of this effect can be found in the scene of the oracle, in the first act of “Alceste” by Gluck. The effect of the tremolo in the second violins and violas is reinforced by the heavy, menacing steps in the basses, by the blow struck from time to time in the first violins, by the gradual entry of the wind instruments, and finally by the majestic recitative which this turbulent orchestra accompanies. I know nothing of this kind more dramatic or more terrible. However, the idea to execute this tremolo sul ponticello cannot be ascribed to Gluck; it is not indicated in his score. The honor for it belongs entirely to M. Habeneck, who, when rehearsing this wonderful scene at the Conservatoire, had the violins play it in this energetic fashion; its superiority in this case is incontrovertible. (Example 4.)", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_label": "PDF 27", "bbox_pdf": [ 289.49807513111614, 339.45078990498524, 524.7855549968097, 502.9900372614626 ] } ] }, { "id": "berlioz-instrumentation-b00220", "reading_order": 214, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 18 } ], "asset_refs": [ "p-028-m01" ] }, { "id": "berlioz-instrumentation-b00221", "reading_order": 215, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 445 } ], "asset_refs": [ "p-029-m01" ] }, { "id": "berlioz-instrumentation-b00222", "reading_order": 216, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 45 } ], "asset_refs": [ "p-030-m01" ] }, { "id": "berlioz-instrumentation-b00223", "reading_order": 217, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 31, "source_image": "source-pages/p-031.jpg", "printed_label": "PDF 31" } ], "asset_refs": [ "p-031-m01" ] }, { "id": "berlioz-instrumentation-b00224", "reading_order": 218, "type": "paragraph", "english": "At the begin", "original": "At the begin", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 61.4086826035701, 74.68367279553023, 116.74397901557832, 91.5549844210265 ] } ] }, { "id": "berlioz-instrumentation-b00225", "reading_order": 219, "type": "paragraph", "english": "of the second act of “Tristan”", "original": "of the second act of “Tristan”", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 139.46294217660608, 81.65714826740202, 270.15321540984496, 91.10508277767994 ] } ] }, { "id": "berlioz-instrumentation-b00226", "reading_order": 220, "type": "paragraph", "english": "this tremolo", "original": "this tremolo", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 51.06143205498319, 89.98032866931352, 104.37226640313744, 97.85360742787846 ] } ] }, { "id": "berlioz-instrumentation-b00227", "reading_order": 221, "type": "paragraph", "english": "effect near the bri", "original": "effect near the bri", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 108.42119053084537, 90.65518113433338, 188.94979262636951, 99.42826317959145 ] } ] }, { "id": "berlioz-instrumentation-b00228", "reading_order": 222, "type": "paragraph", "english": "rustling of the leaves and the blo", "original": "rustling of the leaves and the blo", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 50.61155159634898, 99.87816482293802, 192.098955836809, 109.32609933321592 ] } ] }, { "id": "berlioz-instrumentation-b00229", "reading_order": 223, "type": "paragraph", "english": "produces a feeling of awe and apprehension in the", "original": "produces a feeling of awe and apprehension in the", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 306.59353255921627, 83.23180401911502, 524.5606147674926, 94.25439428110592 ] } ] }, { "id": "berlioz-instrumentation-b00230", "reading_order": 224, "type": "paragraph", "english": "listener. (Example 5.)", "original": "listener. (Example 5.)", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47, "bbox_pdf": [ 306.3685923298992, 94.02944345943264, 401.74324956035235, 103.92727961305714 ] } ] }, { "id": "berlioz-instrumentation-b00231", "reading_order": 225, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 47 } ], "asset_refs": [ "p-032-m01" ] }, { "id": "berlioz-instrumentation-b00232", "reading_order": 226, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 48 } ], "asset_refs": [ "p-033-m01" ] }, { "id": "berlioz-instrumentation-b00233", "reading_order": 227, "type": "paragraph", "english": "For certain accompaniments of a dramatic and agitated character a broken tremolo is sometimes used", "original": "For certain accompaniments of a dramatic and agitated character a broken tremolo is sometimes used", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 41.83888265298182, 81.8820990890753, 264.9795901355515, 101.452820574651 ] } ] }, { "id": "berlioz-instrumentation-b00234", "reading_order": 228, "type": "paragraph", "english": "with good effect, either on one string:", "original": "with good effect, either on one string:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 288.37337398453064, 83.23180401911502, 452.35480115670134, 94.70429592445248 ] } ] }, { "id": "berlioz-instrumentation-b00235", "reading_order": 229, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m01" ] }, { "id": "berlioz-instrumentation-b00236", "reading_order": 230, "type": "paragraph", "english": "Finally, there is a kind of tremolo which is no longer used, but which Gluck employed admirably in his recitatives. It may be called the undulating tremolo. It consists in playing a number of slurred notes on the same tone at a slow speed while the bow does not leave the string. In these not strictly meas-", "original": "Finally, there is a kind of tremolo which is no longer used, but which Gluck employed admirably in his recitatives. It may be called the undulating tremolo. It consists in playing a number of slurred notes on the same tone at a slow speed while the bow does not leave the string. In these not strictly meas-", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 40.714181506396294, 163.7641981781506, 264.5297096769173, 222.92626427822427 ] } ] }, { "id": "berlioz-instrumentation-b00237", "reading_order": 231, "type": "paragraph", "english": "ured accompaniments it is hardly possible for all the performers to play the same number of notes in a bar; some play more and some less. This difference causes a kind of wavering or indecision in the orchestra, perfectly adapted to render the uneasiness and anxiety in certain scenes. Gluck wrote it thus:", "original": "ured accompaniments it is hardly possible for all the performers to play the same number of notes in a bar; some play more and some less. This difference causes a kind of wavering or indecision in the orchestra, perfectly adapted to render the uneasiness and anxiety in certain scenes. Gluck wrote it thus:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 287.4736130672622, 164.66400146484375, 511.0642010084661, 223.1512150998975 ] } ] }, { "id": "berlioz-instrumentation-b00238", "reading_order": 232, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m02" ] }, { "id": "berlioz-instrumentation-b00239", "reading_order": 233, "type": "paragraph", "english": "The manner of bowing is very important and greatly influences the sonority and expression of motives and melodies. It must be carefully indicated ac-", "original": "The manner of bowing is very important and greatly influences the sonority and expression of motives and melodies. It must be carefully indicated ac-", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 37.7899585252739, 272.4154450463467, 261.1556062371607, 301.8840026855469 ] } ] }, { "id": "berlioz-instrumentation-b00240", "reading_order": 234, "type": "paragraph", "english": "For detached tones (le détaché) :", "original": "For detached tones (le détaché) :", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 136.53871919548368, 318.0804618460233, 271.95273724438186, 327.30344553462794 ] } ] }, { "id": "berlioz-instrumentation-b00241", "reading_order": 235, "type": "paragraph", "english": "For slurring two notes:", "original": "For slurring two notes:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 136.9885996541179, 365.0951835757396, 230.56373505003424, 374.54311808601756 ] } ] }, { "id": "berlioz-instrumentation-b00242", "reading_order": 236, "type": "paragraph", "english": "For extended slurs (legato) :", "original": "For extended slurs (legato) :", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 136.53871919548368, 407.61088887199026, 252.6078775231107, 416.8338725605949 ] } ] }, { "id": "berlioz-instrumentation-b00243", "reading_order": 237, "type": "paragraph", "english": "cording to the nature of the idea to be rendered. The following signs should be used:", "original": "cording to the nature of the idea to be rendered. The following signs should be used:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 284.7743303154569, 272.4154450463467, 507.9150377980266, 291.9861665319224 ] } ] }, { "id": "berlioz-instrumentation-b00244", "reading_order": 238, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m03" ] }, { "id": "berlioz-instrumentation-b00245", "reading_order": 239, "type": "paragraph", "english": "For the staccato or light détaché, which is executed over the whole length of the bow by a succession of small strokes, moving the bow only a little at a time:", "original": "For the staccato or light détaché, which is executed over the whole length of the bow by a succession of small strokes, moving the bow only a little at a time:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 160.38238350309697, 434.60498747278433, 384.4228519029351, 465.1982992203509 ] } ] }, { "id": "berlioz-instrumentation-b00246", "reading_order": 240, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m04" ] }, { "id": "berlioz-instrumentation-b00247", "reading_order": 241, "type": "paragraph", "english": "For the grand, broad staccato (grand détaché porté), which is intended to give the string as much sonority as possible by letting it vibrate after the bow", "original": "For the grand, broad staccato (grand détaché porté), which is intended to give the string as much sonority as possible by letting it vibrate after the bow", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 38.01489875459101, 509.7385619116611, 261.3805464664778, 544.1560376276735 ] } ] }, { "id": "berlioz-instrumentation-b00248", "reading_order": 242, "type": "paragraph", "english": "has struck it vigorously (this is particularly suitable for pieces of a proud, magnificent character and of moderate speed).:", "original": "has struck it vigorously (this is particularly suitable for pieces of a proud, magnificent character and of moderate speed).:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 284.32444985682275, 514.0126275234535, 508.1399780273438, 543.2562343409804 ] } ] }, { "id": "berlioz-instrumentation-b00249", "reading_order": 243, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m05" ] }, { "id": "berlioz-instrumentation-b00250", "reading_order": 244, "type": "paragraph", "english": "Notes repeated two, three or four times (according", "original": "Notes repeated two, three or four times (according", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 44.76310563410421, 596.1196774342021, 258.4563234853555, 606.4674152311732 ] } ] }, { "id": "berlioz-instrumentation-b00251", "reading_order": 245, "type": "paragraph", "english": "to the tempo) give more power and vividness to the", "original": "to the tempo) give more power and vividness to the", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 35.090675773468625, 605.7925627661533, 257.78150279740413, 616.3652513847977 ] } ] }, { "id": "berlioz-instrumentation-b00252", "reading_order": 246, "type": "paragraph", "english": "tone of the violins and are suitable for various orches-", "original": "tone of the violins and are suitable for various orches-", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 282.07504756365165, 595.219874147509, 505.6656355048556, 603.7680053710938 ] } ] }, { "id": "berlioz-instrumentation-b00253", "reading_order": 247, "type": "paragraph", "english": "tral effects in all kinds of shadings:", "original": "tral effects in all kinds of shadings:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 281.85010733433455, 605.3426611228067, 433.00994143543016, 615.2404972764313 ] } ] }, { "id": "berlioz-instrumentation-b00254", "reading_order": 248, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m06" ] }, { "id": "berlioz-instrumentation-b00255", "reading_order": 249, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49 } ], "asset_refs": [ "p-034-m07" ] }, { "id": "berlioz-instrumentation-b00256", "reading_order": 250, "type": "paragraph", "english": "However, in phrases of a broad tempo and vigorous", "original": "However, in phrases of a broad tempo and vigorous", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 36.44031714937127, 740.9880065917969, 259.581024631941, 753.3603017838275 ] } ] }, { "id": "berlioz-instrumentation-b00257", "reading_order": 251, "type": "paragraph", "english": "character simple notes in grand détaché produce a", "original": "character simple notes in grand détaché produce a", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 36.66525737868837, 751.1107935670947, 260.0309050905752, 763.258137937452 ] } ] }, { "id": "berlioz-instrumentation-b00258", "reading_order": 252, "type": "paragraph", "english": "much better effect, unless one wants to employ a real", "original": "much better effect, unless one wants to employ a real", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 282.97480848092005, 738.9634491967373, 508.36491825666087, 750.6608919237481 ] } ] }, { "id": "berlioz-instrumentation-b00259", "reading_order": 253, "type": "paragraph", "english": "tremolo on each note.", "original": "tremolo on each note.", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 49, "bbox_pdf": [ 283.4246889395543, 749.9860394587282, 378.3494657113732, 758.0842690389665 ] } ] }, { "id": "berlioz-instrumentation-b00260", "reading_order": 254, "type": "paragraph", "english": "The following phrase", "original": "The following phrase", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 44.76310563410421, 89.53042702596696, 138.56318125933765, 99.65321400126473 ] } ] }, { "id": "berlioz-instrumentation-b00261", "reading_order": 255, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "asset_refs": [ "p-035-m01" ] }, { "id": "berlioz-instrumentation-b00262", "reading_order": 256, "type": "paragraph", "english": "if played in the indicated slow tempo, will sound much more nobly and vigorously than the following:", "original": "if played in the indicated slow tempo, will sound much more nobly and vigorously than the following:", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 45.66286655137264, 142.39387011918865, 502.5164722944161, 153.86636202452613 ] } ] }, { "id": "berlioz-instrumentation-b00263", "reading_order": 257, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "asset_refs": [ "p-035-m02" ] }, { "id": "berlioz-instrumentation-b00264", "reading_order": 258, "type": "paragraph", "english": "I believe composers would be too meticulous if they To curb the different temperaments in bowing", "original": "I believe composers would be too meticulous if they To curb the different temperaments in bowing", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 51.73625274293451, 197.73177225081648, 529.0594193538346, 209.4292149778272 ] } ] }, { "id": "berlioz-instrumentation-b00265", "reading_order": 259, "type": "paragraph", "english": "indicated down-bows and up-bows in their scores (as means to destroy the soulful expression in the renit is done in violin etudes and concertos). But if par- dering of a melody. One violinist, in accordance ticular lightness or power or breadth of tone is re- with his feelings and technical skill, may need four quired, the manner of execution may be indicated as strokes of the bow to play a melody expressively; follows: “At the point of the bow’, or “At the heel” another violinist, only two. If the first one is forced (lower end of the bow), or “Whole bow on each to play this melody also with two strokes, his pernote”. Likewise, “Near the bridge” or “On the finger- formance will obviously lose its intensity and beboard” designate the spot close to or at a distance come poor and dull. Furthermore, if a composer", "original": "indicated down-bows and up-bows in their scores (as means to destroy the soulful expression in the renit is done in violin etudes and concertos). But if par- dering of a melody. One violinist, in accordance ticular lightness or power or breadth of tone is re- with his feelings and technical skill, may need four quired, the manner of execution may be indicated as strokes of the bow to play a melody expressively; follows: “At the point of the bow’, or “At the heel” another violinist, only two. If the first one is forced (lower end of the bow), or “Whole bow on each to play this melody also with two strokes, his pernote”. Likewise, “Near the bridge” or “On the finger- formance will obviously lose its intensity and beboard” designate the spot close to or at a distance come poor and dull. Furthermore, if a composer", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 40.48924127707919, 207.62960840444094, 528.8344791245175, 287.93705174180326 ] } ] }, { "id": "berlioz-instrumentation-b00266", "reading_order": 260, "type": "paragraph", "english": "from the bridge where the bow should strike the has indicated one bow for a phrase of, let us say, strings. The metallic, somewhat rough tones produced near the bridge differ greatly from the soft, veiled tones played over the finger-board.", "original": "from the bridge where the bow should strike the has indicated one bow for a phrase of, let us say, strings. The metallic, somewhat rough tones produced near the bridge differ greatly from the soft, veiled tones played over the finger-board.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 40.264301047762075, 287.26219927678346, 527.709777977932, 326.8535438912814 ] } ] }, { "id": "berlioz-instrumentation-b00267", "reading_order": 261, "type": "paragraph", "english": "I should like to cite some practical experiences regarding bowing and fingering. It is customary in many orchestras to indicate uniform bowing for the violins (as well as the other string instruments). Of course, the resulting evenness of bowing gives elegance to the playing of the violin group and is restful to the eyes of the audience. Nevertheless, I would not recommend using this device indiscriminately, for the following reasons.", "original": "I should like to cite some practical experiences regarding bowing and fingering. It is customary in many orchestras to indicate uniform bowing for the violins (as well as the other string instruments). Of course, the resulting evenness of bowing gives elegance to the playing of the violin group and is restful to the eyes of the audience. Nevertheless, I would not recommend using this device indiscriminately, for the following reasons.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 51.2863722843003, 327.30344553462794, 269.25345449257657, 415.0342659872086 ] } ] }, { "id": "berlioz-instrumentation-b00268", "reading_order": 262, "type": "paragraph", "english": "i did not produce the intended impression of serene gaiety with the indicated bowing, but sounded", "original": "i did not produce the intended impression of serene gaiety with the indicated bowing, but sounded", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 40.9391217357134, 460.0244303218654, 267.2289924287226, 484.54406988425336 ] } ] }, { "id": "berlioz-instrumentation-b00269", "reading_order": 263, "type": "paragraph", "english": "four or more bars, its broad character would be destroyed if it were broken up uniformly into four to six parts by all violinists. In such cases it is my principle to follow strictly the composer’s phrasemarks (breathing-marks) only at the beginning and end of a phrase; within the phrase I let each violinist change the bow as he wishes.", "original": "four or more bars, its broad character would be destroyed if it were broken up uniformly into four to six parts by all violinists. In such cases it is my principle to follow strictly the composer’s phrasemarks (breathing-marks) only at the beginning and end of a phrase; within the phrase I let each violinist change the bow as he wishes.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 305.4688314126308, 297.1600354304079, 528.1596584365662, 366.4448885057793 ] } ] }, { "id": "berlioz-instrumentation-b00270", "reading_order": 264, "type": "paragraph", "english": "For composers it is very important to consider carefully the problem of up-bows and down-bows when they want to achieve certain nuances. For instance, during the first rehearsal of my “Sinfonia Domestica” in New York the theme", "original": "For composers it is very important to consider carefully the problem of up-bows and down-bows when they want to achieve certain nuances. For instance, during the first rehearsal of my “Sinfonia Domestica” in New York the theme", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 305.4688314126308, 366.4448885057793, 527.2598975192979, 413.90951187884224 ] } ] }, { "id": "berlioz-instrumentation-b00271", "reading_order": 265, "type": "paragraph", "english": "lame and dull. At last I conceived the idea of hav-", "original": "lame and dull. At last I conceived the idea of hav-", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 304.79401072467937, 466.0981025070441, 525.460375684761, 476.2208894823418 ] } ] }, { "id": "berlioz-instrumentation-b00272", "reading_order": 266, "type": "paragraph", "english": "ing it played in this way:", "original": "ing it played in this way:", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 302.0947279728741, 475.9959386606685, 415.01472309006164, 487.01852892265947 ] } ] }, { "id": "berlioz-instrumentation-b00273", "reading_order": 267, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "asset_refs": [ "p-035-m03" ] }, { "id": "berlioz-instrumentation-b00274", "reading_order": 268, "type": "paragraph", "english": "At once the theme had the cheerfulness desired by me, the dot on the second and fourth eighths was observed automatically, and the passage, whether in upper or inner parts or in the bass, sparkled through the whole orchestra with the same intensity. I had the second theme of the piece phrased accordingly and obtained the same effect:", "original": "At once the theme had the cheerfulness desired by me, the dot on the second and fourth eighths was observed automatically, and the passage, whether in upper or inner parts or in the bass, sparkled through the whole orchestra with the same intensity. I had the second theme of the piece phrased accordingly and obtained the same effect:", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 47.6873286152266, 525.0352177854444, 265.87935105281997, 593.4202675741227 ] } ] }, { "id": "berlioz-instrumentation-b00275", "reading_order": 269, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "asset_refs": [ "p-035-m04" ] }, { "id": "berlioz-instrumentation-b00276", "reading_order": 270, "type": "paragraph", "english": "Therefore, dear fellow composers, watch the upbow and down-bow! A small bowing-mark at the right place is often more effective than the most elo-", "original": "Therefore, dear fellow composers, watch the upbow and down-bow! A small bowing-mark at the right place is often more effective than the most elo-", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 45.66286655137264, 642.009645055552, 264.0798292182831, 671.9281043380988 ] } ] }, { "id": "berlioz-instrumentation-b00277", "reading_order": 271, "type": "paragraph", "english": "= = eee ee ee", "original": "= = eee ee ee", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 188.94979262636951, 678.451678166624, 259.581024631941, 684.7503011734759 ] } ] }, { "id": "berlioz-instrumentation-b00278", "reading_order": 272, "type": "paragraph", "english": "quent expression marks such as “gay”, “grazioso”, “spirited”, “smiling”, “defiant”, “furious” etc. Our worthy instrumentalists and their dear conductors pay very little attention to them.", "original": "quent expression marks such as “gay”, “grazioso”, “spirited”, “smiling”, “defiant”, “furious” etc. Our worthy instrumentalists and their dear conductors pay very little attention to them.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 302.0947279728741, 527.5096768238506, 524.5606147674926, 566.4261689733287 ] } ] }, { "id": "berlioz-instrumentation-b00279", "reading_order": 273, "type": "paragraph", "english": "As to fingering, I found, when rehearsing Berlioz’ “Féte chez Capulet”, that the beginning of the partly chromatic phrase for the violins never sounded quite clear as long as but one violinist played the chromatic scale by sliding up or down with his finger. Finally I prescribed a separate finger for each note. At once the disturbing sounds caused by the shiding stopped and the passage became faultless. This experience gave me the idea to mark this fast violin passage from my “Sinfonia Domestica”", "original": "As to fingering, I found, when rehearsing Berlioz’ “Féte chez Capulet”, that the beginning of the partly chromatic phrase for the violins never sounded quite clear as long as but one violinist played the chromatic scale by sliding up or down with his finger. Finally I prescribed a separate finger for each note. At once the disturbing sounds caused by the shiding stopped and the passage became faultless. This experience gave me the idea to mark this fast violin passage from my “Sinfonia Domestica”", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20, "bbox_pdf": [ 300.7450865969715, 566.4261689733287, 523.6608538502242, 673.727710911485 ] } ] }, { "id": "berlioz-instrumentation-b00280", "reading_order": 274, "type": "paragraph", "english": "This passage is absolutely unclear and blurred with the usual fingering, which would be more appropriate for the howling of the storm in the Pastoral Symphony.", "original": "This passage is absolutely unclear and blurred with the usual fingering, which would be more appropriate for the howling of the storm in the Pastoral Symphony.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21, "bbox_pdf": [ 52.86095388952005, 89.98032866931352, 271.95273724438186, 129.3467224621382 ] } ] }, { "id": "berlioz-instrumentation-b00281", "reading_order": 275, "type": "paragraph", "english": "In a symphonic work where the terrible is combined with the grotesque, the back of the bow has been used to strike the strings. This is called col legno (with the wood). This strange device should be employed very rarely and only for a very definite pur-", "original": "In a symphonic work where the terrible is combined with the grotesque, the back of the bow has been used to strike the strings. This is called col legno (with the wood). This strange device should be employed very rarely and only for a very definite pur-", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21, "bbox_pdf": [ 39.81442058912786, 129.5716732838115, 271.72779701506477, 179.5107556952805 ] } ] }, { "id": "berlioz-instrumentation-b00282", "reading_order": 276, "type": "paragraph", "english": "pose. Only in a large orchestra is its effect sufficiently noticeable. The numerous bows quickly falling on the strings produce a kind of crackling sound which would be scarcely audible with a small number of violins, so weak and short is the sound in this case.", "original": "pose. Only in a large orchestra is its effect sufficiently noticeable. The numerous bows quickly falling on the strings produce a kind of crackling sound which would be scarcely audible with a small number of violins, so weak and short is the sound in this case.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21, "bbox_pdf": [ 296.0213417813123, 91.5549844210265, 525.0104952261267, 138.7946569724161 ] } ] }, { "id": "berlioz-instrumentation-b00283", "reading_order": 277, "type": "paragraph", "english": "This col legno symbolizes the snorting of the horse in Liszt’s “Mazeppa”, the devilish giggling of Mime in Wagner’s “Siegfried”. (Examples 6, 7.)", "original": "This col legno symbolizes the snorting of the horse in Liszt’s “Mazeppa”, the devilish giggling of Mime in Wagner’s “Siegfried”. (Examples 6, 7.)", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21, "bbox_pdf": [ 307.49329347648467, 140.5942635458024, 524.5606147674926, 170.06282118500258 ] } ] }, { "id": "berlioz-instrumentation-b00284", "reading_order": 278, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21 } ], "asset_refs": [ "p-036-m01" ] }, { "id": "berlioz-instrumentation-b00285", "reading_order": 279, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 37, "source_image": "source-pages/p-037.jpg", "printed_label": "PDF 37" } ], "asset_refs": [ "p-037-m01" ] }, { "id": "berlioz-instrumentation-b00286", "reading_order": 280, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "asset_refs": [ "p-038-m01" ] }, { "id": "berlioz-instrumentation-b00287", "reading_order": 281, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "asset_refs": [ "p-039-m01" ] }, { "id": "berlioz-instrumentation-b00288", "reading_order": 282, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "asset_refs": [ "p-040-m01" ] }, { "id": "berlioz-instrumentation-b00289", "reading_order": 283, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "asset_refs": [ "p-041-m01" ] }, { "id": "berlioz-instrumentation-b00290", "reading_order": 284, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "asset_refs": [ "p-042-m01" ] }, { "id": "berlioz-instrumentation-b00291", "reading_order": 285, "type": "paragraph", "english": "Gr. FL I.", "original": "Gr. FL I.", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28, "bbox_pdf": [ 47.46238838590949, 108.20134522484952, 76.25473773849913, 114.49996823170147 ] } ] }, { "id": "berlioz-instrumentation-b00292", "reading_order": 286, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "p-043-m01" ] }, { "id": "berlioz-instrumentation-b00293", "reading_order": 287, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "p-043-m02" ] }, { "id": "berlioz-instrumentation-b00294", "reading_order": 288, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "p-043-m03" ] }, { "id": "berlioz-instrumentation-b00295", "reading_order": 289, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "p-043-m04" ] }, { "id": "berlioz-instrumentation-b00296", "reading_order": 290, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "p-043-m05" ] }, { "id": "berlioz-instrumentation-b00297", "reading_order": 291, "type": "paragraph", "english": "The so-called harmonics (flageolet tones) are produced by touching the strings lightly with the r of the left hand. Thereby the fingers divide the length of he strings at certain spots ( he nodal points) without, however, pressing them down upon the fingerboard. These harmonics have a peculiar character of", "original": "The so-called harmonics (flageolet tones) are produced by touching the strings lightly with the r of the left hand. Thereby the fingers divide the length of he strings at certain spots ( he nodal points) without, however, pressing them down upon the fingerboard. These harmonics have a peculiar character of", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28, "bbox_pdf": [ 41.389002194347604, 716.4683670294089, 269.47839472189366, 775.8553839511559 ] } ] }, { "id": "berlioz-instrumentation-b00298", "reading_order": 292, "type": "paragraph", "english": "mysterious softness; some are. very high and thus greatly extend the upper range of the violin. A distinction is made between natural and artificial harmonics. The natural harmonics are produced by touching lightly certain spots on the open strings. Those responding most safely and sonorously are listed below. The black (quarter) notes represent the real pitch of the harmonics; the white (whole) notes indicate the points touched on the open string.", "original": "mysterious softness; some are. very high and thus greatly extend the upper range of the violin. A distinction is made between natural and artificial harmonics. The natural harmonics are produced by touching lightly certain spots on the open strings. Those responding most safely and sonorously are listed below. The black (quarter) notes represent the real pitch of the harmonics; the white (whole) notes indicate the points touched on the open string.", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28, "bbox_pdf": [ 293.322059029507, 720.2925309978548, 524.3356745381755, 779.4545970979284 ] }, { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 36.44031714937127, 80.7573449807089, 269.25345449257657, 110.45085344158234 ] } ] }, { "id": "berlioz-instrumentation-b00300", "reading_order": 293, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m02" ] }, { "id": "berlioz-instrumentation-b00301", "reading_order": 294, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m04" ] }, { "id": "berlioz-instrumentation-b00302", "reading_order": 295, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m06" ] }, { "id": "berlioz-instrumentation-b00303", "reading_order": 296, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m08" ] }, { "id": "berlioz-instrumentation-b00304", "reading_order": 297, "type": "paragraph", "english": "The artificial harmonics are obtained very clearly over the whole range of the scale by pressing the first finger firmly on the string (as a kind of movable nut) and touching the indicated point on the string lightly with the other finger.", "original": "The artificial harmonics are obtained very clearly over the whole range of the scale by pressing the first finger firmly on the string (as a kind of movable nut) and touching the indicated point on the string lightly with the other finger.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 43.86334471683578, 373.41836397765115, 276.45154183072395, 423.80734803246673 ] } ] }, { "id": "berlioz-instrumentation-b00305", "reading_order": 298, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m10" ] }, { "id": "berlioz-instrumentation-b00306", "reading_order": 299, "type": "paragraph", "english": "The octave, lightly touched, produces its uni-", "original": "The octave, lightly touched, produces its uni-", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 43.41346425820157, 431.6806267910316, 154.75887777016933, 452.1511515633005 ] } ] }, { "id": "berlioz-instrumentation-b00307", "reading_order": 300, "type": "paragraph", "english": "This fingering is not easy | and is used almost only erererk on the fourth string. a2, Roger, pressing the string", "original": "This fingering is not easy | and is used almost only erererk on the fourth string. a2, Roger, pressing the string", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 43.18852402888446, 471.72187304887615, 276.6764820600411, 503.88984054815575 ] } ] }, { "id": "berlioz-instrumentation-b00308", "reading_order": 301, "type": "paragraph", "english": "The fifth, lightly touched, produces its high octave: This fingering is- easier than the preceding and less easy than the follow-", "original": "The fifth, lightly touched, produces its high octave: This fingering is- easier than the preceding and less easy than the follow-", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 40.9391217357134, 524.3603653204245, 153.8591168529009, 575.8741034836065 ] } ] }, { "id": "berlioz-instrumentation-b00309", "reading_order": 302, "type": "paragraph", "english": "the open E-string, whose fifth lightly touched produces its higher octave (B), sounds better than a string pressed down by the first finger, as e.g.:", "original": "the open E-string, whose fifth lightly touched produces its higher octave (B), sounds better than a string pressed down by the first finger, as e.g.:", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 294.2218199467754, 80.5323941590356, 524.1107343088582, 110.67580426325563 ] } ] }, { "id": "berlioz-instrumentation-b00310", "reading_order": 303, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m01" ] }, { "id": "berlioz-instrumentation-b00311", "reading_order": 304, "type": "paragraph", "english": "The fingerings with a touched major or minor third are used very little; the harmonics produced do not sound well.", "original": "The fingerings with a touched major or minor third are used very little; the harmonics produced do not sound well.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 291.74747742428724, 161.2897391397445, 521.8613320156873, 189.63354267057824 ] } ] }, { "id": "berlioz-instrumentation-b00312", "reading_order": 305, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m03" ] }, { "id": "berlioz-instrumentation-b00313", "reading_order": 306, "type": "paragraph", "english": "The major third, lightly touched, produces its high double octave:", "original": "The major third, lightly touched, produces its high double octave:", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 291.97241765360434, 220.22685441814485, 436.60898510450386, 240.4724283687404 ] } ] }, { "id": "berlioz-instrumentation-b00314", "reading_order": 307, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m05" ] }, { "id": "berlioz-instrumentation-b00315", "reading_order": 308, "type": "paragraph", "english": "The minor third, lightly touched, produces its high major seven-}p-", "original": "The minor third, lightly touched, produces its high major seven-}p-", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 293.7719394881412, 294.23567474865524, 458.6531275775803, 314.4812486992508 ] } ] }, { "id": "berlioz-instrumentation-b00316", "reading_order": 309, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m07" ] }, { "id": "berlioz-instrumentation-b00317", "reading_order": 310, "type": "paragraph", "english": "teenth: ee", "original": "teenth: ee", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 293.7719394881412, 312.9065929475378, 449.20563794626185, 325.2788881395684 ] } ] }, { "id": "berlioz-instrumentation-b00318", "reading_order": 311, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m09" ] }, { "id": "berlioz-instrumentation-b00319", "reading_order": 312, "type": "paragraph", "english": "The major sixth, lightly touched, 5 E produces its high twelfth:", "original": "The major sixth, lightly touched, 5 E produces its high twelfth:", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 295.34652109336093, 352.4979375620357, 465.1763942277764, 381.74154437956264 ] } ] }, { "id": "berlioz-instrumentation-b00320", "reading_order": 313, "type": "paragraph", "english": "This fingering is used less than that with the touched fourth; it is nevertheless quite good and fre-", "original": "This fingering is used less than that with the touched fourth; it is nevertheless quite good and fre-", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 295.34652109336093, 390.0647247814741, 440.20802877357755, 420.4330857073674 ] } ] }, { "id": "berlioz-instrumentation-b00321", "reading_order": 314, "type": "paragraph", "english": "1st finger pressing", "original": "1st finger pressing", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 459.10300803621453, 416.6089217389216, 518.9371090345649, 422.6825939241003 ] } ] }, { "id": "berlioz-instrumentation-b00322", "reading_order": 315, "type": "paragraph", "english": "quently useful..", "original": "quently useful..", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 295.57146132267803, 420.4330857073674, 423.5624518041117, 431.2307251476851 ] } ] }, { "id": "berlioz-instrumentation-b00323", "reading_order": 316, "type": "paragraph", "english": "I repeat, the positions with touched fourths and fifths are by far the most advantageous.", "original": "I repeat, the positions with touched fourths and fifths are by far the most advantageous.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 296.4712222399464, 442.4782662313493, 526.1351963727122, 463.3986926469646 ] } ] }, { "id": "berlioz-instrumentation-b00324", "reading_order": 317, "type": "paragraph", "english": "Some virtuosos produce double stops in harmonics; but this effect is so difficult and therefore dangerous that composers are to be warned against using it.", "original": "Some virtuosos produce double stops in harmonics; but this effect is so difficult and therefore dangerous that composers are to be warned against using it.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 296.24628201062933, 462.49888936027156, 525.9102561433951, 493.0922011078381 ] } ] }, { "id": "berlioz-instrumentation-b00325", "reading_order": 318, "type": "paragraph", "english": "The harmonics on the fourth string have a flutelike character; they are preferable for a cantabile execution of a slow melody. Paganini used them with wonderful success in the prayer from “Moses”. The harmonics on the other strmgs become increasingly more delicate and soft as they rise in pitch. This, as well as their crystalline sound, makes them especially appropriate for those chords which may be called fairy-like: harmonic effects which fill our imagination with radiant dreams and conjure the most delicate", "original": "The harmonics on the fourth string have a flutelike character; they are preferable for a cantabile execution of a slow melody. Paganini used them with wonderful success in the prayer from “Moses”. The harmonics on the other strmgs become increasingly more delicate and soft as they rise in pitch. This, as well as their crystalline sound, makes them especially appropriate for those chords which may be called fairy-like: harmonic effects which fill our imagination with radiant dreams and conjure the most delicate", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 296.4712222399464, 491.9674469994717, 527.2598975192979, 590.2709560706968 ] } ] }, { "id": "berlioz-instrumentation-b00326", "reading_order": 319, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m11" ] }, { "id": "berlioz-instrumentation-b00327", "reading_order": 320, "type": "paragraph", "english": "The fourth, lightly touched, produces its", "original": "The fourth, lightly touched, produces its", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 39.58948035981076, 591.6206610007364, 150.9348938717785, 619.9644645315702 ] } ] }, { "id": "berlioz-instrumentation-b00328", "reading_order": 321, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "p-044-m12" ] }, { "id": "berlioz-instrumentation-b00329", "reading_order": 322, "type": "paragraph", "english": "ing is the easiest and therefore to be preferred, except when the harmonic is the twelfth of an open string; in that case the fingering with the fifth", "original": "ing is the easiest and therefore to be preferred, except when the harmonic is the twelfth of an open string; in that case the fingering with the fifth", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 43.41346425820157, 706.5705308757845, 275.55178091345556, 739.4133508400839 ] } ] }, { "id": "berlioz-instrumentation-b00330", "reading_order": 323, "type": "paragraph", "english": "is preferable. 2% it is better to o Thus, to sound 4 = use this posi- = a single high B, tion: ?", "original": "is preferable. 2% it is better to o Thus, to sound 4 = use this posi- = a single high B, tion: ?", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 43.63840448751868, 737.163842623351, 275.77672114277266, 769.1068593009574 ] } ] }, { "id": "berlioz-instrumentation-b00331", "reading_order": 324, "type": "paragraph", "english": "images of-a poetic, supernatural world. Although our", "original": "images of-a poetic, supernatural world. Although our", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 296.9211026985807, 590.0460052490234, 527.4848377486148, 601.5184971543608 ] } ] }, { "id": "berlioz-instrumentation-b00332", "reading_order": 325, "type": "paragraph", "english": "violinists have become quite familiar with these effects, they should not be used in fast movements or at least not in rapid successions of notes if their perfect execution is to be ensured.", "original": "violinists have become quite familiar with these effects, they should not be used in fast movements or at least not in rapid successions of notes if their perfect execution is to be ensured.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 296.6961624692636, 599.943841402648, 527.709777977932, 638.860333552126 ] } ] }, { "id": "berlioz-instrumentation-b00333", "reading_order": 326, "type": "paragraph", "english": "Of course, the composer can employ them in two, three or four parts according to the number of violin parts. The effect of such sustained chords is very impressive if they are warranted by the subject of the piece and well combined with the rest of the orchestra. I have used such chords for the first time, in three parts, in the scherzo of a symphony, sustained above a fourth violin part not in harmonics, which trills continuously on the lowest note. The extraordinary delicacy of the harmonics is enhanced here by the use of mutes; thus softened they rise to the extreme heights of the musical scale, which could hardly be reached by ordinary tones. (Example 8.)", "original": "Of course, the composer can employ them in two, three or four parts according to the number of violin parts. The effect of such sustained chords is very impressive if they are warranted by the subject of the piece and well combined with the rest of the orchestra. I have used such chords for the first time, in three parts, in the scherzo of a symphony, sustained above a fourth violin part not in harmonics, which trills continuously on the lowest note. The extraordinary delicacy of the harmonics is enhanced here by the use of mutes; thus softened they rise to the extreme heights of the musical scale, which could hardly be reached by ordinary tones. (Example 8.)", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29, "bbox_pdf": [ 296.4712222399464, 639.3102351954726, 529.734240041786, 767.9821051925909 ] } ] }, { "id": "berlioz-instrumentation-b00334", "reading_order": 327, "type": "paragraph", "english": "Sea ail th ll Via sail at a att ll I", "original": "Sea ail th ll Via sail at a att ll I", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30, "bbox_pdf": [ 96.0494779184045, 67.03534485863857, 139.46294217660608, 760.108826434026 ] } ] }, { "id": "berlioz-instrumentation-b00335", "reading_order": 328, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "p-045-m01" ] }, { "id": "berlioz-instrumentation-b00336", "reading_order": 329, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "p-045-m02" ] }, { "id": "berlioz-instrumentation-b00337", "reading_order": 330, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "p-045-m03" ] }, { "id": "berlioz-instrumentation-b00338", "reading_order": 331, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "p-045-m04" ] }, { "id": "berlioz-instrumentation-b00339", "reading_order": 332, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 81 } ], "asset_refs": [ "p-046-m01" ] }, { "id": "berlioz-instrumentation-b00340", "reading_order": 333, "type": "paragraph", "english": "In writing such chords in harmonics, it is absolutely necessary to indicate by notes of different size and shape, placed one above the other: the note for the finger touching the string and that of the actual harmonic (on open strings); and the note for the pressing finger, the touching finger and the actual harmonic (in the other cases). This sometimes results in three notes for a single tone, but without this precaution the execution might easily become a hodgepodge, in which even the composer would have difficulty to recognize his own intentions.", "original": "In writing such chords in harmonics, it is absolutely necessary to indicate by notes of different size and shape, placed one above the other: the note for the finger touching the string and that of the actual harmonic (on open strings); and the note for the pressing finger, the touching finger and the actual harmonic (in the other cases). This sometimes results in three notes for a single tone, but without this precaution the execution might easily become a hodgepodge, in which even the composer would have difficulty to recognize his own intentions.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_label": "PDF 47", "bbox_pdf": [ 38.46477921322523, 63.43613171186603, 269.47839472189366, 169.612919541656 ] } ] }, { "id": "berlioz-instrumentation-b00341", "reading_order": 334, "type": "paragraph", "english": "This is no longer necessary. The sign 0 above the note (the actual pitch) is now sufficient to indicate the execution in harmonics. The older no-", "original": "This is no longer necessary. The sign 0 above the note (the actual pitch) is now sufficient to indicate the execution in harmonics. The older no-", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_label": "PDF 47", "bbox_pdf": [ 50.386611367031875, 168.2632146116163, 269.02851426325947, 196.1571164991035 ] } ] }, { "id": "berlioz-instrumentation-b00342", "reading_order": 335, "type": "paragraph", "english": "Mutes (sordines) are small wooden devices which are placed on the bridge of string instruments in order to diminish their volume of sound. They give the instrument at the same time a mournful, mysterious and soft expression, which is frequently and felicitously used in all styles of music. Mutes are usually employed in slow movements; but they are just as appropriate for fast and light pieces or for accompaniments in quick rhythms if the character of the piece demands them. Gluck proved this admirably in his sublime monologue of Alceste (Italian version), “Chi mi parla”. (Example 9.)", "original": "Mutes (sordines) are small wooden devices which are placed on the bridge of string instruments in order to diminish their volume of sound. They give the instrument at the same time a mournful, mysterious and soft expression, which is frequently and felicitously used in all styles of music. Mutes are usually employed in slow movements; but they are just as appropriate for fast and light pieces or for accompaniments in quick rhythms if the character of the piece demands them. Gluck proved this admirably in his sublime monologue of Alceste (Italian version), “Chi mi parla”. (Example 9.)", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_label": "PDF 47", "bbox_pdf": [ 293.322059029507, 61.18662349513319, 528.1596584365662, 177.26124747854766 ] } ] }, { "id": "berlioz-instrumentation-b00343", "reading_order": 336, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_label": "PDF 47" } ], "asset_refs": [ "p-047-m01" ] }, { "id": "berlioz-instrumentation-b00344", "reading_order": 337, "type": "paragraph", "english": "When mutes are indicated, they are generally used by the whole string section. But more frequently than it is usually assumed there are circumstances where only a part of the strings (e.g. the first violins) employ mutes; the mixture of bright and muted tones produces a peculiar color. Sometimes the character of the melody is so different from that of the accompaniment that the use of mutes has to be planned accordingly.", "original": "When mutes are indicated, they are generally used by the whole string section. But more frequently than it is usually assumed there are circumstances where only a part of the strings (e.g. the first violins) employ mutes; the mixture of bright and muted tones produces a peculiar color. Sometimes the character of the melody is so different from that of the accompaniment that the use of mutes has to be planned accordingly.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48", "bbox_pdf": [ 53.98565503610558, 79.40764005066919, 278.2510636652608, 156.34082106293224 ] } ] }, { "id": "berlioz-instrumentation-b00345", "reading_order": 338, "type": "paragraph", "english": "The composer, when indicating the use of mutes in the middle of a piece (by the words con sordini), must", "original": "The composer, when indicating the use of mutes in the middle of a piece (by the words con sordini), must", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48", "bbox_pdf": [ 54.21059526542268, 156.34082106293224, 277.5762429773095, 175.0117392618148 ] } ] }, { "id": "berlioz-instrumentation-b00346", "reading_order": 339, "type": "paragraph", "english": "No. 10. Romeo et Juliette, Scherzo de Ja Reine Mab", "original": "No. 10. Romeo et Juliette, Scherzo de Ja Reine Mab", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48", "bbox_pdf": [ 110.22071236538221, 206.05495265272796, 453.9293827619211, 222.701313456551 ] } ] }, { "id": "berlioz-instrumentation-b00347", "reading_order": 340, "type": "paragraph", "english": "lar.in B. —a —= ee SS T_T en aannaeeent", "original": "lar.in B. —a —= ee SS T_T en aannaeeent", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48", "bbox_pdf": [ 55.78517687064243, 552.2542672079118, 492.1692217458292, 564.1766607565958 ] } ] }, { "id": "berlioz-instrumentation-b00348", "reading_order": 341, "type": "paragraph", "english": "not forget to allow sufficient time for putting them on. He should provide a rest in the violins, equal in length to about two bars in 4-4 time, moderato. The rest may be shorter when the words senza sordini indicate that the mutes are to be removed; this can be done in much less time. The sudden transition from the muted tones to bright, natural ones (without mutes) is sometimes immensely effective in a large orchestra. (Example 10.)", "original": "not forget to allow sufficient time for putting them on. He should provide a rest in the violins, equal in length to about two bars in 4-4 time, moderato. The rest may be shorter when the words senza sordini indicate that the mutes are to be removed; this can be done in much less time. The sudden transition from the muted tones to bright, natural ones (without mutes) is sometimes immensely effective in a large orchestra. (Example 10.)", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48", "bbox_pdf": [ 300.2952061383373, 80.5323941590356, 522.3112124743215, 166.23865721655673 ] } ] }, { "id": "berlioz-instrumentation-b00349", "reading_order": 342, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48" } ], "asset_refs": [ "p-048-m01" ] }, { "id": "berlioz-instrumentation-b00350", "reading_order": 343, "type": "paragraph", "english": "Voelli. f a arco 1 } n", "original": "Voelli. f a arco 1 } n", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48", "bbox_pdf": [ 53.08589411883715, 701.1717111556256, 418.83870698845243, 713.5440063476562 ] } ] }, { "id": "berlioz-instrumentation-b00351", "reading_order": 344, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_label": "PDF 48" } ], "asset_refs": [ "p-048-m02" ] }, { "id": "berlioz-instrumentation-b00352", "reading_order": 345, "type": "paragraph", "english": "In the third act of “Meistersinger’ (scene of Sachs and Walter) the mood of the dreamy young man in his conversation with Sachs is wonderfully painted by the entrance of the muted second violins. The device is as simple as it is ingenious (the two words are frequently synonymous). An equally wonderful example is the final scene of “Tristan” where Isolde rises from the prostration of despair to her last enchanted vision. The first violins had been silent for a long time and left the lead to the second violins; then, before Brangaene’s words, “‘Sie wacht, sie lebt”, they enter con sordini over muted horns with the theme of Isolde’s Liebestod. The theme, the orchestration and the poetic idea combine into one of the most sublime effects.", "original": "In the third act of “Meistersinger’ (scene of Sachs and Walter) the mood of the dreamy young man in his conversation with Sachs is wonderfully painted by the entrance of the muted second violins. The device is as simple as it is ingenious (the two words are frequently synonymous). An equally wonderful example is the final scene of “Tristan” where Isolde rises from the prostration of despair to her last enchanted vision. The first violins had been silent for a long time and left the lead to the second violins; then, before Brangaene’s words, “‘Sie wacht, sie lebt”, they enter con sordini over muted horns with the theme of Isolde’s Liebestod. The theme, the orchestration and the poetic idea combine into one of the most sublime effects.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 48.1372090738608, 87.73082045258069, 268.57863380462527, 232.14924796682888 ] } ] }, { "id": "berlioz-instrumentation-b00353", "reading_order": 346, "type": "paragraph", "english": "‘There are new mutes which are fastened to the lower part of the bridge and which only have to", "original": "‘There are new mutes which are fastened to the lower part of the bridge and which only have to", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 47.9122688445437, 233.49895289686862, 266.32923151145417, 253.74452684746413 ] } ] }, { "id": "berlioz-instrumentation-b00354", "reading_order": 347, "type": "paragraph", "english": "No. 11. Symphony in Bb, 2nd movement", "original": "No. 11. Symphony in Bb, 2nd movement", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 128.21593071075074, 277.13941230148566, 418.61376675913533, 296.2602321437148 ] } ] }, { "id": "berlioz-instrumentation-b00355", "reading_order": 348, "type": "paragraph", "english": "be turned into position; but the tone of the violins", "original": "be turned into position; but the tone of the violins", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 305.2438911833136, 87.28091880923411, 526.5850768313464, 96.95380414118532 ] } ] }, { "id": "berlioz-instrumentation-b00356", "reading_order": 349, "type": "paragraph", "english": "suffers considerably.", "original": "suffers considerably.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 305.2438911833136, 97.1787549628586, 390.9461185531312, 106.62668947313652 ] } ] }, { "id": "berlioz-instrumentation-b00357", "reading_order": 350, "type": "paragraph", "english": "The pizzicato (plucking of the strings) is generally used with bowed instruments. The resulting sounds serve as accompaniments and are very popular with the singers because they do not cover their voices. They are also important for symphonic effects and even in vigorous outbursts of the whole orchestra, where they may be employed in the whole choir of strings or only by one or two sections.", "original": "The pizzicato (plucking of the strings) is generally used with bowed instruments. The resulting sounds serve as accompaniments and are very popular with the singers because they do not cover their voices. They are also important for symphonic effects and even in vigorous outbursts of the whole orchestra, where they may be employed in the whole choir of strings or only by one or two sections.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 291.297596965653, 107.0765911164831, 526.8100170606635, 185.35947705878584 ] } ] }, { "id": "berlioz-instrumentation-b00358", "reading_order": 351, "type": "paragraph", "english": "The Adagio of the Symphony in Bb by Beethoven offers a charming example of pizzicato in the second violins, violas and basses while the first violins are played with the bow. The contrasting sounds are here blended in truly marvelous fashion with the melodic sighs of the clarinet, enhancing its expression. (Example 11.)", "original": "The Adagio of the Symphony in Bb by Beethoven offers a charming example of pizzicato in the second violins, violas and basses while the first violins are played with the bow. The contrasting sounds are here blended in truly marvelous fashion with the melodic sighs of the clarinet, enhancing its expression. (Example 11.)", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49", "bbox_pdf": [ 290.6227762777017, 185.35947705878584, 524.7855549968097, 253.9694776691374 ] } ] }, { "id": "berlioz-instrumentation-b00359", "reading_order": 352, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_label": "PDF 49" } ], "asset_refs": [ "p-049-m01" ] }, { "id": "berlioz-instrumentation-b00360", "reading_order": 353, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50" } ], "asset_refs": [ "p-050-m01" ] }, { "id": "berlioz-instrumentation-b00361", "reading_order": 354, "type": "paragraph", "english": "If the pizzicato is employed in forte, it should be written neither too high nor too low. Extremely high tones are harsh and dry; the low ones are hollow. In a powerful tutti of wind instruments a pizzicato of all string instruments, like the following, will produce a striking impression:", "original": "If the pizzicato is employed in forte, it should be written neither too high nor too low. Extremely high tones are harsh and dry; the low ones are hollow. In a powerful tutti of wind instruments a pizzicato of all string instruments, like the following, will produce a striking impression:", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 35.76549646141994, 404.91147901191084, 269.25345449257657, 466.3230533287173 ] } ] }, { "id": "berlioz-instrumentation-b00362", "reading_order": 355, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50" } ], "asset_refs": [ "p-050-m03" ] }, { "id": "berlioz-instrumentation-b00363", "reading_order": 356, "type": "paragraph", "english": "Pizzicato chords of two, three and four notes in fortissimo are equally valuable. The one finger employed glides so quickly across the strings that they sound almost simultaneously and seem to have been plucked at the same time. The various kinds of pizzicato accompaniments in piano have always a delicate effect. They afford a sense of relief to the listener and—if not abused—give a pleasing variety to the sound of the orchestra.", "original": "Pizzicato chords of two, three and four notes in fortissimo are equally valuable. The one finger employed glides so quickly across the strings that they sound almost simultaneously and seem to have been plucked at the same time. The various kinds of pizzicato accompaniments in piano have always a delicate effect. They afford a sense of relief to the listener and—if not abused—give a pleasing variety to the sound of the orchestra.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 39.139599901176545, 561.2523000748431, 272.62755793233316, 648.9831205274238 ] } ] }, { "id": "berlioz-instrumentation-b00364", "reading_order": 357, "type": "paragraph", "english": "In the future the pizzicato will doubtless be used in even more original and attractive effects than heretofore. Violinists, not considering the pizzicato an integral part of violin technique, have given it hardly any serious attention. They are accustomed to use only the thumb and forefinger for pizzicato and hence are not able to play passages and arpeggios faster than sixteenths in 4-4 time of a very moderate tempo. If, instead, they were to lay down the bow, the little finger of the right hand could rest on the body of the violin and they could use the thumb and the other three fingers like guitar players. Thus they would soon", "original": "In the future the pizzicato will doubtless be used in even more original and attractive effects than heretofore. Violinists, not considering the pizzicato an integral part of violin technique, have given it hardly any serious attention. They are accustomed to use only the thumb and forefinger for pizzicato and hence are not able to play passages and arpeggios faster than sixteenths in 4-4 time of a very moderate tempo. If, instead, they were to lay down the bow, the little finger of the right hand could rest on the body of the violin and they could use the thumb and the other three fingers like guitar players. Thus they would soon", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 38.689719442542334, 649.6579729924437, 272.62755793233316, 769.3318101226307 ] } ] }, { "id": "berlioz-instrumentation-b00365", "reading_order": 358, "type": "paragraph", "english": "acquire the skill to execute passages like those in the following example, which are impossible at the present time:", "original": "acquire the skill to execute passages like those in the following example, which are impossible at the present time:", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 292.87217857087273, 401.31226586513833, 522.0862722450044, 431.2307251476851 ] } ] }, { "id": "berlioz-instrumentation-b00366", "reading_order": 359, "type": "paragraph", "english": "figures above the notes refer to the fingers of", "original": "figures above the notes refer to the fingers of", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 343.0338497085875, 445.85252855644853, 494.6435642683174, 452.82600402832037 ] } ] }, { "id": "berlioz-instrumentation-b00367", "reading_order": 360, "type": "paragraph", "english": "The the right hand, the letter T indicating the thumb", "original": "The the right hand, the letter T indicating the thumb", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 327.06309342707294, 446.07747937812184, 494.41862403900024, 458.4497745701524 ] } ] }, { "id": "berlioz-instrumentation-b00368", "reading_order": 361, "type": "paragraph", "english": "Allegro non troppo.", "original": "Allegro non troppo.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 302.0947279728741, 462.27393853859826, 378.7993461700075, 470.59711894050974 ] } ] }, { "id": "berlioz-instrumentation-b00369", "reading_order": 362, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50" } ], "asset_refs": [ "p-050-m02" ] }, { "id": "berlioz-instrumentation-b00370", "reading_order": 363, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50" } ], "asset_refs": [ "p-050-m04" ] }, { "id": "berlioz-instrumentation-b00371", "reading_order": 364, "type": "paragraph", "english": "The repetition of the upper notes in these examples becomes quite easy if the first and second fingers are used alternatingly on the same string.", "original": "The repetition of the upper notes in these examples becomes quite easy if the first and second fingers are used alternatingly on the same string.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 296.24628201062933, 552.9291196729316, 525.9102561433951, 582.622628133805 ] } ] }, { "id": "berlioz-instrumentation-b00372", "reading_order": 365, "type": "paragraph", "english": "Short appoggiaturas are by no means impracticable in pizzicato. The following passage from the Scherzo of Beethoven’s C-minor Symphony is always executed very well.", "original": "Short appoggiaturas are by no means impracticable in pizzicato. The following passage from the Scherzo of Beethoven’s C-minor Symphony is always executed very well.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 296.0213417813123, 582.3976773121318, 526.1351963727122, 622.213972748303 ] } ] }, { "id": "berlioz-instrumentation-b00373", "reading_order": 366, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50" } ], "asset_refs": [ "p-050-m05" ] }, { "id": "berlioz-instrumentation-b00374", "reading_order": 367, "type": "paragraph", "english": "Some of our young violinists have learned from Paganini to play rapid descending scales in pizzicato by plucking the strings with the fingers of the left hand, which rests firmly on the neck of the violin.", "original": "Some of our young violinists have learned from Paganini to play rapid descending scales in pizzicato by plucking the strings with the fingers of the left hand, which rests firmly on the neck of the violin.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 295.79640155199513, 717.1432194944288, 527.0349572899808, 757.4094165739466 ] } ] }, { "id": "berlioz-instrumentation-b00375", "reading_order": 368, "type": "paragraph", "english": "They sometimes combme pizzicato notes (always played with the left hand) with bowed tones, even vantage of them.", "original": "They sometimes combme pizzicato notes (always played with the left hand) with bowed tones, even vantage of them.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_label": "PDF 50", "bbox_pdf": [ 296.0213417813123, 756.5096132872535, 527.2598975192979, 767.307252727571 ] }, { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36, "bbox_pdf": [ 41.83888265298182, 84.13160730580815, 370.0266772266403, 96.50390249783875 ] } ] }, { "id": "berlioz-instrumentation-b00377", "reading_order": 369, "type": "paragraph", "english": "using the pizzicato as an accompaniment of a melody The following quotation from the overture to played by the bow. All players will doubtless become King Lear by Berlioz shows an ingenious employfamiliar with these various techniques in the course ment of the pizzicato (Example 12).", "original": "using the pizzicato as an accompaniment of a melody The following quotation from the overture to played by the bow. All players will doubtless become King Lear by Berlioz shows an ingenious employfamiliar with these various techniques in the course ment of the pizzicato (Example 12).", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36, "bbox_pdf": [ 41.1640619650305, 93.80449263775935, 528.3845986658833, 125.97246013703894 ] } ] }, { "id": "berlioz-instrumentation-b00378", "reading_order": 370, "type": "paragraph", "english": "of time. Then composers will be able to take full ad-", "original": "of time. Then composers will be able to take full ad-", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36, "bbox_pdf": [ 41.1640619650305, 121.0235420602267, 271.0529763271134, 131.37127985719775 ] } ] }, { "id": "berlioz-instrumentation-b00379", "reading_order": 371, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "asset_refs": [ "p-051-m01" ] }, { "id": "berlioz-instrumentation-b00380", "reading_order": 372, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 87 } ], "asset_refs": [ "p-052-m01" ] }, { "id": "berlioz-instrumentation-b00381", "reading_order": 373, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 53, "source_image": "source-pages/p-053.jpg", "printed_label": "PDF 53" } ], "asset_refs": [ "p-053-m01" ] }, { "id": "berlioz-instrumentation-b00382", "reading_order": 374, "type": "paragraph", "english": "place I always have a feeling as if a", "original": "place I always have a feeling as if a", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 103.47250548586902, 83.00685319744173, 275.32684068413846, 94.25439428110592 ] } ] }, { "id": "berlioz-instrumentation-b00383", "reading_order": 375, "type": "paragraph", "english": "string had", "original": "string had", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 56.684937787910854, 92.67973852939292, 102.12286410996639, 102.35262386134413 ] } ] }, { "id": "berlioz-instrumentation-b00384", "reading_order": 376, "type": "paragraph", "english": "burst in Lear’s heart o:", "original": "burst in Lear’s heart o:", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 108.19625030152827, 93.1296401727395, 211.6687557873973, 101.22786975297771 ] } ] }, { "id": "berlioz-instrumentation-b00385", "reading_order": 377, "type": "paragraph", "english": "Yr, more realis-", "original": "Yr, more realis-", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 211.6687557873973, 94.70429592445248, 275.10190045482136, 103.02747632636398 ] } ] }, { "id": "berlioz-instrumentation-b00386", "reading_order": 378, "type": "paragraph", "english": "tically, a vein in the half-mad", "original": "tically, a vein in the half-mad", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 56.90987801722796, 102.8025255046907, 186.02556964524715, 112.02550919329533 ] } ] }, { "id": "berlioz-instrumentation-b00387", "reading_order": 379, "type": "paragraph", "english": "king’s brain.", "original": "king’s brain.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 189.62461331432084, 103.70232879138385, 241.58580628657245, 113.37521412333504 ] } ] }, { "id": "berlioz-instrumentation-b00388", "reading_order": 380, "type": "paragraph", "english": "quote a few exam third act (Exam", "original": "quote a few exam third act (Exam", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 310.64245668692416, 85.93121387919442, 385.77249327883777, 105.05203372142353 ] } ] }, { "id": "berlioz-instrumentation-b00389", "reading_order": 381, "type": "paragraph", "english": "ple 13); “Rheingold”", "original": "ple 13); “Rheingold”", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 383.52309098566667, 96.05400085449219, 477.32316661090016, 105.7268861864434 ] } ] }, { "id": "berlioz-instrumentation-b00390", "reading_order": 382, "type": "paragraph", "english": "14); “Meistersin", "original": "14); “Meistersin", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 311.7671578335097, 105.5019353647701, 381.4986289218128, 114.94986987504802 ] } ] }, { "id": "berlioz-instrumentation-b00391", "reading_order": 383, "type": "paragraph", "english": "ger”, Beckmesser’s pantomime in", "original": "ger”, Beckmesser’s pantomime in", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39, "bbox_pdf": [ 381.948509380447, 105.95183700811668, 525.685315914078, 115.62472234006789 ] } ] }, { "id": "berlioz-instrumentation-b00392", "reading_order": 384, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_page": 39 } ], "asset_refs": [ "p-054-m01" ] }, { "id": "berlioz-instrumentation-b00393", "reading_order": 385, "type": "paragraph", "english": "No. 14. Rheingold", "original": "No. 14. Rheingold", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_label": "PDF 55", "bbox_pdf": [ 215.7176799151052, 71.30941047043096, 347.0827738362954, 87.95577127425398 ] } ] }, { "id": "berlioz-instrumentation-b00394", "reading_order": 386, "type": "paragraph", "english": "a ee Pa Sl IR dial faa at Re TaT (es alae TU]", "original": "a ee Pa Sl IR dial faa at Re TaT (es alae TU]", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_label": "PDF 55", "bbox_pdf": [ 106.1717882376743, 159.04023092301165, 126.1914686468968, 546.6304966660796 ] } ] }, { "id": "berlioz-instrumentation-b00395", "reading_order": 387, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_label": "PDF 55" } ], "asset_refs": [ "p-055-m01" ] }, { "id": "berlioz-instrumentation-b00396", "reading_order": 388, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_label": "PDF 56" } ], "asset_refs": [ "p-056-m01" ] }, { "id": "berlioz-instrumentation-b00397", "reading_order": 389, "type": "paragraph", "english": "With their bows violinists are nowadays able to execute almost anything required. They play in the upper region almost as easily as in the middle; the", "original": "With their bows violinists are nowadays able to execute almost anything required. They play in the upper region almost as easily as in the middle; the", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42, "bbox_pdf": [ 40.48924127707919, 85.03141059250129, 269.02851426325947, 114.49996823170147 ] } ] }, { "id": "berlioz-instrumentation-b00398", "reading_order": 390, "type": "paragraph", "english": "most rapid runs; the most eccentric designs offer no.", "original": "most rapid runs; the most eccentric designs offer no.", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42, "bbox_pdf": [ 39.81442058912786, 113.8251157666816, 275.32684068413846, 123.94790274197939 ] } ] }, { "id": "berlioz-instrumentation-b00399", "reading_order": 391, "type": "paragraph", "english": "difficulty. In an orchestra where they are sufficiently numerous, what one of them misses is executed by the others. Thus mistakes are hardly noticed and the final result is exactly as the author intended it. However, sometimes the rapidity, complexity or high position of tones would make a piece too dangerous; or", "original": "difficulty. In an orchestra where they are sufficiently numerous, what one of them misses is executed by the others. Thus mistakes are hardly noticed and the final result is exactly as the author intended it. However, sometimes the rapidity, complexity or high position of tones would make a piece too dangerous; or", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42, "bbox_pdf": [ 40.03936081844497, 123.27305027695952, 269.02851426325947, 180.6355098036469 ] } ] }, { "id": "berlioz-instrumentation-b00400", "reading_order": 392, "type": "paragraph", "english": "else the author may want to be sure of a secure and neat execution: in such cases the violins should be divided, some playing one part of the passage, the rest another. Thus the notes of cach section are interspersed with short rests, not noticed by the listener, which allow, as it were, a breathing space to the players and afford them time to reach difficult positions securely and to strike the strings with the neces-", "original": "else the author may want to be sure of a secure and neat execution: in such cases the violins should be divided, some playing one part of the passage, the rest another. Thus the notes of cach section are interspersed with short rests, not noticed by the listener, which allow, as it were, a breathing space to the players and afford them time to reach difficult positions securely and to strike the strings with the neces-", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42, "bbox_pdf": [ 293.09711880018983, 84.13160730580815, 526.3601366020293, 160.83983749639793 ] } ] }, { "id": "berlioz-instrumentation-b00401", "reading_order": 393, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "asset_refs": [ "p-057-m01" ] }, { "id": "berlioz-instrumentation-b00402", "reading_order": 394, "type": "paragraph", "english": "If it is desired to have similar or still more difficult passages executed by all the violins, it will always be preferable to divide the first violins into two groups (as in the preceding example) and to let the second violins, also divided into two groups, simply double the two parts of the first violins, instead of giving one part to all the first violins and the other part to all the second violins. The distance between the two sections would disrupt the even flow of the passage and", "original": "If it is desired to have similar or still more difficult passages executed by all the violins, it will always be preferable to divide the first violins into two groups (as in the preceding example) and to let the second violins, also divided into two groups, simply double the two parts of the first violins, instead of giving one part to all the first violins and the other part to all the second violins. The distance between the two sections would disrupt the even flow of the passage and", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58", "bbox_pdf": [ 38.01489875459101, 81.20724662405546, 273.5273188496016, 172.76223104508196 ] } ] }, { "id": "berlioz-instrumentation-b00403", "reading_order": 395, "type": "paragraph", "english": "would make the joints between the parts too obvious. But if the parts are divided between the two players at each desk and each part is thus played on both sides of the orchestra, the fragments will connect smoothly and it will be impossible to notice the division of the passage. The listeners will believe to hear it executed by all the violins without interruption. Accordingly, the passage is written as follows:", "original": "would make the joints between the parts too obvious. But if the parts are divided between the two players at each desk and each part is thus played on both sides of the orchestra, the fragments will connect smoothly and it will be impossible to notice the division of the passage. The listeners will believe to hear it executed by all the violins without interruption. Accordingly, the passage is written as follows:", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58", "bbox_pdf": [ 296.4712222399464, 83.68170566246158, 528.8344791245175, 163.53924735647735 ] } ] }, { "id": "berlioz-instrumentation-b00404", "reading_order": 396, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58" } ], "asset_refs": [ "p-058-m01" ] }, { "id": "berlioz-instrumentation-b00405", "reading_order": 397, "type": "paragraph", "english": "Moreover, this procedure is applicable to all instruments of: the orchestra which have the same quality and lightness of tone. It should be applied whenever a phrase is too difficult to be played well by a single instrument or a single group.", "original": "Moreover, this procedure is applicable to all instruments of: the orchestra which have the same quality and lightness of tone. It should be applied whenever a phrase is too difficult to be played well by a single instrument or a single group.", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58", "bbox_pdf": [ 35.76549646141994, 381.51659355788934, 270.3781556391621, 431.2307251476851 ] } ] }, { "id": "berlioz-instrumentation-b00406", "reading_order": 398, "type": "paragraph", "english": "This conception applies to the style of instrumentation which I would call the classical. It stems from the spirit of chamber music and was transferred to the treatment of orchestras. Its main characteristic is that every figure can be executed with absolute clarity by all the instruments. Its opposite is the al-fresco treatment of the orchestra as introduced by Wagner. The classical stands in the same relation to the al-fresco style as that of the Florentine painters of the 14th and 15th centuries (which stems from miniature painting) to", "original": "This conception applies to the style of instrumentation which I would call the classical. It stems from the spirit of chamber music and was transferred to the treatment of orchestras. Its main characteristic is that every figure can be executed with absolute clarity by all the instruments. Its opposite is the al-fresco treatment of the orchestra as introduced by Wagner. The classical stands in the same relation to the al-fresco style as that of the Florentine painters of the 14th and 15th centuries (which stems from miniature painting) to", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58", "bbox_pdf": [ 47.01250792727527, 431.2307251476851, 269.70333495121076, 540.7817753025743 ] } ] }, { "id": "berlioz-instrumentation-b00407", "reading_order": 399, "type": "paragraph", "english": "the broad manner of a Velasquez, Rembrandt, Franz Hals and Turner with their wonderfully shaded color combinations and differentiated light effects. The most obvious example of the fresco style is the treatment of the violins in the Magic Fire Music in the third act of “Walkuere” (Example 16). Executed by 16 to 32 violinists, this passage achieves a wonderful, exciting effect. A better musical description of the seething flames flickering in a thousand tints cannot be imagined. An easier, perhaps somewhat slower figuration would probably have made an impression of stiffness such as I cannot help noticing in the “Rheimgold” during the song of the Rhine Maidens swimming around the reef:", "original": "the broad manner of a Velasquez, Rembrandt, Franz Hals and Turner with their wonderfully shaded color combinations and differentiated light effects. The most obvious example of the fresco style is the treatment of the violins in the Magic Fire Music in the third act of “Walkuere” (Example 16). Executed by 16 to 32 violinists, this passage achieves a wonderful, exciting effect. A better musical description of the seething flames flickering in a thousand tints cannot be imagined. An easier, perhaps somewhat slower figuration would probably have made an impression of stiffness such as I cannot help noticing in the “Rheimgold” during the song of the Rhine Maidens swimming around the reef:", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58", "bbox_pdf": [ 304.5690704953623, 381.51659355788934, 525.685315914078, 528.4094801105437 ] } ] }, { "id": "berlioz-instrumentation-b00408", "reading_order": 400, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_label": "PDF 58" } ], "asset_refs": [ "p-058-m02" ] }, { "id": "berlioz-instrumentation-b00409", "reading_order": 401, "type": "paragraph", "english": "No. 16. Walkuere, Magic Fire Music", "original": "No. 16. Walkuere, Magic Fire Music", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_label": "PDF 59", "bbox_pdf": [ 157.45816052197458, 90.20527949098681, 409.8410978157682, 106.62668947313652 ] } ] }, { "id": "berlioz-instrumentation-b00410", "reading_order": 402, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_label": "PDF 59" } ], "asset_refs": [ "p-059-m01" ] }, { "id": "berlioz-instrumentation-b00411", "reading_order": 403, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_label": "PDF 60" } ], "asset_refs": [ "p-060-m01" ] }, { "id": "berlioz-instrumentation-b00412", "reading_order": 404, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_label": "PDF 61" } ], "asset_refs": [ "p-061-m01" ] }, { "id": "berlioz-instrumentation-b00413", "reading_order": 405, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "asset_refs": [ "p-062-m01" ] }, { "id": "berlioz-instrumentation-b00414", "reading_order": 406, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_label": "PDF 63" } ], "asset_refs": [ "p-063-m01" ] }, { "id": "berlioz-instrumentation-b00415", "reading_order": 407, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_label": "PDF 64" } ], "asset_refs": [ "p-064-m01" ] }, { "id": "berlioz-instrumentation-b00416", "reading_order": 408, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "asset_refs": [ "p-065-m01" ] }, { "id": "berlioz-instrumentation-b00417", "reading_order": 409, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 54 } ], "asset_refs": [ "p-066-m01" ] }, { "id": "berlioz-instrumentation-b00418", "reading_order": 410, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "asset_refs": [ "p-067-m01" ] }, { "id": "berlioz-instrumentation-b00419", "reading_order": 411, "type": "paragraph", "english": "I believe that passages on the fourth string and, for certain melodies, also the high tones on the third string could be used to much better advantage than has been the case heretofore. If a particular string is to be used for special effects, the point for changing the string should be clearly indicated. Otherwise the players would soon revert to the ordinary manner of execution, out of habit as well as for the sake of greater facility.", "original": "I believe that passages on the fourth string and, for certain melodies, also the high tones on the third string could be used to much better advantage than has been the case heretofore. If a particular string is to be used for special effects, the point for changing the string should be clearly indicated. Otherwise the players would soon revert to the ordinary manner of execution, out of habit as well as for the sake of greater facility.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 58, "bbox_pdf": [ 40.264301047762075, 82.10704991074859, 273.07743839096736, 170.9626244716957 ] } ] }, { "id": "berlioz-instrumentation-b00420", "reading_order": 412, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 58 } ], "asset_refs": [ "p-068-m01" ] }, { "id": "berlioz-instrumentation-b00421", "reading_order": 413, "type": "paragraph", "english": "No. 17. Symphony in C minor, 1st movement", "original": "No. 17. Symphony in C minor, 1st movement", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 58, "bbox_pdf": [ 121.69266406055465, 348.22387195024334, 442.23249083743156, 365.99498686243277 ] } ] }, { "id": "berlioz-instrumentation-b00422", "reading_order": 414, "type": "paragraph", "english": "Frequently the first violins are doubled one octave lower by the second violins in order to give greater power to a passage. But unless the tones are extremely high, it is much better to double them in unison; the effect is incomparably stronger and finer. The overwhelmingly powerful effect shortly before the end of the first movement of the C-minor Symphony by Beethoven is due to the unison of the violins. In such cases it is not advisable to reinforce the violins by adding the violas in the lower octave. The low tones of the violas, being much weaker than those of the violins, would only produce an ineffective drone which would darken rather than reinforce the high tones of the violins.* Unless the viola part can be made more prominent, it is better to use the violas for reinforcing the violoncellos in the unison, insofar as their range permits, instead of in octaves. This is what Beethoven did in the C-minor Symphony. (Example 17.) *Very true! This applies also to French horns", "original": "Frequently the first violins are doubled one octave lower by the second violins in order to give greater power to a passage. But unless the tones are extremely high, it is much better to double them in unison; the effect is incomparably stronger and finer. The overwhelmingly powerful effect shortly before the end of the first movement of the C-minor Symphony by Beethoven is due to the unison of the violins. In such cases it is not advisable to reinforce the violins by adding the violas in the lower octave. The low tones of the violas, being much weaker than those of the violins, would only produce an ineffective drone which would darken rather than reinforce the high tones of the violins.* Unless the viola part can be made more prominent, it is better to use the violas for reinforcing the violoncellos in the unison, insofar as their range permits, instead of in octaves. This is what Beethoven did in the C-minor Symphony. (Example 17.) *Very true! This applies also to French horns", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 58, "bbox_pdf": [ 294.44676017609254, 85.03141059250129, 527.709777977932, 272.8653466896933 ] } ] }, { "id": "berlioz-instrumentation-b00423", "reading_order": 415, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 58 } ], "asset_refs": [ "p-068-m02" ] }, { "id": "berlioz-instrumentation-b00424", "reading_order": 416, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "asset_refs": [ "p-069-m01" ] }, { "id": "berlioz-instrumentation-b00425", "reading_order": 417, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "asset_refs": [ "p-069-m02" ] }, { "id": "berlioz-instrumentation-b00426", "reading_order": 418, "type": "paragraph", "english": "Pk. rr 7 == a or Sa sot bent = +—t ——— a a soe | tt — a _ Satpinp pals Pe —jegeiaegs ——_ ——oF", "original": "Pk. rr 7 == a or Sa sot bent = +—t ——— a a soe | tt — a _ Satpinp pals Pe —jegeiaegs ——_ ——oF", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 44.5381654047871, 278.4891172315253, 528.8344791245175, 336.5264292232326 ] } ] }, { "id": "berlioz-instrumentation-b00427", "reading_order": 419, "type": "paragraph", "english": "Violins have more brilliance and are played more G easy rather gay, somewha easily in keys which permit the use of the open strings. commonplace", "original": "Violins have more brilliance and are played more G easy rather gay, somewha easily in keys which permit the use of the open strings. commonplace", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 38.689719442542334, 487.2434797443327, 528.8344791245175, 511.53816848504744 ] } ] }, { "id": "berlioz-instrumentation-b00428", "reading_order": 420, "type": "paragraph", "english": "Only the key", "original": "Only the key", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 38.91465967185944, 506.5892504082351, 96.49935837703872, 516.9369882052061 ] } ] }, { "id": "berlioz-instrumentation-b00429", "reading_order": 421, "type": "paragraph", "english": "of C appears to form an exception to", "original": "of C appears to form an exception to", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 100.54828250474664, 507.26410287325496, 271.72779701506477, 518.0617423135726 ] } ] }, { "id": "berlioz-instrumentation-b00430", "reading_order": 422, "type": "paragraph", "english": "this rule. It sounds less bright than the keys of A and E although all four open strings are available in C whereas only three remain in A, and but two in E.", "original": "this rule. It sounds less bright than the keys of A and E although all four open strings are available in C whereas only three remain in A, and but two in E.", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 38.239838983908115, 516.4870865618597, 271.5028567857476, 546.6304966660796 ] } ] }, { "id": "berlioz-instrumentation-b00431", "reading_order": 423, "type": "paragraph", "english": "I think it is possible to define the characteristic timbre of the different keys on the violin and their ease of execution, as follows:", "original": "I think it is possible to define the characteristic timbre of the different keys on the violin and their ease of execution, as follows:", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 38.46477921322523, 545.9556442010598, 271.5028567857476, 575.1992510185867 ] } ] }, { "id": "berlioz-instrumentation-b00432", "reading_order": 424, "type": "paragraph", "english": "grave, but dull and pallid", "original": "grave, but dull and pallid", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 160.38238350309697, 604.8927594794602, 271.72779701506477, 614.7905956330846 ] } ] }, { "id": "berlioz-instrumentation-b00433", "reading_order": 425, "type": "paragraph", "english": "C# very difficult", "original": "C# very difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 37.5650182959568, 612.0911857730052, 108.19625030152827, 622.213972748303 ] } ] }, { "id": "berlioz-instrumentation-b00434", "reading_order": 426, "type": "paragraph", "english": "less pallid, and more pro-", "original": "less pallid, and more pro-", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 160.6073237324141, 614.340693989738, 271.5028567857476, 624.9133826083824 ] } ] }, { "id": "berlioz-instrumentation-b00435", "reading_order": 427, "type": "paragraph", "english": "Db difficult, but less", "original": "Db difficult, but less", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 36.66525737868837, 631.661907258581, 123.94206635372572, 641.5597434122054 ] } ] }, { "id": "berlioz-instrumentation-b00436", "reading_order": 428, "type": "paragraph", "english": "so than C#", "original": "so than C#", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 64.10796535537537, 642.4595466988985, 109.77083190674801, 649.8829238141169 ] } ] }, { "id": "berlioz-instrumentation-b00437", "reading_order": 429, "type": "paragraph", "english": "gay, noisy, somewhat", "original": "gay, noisy, somewhat", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 160.15744327377988, 654.1569894259094, 271.72779701506477, 663.6049239361872 ] } ] }, { "id": "berlioz-instrumentation-b00438", "reading_order": 430, "type": "paragraph", "english": "D# almost impracticable", "original": "D# almost impracticable", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 36.66525737868837, 670.5783994080591, 143.06198584567977, 681.8259404917231 ] } ] }, { "id": "berlioz-instrumentation-b00439", "reading_order": 431, "type": "paragraph", "english": "majestic, rather bright,", "original": "majestic, rather bright,", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 160.38238350309697, 683.4005962434362, 271.5028567857476, 693.7483340404073 ] } ] }, { "id": "berlioz-instrumentation-b00440", "reading_order": 432, "type": "paragraph", "english": "E not very difficult", "original": "E not very difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 37.34007806663969, 700.721809512279, 125.06676750031126, 711.0695473092501 ] } ] }, { "id": "berlioz-instrumentation-b00441", "reading_order": 433, "type": "paragraph", "english": "brilliant, gorgeous, noble", "original": "brilliant, gorgeous, noble", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 160.15744327377988, 702.5214160856654, 271.5028567857476, 713.0941047043096 ] } ] }, { "id": "berlioz-instrumentation-b00442", "reading_order": 434, "type": "paragraph", "english": "Fb impracticable", "original": "Fb impracticable", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 37.5650182959568, 709.9447932008837, 111.57035374128486, 720.7424326412013 ] } ] }, { "id": "berlioz-instrumentation-b00443", "reading_order": 435, "type": "paragraph", "english": "energetic, vigorous", "original": "energetic, vigorous", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 160.15744327377988, 722.7669900362608, 242.26062697452377, 732.6648261898854 ] } ] }, { "id": "berlioz-instrumentation-b00444", "reading_order": 436, "type": "paragraph", "english": "Ft very difficult", "original": "Ft very difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 37.34007806663969, 729.7404655081327, 107.74636984289405, 740.313154126777 ] } ] }, { "id": "berlioz-instrumentation-b00445", "reading_order": 437, "type": "paragraph", "english": "brilliant, incisive", "original": "brilliant, incisive", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 159.25768235651145, 732.2149245465389, 230.33879482071714, 741.8878098784901 ] } ] }, { "id": "berlioz-instrumentation-b00446", "reading_order": 438, "type": "paragraph", "english": "Gb very difficult", "original": "Gb very difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 35.76549646141994, 739.6383016617572, 107.74636984289405, 750.2109902804015 ] } ] }, { "id": "berlioz-instrumentation-b00447", "reading_order": 439, "type": "paragraph", "english": "less brilliant, softer", "original": "less brilliant, softer", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 159.93250304446278, 742.1127607001632, 243.3853281211093, 752.0105968537878 ] } ] }, { "id": "berlioz-instrumentation-b00448", "reading_order": 440, "type": "paragraph", "english": "G# almost impracticable", "original": "G# almost impracticable", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 296.4712222399464, 508.6138078032947, 403.5427713948892, 519.186496421939 ] } ] }, { "id": "berlioz-instrumentation-b00449", "reading_order": 441, "type": "paragraph", "english": "dull, but noble", "original": "dull, but noble", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 421.53798974025773, 510.413414376681, 487.8953573888042, 519.6363980652857 ] } ] }, { "id": "berlioz-instrumentation-b00450", "reading_order": 442, "type": "paragraph", "english": "Ab not very difficult", "original": "Ab not very difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 296.4712222399464, 518.7365947785925, 385.5475530495207, 528.634430932217 ] } ] }, { "id": "berlioz-instrumentation-b00451", "reading_order": 443, "type": "paragraph", "english": "soft, veiled, very noble", "original": "soft, veiled, very noble", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 421.53798974025773, 520.0862997086322, 523.435913620907, 530.2090866839299 ] } ] }, { "id": "berlioz-instrumentation-b00452", "reading_order": 444, "type": "paragraph", "english": "easy brilliant, elegant, joyful A# impracticable Bb easy noble, but without bri]", "original": "easy brilliant, elegant, joyful A# impracticable Bb easy noble, but without bri]", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 296.6961624692636, 528.1845292888704, 528.8344791245175, 559.0027918581103 ] } ] }, { "id": "berlioz-instrumentation-b00453", "reading_order": 445, "type": "paragraph", "english": "liance B_ not very difficult noble, bright, radiant Cb almost impracticable noble, but not very", "original": "liance B_ not very difficult noble, bright, radiant Cb almost impracticable noble, but not very", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 296.9211026985807, 559.9025951448034, 517.5874676586623, 589.3711527840036 ] } ] }, { "id": "berlioz-instrumentation-b00454", "reading_order": 446, "type": "paragraph", "english": "sonorous", "original": "sonorous", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 431.6603000595275, 591.8456118224098, 468.32555743821587, 597.0194807208953 ] } ] }, { "id": "berlioz-instrumentation-b00455", "reading_order": 447, "type": "paragraph", "english": "Minor keys C easy somber, not very sonorou C# rather easy tragic, bright, distinguished Db very difficult somber, not very sonorou D easy plaintive, sonorous, some", "original": "Minor keys C easy somber, not very sonorou C# rather easy tragic, bright, distinguished Db very difficult somber, not very sonorou D easy plaintive, sonorous, some", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 295.57146132267803, 610.5165300212923, 528.8344791245175, 675.9772191282178 ] } ] }, { "id": "berlioz-instrumentation-b00456", "reading_order": 448, "type": "paragraph", "english": "what commonplace D# almost impracticable dull Eb difficult very dim and mournful E easy shrill, commonplace", "original": "what commonplace D# almost impracticable dull Eb difficult very dim and mournful E easy shrill, commonplace", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 295.79640155199513, 676.4271207715644, 525.460375684761, 716.0184653860623 ] } ] }, { "id": "berlioz-instrumentation-b00457", "reading_order": 449, "type": "paragraph", "english": "Fb impracticable F rather difficult", "original": "Fb impracticable F rather difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 296.9211026985807, 713.7689571693295, 375.8751231888851, 732.439875368212 ] } ] }, { "id": "berlioz-instrumentation-b00458", "reading_order": 450, "type": "paragraph", "english": "not very sonorous, som", "original": "not very sonorous, som", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 420.41328859367223, 726.81610482638, 528.8344791245175, 735.1392852282916 ] } ] }, { "id": "berlioz-instrumentation-b00459", "reading_order": 451, "type": "paragraph", "english": "F# less difficult", "original": "F# less difficult", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 296.9211026985807, 740.9880065917969, 363.50341057644425, 752.0105968537878 ] } ] }, { "id": "berlioz-instrumentation-b00460", "reading_order": 452, "type": "paragraph", "english": "tragic, sonorous, incisive", "original": "tragic, sonorous, incisive", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54, "bbox_pdf": [ 420.1883483643551, 745.4870230252626, 527.2598975192979, 754.9349575355404 ] } ] }, { "id": "berlioz-instrumentation-b00461", "reading_order": 453, "type": "paragraph", "english": "Gb impracticable", "original": "Gb impracticable", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 37.115137837322585, 87.05596798756083, 112.02023419991907, 97.1787549628586 ] } ] }, { "id": "berlioz-instrumentation-b00462", "reading_order": 454, "type": "paragraph", "english": "G easy melancholy, rather sonor-", "original": "G easy melancholy, rather sonor-", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 37.34007806663969, 97.40370578453188, 268.80357403394237, 106.85164029480981 ] } ] }, { "id": "berlioz-instrumentation-b00463", "reading_order": 455, "type": "paragraph", "english": "G# very difficult not very sonorous, sad,", "original": "G# very difficult not very sonorous, sad,", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 37.5650182959568, 116.29957480508773, 268.35369357530817, 126.19741095871223 ] } ] }, { "id": "berlioz-instrumentation-b00464", "reading_order": 456, "type": "paragraph", "english": "Ab very difficult, almost very dull, sad, but noble", "original": "Ab very difficult, almost very dull, sad, but noble", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 38.01489875459101, 135.87029629066342, 268.57863380462527, 145.54318162261464 ] } ] }, { "id": "berlioz-instrumentation-b00465", "reading_order": 457, "type": "paragraph", "english": "A easy rather sonorous, soft, sad,", "original": "A easy rather sonorous, soft, sad,", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 38.46477921322523, 155.4410177762391, 269.25345449257657, 164.88895228651702 ] } ] }, { "id": "berlioz-instrumentation-b00466", "reading_order": 458, "type": "paragraph", "english": "A# impracticable", "original": "A# impracticable", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 38.689719442542334, 174.56183761846822, 112.6950548878704, 184.4596737720927 ] } ] }, { "id": "berlioz-instrumentation-b00467", "reading_order": 459, "type": "paragraph", "english": "Bb difficult somber, dull, rough, but", "original": "Bb difficult somber, dull, rough, but", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 39.81442058912786, 184.23472295041944, 269.47839472189366, 193.90760828237063 ] } ] }, { "id": "berlioz-instrumentation-b00468", "reading_order": 460, "type": "paragraph", "english": "B easy very sonorous, wild,", "original": "B easy very sonorous, wild,", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 40.03936081844497, 203.80544443599513, 269.47839472189366, 213.70328058961962 ] } ] }, { "id": "berlioz-instrumentation-b00469", "reading_order": 461, "type": "paragraph", "english": "harsh, sinister, violent", "original": "harsh, sinister, violent", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 169.82987313441546, 213.47832976794632, 269.47839472189366, 222.701313456551 ] } ] }, { "id": "berlioz-instrumentation-b00470", "reading_order": 462, "type": "paragraph", "english": "Cb impracticable The string instruments, the combination of which forms what is rather improperly called the quartet, are the basis and-the constituent element of the whole orchestra. They possess the greatest power of expression and an indisputable wealth of timbres. Particularly the violins are capable of a great number of seemingly incompatible nuances. They convey (in a mass) force, lightness, grace, somber seriousness and bright joy, reverie and passion. The problem is only to know how to make them speak. Moreover, it is not necessary to calculate for them the duration of", "original": "Cb impracticable The string instruments, the combination of which forms what is rather improperly called the quartet, are the basis and-the constituent element of the whole orchestra. They possess the greatest power of expression and an indisputable wealth of timbres. Particularly the violins are capable of a great number of seemingly incompatible nuances. They convey (in a mass) force, lightness, grace, somber seriousness and bright joy, reverie and passion. The problem is only to know how to make them speak. Moreover, it is not necessary to calculate for them the duration of", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 38.689719442542334, 223.1512150998975, 269.9282751805279, 340.5755440133517 ] } ] }, { "id": "berlioz-instrumentation-b00471", "reading_order": 463, "type": "paragraph", "english": "No. 18. Walkuere, Act III Wagner.", "original": "No. 18. Walkuere, Act III Wagner.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 190.9742546902235, 351.3731834536693, 523.6608538502242, 366.4448885057793 ] } ] }, { "id": "berlioz-instrumentation-b00472", "reading_order": 464, "type": "paragraph", "english": "a sustained tone (as for the wind instruments) and to relieve them by occasional rests; one can be sure that they will never be out of breath. The violins are faithful, sensible, active and indefatigable servants.", "original": "a sustained tone (as for the wind instruments) and to relieve them by occasional rests; one can be sure that they will never be out of breath. The violins are faithful, sensible, active and indefatigable servants.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 292.6472383415557, 86.83101716588754, 523.6608538502242, 125.52255849369236 ] } ] }, { "id": "berlioz-instrumentation-b00473", "reading_order": 465, "type": "paragraph", "english": "Tender and slow melodies, confided too often nowadays to the wind instruments, are never rendered better than by a mass of violins. Nothing can equal the stirring sweetness of some twenty E-strings vibrated by as many skilled bows. Here is the true female voice of the orchestra, a voice at once passionate and chaste, penetrating and soft; whether it weeps, laments, prays or jubilates—no other voice possesses its range of expression. A minute movement of the arm, an unconscious impulse in the player, hardly noticeable with a single instrument, produce in a group the most wonderful shadings and arouse feelings which penetrate to the depth of the heart.", "original": "Tender and slow melodies, confided too often nowadays to the wind instruments, are never rendered better than by a mass of violins. Nothing can equal the stirring sweetness of some twenty E-strings vibrated by as many skilled bows. Here is the true female voice of the orchestra, a voice at once passionate and chaste, penetrating and soft; whether it weeps, laments, prays or jubilates—no other voice possesses its range of expression. A minute movement of the arm, an unconscious impulse in the player, hardly noticeable with a single instrument, produce in a group the most wonderful shadings and arouse feelings which penetrate to the depth of the heart.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 292.87217857087273, 125.97246013703894, 522.7610929329556, 252.61977273909773 ] } ] }, { "id": "berlioz-instrumentation-b00474", "reading_order": 466, "type": "paragraph", "english": "I need hardly mention here the angelic purity of the violins in the Prelude to “Lohengrin”. The same violins, in a stirring passage in the third act of “Walkuere”, reveal the human bliss of motherlove. (Example 18.) Then again, in the third act of “Siegfried”, they depict the “selige Oede auf wonniger Hoeh” (haven of bliss on the mountainous height) in cloudless brilliance. (Example 19.)", "original": "I need hardly mention here the angelic purity of the violins in the Prelude to “Lohengrin”. The same violins, in a stirring passage in the third act of “Walkuere”, reveal the human bliss of motherlove. (Example 18.) Then again, in the third act of “Siegfried”, they depict the “selige Oede auf wonniger Hoeh” (haven of bliss on the mountainous height) in cloudless brilliance. (Example 19.)", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70", "bbox_pdf": [ 305.4688314126308, 251.4950186307313, 522.7610929329556, 330.2278062163806 ] } ] }, { "id": "berlioz-instrumentation-b00475", "reading_order": 467, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_label": "PDF 70" } ], "asset_refs": [ "p-070-m01" ] }, { "id": "berlioz-instrumentation-b00476", "reading_order": 468, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_label": "PDF 71" } ], "asset_refs": [ "p-071-m01" ] }, { "id": "berlioz-instrumentation-b00477", "reading_order": 469, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "asset_refs": [ "p-072-m01" ] }, { "id": "berlioz-instrumentation-b00478", "reading_order": 470, "type": "paragraph", "english": "With the same fidelity the violins lend their tones $ Wagner, inexhaustible in the symbolic use of the to express the apprentice’s love (David in “Meis- orchestral language, even individualized the first tersinger’”’) : and second violins in “Tristan”. The second vio-", "original": "With the same fidelity the violins lend their tones $ Wagner, inexhaustible in the symbolic use of the to express the apprentice’s love (David in “Meis- orchestral language, even individualized the first tersinger’”’) : and second violins in “Tristan”. The second vio-", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57, "bbox_pdf": [ 48.58708953249502, 691.4988258236745, 523.6608538502242, 725.241449074667 ] } ] }, { "id": "berlioz-instrumentation-b00479", "reading_order": 471, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "asset_refs": [ "p-072-m02" ] }, { "id": "berlioz-instrumentation-b00480", "reading_order": 472, "type": "paragraph", "english": "Esau! and tone, serve as accompaniments for. the eecond- —* + ary figures, Kurwenal, Brangaene and King Marke; (Was war nur der Lene?) while the warmer and nobler first violins—accus-", "original": "Esau! and tone, serve as accompaniments for. the eecond- —* + ary figures, Kurwenal, Brangaene and King Marke; (Was war nur der Lene?) while the warmer and nobler first violins—accus-", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57, "bbox_pdf": [ 86.15210782845182, 729.5155146864594, 523.435913620907, 764.1579412241451 ] } ] }, { "id": "berlioz-instrumentation-b00481", "reading_order": 473, "type": "paragraph", "english": "lins, customarily somewhat inferior in execution tomed to lead—jubilate and suffer with the two great masters used it exclusively as a meaningful", "original": "lins, customarily somewhat inferior in execution tomed to lead—jubilate and suffer with the two great masters used it exclusively as a meaningful", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57, "bbox_pdf": [ 305.6937716419478, 721.8671867495678, 523.435913620907, 732.2149245465389 ] }, { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73", "bbox_pdf": [ 50.83649182566609, 84.806459770828, 528.1596584365662, 98.07855824955175 ] } ] }, { "id": "berlioz-instrumentation-b00483", "reading_order": 474, "type": "paragraph", "english": "heroes of the action. symbol: Beethoven, in the Benedictus of his Missa At the close of this chapter I should like to warn Solemnis, to let a pure soul praise the Lord in a", "original": "heroes of the action. symbol: Beethoven, in the Benedictus of his Missa At the close of this chapter I should like to warn Solemnis, to let a pure soul praise the Lord in a", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73", "bbox_pdf": [ 50.386611367031875, 94.4793451027792, 528.3845986658833, 117.42432891345415 ] } ] }, { "id": "berlioz-instrumentation-b00484", "reading_order": 475, "type": "paragraph", "english": "against the so frequent misuse of the solo violin in fervent song; and Wagner, in “Rheingold”, to", "original": "against the so frequent misuse of the solo violin in fervent song; and Wagner, in “Rheingold”, to", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73", "bbox_pdf": [ 50.61155159634898, 114.0500665883549, 528.3845986658833, 127.99701753209848 ] } ] }, { "id": "berlioz-instrumentation-b00485", "reading_order": 476, "type": "paragraph", "english": "the orchestra. The effect of a solo violin is so pe- ‘\"$ unveil the innermost secrets of a woman’s heart.", "original": "the orchestra. The effect of a solo violin is so pe- ‘\"$ unveil the innermost secrets of a woman’s heart.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73", "bbox_pdf": [ 50.61155159634898, 124.17285356365268, 527.9347182072491, 135.87029629066342 ] } ] }, { "id": "berlioz-instrumentation-b00486", "reading_order": 477, "type": "paragraph", "english": "culiar and conspicuous that it should never be em- (Example 20.)", "original": "culiar and conspicuous that it should never be em- (Example 20.)", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73", "bbox_pdf": [ 50.61155159634898, 134.74554218229702, 369.1269163093719, 147.11783737432762 ] } ] }, { "id": "berlioz-instrumentation-b00487", "reading_order": 478, "type": "paragraph", "english": "ployed without a compelling poetic motive. The", "original": "ployed without a compelling poetic motive. The", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73", "bbox_pdf": [ 50.16167113771476, 145.9930832659612, 269.9282751805279, 157.46557517129867 ] } ] }, { "id": "berlioz-instrumentation-b00488", "reading_order": 479, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_label": "PDF 73" } ], "asset_refs": [ "p-073-m01" ] }, { "id": "berlioz-instrumentation-b00489", "reading_order": 480, "type": "paragraph", "english": "ip", "original": "ip", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_label": "PDF 74", "bbox_pdf": [ 379.2492266286417, 722.5420392145876, 384.8727323615694, 728.1658097564197 ] } ] }, { "id": "berlioz-instrumentation-b00490", "reading_order": 481, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_label": "PDF 74" } ], "asset_refs": [ "p-074-m01" ] }, { "id": "berlioz-instrumentation-b00491", "reading_order": 482, "type": "paragraph", "english": "The economical use of the solo violin in Wag- old truth that a device becomes the more effective ner’s scores may serve to exemplify once more the the less it is used.", "original": "The economical use of the solo violin in Wag- old truth that a device becomes the more effective ner’s scores may serve to exemplify once more the the less it is used.", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_label": "PDF 74", "bbox_pdf": [ 49.71179067908055, 742.7876131651831, 527.4848377486148, 763.0331871157787 ] } ] }, { "id": "berlioz-instrumentation-section-03", "type": "heading", "heading_level": 2, "english": "The Viola", "original": "The Viola", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "reading_order": 483 }, { "id": "berlioz-instrumentation-b00492", "reading_order": 484, "type": "paragraph", "english": "The four strings of the viola are tuned in fifths, like those of the violin, but a fifth lower:", "original": "The four strings of the viola are tuned in fifths, like those of the violin, but a fifth lower:", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 40.264301047762075, 347.3240686635502, 271.95273724438186, 367.11974097079917 ] } ] }, { "id": "berlioz-instrumentation-b00493", "reading_order": 485, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "asset_refs": [ "p-075-m01" ] }, { "id": "berlioz-instrumentation-b00494", "reading_order": 486, "type": "paragraph", "english": ". « ofirst string", "original": ". « ofirst string", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 145.53632836816797, 379.49203616282983, 195.0231788179314, 388.4900690297611 ] } ] }, { "id": "berlioz-instrumentation-b00495", "reading_order": 487, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "asset_refs": [ "p-075-m02" ] }, { "id": "berlioz-instrumentation-b00496", "reading_order": 488, "type": "paragraph", "english": "It is written in the alto-clef (C-clef on the third line); the G-clef is used for its highest notes.", "original": "It is written in the alto-clef (C-clef on the third line); the G-clef is used for its highest notes.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 38.239838983908115, 490.61774206943204, 268.57863380462527, 511.53816848504744 ] } ] }, { "id": "berlioz-instrumentation-b00497", "reading_order": 489, "type": "paragraph", "english": "All that has been said im the preceding chapter about trills, bowing, chords, arpeggios, harmonics etc., applies equally to the viola, which can simply be considered a violin tuned a fifth lower.", "original": "All that has been said im the preceding chapter about trills, bowing, chords, arpeggios, harmonics etc., applies equally to the viola, which can simply be considered a violin tuned a fifth lower.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 38.46477921322523, 509.7385619116611, 269.25345449257657, 551.3544639212187 ] } ] }, { "id": "berlioz-instrumentation-b00498", "reading_order": 490, "type": "paragraph", "english": "Of all the instruments in the orchestra it is the viola whose excellent qualities have been unappreciated for the longest time. It is just as agile as the violin. Its low stri have a characteristic, husky timbre while its high rfotes are distinguished by their mournfully passionate sound. The general character of its tones is one of profound melancholy and is notably different from that of the other string instruments. Nevertheless, it has long been neglected—or used, senselessly and ineffectually, for doubling the basses in the higher octave. The unjust treatment of this noble instrument has been due to several causes. In the first place, the masters of the 18th century, rarely writing four real voices, y did not know what to do with the viola. Whenever they could not give it a few notes to fill up the harmony, they did not hesitate to write the odious col basso—often so carelessly that the resulting octaves conflicted either with the harmony or with the melody or with both.", "original": "Of all the instruments in the orchestra it is the viola whose excellent qualities have been unappreciated for the longest time. It is just as agile as the violin. Its low stri have a characteristic, husky timbre while its high rfotes are distinguished by their mournfully passionate sound. The general character of its tones is one of profound melancholy and is notably different from that of the other string instruments. Nevertheless, it has long been neglected—or used, senselessly and ineffectually, for doubling the basses in the higher octave. The unjust treatment of this noble instrument has been due to several causes. In the first place, the masters of the 18th century, rarely writing four real voices, y did not know what to do with the viola. Whenever they could not give it a few notes to fill up the harmony, they did not hesitate to write the odious col basso—often so carelessly that the resulting octaves conflicted either with the harmony or with the melody or with both.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 37.115137837322585, 550.004758991179, 269.70333495121076, 738.5135475533907 ] } ] }, { "id": "berlioz-instrumentation-b00499", "reading_order": 491, "type": "paragraph", "english": "Furthermore, it was unfortunately impossible at that time to write any important passage for the viola requiring the most ordinary skill for its execution. Violists were always selected from the weaker violinists. If a musician was unable to fill creditably the post of a violinist, he was relegated to the violas. Thus, violists eventually could play neither the violin nor the viola. I must admit that even in our own time this prejudice against the viola has not disappeared completely. Even in our best orchestras we still find viola players who are no more proficient on that instrument", "original": "Furthermore, it was unfortunately impossible at that time to write any important passage for the viola requiring the most ordinary skill for its execution. Violists were always selected from the weaker violinists. If a musician was unable to fill creditably the post of a violinist, he was relegated to the violas. Thus, violists eventually could play neither the violin nor the viola. I must admit that even in our own time this prejudice against the viola has not disappeared completely. Even in our best orchestras we still find viola players who are no more proficient on that instrument", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 292.42229811223854, 348.22387195024334, 527.0349572899808, 456.6501679967661 ] } ] }, { "id": "berlioz-instrumentation-b00500", "reading_order": 492, "type": "paragraph", "english": "on the violin. But the harm caused by tolerating them is being recognized more and more; and little by little the viola will be entrusted only to skilled hands, just as the other instruments. Its timbre attracts and captivates one’s attention so vividly that it is not necessary for an orchestra to have as many violas as second violins. The expressive powers of its timbre are so marked that, on the very rare occasions afforded by the old masters for its display, it never fails to", "original": "on the violin. But the harm caused by tolerating them is being recognized more and more; and little by little the viola will be entrusted only to skilled hands, just as the other instruments. Its timbre attracts and captivates one’s attention so vividly that it is not necessary for an orchestra to have as many violas as second violins. The expressive powers of its timbre are so marked that, on the very rare occasions afforded by the old masters for its display, it never fails to", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 292.6472383415557, 457.9998729268059, 527.0349572899808, 547.3053491310994 ] } ] }, { "id": "berlioz-instrumentation-b00501", "reading_order": 493, "type": "paragraph", "english": "It is the timbre of the viola which creates the deep impression in the famous scene in “Iphigénie en Tauride” where Orestes, exhausted, panting, by remorse, falls asleep with the words: “Calni comes back to my heart”—while the orchestra, in somber excitement, utters sobs and convulsive sighs which are accompanied throughout by the terrible, persevering murmur of the violas. This incomparable piece of inspiration contains not a single note, either.in the singer’s part or in the instruments, without its own sublime intention; yet, the fascination which it exercises over the listeners, the awe which causes their eyes to dilate and fill with tears, are mainly attributable to the viola part and, particularly, to the timbre of its third string, to ‘its syncopated rhythm and to the strange effect of the unison between its syncopated A and the A of the basses, whose different rnythm abruptly cuts through the syncope. (Example 21.)", "original": "It is the timbre of the viola which creates the deep impression in the famous scene in “Iphigénie en Tauride” where Orestes, exhausted, panting, by remorse, falls asleep with the words: “Calni comes back to my heart”—while the orchestra, in somber excitement, utters sobs and convulsive sighs which are accompanied throughout by the terrible, persevering murmur of the violas. This incomparable piece of inspiration contains not a single note, either.in the singer’s part or in the instruments, without its own sublime intention; yet, the fascination which it exercises over the listeners, the awe which causes their eyes to dilate and fill with tears, are mainly attributable to the viola part and, particularly, to the timbre of its third string, to ‘its syncopated rhythm and to the strange effect of the unison between its syncopated A and the A of the basses, whose different rnythm abruptly cuts through the syncope. (Example 21.)", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60, "bbox_pdf": [ 293.09711880018983, 556.9782344630506, 527.4848377486148, 736.7139409800045 ] } ] }, { "id": "berlioz-instrumentation-b00502", "reading_order": 494, "type": "paragraph", "english": "No. 21. Iphigénie en Tauride, Act Il", "original": "No. 21. Iphigénie en Tauride, Act Il", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_label": "PDF 76", "bbox_pdf": [ 163.9814271721707, 79.40764005066919, 416.36436446596423, 98.07855824955175 ] } ] }, { "id": "berlioz-instrumentation-b00503", "reading_order": 495, "type": "paragraph", "english": "on - - et ater = matn MGB - ge. sclick? so gan - net the = etm ~", "original": "on - - et ater = matn MGB - ge. sclick? so gan - net the = etm ~", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_label": "PDF 76", "bbox_pdf": [ 100.99816296338085, 733.5646294765785, 514.2133642189057, 745.037121381916 ] } ] }, { "id": "berlioz-instrumentation-b00504", "reading_order": 496, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_label": "PDF 76" } ], "asset_refs": [ "p-076-m01" ] }, { "id": "berlioz-instrumentation-b00505", "reading_order": 497, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "asset_refs": [ "p-077-m01" ] }, { "id": "berlioz-instrumentation-b00506", "reading_order": 498, "type": "paragraph", "english": "One of the first to discover the demonic possibilities of the viola was Meyerbeer. In his “Robert le Diable” he employed it ingeniously for the expression of pious awe and painful remorse.", "original": "One of the first to discover the demonic possibilities of the viola was Meyerbeer. In his “Robert le Diable” he employed it ingeniously for the expression of pious awe and painful remorse.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_label": "PDF 78", "bbox_pdf": [ 49.48685044976345, 85.70626305752113, 270.8280360977963, 125.2976076720191 ] } ] }, { "id": "berlioz-instrumentation-b00507", "reading_order": 499, "type": "paragraph", "english": "In the Overture to “Iphigénie en Aulide” Gluck used the violas as the sole basis of the harmony, in this case not on account of its timbre but to accompany the melody of the violins as softly as possible; this makes the entrance of the basses in forte, after a long rest, much more formidable. Sacchini also gave the lower part to the violas alone in Oepidus’ aria,", "original": "In the Overture to “Iphigénie en Aulide” Gluck used the violas as the sole basis of the harmony, in this case not on account of its timbre but to accompany the melody of the violins as softly as possible; this makes the entrance of the basses in forte, after a long rest, much more formidable. Sacchini also gave the lower part to the violas alone in Oepidus’ aria,", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_label": "PDF 78", "bbox_pdf": [ 37.34007806663969, 125.07265685034581, 271.0529763271134, 194.5824607473905 ] } ] }, { "id": "berlioz-instrumentation-b00508", "reading_order": 500, "type": "paragraph", "english": "intending to prepare a similar outburst; on the contrary, the instrumentation gives here a pleasant freshness and calm to the melody it accompanies. Melodies on the high strings of the viola achieve miracles in scenes of a religious or ancient character. Cf. Wolfram’s “Blick ich umher’ (“Tannhaeuser”, second act) and Lohengrin’s Narration (“Lohengrin”, third act)—divided violas in high position unisono with the violins; also the violas sounding like a distant organ, before Walther’s Prize Song (“‘Meistersinger”, third act). (Examples", "original": "intending to prepare a similar outburst; on the contrary, the instrumentation gives here a pleasant freshness and calm to the melody it accompanies. Melodies on the high strings of the viola achieve miracles in scenes of a religious or ancient character. Cf. Wolfram’s “Blick ich umher’ (“Tannhaeuser”, second act) and Lohengrin’s Narration (“Lohengrin”, third act)—divided violas in high position unisono with the violins; also the violas sounding like a distant organ, before Walther’s Prize Song (“‘Meistersinger”, third act). (Examples", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_label": "PDF 78", "bbox_pdf": [ 294.6717004054096, 85.03141059250129, 528.8344791245175, 193.90760828237063 ] } ] }, { "id": "berlioz-instrumentation-b00509", "reading_order": 501, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_label": "PDF 78" } ], "asset_refs": [ "p-078-m01" ] }, { "id": "berlioz-instrumentation-b00510", "reading_order": 502, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_label": "PDF 79" } ], "asset_refs": [ "p-079-m01" ] }, { "id": "berlioz-instrumentation-b00511", "reading_order": 503, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_label": "PDF 80" } ], "asset_refs": [ "p-080-m01" ] }, { "id": "berlioz-instrumentation-b00512", "reading_order": 504, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_label": "PDF 81" } ], "asset_refs": [ "p-081-m01" ] }, { "id": "berlioz-instrumentation-b00513", "reading_order": 505, "type": "paragraph", "english": "_ Spontini was the first to conceive the idea of assigning the melody in part to the violas in his wonderfu] prayer in “La Vestale”. Méhul, allured by the sympathy between the tone of the violas and the dreamy character of Ossianic poetry, used them exclusively, without any violins, in his opera “Uthal”. According to the critics of the time, this caused an unbearable monotony detrimental to the success of", "original": "_ Spontini was the first to conceive the idea of assigning the melody in part to the violas in his wonderfu] prayer in “La Vestale”. Méhul, allured by the sympathy between the tone of the violas and the dreamy character of Ossianic poetry, used them exclusively, without any violins, in his opera “Uthal”. According to the critics of the time, this caused an unbearable monotony detrimental to the success of", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67, "bbox_pdf": [ 43.63840448751868, 76.03337772556992, 273.5273188496016, 157.01567352795212 ] } ] }, { "id": "berlioz-instrumentation-b00514", "reading_order": 506, "type": "paragraph", "english": "the work. It was this work which caused Grétry to exclaim: “I would give a Louis d’or for an E-string?” In fact, the viola timbre—so beautiful when judiciously employed and skillfully contrasted with that", "original": "the work. It was this work which caused Grétry to exclaim: “I would give a Louis d’or for an E-string?” In fact, the viola timbre—so beautiful when judiciously employed and skillfully contrasted with that", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67, "bbox_pdf": [ 42.73864357025025, 154.76616531121925, 272.40261770301606, 196.83196896412332 ] } ] }, { "id": "berlioz-instrumentation-b00515", "reading_order": 507, "type": "paragraph", "english": "of the violins and other instruments—is bound to", "original": "of the violins and other instruments—is bound to", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67, "bbox_pdf": [ 297.3709831572149, 81.65714826740202, 527.2598975192979, 91.33003359935323 ] } ] }, { "id": "berlioz-instrumentation-b00516", "reading_order": 508, "type": "paragraph", "english": "become tiresome; it is too unvaried for any other", "original": "become tiresome; it is too unvaried for any other", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67, "bbox_pdf": [ 297.3709831572149, 91.33003359935323, 527.0349572899808, 103.47737796971056 ] } ] }, { "id": "berlioz-instrumentation-b00517", "reading_order": 509, "type": "paragraph", "english": ": In a scene of profound sadness (after Bruennhilde’s words, ““Weh, mein ‘Waelsung” in the second act of “Walkuere”) the violas, on the higher octave of the bass clarinets, express Wotan’s dejection; an interesting contrast to this is the cow-", "original": ": In a scene of profound sadness (after Bruennhilde’s words, ““Weh, mein ‘Waelsung” in the second act of “Walkuere”) the violas, on the higher octave of the bass clarinets, express Wotan’s dejection; an interesting contrast to this is the cow-", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67, "bbox_pdf": [ 298.49568430380043, 111.1257059066022, 526.3601366020293, 161.2897391397445 ] } ] }, { "id": "berlioz-instrumentation-b00518", "reading_order": 510, "type": "paragraph", "english": "ardly-gay dancing figure of the violas in the first act of “Siegfried” when Mime answers the menacing Wotan. (Examples 25, 26.)", "original": "ardly-gay dancing figure of the violas in the first act of “Siegfried” when Mime answers the menacing Wotan. (Examples 25, 26.)", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67, "bbox_pdf": [ 307.49329347648467, 160.38993585305136, 525.460375684761, 190.5333459572714 ] } ] }, { "id": "berlioz-instrumentation-b00519", "reading_order": 511, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "asset_refs": [ "p-082-m01" ] }, { "id": "berlioz-instrumentation-b00520", "reading_order": 512, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "asset_refs": [ "p-083-m01" ] }, { "id": "berlioz-instrumentation-b00521", "reading_order": 513, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 84, "source_image": "source-pages/p-084.jpg", "printed_label": "PDF 84" } ], "asset_refs": [ "p-084-m01" ] }, { "id": "berlioz-instrumentation-b00522", "reading_order": 514, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "asset_refs": [ "p-085-m01" ] }, { "id": "berlioz-instrumentation-b00523", "reading_order": 515, "type": "paragraph", "english": "The beautiful sound of the violas in the last Here I should like to quote the ecstatic solo viola movement of Beethoven’s Ninth Symphony (with which tells of the miracle of the love potion (““Tris- “Ihr stuerzt nieder, Millionen”) and the comically tan”, first act); and the strange entrance of the gruesome solo viola in Aennchen’s aria (“Frei- violas in “Fidelis” (with “wie ein Schatten schuetz”, second act) are quoted in Gevaert’s work; schwebt” )—(fades like a shadow) where the interthe solemn introduction to the quartet in “Fidelio” val of a third calls forth the picture of the lan- I presume to be generally known and admired. guishing Florestan. (Examples 27, 28.)", "original": "The beautiful sound of the violas in the last Here I should like to quote the ecstatic solo viola movement of Beethoven’s Ninth Symphony (with which tells of the miracle of the love potion (““Tris- “Ihr stuerzt nieder, Millionen”) and the comically tan”, first act); and the strange entrance of the gruesome solo viola in Aennchen’s aria (“Frei- violas in “Fidelis” (with “wie ein Schatten schuetz”, second act) are quoted in Gevaert’s work; schwebt” )—(fades like a shadow) where the interthe solemn introduction to the quartet in “Fidelio” val of a third calls forth the picture of the lan- I presume to be generally known and admired. guishing Florestan. (Examples 27, 28.)", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_label": "PDF 86", "bbox_pdf": [ 49.48685044976345, 85.25636141417456, 527.4848377486148, 155.89091941958569 ] } ] }, { "id": "berlioz-instrumentation-b00524", "reading_order": 516, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_label": "PDF 86" } ], "asset_refs": [ "p-086-m01" ] }, { "id": "berlioz-instrumentation-b00525", "reading_order": 517, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 87, "source_image": "source-pages/p-087.jpg", "printed_page": 72 } ], "asset_refs": [ "p-087-m01" ] }, { "id": "berlioz-instrumentation-b00526", "reading_order": 518, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 88, "source_image": "source-pages/p-088.jpg", "printed_page": 78 } ], "asset_refs": [ "p-088-m01" ] }, { "id": "berlioz-instrumentation-b00527", "reading_order": 519, "type": "paragraph", "english": "At present the violas are frequently divided into first and second violas. In orchestras like that of the Paris Opera, where they are sufficiently numerous, this procedure is not disadvantageous. But in other orchestras which have scarcely four or five violas such a division can only be detrimental, since the weak viola group is in any case in constant danger of being overpowered by the other instruments. In this connection it must also be remarked that most of the violas currently used in our French orchestras are not of requisite proportions; neither in size nor in, tonal volume are they real violas. They are more like violins strung with viola strings. Conductors should absolutely prohibit the use of these mongrel instruments. Their weak sound deprives the orchestra of one of its most interesting tone elements and robs it of sonority, especially on its deep tones.", "original": "At present the violas are frequently divided into first and second violas. In orchestras like that of the Paris Opera, where they are sufficiently numerous, this procedure is not disadvantageous. But in other orchestras which have scarcely four or five violas such a division can only be detrimental, since the weak viola group is in any case in constant danger of being overpowered by the other instruments. In this connection it must also be remarked that most of the violas currently used in our French orchestras are not of requisite proportions; neither in size nor in, tonal volume are they real violas. They are more like violins strung with viola strings. Conductors should absolutely prohibit the use of these mongrel instruments. Their weak sound deprives the orchestra of one of its most interesting tone elements and robs it of sonority, especially on its deep tones.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 37.34007806663969, 89.30547620429368, 268.57863380462527, 253.9694776691374 ] } ] }, { "id": "berlioz-instrumentation-b00528", "reading_order": 520, "type": "paragraph", "english": "Professor Hermann Ritter constructed", "original": "Professor Hermann Ritter constructed", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 60.05904122766746, 252.84472356077097, 232.5881971138882, 261.3928547843558 ] } ] }, { "id": "berlioz-instrumentation-b00529", "reading_order": 521, "type": "paragraph", "english": "a “Viola alta” which has a fifth string", "original": "a “Viola alta” which has a fifth string", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 50.61155159634898, 262.7425597143955, 232.8131373432053, 271.96554340300014 ] } ] }, { "id": "berlioz-instrumentation-b00530", "reading_order": 522, "type": "paragraph", "english": "above the four strings of the ordinary viola.", "original": "above the four strings of the ordinary viola.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 49.71179067908055, 272.1904942246734, 232.138316655254, 282.0883303782979 ] } ] }, { "id": "berlioz-instrumentation-b00531", "reading_order": 523, "type": "paragraph", "english": "Because of its larger size the instrument has a con-", "original": "Because of its larger size the instrument has a con-", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 49.71179067908055, 281.4134779132781, 267.9038131166739, 291.76121571024913 ] } ] }, { "id": "berlioz-instrumentation-b00532", "reading_order": 524, "type": "paragraph", "english": "siderably greater volume of tone; besides, it has", "original": "siderably greater volume of tone; besides, it has", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 49.93673090839766, 291.0863632452293, 267.9038131166739, 301.6590518638736 ] } ] }, { "id": "berlioz-instrumentation-b00533", "reading_order": 525, "type": "paragraph", "english": "the additional high tones, very advantageous for", "original": "the additional high tones, very advantageous for", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 49.93673090839766, 300.53429775550717, 268.35369357530817, 311.1069863741515 ] } ] }, { "id": "berlioz-instrumentation-b00534", "reading_order": 526, "type": "paragraph", "english": "No. 29. Symphony in C minor, 2nd movement", "original": "No. 29. Symphony in C minor, 2nd movement", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 126.4164088762139, 354.29754413542196, 453.02962184465264, 374.9930197293641 ] } ] }, { "id": "berlioz-instrumentation-b00535", "reading_order": 527, "type": "paragraph", "english": "modern orchestral works.", "original": "modern orchestral works.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 304.5690704953623, 87.73082045258069, 415.23966331937874, 96.05400085449219 ] } ] }, { "id": "berlioz-instrumentation-b00536", "reading_order": 528, "type": "paragraph", "english": "Unfortunately, up to now it has been used only to a very limited extent, mainly because it requires considerable physical power. Especially viola players with short arms or fingers may hesitate to give up the more comfortable ordinary viola.", "original": "Unfortunately, up to now it has been used only to a very limited extent, mainly because it requires considerable physical power. Especially viola players with short arms or fingers may hesitate to give up the more comfortable ordinary viola.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 304.79401072467937, 97.1787549628586, 525.685315914078, 145.9930832659612 ] } ] }, { "id": "berlioz-instrumentation-b00537", "reading_order": 529, "type": "paragraph", "english": "Two other new instruments which try to extend", "original": "Two other new instruments which try to extend", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 315.1412612732663, 145.09327997926806, 524.5606147674926, 154.54121448954598 ] } ] }, { "id": "berlioz-instrumentation-b00538", "reading_order": 530, "type": "paragraph", "english": "the lower range of the viola and violoncello should be mentioned here: the Violotta and Cellone, constructed by Stelzner. Their practical achievements are still too unimportant to make it worth-while to introduce them into the orchestra. The fact that they are tuned differently, ie. have lower strings than the violas and violoncellos, makes their use for existing tasks illusory; otherwise, new parts would have to be composed for them. When the violoncellos have the melody, it is sometimes excellent to double them in unison in the violas; their tone thereby gains in roundness and clarity without losing its preponderance. The theme of the Andante in Beethoven’s C-minor Symphony offers an example of this. (Example 29.)", "original": "the lower range of the viola and violoncello should be mentioned here: the Violotta and Cellone, constructed by Stelzner. Their practical achievements are still too unimportant to make it worth-while to introduce them into the orchestra. The fact that they are tuned differently, ie. have lower strings than the violas and violoncellos, makes their use for existing tasks illusory; otherwise, new parts would have to be composed for them. When the violoncellos have the melody, it is sometimes excellent to double them in unison in the violas; their tone thereby gains in roundness and clarity without losing its preponderance. The theme of the Andante in Beethoven’s C-minor Symphony offers an example of this. (Example 29.)", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89", "bbox_pdf": [ 291.97241765360434, 154.99111613289256, 525.460375684761, 299.8594452904873 ] } ] }, { "id": "berlioz-instrumentation-b00539", "reading_order": 531, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_label": "PDF 89" } ], "asset_refs": [ "p-089-m01" ] }, { "id": "berlioz-instrumentation-b00540", "reading_order": 532, "type": "heading", "english": "The Viola d’Amore", "original": "The Viola d’Amore", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 195.69799950588273, 76.70823019058977, 368.0022151627864, 105.7268861864434 ] } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00541", "reading_order": 533, "type": "paragraph", "english": "This instrument is somewhat larger than the viola. It has fallen into disuse almost everywhere. Were it not for M. Urban—the only player of the instrument in Paris—it would be known to us only in name.", "original": "This instrument is somewhat larger than the viola. It has fallen into disuse almost everywhere. Were it not for M. Urban—the only player of the instrument in Paris—it would be known to us only in name.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 39.139599901176545, 141.9439684758421, 271.2779165564305, 181.76026391201333 ] } ] }, { "id": "berlioz-instrumentation-b00542", "reading_order": 534, "type": "paragraph", "english": "It has seven gut strings; the lowest three are covered with silver wire, like the C and G on the viola. Below the fingerboard and passing below the bridge are seven more strings of metal. They are tuned in unison with the strings above; vibrating in sympathy with them, they lend the instrument a second resonance, full of sweetness and mystery. It was formerly tuned in’ several odd ways. M. Urban has adopted the following mode of tuning, in thirds and fourths, as the simplest and most rational:", "original": "It has seven gut strings; the lowest three are covered with silver wire, like the C and G on the viola. Below the fingerboard and passing below the bridge are seven more strings of metal. They are tuned in unison with the strings above; vibrating in sympathy with them, they lend the instrument a second resonance, full of sweetness and mystery. It was formerly tuned in’ several odd ways. M. Urban has adopted the following mode of tuning, in thirds and fourths, as the simplest and most rational:", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 38.46477921322523, 181.76026391201333, 271.0529763271134, 280.7386254482582 ] } ] }, { "id": "berlioz-instrumentation-b00543", "reading_order": 535, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m03" ] }, { "id": "berlioz-instrumentation-b00544", "reading_order": 536, "type": "paragraph", "english": "The range of the viola d’amore is at least three and a half octaves. It is written—like the viola—in two", "original": "The range of the viola d’amore is at least three and a half octaves. It is written—like the viola—in two", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 38.239838983908115, 352.04803591868915, 270.15321540984496, 370.0441016525519 ] } ] }, { "id": "berlioz-instrumentation-b00545", "reading_order": 537, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m05" ] }, { "id": "berlioz-instrumentation-b00546", "reading_order": 538, "type": "paragraph", "english": "As the arrangement of the strings indicates, the viola d’amore is appropriate mainly for chords of three, four or more tones, whether arpeggiated, struck simultaneously or sustained; and above all for melodies in double stops. For chords, a different system has to be used from the one for the violin, viola and violoncello, which are tuned in fifths. One must be careful to avoid greater intervals in chords than thirds and fourths—unless at least the lowest tone is played on an open string. Thus, the A of the second string can be combined with any tone over the entire length of the high D-string.", "original": "As the arrangement of the strings indicates, the viola d’amore is appropriate mainly for chords of three, four or more tones, whether arpeggiated, struck simultaneously or sustained; and above all for melodies in double stops. For chords, a different system has to be used from the one for the violin, viola and violoncello, which are tuned in fifths. One must be careful to avoid greater intervals in chords than thirds and fourths—unless at least the lowest tone is played on an open string. Thus, the A of the second string can be combined with any tone over the entire length of the high D-string.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 35.76549646141994, 442.4782662313493, 268.128753345991, 560.8023984314965 ] } ] }, { "id": "berlioz-instrumentation-b00547", "reading_order": 539, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m09" ] }, { "id": "berlioz-instrumentation-b00548", "reading_order": 540, "type": "paragraph", "english": "Needless to say, chords of minor", "original": "Needless to say, chords of minor", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 48.58708953249502, 638.860333552126, 200.19680409222485, 649.6579729924437 ] } ] }, { "id": "berlioz-instrumentation-b00549", "reading_order": 541, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m11" ] }, { "id": "berlioz-instrumentation-b00550", "reading_order": 542, "type": "paragraph", "english": "thirds and of seconds over the low- =| est tone of the instrument, such as aie impossible, as the tones can be played only on the D-string. Similar limitations on the lowest strings of the other stringed instruments are easily deterined. Harmonics on the viola d’amore have a wonderful effect. They are obtained in the same way as those on the violin and viola. Since the seven open strings of the viola d’amore form a perfect common chord, it is very easy to produce rather rapid arpeggios of its basic chord, D, in the higher octave:", "original": "thirds and of seconds over the low- =| est tone of the instrument, such as aie impossible, as the tones can be played only on the D-string. Similar limitations on the lowest strings of the other stringed instruments are easily deterined. Harmonics on the viola d’amore have a wonderful effect. They are obtained in the same way as those on the violin and viola. Since the seven open strings of the viola d’amore form a perfect common chord, it is very easy to produce rather rapid arpeggios of its basic chord, D, in the higher octave:", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 38.46477921322523, 646.733612310691, 272.17767747369896, 768.2070560142643 ] } ] }, { "id": "berlioz-instrumentation-b00551", "reading_order": 543, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m01" ] }, { "id": "berlioz-instrumentation-b00552", "reading_order": 544, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m02" ] }, { "id": "berlioz-instrumentation-b00553", "reading_order": 545, "type": "paragraph", "english": "Actual harmonies", "original": "Actual harmonies", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 386.22237373747197, 286.137445168417, 443.58213221333415, 292.2111173535957 ] } ] }, { "id": "berlioz-instrumentation-b00554", "reading_order": 546, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m04" ] }, { "id": "berlioz-instrumentation-b00555", "reading_order": 547, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m06" ] }, { "id": "berlioz-instrumentation-b00556", "reading_order": 548, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m07" ] }, { "id": "berlioz-instrumentation-b00557", "reading_order": 549, "type": "paragraph", "english": "Actual harmonics", "original": "Actual harmonics", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 388.0218955720088, 549.3299065261591, 445.381654047871, 555.4035787113378 ] } ] }, { "id": "berlioz-instrumentation-b00558", "reading_order": 550, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m08" ] }, { "id": "berlioz-instrumentation-b00559", "reading_order": 551, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25 } ], "asset_refs": [ "p-090-m10" ] }, { "id": "berlioz-instrumentation-b00560", "reading_order": 552, "type": "paragraph", "english": "These examples show that, if one wants to use these charming arpeggios on the viola d’amore, the keys of D, G, A, F¥ and B offer the best opportunities. But as those three chords (D, A, F#) are obviously not adequate in accompanying a modulating melody without interruption, this could easily be remedied by using several differently tuned violas d’amore, for instance in C or Db, according to the chords required by the composer for his piece. The extraordinary charm of these harmonics on open strings would well justify all possible devices to take full advantage of them. The viola d’amore has a weak and soft tone; it has something seraphic, similar both to the viola and to the harmonics of the violin. It is particularly suitable to the legato style, to dreamy melodies, to the expression of ecstatic or religious sentiments. Meyerbeer used it to advantage in Raoul’s Romance, in the first act of “Les Huguenots” (Example 30). But here-it serves only as a solo instrument. How beautiful would be the effect of a mass of", "original": "These examples show that, if one wants to use these charming arpeggios on the viola d’amore, the keys of D, G, A, F¥ and B offer the best opportunities. But as those three chords (D, A, F#) are obviously not adequate in accompanying a modulating melody without interruption, this could easily be remedied by using several differently tuned violas d’amore, for instance in C or Db, according to the chords required by the composer for his piece. The extraordinary charm of these harmonics on open strings would well justify all possible devices to take full advantage of them. The viola d’amore has a weak and soft tone; it has something seraphic, similar both to the viola and to the harmonics of the violin. It is particularly suitable to the legato style, to dreamy melodies, to the expression of ecstatic or religious sentiments. Meyerbeer used it to advantage in Raoul’s Romance, in the first act of “Les Huguenots” (Example 30). But here-it serves only as a solo instrument. How beautiful would be the effect of a mass of", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 25, "bbox_pdf": [ 294.6717004054096, 644.4841040939582, 529.0594193538346, 764.6078428674916 ] }, { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 38.91465967185944, 83.00685319744173, 270.8280360977963, 160.38993585305136 ] } ] }, { "id": "berlioz-instrumentation-b00562", "reading_order": 553, "type": "paragraph", "english": "No. 30. Les Huguenots, Act I", "original": "No. 30. Les Huguenots, Act I", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 181.526765058905, 202.23078868428215, 390.0463576358628, 219.32705113145173 ] } ] }, { "id": "berlioz-instrumentation-b00563", "reading_order": 554, "type": "paragraph", "english": "violas d’amore in an Andante, executing a beautiful prayer in several voices, or accompanying in sustained harmonies a melody of the viola, violoncello, the English or French oo the flute in the middle of its range—combined, aps, wi arp arpeggios! It would truly be a pity if this wonderful instrument were lost for practical use, especially since any violinist can learn to play it within a few weeks.", "original": "violas d’amore in an Andante, executing a beautiful prayer in several voices, or accompanying in sustained harmonies a melody of the viola, violoncello, the English or French oo the flute in the middle of its range—combined, aps, wi arp arpeggios! It would truly be a pity if this wonderful instrument were lost for practical use, especially since any violinist can learn to play it within a few weeks.", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 293.5469992588241, 81.43219744572873, 526.5850768313464, 161.0647883180712 ] } ] }, { "id": "berlioz-instrumentation-b00564", "reading_order": 555, "type": "paragraph", "english": "Ha, welch be. sau-bern-des", "original": "Ha, welch be. sau-bern-des", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 383.2981507563496, 312.0067896608446, 523.2109733915898, 320.7798717061027 ] } ] }, { "id": "berlioz-instrumentation-b00565", "reading_order": 556, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16 } ], "asset_refs": [ "p-091-m01" ] }, { "id": "berlioz-instrumentation-b00566", "reading_order": 557, "type": "paragraph", "english": "seigt sich hold mei-nem", "original": "seigt sich hold mei-nem", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 411.86555987962214, 416.38397091724835, 524.3356745381755, 425.83190542752624 ] } ] }, { "id": "berlioz-instrumentation-b00567", "reading_order": 558, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16 } ], "asset_refs": [ "p-091-m02" ] }, { "id": "berlioz-instrumentation-b00568", "reading_order": 559, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16 } ], "asset_refs": [ "p-091-m03" ] }, { "id": "berlioz-instrumentation-b00569", "reading_order": 560, "type": "heading", "english": "The Viola da Gamba", "original": "The Viola da Gamba", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 189.62461331432084, 572.7247919801806, 375.2003025009338, 605.7925627661533 ] } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00570", "reading_order": 561, "type": "paragraph", "english": "The viola da gamba (i.e. leg-viol) was in use-in Germany up to the second half of the 18th century. At first it had five strings, then six; at the end of the 17th century a low string (A) was added. This formerly popular instrument has a beautiful, sonorous tone. It was tuned in fourths, with one exception, and had the following range:", "original": "The viola da gamba (i.e. leg-viol) was in use-in Germany up to the second half of the 18th century. At first it had five strings, then six; at the end of the 17th century a low string (A) was added. This formerly popular instrument has a beautiful, sonorous tone. It was tuned in fourths, with one exception, and had the following range:", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 52.18613320156872, 617.4900054931641, 269.9282751805279, 689.0243667852683 ] } ] }, { "id": "berlioz-instrumentation-b00571", "reading_order": 562, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16 } ], "asset_refs": [ "p-091-m05" ] }, { "id": "berlioz-instrumentation-b00572", "reading_order": 563, "type": "paragraph", "english": "Its finger-board, like that of the lute, was furnished with frets marking the divisions between the tones.", "original": "Its finger-board, like that of the lute, was furnished with frets marking the divisions between the tones.", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 307.04341301785047, 618.3898087798572, 526.5850768313464, 646.9585631323642 ] } ] }, { "id": "berlioz-instrumentation-b00573", "reading_order": 564, "type": "paragraph", "english": "The viola da gamba is the ancestor of the modern violoncello. It was somewhat smaller than the violoncello, and was written, according to the", "original": "The viola da gamba is the ancestor of the modern violoncello. It was somewhat smaller than the violoncello, and was written, according to the", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 306.59353255921627, 648.308268062404, 527.2598975192979, 678.451678166624 ] } ] }, { "id": "berlioz-instrumentation-b00574", "reading_order": 565, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16 } ], "asset_refs": [ "p-091-m04" ] }, { "id": "berlioz-instrumentation-b00575", "reading_order": 566, "type": "paragraph", "english": "pitch, in the bass-clef — = the tenor-clef ==, the alto-clef ==", "original": "pitch, in the bass-clef — = the tenor-clef ==, the alto-clef ==", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 305.9187118712649, 685.2002028168225, 488.34523784743834, 722.9919408579342 ] } ] }, { "id": "berlioz-instrumentation-b00576", "reading_order": 567, "type": "paragraph", "english": "or the soprano-clef ==", "original": "or the soprano-clef ==", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 16, "bbox_pdf": [ 305.9187118712649, 736.2640393366579, 422.212810428209, 750.8858427454213 ] } ] }, { "id": "berlioz-instrumentation-section-06", "type": "heading", "heading_level": 2, "english": "The Violoncello", "original": "The Violoncello", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "reading_order": 568 }, { "id": "berlioz-instrumentation-b00577", "reading_order": 569, "type": "paragraph", "english": "Its four strings are tuned in fifths, exactly an octave lower than the four strings of the viola:", "original": "Its four strings are tuned in fifths, exactly an octave lower than the four strings of the viola:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 39.139599901176545, 140.3693127241291, 270.15321540984496, 159.7150833880315 ] } ] }, { "id": "berlioz-instrumentation-b00578", "reading_order": 570, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92" } ], "asset_refs": [ "p-092-m01" ] }, { "id": "berlioz-instrumentation-b00579", "reading_order": 571, "type": "paragraph", "english": "Its range may be three and a half octaves, even in the orchestra:", "original": "Its range may be three and a half octaves, even in the orchestra:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 38.91465967185944, 197.05691978579662, 269.25345449257657, 215.0529855196593 ] } ] }, { "id": "berlioz-instrumentation-b00580", "reading_order": 572, "type": "paragraph", "english": "Great virtuosos go still higher. However, these extremely high notes are attractive only at the end of slow phrases; they are usually employed not as natural tones but as harmonics, which are produced more easily and sound much better.", "original": "Great virtuosos go still higher. However, these extremely high notes are attractive only at the end of slow phrases; they are usually employed not as natural tones but as harmonics, which are produced more easily and sound much better.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 38.91465967185944, 264.99206793112836, 269.47839472189366, 314.03134705590423 ] } ] }, { "id": "berlioz-instrumentation-b00581", "reading_order": 573, "type": "paragraph", "english": "Before we proceed further, it is necessary to acquaint the reader with the double meaning of the G-clef in violoncello notation. If this clef occurs at the very beginning of a piece or directly after a bassclef, the notes indicate the octave above the actual sounds:", "original": "Before we proceed further, it is necessary to acquaint the reader with the double meaning of the G-clef in violoncello notation. If this clef occurs at the very beginning of a piece or directly after a bassclef, the notes indicate the octave above the actual sounds:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 38.239838983908115, 314.4812486992508, 268.80357403394237, 371.84370822593814 ] } ] }, { "id": "berlioz-instrumentation-b00582", "reading_order": 574, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92" } ], "asset_refs": [ "p-092-m03" ] }, { "id": "berlioz-instrumentation-b00583", "reading_order": 575, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92" } ], "asset_refs": [ "p-092-m05" ] }, { "id": "berlioz-instrumentation-b00584", "reading_order": 576, "type": "paragraph", "english": "The G-clef has its proper meaning only if it follows a tenor-clef (C-clef on the fourth line); only then does it indicate the actual tones, and not their higher octave:", "original": "The G-clef has its proper meaning only if it follows a tenor-clef (C-clef on the fourth line); only then does it indicate the actual tones, and not their higher octave:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 37.34007806663969, 463.3986926469646, 268.57863380462527, 502.9900372614626 ] } ] }, { "id": "berlioz-instrumentation-b00585", "reading_order": 577, "type": "paragraph", "english": "There is nothing to justify this practice; it frequently leads to eprors, since many violoncellists ignore it and always play the G-clef according to its usual meaning. To avoid misconceptions, we shall use it here only after the tenor-clef, when the continued use of that clef would lead us too far beyond the stave. The G-clef will thus always represent the actual pitch—as in the preceding example.", "original": "There is nothing to justify this practice; it frequently leads to eprors, since many violoncellists ignore it and always play the G-clef according to its usual meaning. To avoid misconceptions, we shall use it here only after the tenor-clef, when the continued use of that clef would lead us too far beyond the stave. The G-clef will thus always represent the actual pitch—as in the preceding example.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 292.6472383415557, 142.39387011918865, 524.1107343088582, 224.27596920826394 ] } ] }, { "id": "berlioz-instrumentation-b00586", "reading_order": 578, "type": "paragraph", "english": "What was said concerning double stops, arpeggios, trills and bowing on the violin, applies equally to the violoncello. But one must never forget that the violoncello strings, being longer than those of the violin, require wider stretches between the fingers of the left hand. Consequently, double-stop passages in tenths, possible on the violin and viola, cannot be executed on the violoncello. One can write tenths only if the lower note is on an open string:", "original": "What was said concerning double stops, arpeggios, trills and bowing on the violin, applies equally to the violoncello. But one must never forget that the violoncello strings, being longer than those of the violin, require wider stretches between the fingers of the left hand. Consequently, double-stop passages in tenths, possible on the violin and viola, cannot be executed on the violoncello. One can write tenths only if the lower note is on an open string:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 290.8477165070188, 220.90170688316468, 522.5361527036385, 312.2317404825179 ] } ] }, { "id": "berlioz-instrumentation-b00587", "reading_order": 579, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92" } ], "asset_refs": [ "p-092-m02" ] }, { "id": "berlioz-instrumentation-b00588", "reading_order": 580, "type": "paragraph", "english": "The following tenths would, therefore, be impossible:", "original": "The following tenths would, therefore, be impossible:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 290.8477165070188, 375.44292137271066, 522.5361527036385, 392.9890854632268 ] } ] }, { "id": "berlioz-instrumentation-b00589", "reading_order": 581, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92" } ], "asset_refs": [ "p-092-m04" ] }, { "id": "berlioz-instrumentation-b00590", "reading_order": 582, "type": "paragraph", "english": "Neither is the violoncello capable of the extreme agility of the violin and viola—because of the depth of its tone and the thickness of its strings. The natural and artificial harmonics, frequently employed on the violoncello in solos, are produced in the same fashion as on the violin and viola. The 1 of the violon-", "original": "Neither is the violoncello capable of the extreme agility of the violin and viola—because of the depth of its tone and the thickness of its strings. The natural and artificial harmonics, frequently employed on the violoncello in solos, are produced in the same fashion as on the violin and viola. The 1 of the violon-", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 289.49807513111614, 458.89967621349894, 519.8368699518333, 517.3868898485528 ] } ] }, { "id": "berlioz-instrumentation-b00591", "reading_order": 583, "type": "paragraph", "english": "monics, produced near the bridge, much more and beautiful than on the violin. Here is a list of those harmonics which sound best on each string:", "original": "monics, produced near the bridge, much more and beautiful than on the violin. Here is a list of those harmonics which sound best on each string:", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92", "bbox_pdf": [ 289.27313490179904, 527.5096768238506, 519.6119297225162, 558.5528902147637 ] } ] }, { "id": "berlioz-instrumentation-b00592", "reading_order": 584, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_label": "PDF 92" } ], "asset_refs": [ "p-092-m06" ] }, { "id": "berlioz-instrumentation-b00593", "reading_order": 585, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m01" ] }, { "id": "berlioz-instrumentation-b00594", "reading_order": 586, "type": "paragraph", "english": "The best way of producing artificial harmonics is by pressing down the first finger as an artificial, movable nut and then lightly touching the fourth:", "original": "The best way of producing artificial harmonics is by pressing down the first finger as an artificial, movable nut and then lightly touching the fourth:", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 38.239838983908115, 276.68951065813906, 269.70333495121076, 307.50777322737895 ] } ] }, { "id": "berlioz-instrumentation-b00595", "reading_order": 587, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m03" ] }, { "id": "berlioz-instrumentation-b00596", "reading_order": 588, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m05" ] }, { "id": "berlioz-instrumentation-b00597", "reading_order": 589, "type": "paragraph", "english": "This fingering is almost the only one practicable on the violoncello. The position of the touched fifth can be used only near the bridge where the distances and proportions are much smaller than on the lower part of the string, and the stretches of the left hand diminish similarly. In this case the fourth finger touches the interval of the fifth while the thumb serves as the nut:", "original": "This fingering is almost the only one practicable on the violoncello. The position of the touched fifth can be used only near the bridge where the distances and proportions are much smaller than on the lower part of the string, and the stretches of the left hand diminish similarly. In this case the fourth finger touches the interval of the fifth while the thumb serves as the nut:", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 38.689719442542334, 388.4900690297611, 269.25345449257657, 454.17570895836 ] } ] }, { "id": "berlioz-instrumentation-b00598", "reading_order": 590, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m08" ] }, { "id": "berlioz-instrumentation-b00599", "reading_order": 591, "type": "paragraph", "english": "The sign O indicates the thumb", "original": "The sign O indicates the thumb", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 88.17656989230578, 506.3642995865619, 188.94979262636951, 514.6874799884733 ] } ] }, { "id": "berlioz-instrumentation-b00600", "reading_order": 592, "type": "paragraph", "english": "Scales in natural and artificial harmonics:", "original": "Scales in natural and artificial harmonics:", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 39.58948035981076, 527.959578467197, 223.59058794120395, 536.9576113341284 ] } ] }, { "id": "berlioz-instrumentation-b00601", "reading_order": 593, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m09" ] }, { "id": "berlioz-instrumentation-b00602", "reading_order": 594, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m10" ] }, { "id": "berlioz-instrumentation-b00603", "reading_order": 595, "type": "paragraph", "english": "On the violoncello chords in harmonics would doubtless have a charming orchestral effect in slow and tender pieces. Nevertheless, it is easier and less dangerous to obtain the same result by means of divided violins playing high on the E-strings with mutes. The two sounds are so similar that it is almost impossible to distinguish them.", "original": "On the violoncello chords in harmonics would doubtless have a charming orchestral effect in slow and tender pieces. Nevertheless, it is easier and less dangerous to obtain the same result by means of divided violins playing high on the E-strings with mutes. The two sounds are so similar that it is almost impossible to distinguish them.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 38.91465967185944, 676.4271207715644, 270.6030958684792, 744.5872197385694 ] } ] }, { "id": "berlioz-instrumentation-b00604", "reading_order": 596, "type": "paragraph", "english": "The following passage, written in harmonics for the violoncello,", "original": "The following passage, written in harmonics for the violoncello,", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 294.2218199467754, 271.96554340300014, 527.9347182072491, 293.1109206402888 ] } ] }, { "id": "berlioz-instrumentation-b00605", "reading_order": 597, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m02" ] }, { "id": "berlioz-instrumentation-b00606", "reading_order": 598, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m04" ] }, { "id": "berlioz-instrumentation-b00607", "reading_order": 599, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m06" ] }, { "id": "berlioz-instrumentation-b00608", "reading_order": 600, "type": "paragraph", "english": "can be precisely and much more easily executed by natural tones on the violins:", "original": "can be precisely and much more easily executed by natural tones on the violins:", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 293.5469992588241, 397.4881018966925, 527.709777977932, 415.70911845222855 ] } ] }, { "id": "berlioz-instrumentation-b00609", "reading_order": 601, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m07" ] }, { "id": "berlioz-instrumentation-b00610", "reading_order": 602, "type": "paragraph", "english": "In the orchestra the violoncellos usually take the part of the double-basses, doubling it in the higher octave or in unison. But it is frequently advisable to separate the violoncellos from the double-basses. In such cases the violoncellos may play a melody or a melodious phrase on the high strings. The violoncello part may sometimes be written below the doublebasses to take advantage of the peculiar sound of an open string or for some other special harmonic effect. Finally, the violoncello part maybe similar to that of the double-basses, but in more rapid motion—such as the double-basses could not execute well:", "original": "In the orchestra the violoncellos usually take the part of the double-basses, doubling it in the higher octave or in unison. But it is frequently advisable to separate the violoncellos from the double-basses. In such cases the violoncellos may play a melody or a melodious phrase on the high strings. The violoncello part may sometimes be written below the doublebasses to take advantage of the peculiar sound of an open string or for some other special harmonic effect. Finally, the violoncello part maybe similar to that of the double-basses, but in more rapid motion—such as the double-basses could not execute well:", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78, "bbox_pdf": [ 292.6472383415557, 517.611840670226, 526.1351963727122, 633.4615138319673 ] } ] }, { "id": "berlioz-instrumentation-b00611", "reading_order": 603, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "p-093-m11" ] }, { "id": "berlioz-instrumentation-b00612", "reading_order": 604, "type": "paragraph", "english": "Here the violoncello part has a more excited and restless motion, but nevertheless plays approximately the same notes as the double-basses and follows their lead almost throughout.", "original": "Here the violoncello part has a more excited and restless motion, but nevertheless plays approximately the same notes as the double-basses and follows their lead almost throughout.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79, "bbox_pdf": [ 35.540556232102844, 81.8820990890753, 268.57863380462527, 121.24849288189996 ] } ] }, { "id": "berlioz-instrumentation-b00613", "reading_order": 605, "type": "paragraph", "english": "Immediately after this passage, however, the violoncellos separate completely from the double-basses and go below them. This results in the tremendous col-", "original": "Immediately after this passage, however, the violoncellos separate completely from the double-basses and go below them. This results in the tremendous col-", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79, "bbox_pdf": [ 36.215376920054155, 121.47344370357325, 267.9038131166739, 150.94200134277344 ] } ] }, { "id": "berlioz-instrumentation-b00614", "reading_order": 606, "type": "paragraph", "english": "lision of the minor second below, and at the same time the rough vibration of the C, the lowest open string of the violoncello— while the double-basse: drone a B with full power on their first string against the higher octave of the C in the violoneellos. (Example 31.)", "original": "lision of the minor second below, and at the same time the rough vibration of the C, the lowest open string of the violoncello— while the double-basse: drone a B with full power on their first string against the higher octave of the C in the violoneellos. (Example 31.)", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79, "bbox_pdf": [ 292.42229811223854, 84.58150894915471, 525.0104952261267, 143.2936734058818 ] } ] }, { "id": "berlioz-instrumentation-b00615", "reading_order": 607, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 } ], "asset_refs": [ "p-094-m01" ] }, { "id": "berlioz-instrumentation-b00616", "reading_order": 608, "type": "paragraph", "english": "Otherwise one should never separate the violoncellos from the double-basses without sufficient reason, that is, without being sure of producing a distinct effect thereby; nor should the violoncellos be written two octaves above the double-basses, as some composers have done. This procedure can only result in weakening the sonority of the fundamental tones of the harmony. The bass part, thus forsaken by the violoncellos, becomes dull, rough and extremely heavy, and combines very poorly with the upper parts because the double-basses are too far removed from them by their low pitch.", "original": "Otherwise one should never separate the violoncellos from the double-basses without sufficient reason, that is, without being sure of producing a distinct effect thereby; nor should the violoncellos be written two octaves above the double-basses, as some composers have done. This procedure can only result in weakening the sonority of the fundamental tones of the harmony. The bass part, thus forsaken by the violoncellos, becomes dull, rough and extremely heavy, and combines very poorly with the upper parts because the double-basses are too far removed from them by their low pitch.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80, "bbox_pdf": [ 39.139599901176545, 80.30744333736232, 268.57863380462527, 203.1305919709753 ] } ] }, { "id": "berlioz-instrumentation-b00617", "reading_order": 609, "type": "paragraph", "english": "This chapter has undergone great changes. The use of low horns, the introduction of the bass clarinet, the frequent employment of the tuba as a melodic element—all these are supplementing the double-bass to a great extent. Bassoons are also used for doubling the basses; I personally prefer them for inner parts. They should take the bass part of a wood-wind group only if supported by the double bassoon.", "original": "This chapter has undergone great changes. The use of low horns, the introduction of the bass clarinet, the frequent employment of the tuba as a melodic element—all these are supplementing the double-bass to a great extent. Bassoons are also used for doubling the basses; I personally prefer them for inner parts. They should take the bass part of a wood-wind group only if supported by the double bassoon.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80, "bbox_pdf": [ 52.18613320156872, 199.75632964587604, 269.70333495121076, 291.3113140669025 ] } ] }, { "id": "berlioz-instrumentation-b00618", "reading_order": 610, "type": "paragraph", "english": "No. 32. Freischuetz, Act II", "original": "No. 32. Freischuetz, Act II", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80, "bbox_pdf": [ 186.02556964524715, 357.446855638848, 371.376318602543, 372.518560690958 ] } ] }, { "id": "berlioz-instrumentation-b00619", "reading_order": 611, "type": "paragraph", "english": "§ The string quartet, when it is not weighted down by wind instruments, gains in clarity by using only the violoncellos as the bass, reinforced occasionally by a pizzicato in the double-basses, unless one prefers to omit the double-basses altogether for long stretches, as Wagner deliberately did in “Meistersinger” for the first time.", "original": "§ The string quartet, when it is not weighted down by wind instruments, gains in clarity by using only the violoncellos as the bass, reinforced occasionally by a pizzicato in the double-basses, unless one prefers to omit the double-basses altogether for long stretches, as Wagner deliberately did in “Meistersinger” for the first time.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80, "bbox_pdf": [ 290.8477165070188, 75.80842690389665, 524.3356745381755, 148.46754230436733 ] } ] }, { "id": "berlioz-instrumentation-b00620", "reading_order": 612, "type": "paragraph", "english": "A melody in the violoncellos and double-basses is greatly intensified if the violoncellos are written an octave lower than the double-basses so that they play in unison; also if a number of violoncellos are $ supported by only one desk of double-basses.", "original": "A melody in the violoncellos and double-basses is greatly intensified if the violoncellos are written an octave lower than the double-basses so that they play in unison; also if a number of violoncellos are $ supported by only one desk of double-basses.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80, "bbox_pdf": [ 296.0213417813123, 146.2180340876345, 524.5606147674926, 198.40662471583633 ] } ] }, { "id": "berlioz-instrumentation-b00621", "reading_order": 613, "type": "paragraph", "english": "When a very soft harmony is to be produced by string instruments, it is frequently better to give the bass part to the violoncellos alone and to let the double-basses rest. Weber did so in the accompaniment to the Adagio of Agathe’s wonderful aria in the second act of “Freischuetz”. In this example it is notable that in the beginning the violas alone supply the bass below a four-part harmony in the violins; the violoncellos enter a little later, doubling the violas. (Example 32.)", "original": "When a very soft harmony is to be produced by string instruments, it is frequently better to give the bass part to the violoncellos alone and to let the double-basses rest. Weber did so in the accompaniment to the Adagio of Agathe’s wonderful aria in the second act of “Freischuetz”. In this example it is notable that in the beginning the violas alone supply the bass below a four-part harmony in the violins; the violoncellos enter a little later, doubling the violas. (Example 32.)", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80, "bbox_pdf": [ 293.7719394881412, 196.1571164991035, 525.460375684761, 298.95964200379416 ] } ] }, { "id": "berlioz-instrumentation-b00622", "reading_order": 614, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "asset_refs": [ "p-095-m01" ] }, { "id": "berlioz-instrumentation-b00623", "reading_order": 615, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 96, "source_image": "source-pages/p-096.jpg", "printed_page": 81 } ], "asset_refs": [ "p-096-m01" ] }, { "id": "berlioz-instrumentation-b00624", "reading_order": 616, "type": "paragraph", "english": "Violoncellos, in a group of eight or ten, are essentially melodic instruments; their tone on the upper strings is one of the most expressive in the entire orchestra. Nothing is so melancholy, nothing so suitable to rendering tender, languishing melodies, as a mass of violoncellos playing unisono on the highest string. They are equally excellent for melodious passages of a religious character. Composers ought to select the appropriate strings on which such passages should be played. The lower strings, C and G, have", "original": "Violoncellos, in a group of eight or ten, are essentially melodic instruments; their tone on the upper strings is one of the most expressive in the entire orchestra. Nothing is so melancholy, nothing so suitable to rendering tender, languishing melodies, as a mass of violoncellos playing unisono on the highest string. They are equally excellent for melodious passages of a religious character. Composers ought to select the appropriate strings on which such passages should be played. The lower strings, C and G, have", "sources": [ { "pdf_page": 97, "source_image": "source-pages/p-097.jpg", "printed_page": 82, "bbox_pdf": [ 38.01489875459101, 75.80842690389665, 268.35369357530817, 175.2366900834881 ] } ] }, { "id": "berlioz-instrumentation-b00625", "reading_order": 617, "type": "paragraph", "english": "a particularly suitable timbre, full of dignity and seriousness, especially in keys permitting the use of open strings; but their depth of pitch limits them to more or less melodic basses, actual melodies being reserved for the upper strings (as mentioned above). In his Overture to “Oberon”, Weber, with rare felicity, lets the violoncellos sing high notes while two A-clarinets play unisono below them. The effect is both novel and touching. (Example 33.)", "original": "a particularly suitable timbre, full of dignity and seriousness, especially in keys permitting the use of open strings; but their depth of pitch limits them to more or less melodic basses, actual melodies being reserved for the upper strings (as mentioned above). In his Overture to “Oberon”, Weber, with rare felicity, lets the violoncellos sing high notes while two A-clarinets play unisono below them. The effect is both novel and touching. (Example 33.)", "sources": [ { "pdf_page": 97, "source_image": "source-pages/p-097.jpg", "printed_page": 82, "bbox_pdf": [ 292.6472383415557, 74.68367279553023, 524.3356745381755, 163.31429653480404 ] } ] }, { "id": "berlioz-instrumentation-b00626", "reading_order": 618, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 97, "source_image": "source-pages/p-097.jpg", "printed_page": 82 } ], "asset_refs": [ "p-097-m01" ] }, { "id": "berlioz-instrumentation-b00627", "reading_order": 619, "type": "paragraph", "english": "The versatility of this instrument is shown by the | ple 34); in the introduction to the third act of", "original": "The versatility of this instrument is shown by the | ple 34); in the introduction to the third act of", "sources": [ { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 88, "bbox_pdf": [ 58.2595193931306, 65.23573828525231, 523.6608538502242, 93.57954181608608 ] } ] }, { "id": "berlioz-instrumentation-b00628", "reading_order": 620, "type": "paragraph", "english": "following excerpts from Wagner’s works: in “Meis- “‘Tannhaeuser” they express profound contrition tersinger” the violoncellos, unisono with the violins, (Example 35). intensify the noble ardor of the Prize Song (Exam-", "original": "following excerpts from Wagner’s works: in “Meis- “‘Tannhaeuser” they express profound contrition tersinger” the violoncellos, unisono with the violins, (Example 35). intensify the noble ardor of the Prize Song (Exam-", "sources": [ { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 88, "bbox_pdf": [ 47.46238838590949, 75.13357443887679, 523.435913620907, 105.27698454309682 ] } ] }, { "id": "berlioz-instrumentation-b00629", "reading_order": 621, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 88 } ], "asset_refs": [ "p-098-m01" ] }, { "id": "berlioz-instrumentation-b00630", "reading_order": 622, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 99, "source_image": "source-pages/p-099.jpg", "printed_page": 84 } ], "asset_refs": [ "p-099-m01" ] }, { "id": "berlioz-instrumentation-b00631", "reading_order": 623, "type": "paragraph", "english": "The violoncellos interpret with equal eloquence the ecstasy of the dying Tristan (Example 36) and the mature wisdom of Hans Sachs (Example 37).", "original": "The violoncellos interpret with equal eloquence the ecstasy of the dying Tristan (Example 36) and the mature wisdom of Hans Sachs (Example 37).", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_label": "PDF 100", "bbox_pdf": [ 48.58708953249502, 69.28485307537142, 269.9282751805279, 90.43023031266009 ] }, { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_label": "PDF 100", "bbox_pdf": [ 296.4712222399464, 69.05990225369813, 526.5850768313464, 85.93121387919442 ] } ] }, { "id": "berlioz-instrumentation-b00633", "reading_order": 624, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_label": "PDF 100" } ], "asset_refs": [ "p-100-m01" ] }, { "id": "berlioz-instrumentation-b00634", "reading_order": 625, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 101, "source_image": "source-pages/p-101.jpg", "printed_label": "PDF 101" } ], "asset_refs": [ "p-101-m01" ] }, { "id": "berlioz-instrumentation-b00635", "reading_order": 626, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 102, "source_image": "source-pages/p-102.jpg", "printed_page": 87 } ], "asset_refs": [ "p-102-m01" ] }, { "id": "berlioz-instrumentation-b00636", "reading_order": 627, "type": "paragraph", "english": "No. 37. Meistersinger, conclusion", "original": "No. 37. Meistersinger, conclusion", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88, "bbox_pdf": [ 165.33106854807335, 94.92924674612577, 398.81902657922996, 112.47541083664191 ] } ] }, { "id": "berlioz-instrumentation-b00637", "reading_order": 628, "type": "paragraph", "english": "A In das friihere ZeitmaB surtickkehrend.", "original": "A In das friihere ZeitmaB surtickkehrend.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88, "bbox_pdf": [ 93.80007562523345, 163.53924735647735, 262.0553671544291, 176.13649337018123 ] } ] }, { "id": "berlioz-instrumentation-b00638", "reading_order": 629, "type": "paragraph", "english": "‘Wagner.", "original": "‘Wagner.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88, "bbox_pdf": [ 491.49440105787784, 155.6659685979124, 528.8344791245175, 165.1139031081903 ] } ] }, { "id": "berlioz-instrumentation-b00639", "reading_order": 630, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "asset_refs": [ "p-103-m01" ] }, { "id": "berlioz-instrumentation-b00640", "reading_order": 631, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_label": "PDF 104" } ], "asset_refs": [ "p-104-m01" ] }, { "id": "berlioz-instrumentation-b00641", "reading_order": 632, "type": "paragraph", "english": "Violoncellos are able to express a complete gamut of moods, both in man and in nature. See the beginning of “Walkuere”—storm (cf. Example 3, p. 11); in the first act of the same work the violoncello solo (quoted by Gevaert) —first stirring", "original": "Violoncellos are able to express a complete gamut of moods, both in man and in nature. See the beginning of “Walkuere”—storm (cf. Example 3, p. 11); in the first act of the same work the violoncello solo (quoted by Gevaert) —first stirring", "sources": [ { "pdf_page": 105, "source_image": "source-pages/p-105.jpg", "printed_page": 90, "bbox_pdf": [ 42.96358379956735, 84.13160730580815, 264.7546499062344, 134.9704930039703 ] } ] }, { "id": "berlioz-instrumentation-b00642", "reading_order": 633, "type": "paragraph", "english": "of love; the Prelude to “Tristan”—yearning (Example 38); Kurwenal’s derisive song in the first act of “Tristan” where the violoncellos are combined with violas and French horns—roughness (Example 39).", "original": "of love; the Prelude to “Tristan”—yearning (Example 38); Kurwenal’s derisive song in the first act of “Tristan” where the violoncellos are combined with violas and French horns—roughness (Example 39).", "sources": [ { "pdf_page": 105, "source_image": "source-pages/p-105.jpg", "printed_page": 90, "bbox_pdf": [ 301.6448475142399, 85.70626305752113, 525.685315914078, 135.19544382564357 ] } ] }, { "id": "berlioz-instrumentation-b00643", "reading_order": 634, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 105, "source_image": "source-pages/p-105.jpg", "printed_page": 90 } ], "asset_refs": [ "p-105-m01" ] }, { "id": "berlioz-instrumentation-b00644", "reading_order": 635, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 106, "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106" } ], "asset_refs": [ "p-106-m01" ] }, { "id": "berlioz-instrumentation-b00645", "reading_order": 636, "type": "paragraph", "english": "No. 39. Tristan, Act I", "original": "No. 39. Tristan, Act I", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_label": "PDF 107", "bbox_pdf": [ 204.47066844924987, 83.45675484078829, 358.32978530215075, 97.85360742787846 ] } ] }, { "id": "berlioz-instrumentation-b00646", "reading_order": 637, "type": "paragraph", "english": "Kurw. i aw IT ——— —_ a = 55> SSE wel eee +t 1) ne sear =: + rs —j— t t =|", "original": "Kurw. i aw IT ——— —_ a = 55> SSE wel eee +t 1) ne sear =: + rs —j— t t =|", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_label": "PDF 107", "bbox_pdf": [ 38.01489875459101, 639.7601368388191, 524.1107343088582, 655.0567927126024 ] } ] }, { "id": "berlioz-instrumentation-b00647", "reading_order": 638, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_label": "PDF 107" } ], "asset_refs": [ "p-107-m01" ] }, { "id": "berlioz-instrumentation-b00648", "reading_order": 639, "type": "paragraph", "english": "ae lf t fis “an AS ers tate lll Si ee 5 a", "original": "ae lf t fis “an AS ers tate lll Si ee 5 a", "sources": [ { "pdf_page": 108, "source_image": "source-pages/p-108.jpg", "printed_label": "PDF 108", "bbox_pdf": [ 319.64006585960846, 229.2248872850762, 340.3345669567822, 698.0223996521997 ] } ] }, { "id": "berlioz-instrumentation-b00649", "reading_order": 640, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 108, "source_image": "source-pages/p-108.jpg", "printed_label": "PDF 108" } ], "asset_refs": [ "p-108-m01" ] }, { "id": "berlioz-instrumentation-b00650", "reading_order": 641, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 109, "source_image": "source-pages/p-109.jpg", "printed_page": 94 } ], "asset_refs": [ "p-109-m01" ] }, { "id": "berlioz-instrumentation-b00651", "reading_order": 642, "type": "paragraph", "english": "Although our present vieluncellists are very skillful and can master all kinds of difficulties without trouble. fast passages on low notes seldom fail to produce some confusion. As for notes in high positions requiring the use of the thumb, there even less is to be expected; they are not wery sonorous and are always of doubtful precision. Violas or second violins are obviously more appropriate for passages in these high ranges. In modern, well-staffed orchestras, containing a great number of violoncellos, these are frequently", "original": "Although our present vieluncellists are very skillful and can master all kinds of difficulties without trouble. fast passages on low notes seldom fail to produce some confusion. As for notes in high positions requiring the use of the thumb, there even less is to be expected; they are not wery sonorous and are always of doubtful precision. Violas or second violins are obviously more appropriate for passages in these high ranges. In modern, well-staffed orchestras, containing a great number of violoncellos, these are frequently", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95, "bbox_pdf": [ 41.61394242366472, 82.33200073242188, 272.40261770301606, 177.93609994356748 ] } ] }, { "id": "berlioz-instrumentation-b00652", "reading_order": 643, "type": "paragraph", "english": "No. 40. Roméo et Juliette, Part III (Scéne d’amour)", "original": "No. 40. Roméo et Juliette, Part III (Scéne d’amour)", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95, "bbox_pdf": [ 95.14971700113608, 229.89973975009605, 452.57974138601844, 247.4459038406122 ] } ] }, { "id": "berlioz-instrumentation-b00653", "reading_order": 644, "type": "paragraph", "english": "divided into two groups. The first violoncellos execute a separate melodic or harmonic part, the second ones double the basses in the octave or in unison.", "original": "divided into two groups. The first violoncellos execute a separate melodic or harmonic part, the second ones double the basses in the octave or in unison.", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95, "bbox_pdf": [ 297.1460429278978, 83.90665648413487, 527.4848377486148, 110.00095179823579 ] } ] }, { "id": "berlioz-instrumentation-b00654", "reading_order": 645, "type": "paragraph", "english": "For accompaniments of a melancholy, veiled and mysterious character, two different violoncello parts are sometimes placed above the double-basses, leaving the bass part to them alone; this, together with the violas, produces a quartet of low harmonies. This arrangement is seldom well-contrived. One should guard against misusing it. (Example 40.)", "original": "For accompaniments of a melancholy, veiled and mysterious character, two different violoncello parts are sometimes placed above the double-basses, leaving the bass part to them alone; this, together with the violas, produces a quartet of low harmonies. This arrangement is seldom well-contrived. One should guard against misusing it. (Example 40.)", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95, "bbox_pdf": [ 296.0213417813123, 112.02550919329533, 527.4848377486148, 177.93609994356748 ] } ] }, { "id": "berlioz-instrumentation-b00655", "reading_order": 646, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95 } ], "asset_refs": [ "p-110-m01" ] }, { "id": "berlioz-instrumentation-b00656", "reading_order": 647, "type": "paragraph", "english": "The tremolo on two strings as well as arpeggios in forte are well suited for the violoncello. They add greatly to the richness of harmony and increase the general sonority of the orchestra.", "original": "The tremolo on two strings as well as arpeggios in forte are well suited for the violoncello. They add greatly to the richness of harmony and increase the general sonority of the orchestra.", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 43.86334471683578, 88.40567291760054, 273.5273188496016, 129.1217716404649 ] } ] }, { "id": "berlioz-instrumentation-b00657", "reading_order": 648, "type": "paragraph", "english": "In the introduction of the overture to “Guillaume Tell”, Rossini wrote a quintet for five solo violoncellos, which is accompanied pizzicato by the rest of the violoncellos, divided into two groups. The deep tones, of uniform character are very effective here; they enhance the brilliance of the orchestration in the en-", "original": "In the introduction of the overture to “Guillaume Tell”, Rossini wrote a quintet for five solo violoncellos, which is accompanied pizzicato by the rest of the violoncellos, divided into two groups. The deep tones, of uniform character are very effective here; they enhance the brilliance of the orchestration in the en-", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 43.41346425820157, 128.44691917544506, 277.3513027479924, 186.03432952380572 ] } ] }, { "id": "berlioz-instrumentation-b00658", "reading_order": 649, "type": "paragraph", "english": "The pizzicato on the violoncello cannot have much rapidity. The method proposed for the pizzicato on the violins would not be suitable on the violoncello— because of the thickness and tension of its strings and their too great distance from the finger-board. According to the procedure generally in use for pizzicato, one should not exceed the speed of eight eighths in an alla-breve (Allegro non troppo) or of twelve sixteenths in 6-8 time (Andantino).", "original": "The pizzicato on the violoncello cannot have much rapidity. The method proposed for the pizzicato on the violins would not be suitable on the violoncello— because of the thickness and tension of its strings and their too great distance from the finger-board. According to the procedure generally in use for pizzicato, one should not exceed the speed of eight eighths in an alla-breve (Allegro non troppo) or of twelve sixteenths in 6-8 time (Andantino).", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 297.3709831572149, 97.62865660620517, 529.0594193538346, 186.93413281049885 ] } ] }, { "id": "berlioz-instrumentation-b00659", "reading_order": 650, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m01" ] }, { "id": "berlioz-instrumentation-b00660", "reading_order": 651, "type": "heading", "english": "The Double-Bass", "original": "The Double-Bass", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 203.57090753198145, 351.14823263199605, 355.4055623210284, 368.01954425749227 ] } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b00661", "reading_order": 652, "type": "paragraph", "english": "There are two kinds of double-basses: those with three, and those with four strings. Those with three strings are tuned in fifths:", "original": "There are two kinds of double-basses: those with three, and those with four strings. Those with three strings are tuned in fifths:", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 39.81442058912786, 440.9036104796363, 269.02851426325947, 472.6216763355693 ] } ] }, { "id": "berlioz-instrumentation-b00662", "reading_order": 653, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m02" ] }, { "id": "berlioz-instrumentation-b00663", "reading_order": 654, "type": "paragraph", "english": "those with four strings are tuned in fourths:", "original": "those with four strings are tuned in fourths:", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 41.1640619650305, 516.2621357401863, 230.1138545914, 525.9350210721375 ] } ] }, { "id": "berlioz-instrumentation-b00664", "reading_order": 655, "type": "paragraph", "english": "bad fourth string", "original": "bad fourth string", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 135.86389850753238, 559.4526935014568, 199.97186386290775, 569.3505296550813 ] } ] }, { "id": "berlioz-instrumentation-b00665", "reading_order": 656, "type": "paragraph", "english": "The actual sound of both is an octave below the written notes. Their range in the orchestra is two octaves and a fourth; but the double-bass with three strings has three toncs Iess in the low range.", "original": "The actual sound of both is an octave below the written notes. Their range in the orchestra is two octaves and a fourth; but the double-bass with three strings has three toncs Iess in the low range.", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 40.714181506396294, 586.2218412805776, 270.15321540984496, 626.0381367167488 ] } ] }, { "id": "berlioz-instrumentation-b00666", "reading_order": 657, "type": "paragraph", "english": "Double-bass with four strings", "original": "Double-bass with four strings", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 38.689719442542334, 637.9605302654328, 166.90565015329307, 647.1835139540375 ] } ] }, { "id": "berlioz-instrumentation-b00667", "reading_order": 658, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m05" ] }, { "id": "berlioz-instrumentation-b00668", "reading_order": 659, "type": "paragraph", "english": "Double-bass with three strings", "original": "Double-bass with three strings", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 39.364540130493644, 698.9222029388927, 170.7296340516839, 714.4438096343495 ] } ] }, { "id": "berlioz-instrumentation-b00669", "reading_order": 660, "type": "paragraph", "english": "uding the ch tic intervals", "original": "uding the ch tic intervals", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 63.65808489674116, 708.3701374491708, 160.15744327377988, 716.9182686727555 ] } ] }, { "id": "berlioz-instrumentation-b00670", "reading_order": 661, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m06" ] }, { "id": "berlioz-instrumentation-b00671", "reading_order": 662, "type": "paragraph", "english": "The four-stringed double-bass appears preferable to me; tuning in fourths makes for greater facility of execution because the player is not compelled to shift on the finger-board when playing scales. Furthermore, the three low notes E, F and F%, missing on the threestringed double-bass, are extremely useful; their absence frequently spoils the form of the best-designed bass part by requiring unpleasant and difficult transposition to the higher octave. This deficiency is still more apparent in the English double-basses, which, although ‘tuned in fourths, have only three strings—A, D, G: Bee] A good orchestra should", "original": "The four-stringed double-bass appears preferable to me; tuning in fourths makes for greater facility of execution because the player is not compelled to shift on the finger-board when playing scales. Furthermore, the three low notes E, F and F%, missing on the threestringed double-bass, are extremely useful; their absence frequently spoils the form of the best-designed bass part by requiring unpleasant and difficult transposition to the higher octave. This deficiency is still more apparent in the English double-basses, which, although ‘tuned in fourths, have only three strings—A, D, G: Bee] A good orchestra should", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 291.52253719497014, 440.22875801461646, 523.6608538502242, 560.35249678815 ] } ] }, { "id": "berlioz-instrumentation-b00672", "reading_order": 663, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m03" ] }, { "id": "berlioz-instrumentation-b00673", "reading_order": 664, "type": "paragraph", "english": "have several four- string double-basses,", "original": "have several four- string double-basses,", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 291.52253719497014, 560.5774476098233, 522.9860331622727, 570.2503329417744 ] } ] }, { "id": "berlioz-instrumentation-b00674", "reading_order": 665, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m04" ] }, { "id": "berlioz-instrumentation-b00675", "reading_order": 666, "type": "paragraph", "english": "some of them tuned in fifths and thirds:", "original": "some of them tuned in fifths and thirds:", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 291.74747742428724, 570.700234585121, 470.35001950206987, 578.1236117003394 ] } ] }, { "id": "berlioz-instrumentation-b00676", "reading_order": 667, "type": "paragraph", "english": "Together with the other double-basses = tuned in fourths, a combination of open", "original": "Together with the other double-basses = tuned in fourths, a combination of open", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 291.52253719497014, 573.6245952668737, 495.09344472695153, 600.1687922243212 ] } ] }, { "id": "berlioz-instrumentation-b00677", "reading_order": 668, "type": "paragraph", "english": "strings would be available which would greatly increase the sonority of the orchestra:", "original": "strings would be available which would greatly increase the sonority of the orchestra:", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 291.52253719497014, 600.3937430459945, 522.3112124743215, 620.4143661749167 ] } ] }, { "id": "berlioz-instrumentation-b00678", "reading_order": 669, "type": "paragraph", "english": "Double-bass tuned in a third and fifths", "original": "Double-bass tuned in a third and fifths", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96, "bbox_pdf": [ 291.07265673633594, 632.5617105452741, 470.5749597313869, 640.434989303839 ] } ] }, { "id": "berlioz-instrumentation-b00679", "reading_order": 670, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "p-111-m07" ] }, { "id": "berlioz-instrumentation-b00680", "reading_order": 671, "type": "paragraph", "english": "In order to extend their lower range, double-basses with five strings have already been used for many years, i.e. a new string was added to the", "original": "In order to extend their lower range, double-basses with five strings have already been used for many years, i.e. a new string was added to the", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 50.61155159634898, 87.5058696309074, 269.25345449257657, 118.099181378474 ] } ] }, { "id": "berlioz-instrumentation-b00681", "reading_order": 672, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "asset_refs": [ "p-112-m01" ] }, { "id": "berlioz-instrumentation-b00682", "reading_order": 673, "type": "paragraph", "english": "old four-string double- bass. The addition of this low range is doubtless a gain in sonority; but this is counter-balanced by the increased difficulty in pressing down the strings, since with five strings the middle ones are placed very high above the finger-board. Therefore, a four-stringed double-bass with a lever device which easily changes the low E to C is definitely preferable to the five-stringed one.", "original": "old four-string double- bass. The addition of this low range is doubtless a gain in sonority; but this is counter-balanced by the increased difficulty in pressing down the strings, since with five strings the middle ones are placed very high above the finger-board. Therefore, a four-stringed double-bass with a lever device which easily changes the low E to C is definitely preferable to the five-stringed one.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 49.93673090839766, 118.099181378474, 269.02851426325947, 209.20426415615395 ] } ] }, { "id": "berlioz-instrumentation-b00683", "reading_order": 674, "type": "paragraph", "english": "The device invented by Max Poike and produced by Ludwig Glaesel in Markneukirchen is most satisfactory. It sufficiently extends the E-string and part of the fingerboard to produce the low C", "original": "The device invented by Max Poike and produced by Ludwig Glaesel in Markneukirchen is most satisfactory. It sufficiently extends the E-string and part of the fingerboard to produce the low C", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 49.93673090839766, 209.20426415615395, 268.128753345991, 249.69541205734504 ] } ] }, { "id": "berlioz-instrumentation-b00684", "reading_order": 675, "type": "paragraph", "english": "To make the tones below E easily play-", "original": "To make the tones below E easily play-", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 95.3746572304532, 249.69541205734504, 267.2289924287226, 259.5932482109695 ] } ] }, { "id": "berlioz-instrumentation-b00685", "reading_order": 676, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "asset_refs": [ "p-112-m02" ] }, { "id": "berlioz-instrumentation-b00686", "reading_order": 677, "type": "paragraph", "english": "== able, a mechanism of four little brass; tubes with keys for E, Eo, D and Do is attached to the side of the finger-board. When Eb, D, Db and C are not used, the E-key is locked by pushing a lever with the thumb; this key is padded and replaces the nut for the E-string. It is noiselessly released by holding the E-key and pressing the E>-key.", "original": "== able, a mechanism of four little brass; tubes with keys for E, Eo, D and Do is attached to the side of the finger-board. When Eb, D, Db and C are not used, the E-key is locked by pushing a lever with the thumb; this key is padded and replaces the nut for the E-string. It is noiselessly released by holding the E-key and pressing the E>-key.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 42.73864357025025, 251.27006780905802, 267.2289924287226, 341.25039647837156 ] } ] }, { "id": "berlioz-instrumentation-b00687", "reading_order": 678, "type": "paragraph", "english": "I recommend using double-basses of different } systems wherever possible; among them, in any case, also the three-stringed one, which is far better suited to cantilena than the German double-bass.", "original": "I recommend using double-basses of different } systems wherever possible; among them, in any case, also the three-stringed one, which is far better suited to cantilena than the German double-bass.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 42.51370334093315, 341.02544565669825, 266.77911197008837, 379.2670853411565 ] } ] }, { "id": "berlioz-instrumentation-b00688", "reading_order": 679, "type": "paragraph", "english": "To this day, two kinds of bows are used for the", "original": "To this day, two kinds of bows are used for the", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 59.38422053971614, 381.51659355788934, 266.32923151145417, 391.41442971151383 ] } ] }, { "id": "berlioz-instrumentation-b00689", "reading_order": 680, "type": "paragraph", "english": "double-bass: those with a curved stick, which are not good in cantilena and produce a harsh and brittle tone; and the enlarged violoncello bow, which permits all the styles of bowing possible on the other stringed instruments. The double-basses in the orchestra take the lowest tones of the harmony. It has been shown above in which cases they may be separated from the violoncellos. The resulting impairment of the bass part can be remedied (to a certain degree) by doubling them, in unison or in the octave, with bassoons, bassethorns, bass clarinets or the lowest tones of ordinary clarinets.* But I detest the practice of some musicians to use in such cases also trombones and ophicleides, whose timbre has neither sympathy nor similarity with that of the double-bass and combines with it very poorly.", "original": "double-bass: those with a curved stick, which are not good in cantilena and produce a harsh and brittle tone; and the enlarged violoncello bow, which permits all the styles of bowing possible on the other stringed instruments. The double-basses in the orchestra take the lowest tones of the harmony. It has been shown above in which cases they may be separated from the violoncellos. The resulting impairment of the bass part can be remedied (to a certain degree) by doubling them, in unison or in the octave, with bassoons, bassethorns, bass clarinets or the lowest tones of ordinary clarinets.* But I detest the practice of some musicians to use in such cases also trombones and ophicleides, whose timbre has neither sympathy nor similarity with that of the double-bass and combines with it very poorly.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 35.31561600278573, 391.63938053318714, 266.32923151145417, 563.9517099349225 ] } ] }, { "id": "berlioz-instrumentation-b00690", "reading_order": 681, "type": "paragraph", "english": "Particularly the employment of trombones for reinforcing the bass is to be rejected. Concerning this problem, everything depends on the tasteful manner of using the instruments suitable for doubling the bass. I may be permitted to refer the reader to the application of the various bass tubas in the scores of my “Zarathustra” and “Helden-. leben”.", "original": "Particularly the employment of trombones for reinforcing the bass is to be rejected. Concerning this problem, everything depends on the tasteful manner of using the instruments suitable for doubling the bass. I may be permitted to refer the reader to the application of the various bass tubas in the scores of my “Zarathustra” and “Helden-. leben”.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 40.264301047762075, 563.7267591132492, 265.87935105281997, 643.1343991639184 ] } ] }, { "id": "berlioz-instrumentation-b00691", "reading_order": 682, "type": "paragraph", "english": "*Preferably with the double-bassoon.", "original": "*Preferably with the double-bassoon.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 38.689719442542334, 688.3495143202485, 180.85194437095367, 698.0223996521997 ] } ] }, { "id": "berlioz-instrumentation-b00692", "reading_order": 683, "type": "paragraph", "english": "In large tutti important bass themes of the three, trombones are frequently reinforced by bassoons, violoncellos and double-basses; I myself have made this mistake. This is quite useless: the hard, piercing tone of the three weighty trombones in unison is softened rather than strengthened by this support. Unless one wants to give the bassoons and low string instruments complementary parts or figurations, it is better to omit them in such marcato passages for the trombones, except, of course, when one intends to soften their power.", "original": "In large tutti important bass themes of the three, trombones are frequently reinforced by bassoons, violoncellos and double-basses; I myself have made this mistake. This is quite useless: the hard, piercing tone of the three weighty trombones in unison is softened rather than strengthened by this support. Unless one wants to give the bassoons and low string instruments complementary parts or figurations, it is better to omit them in such marcato passages for the trombones, except, of course, when one intends to soften their power.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 304.5690704953623, 87.05596798756083, 529.734240041786, 198.8565263591829 ] } ] }, { "id": "berlioz-instrumentation-b00693", "reading_order": 684, "type": "paragraph", "english": "There are occasions when the harmonics of the", "original": "There are occasions when the harmonics of the", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 302.7695486608255, 198.8565263591829, 522.5361527036385, 206.72980511774784 ] } ] }, { "id": "berlioz-instrumentation-b00694", "reading_order": 685, "type": "paragraph", "english": "double-basses may be used successfully. The tension", "original": "double-basses may be used successfully. The tension", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 292.42229811223854, 209.20426415615395, 510.6143205498319, 218.87714948810515 ] } ] }, { "id": "berlioz-instrumentation-b00695", "reading_order": 686, "type": "paragraph", "english": "their strings, their length and distance from the fingerboard prevent the use of artificial harmonics. Natural harmonics, however, sound very well, especially those from the middle of the string (which give the higher", "original": "their strings, their length and distance from the fingerboard prevent the use of artificial harmonics. Natural harmonics, however, sound very well, especially those from the middle of the string (which give the higher", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 291.74747742428724, 219.10210030977842, 522.3112124743215, 259.81819903264284 ] } ] }, { "id": "berlioz-instrumentation-b00696", "reading_order": 687, "type": "paragraph", "english": "octave) upward. They are the same harmonics", "original": "octave) upward. They are the same harmonics", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 291.97241765360434, 259.81819903264284, 507.4651573393925, 269.9409860079406 ] } ] }, { "id": "berlioz-instrumentation-b00697", "reading_order": 688, "type": "paragraph", "english": "those on the violoncello, except that they are one", "original": "those on the violoncello, except that they are one", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 291.97241765360434, 269.9409860079406, 522.0862722450044, 280.2887238049116 ] } ] }, { "id": "berlioz-instrumentation-b00698", "reading_order": 689, "type": "paragraph", "english": "igs may be used on the double-", "original": "igs may be used on the double-", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 384.6477921322522, 290.1865599585361, 521.6363917863702, 300.3093469338339 ] } ] }, { "id": "berlioz-instrumentation-b00699", "reading_order": 690, "type": "paragraph", "english": "bass if unavoidable; however, only chords of two are at most three notes can be used, of which only one", "original": "bass if unavoidable; however, only chords of two are at most three notes can be used, of which only one", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 291.52253719497014, 300.53429775550717, 520.9615710984189, 320.32997006275616 ] } ] }, { "id": "berlioz-instrumentation-b00700", "reading_order": 691, "type": "paragraph", "english": "mav be fingered:", "original": "mav be fingered:", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 291.297596965653, 320.7798717061027, 364.6281117230298, 330.6777078597272 ] } ] }, { "id": "berlioz-instrumentation-b00701", "reading_order": 692, "type": "paragraph", "english": "Double-basses tuned in fourths:", "original": "Double-basses tuned in fourths:", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 290.8477165070188, 354.97239660044187, 428.9610173077222, 362.84567535900675 ] } ] }, { "id": "berlioz-instrumentation-b00702", "reading_order": 693, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "asset_refs": [ "p-112-m03" ] }, { "id": "berlioz-instrumentation-b00703", "reading_order": 694, "type": "paragraph", "english": "Double-basses tuned in fifths:", "original": "Double-basses tuned in fifths:", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 289.04819467248194, 429.8810202176453, 418.61376675913533, 438.42915144123015 ] } ] }, { "id": "berlioz-instrumentation-b00704", "reading_order": 695, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "asset_refs": [ "p-112-m04" ] }, { "id": "berlioz-instrumentation-b00705", "reading_order": 696, "type": "paragraph", "english": "The intermittent tremolo can be produced easily, thanks to the elasticity of the bow, which rebounds several times on the strings after a single rather vigorous attack:", "original": "The intermittent tremolo can be produced easily, thanks to the elasticity of the bow, which rebounds several times on the strings after a single rather vigorous attack:", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 289.27313490179904, 512.8878734150871, 519.386989493199, 551.8043655645652 ] } ] }, { "id": "berlioz-instrumentation-b00706", "reading_order": 697, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "asset_refs": [ "p-112-m05" ] }, { "id": "berlioz-instrumentation-b00707", "reading_order": 698, "type": "paragraph", "english": "This does not hold good in the following passage:", "original": "This does not hold good in the following passage:", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 288.82325444316484, 633.0116121886207, 507.6900975687095, 645.8338090239978 ] } ] }, { "id": "berlioz-instrumentation-b00708", "reading_order": 699, "type": "paragraph", "english": "Allegro moderato.", "original": "Allegro moderato.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97, "bbox_pdf": [ 299.620385450386, 662.4801698278208, 382.3983898390812, 671.7031535164255 ] } ] }, { "id": "berlioz-instrumentation-b00709", "reading_order": 700, "type": "paragraph", "english": "This can be played only at the point of the bow as a continuous tremolo, and not without some difficulty; it lacks force and elicits but little tone.", "original": "This can be played only at the point of the bow as a continuous tremolo, and not without some difficulty; it lacks force and elicits but little tone.", "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_label": "PDF 113", "bbox_pdf": [ 36.66525737868837, 84.806459770828, 269.70333495121076, 111.3506567282755 ] } ] }, { "id": "berlioz-instrumentation-b00710", "reading_order": 701, "type": "paragraph", "english": "The continuous tremolo, however, somewhat less close than in the preceding example, is of excellent", "original": "The continuous tremolo, however, somewhat less close than in the preceding example, is of excellent", "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_label": "PDF 113", "bbox_pdf": [ 36.66525737868837, 113.37521412333504, 269.47839472189366, 132.72098478723746 ] } ] }, { "id": "berlioz-instrumentation-b00711", "reading_order": 702, "type": "paragraph", "english": "Compare the expression of sublime awe in the Prelude to “‘Parsifal”. A unique application of the lowest instruments in the orchestra is to be found in the second act of “Walkuere”, during Wotan’s narration. (Example 41.)", "original": "Compare the expression of sublime awe in the Prelude to “‘Parsifal”. A unique application of the lowest instruments in the orchestra is to be found in the second act of “Walkuere”, during Wotan’s narration. (Example 41.)", "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_label": "PDF 113", "bbox_pdf": [ 306.59353255921627, 84.35655812748143, 528.3845986658833, 132.72098478723746 ] } ] }, { "id": "berlioz-instrumentation-b00712", "reading_order": 703, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_label": "PDF 113" } ], "asset_refs": [ "p-113-m01" ] }, { "id": "berlioz-instrumentation-b00713", "reading_order": 704, "type": "paragraph", "english": "2 SR SA AS SS SS Sk | ae ON A ON \"os SS we", "original": "2 SR SA AS SS SS Sk | ae ON A ON \"os SS we", "sources": [ { "pdf_page": 114, "source_image": "source-pages/p-114.jpg", "printed_label": "PDF 114", "bbox_pdf": [ 201.3215052388104, 246.99600219726562, 457.7533666603118, 255.09423177750384 ] } ] }, { "id": "berlioz-instrumentation-b00714", "reading_order": 705, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 114, "source_image": "source-pages/p-114.jpg", "printed_label": "PDF 114" } ], "asset_refs": [ "p-114-m01" ] }, { "id": "berlioz-instrumentation-b00715", "reading_order": 706, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 115, "source_image": "source-pages/p-115.jpg", "printed_page": 100 } ], "asset_refs": [ "p-115-m01" ] }, { "id": "berlioz-instrumentation-b00716", "reading_order": 707, "type": "paragraph", "english": "ee, | -v EF a as om oa ia eee, ee” ee Eee eee ee ee ee eee eee eee", "original": "ee, | -v EF a as om oa ia eee, ee” ee Eee eee ee ee ee eee eee eee", "sources": [ { "pdf_page": 116, "source_image": "source-pages/p-116.jpg", "printed_page": 101, "bbox_pdf": [ 81.20342278347547, 457.7749221051326, 524.1107343088582, 462.9487910036181 ] } ] }, { "id": "berlioz-instrumentation-b00717", "reading_order": 708, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 116, "source_image": "source-pages/p-116.jpg", "printed_page": 101 } ], "asset_refs": [ "p-116-m01" ] }, { "id": "berlioz-instrumentation-b00718", "reading_order": 709, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 117, "source_image": "source-pages/p-117.jpg", "printed_page": 102 } ], "asset_refs": [ "p-117-m01" ] }, { "id": "berlioz-instrumentation-b00719", "reading_order": 710, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 118, "source_image": "source-pages/p-118.jpg", "printed_page": 108 } ], "asset_refs": [ "p-118-m01" ] }, { "id": "berlioz-instrumentation-b00720", "reading_order": 711, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 119, "source_image": "source-pages/p-119.jpg", "printed_page": 104 } ], "asset_refs": [ "p-119-m01" ] }, { "id": "berlioz-instrumentation-b00721", "reading_order": 712, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 120, "source_image": "source-pages/p-120.jpg", "printed_page": 105 } ], "asset_refs": [ "p-120-m01" ] }, { "id": "berlioz-instrumentation-b00722", "reading_order": 713, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 121, "source_image": "source-pages/p-121.jpg", "printed_page": 406 } ], "asset_refs": [ "p-121-m01" ] }, { "id": "berlioz-instrumentation-b00723", "reading_order": 714, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 121, "source_image": "source-pages/p-121.jpg", "printed_page": 406 } ], "asset_refs": [ "p-121-m02" ] }, { "id": "berlioz-instrumentation-b00724", "reading_order": 715, "type": "paragraph", "english": "rau-hemErieg, das kiihnerKim -pfer Scharen ich sammle in Walhails Saal. a", "original": "rau-hemErieg, das kiihnerKim -pfer Scharen ich sammle in Walhails Saal. a", "sources": [ { "pdf_page": 121, "source_image": "source-pages/p-121.jpg", "printed_page": 406, "bbox_pdf": [ 105.7219077790401, 691.2738750020012, 525.9102561433951, 711.0695473092501 ] } ] }, { "id": "berlioz-instrumentation-b00725", "reading_order": 716, "type": "paragraph", "english": "iss.", "original": "iss.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/p-121.jpg", "printed_page": 406, "bbox_pdf": [ 291.52253719497014, 709.7198423792105, 305.9187118712649, 715.7935145643892 ] } ] }, { "id": "berlioz-instrumentation-b00726", "reading_order": 717, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 122, "source_image": "source-pages/p-122.jpg", "printed_page": 107 } ], "asset_refs": [ "p-122-m01" ] }, { "id": "berlioz-instrumentation-b00727", "reading_order": 718, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 123, "source_image": "source-pages/p-123.jpg", "printed_page": 408 } ], "asset_refs": [ "p-123-m01" ] }, { "id": "berlioz-instrumentation-b00728", "reading_order": 719, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 124, "source_image": "source-pages/p-124.jpg", "printed_page": 409 } ], "asset_refs": [ "p-124-m01" ] }, { "id": "berlioz-instrumentation-b00729", "reading_order": 720, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 125, "source_image": "source-pages/p-125.jpg", "printed_page": 440 } ], "asset_refs": [ "p-125-m01" ] }, { "id": "berlioz-instrumentation-b00730", "reading_order": 721, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 126, "source_image": "source-pages/p-126.jpg", "printed_label": "PDF 126" } ], "asset_refs": [ "p-126-m01" ] }, { "id": "berlioz-instrumentation-b00731", "reading_order": 722, "type": "paragraph", "english": "With all its simplicity, this scene is for me the inconceivable miracle of a genius who was able, better than anyone else, to transform all emotions and passions into orchestral sounds which overpower and irresistibly convince all listeners. —Nothing gives the orchestra a more menacing ex-", "original": "With all its simplicity, this scene is for me the inconceivable miracle of a genius who was able, better than anyone else, to transform all emotions and passions into orchestral sounds which overpower and irresistibly convince all listeners. —Nothing gives the orchestra a more menacing ex-", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 52.63601366020294, 85.70626305752113, 271.95273724438186, 145.54318162261464 ] } ] }, { "id": "berlioz-instrumentation-b00732", "reading_order": 723, "type": "paragraph", "english": "pression. But it should not last too long; otherwise it exhausts those players who really endeavor to execute it well, and soon becomes impracticable. When it is thus necessary to stir the depths of the orchestra during a longer passage, it is better to divide the double- - basses into two parts. These are given, not a real tremolo, but quick strokes of different rhythm, while the violoncellos execute the real tremolo:", "original": "pression. But it should not last too long; otherwise it exhausts those players who really endeavor to execute it well, and soon becomes impracticable. When it is thus necessary to stir the depths of the orchestra during a longer passage, it is better to divide the double- - basses into two parts. These are given, not a real tremolo, but quick strokes of different rhythm, while the violoncellos execute the real tremolo:", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 35.76549646141994, 145.54318162261464, 271.2779165564305, 222.92626427822427 ] } ] }, { "id": "berlioz-instrumentation-b00733", "reading_order": 724, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127" } ], "asset_refs": [ "p-127-m02" ] }, { "id": "berlioz-instrumentation-b00734", "reading_order": 725, "type": "paragraph", "english": "The sixteenths of one part coincide with the triplet eighths of the other only at the beginning of each beat. Thus they produce a vague murmur which comes very close to a tremolo and is a tolerably good substitute for it. I believe that in many cases these", "original": "The sixteenths of one part coincide with the triplet eighths of the other only at the beginning of each beat. Thus they produce a vague murmur which comes very close to a tremolo and is a tolerably good substitute for it. I believe that in many cases these", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 43.18852402888446, 392.314232998207, 271.95273724438186, 442.25331540967596 ] } ] }, { "id": "berlioz-instrumentation-b00735", "reading_order": 726, "type": "paragraph", "english": "different rhythms.", "original": "different rhythms.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 43.41346425820157, 442.02836458800266, 119.44326176738359, 452.1511515633005 ] } ] }, { "id": "berlioz-instrumentation-b00736", "reading_order": 727, "type": "paragraph", "english": ", simultaneously played, are even", "original": ", simultaneously played, are even", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 119.44326176738359, 442.25331540967596, 271.5028567857476, 452.60105320664707 ] } ] }, { "id": "berlioz-instrumentation-b00737", "reading_order": 728, "type": "paragraph", "english": "preferable to the tremolo proper.", "original": "preferable to the tremolo proper.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 42.96358379956735, 452.1511515633005, 187.3752110211498, 462.27393853859826 ] } ] }, { "id": "berlioz-instrumentation-b00738", "reading_order": 729, "type": "paragraph", "english": "Rapid diatonic runs of four or five notes often have an admirable effect and are easy to play if they contain at least one open string:", "original": "Rapid diatonic runs of four or five notes often have an admirable effect and are easy to play if they contain at least one open string:", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 42.96358379956735, 462.27393853859826, 271.5028567857476, 492.192397821145 ] } ] }, { "id": "berlioz-instrumentation-b00739", "reading_order": 730, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127" } ], "asset_refs": [ "p-127-m03" ] }, { "id": "berlioz-instrumentation-b00740", "reading_order": 731, "type": "paragraph", "english": "If it is necessary to use more extended rapid runs in the double-basses, it is best to divide them in the fashion indicated above for the violins; but special care should be taken to avoid keeping the first doublebasses too far removed from the second.", "original": "If it is necessary to use more extended rapid runs in the double-basses, it is best to divide them in the fashion indicated above for the violins; but special care should be taken to avoid keeping the first doublebasses too far removed from the second.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 296.0213417813123, 85.25636141417456, 526.3601366020293, 132.72098478723746 ] } ] }, { "id": "berlioz-instrumentation-b00741", "reading_order": 732, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127" } ], "asset_refs": [ "p-127-m01" ] }, { "id": "berlioz-instrumentation-b00742", "reading_order": 733, "type": "paragraph", "english": "Both at the", "original": "Both at the", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 299.1705049917517, 180.86046062532017, 334.9360014531717, 189.1836410272317 ] } ] }, { "id": "berlioz-instrumentation-b00743", "reading_order": 734, "type": "paragraph", "english": "It is a current mistake to write for the heaviest of all instruments passages of such rapidity that even the violoncellos would have trouble executing them well. Hence there result serious disadvantages: some double-bass players, too lazy or in tact incapable of tackling such difficulties, give up at once and try to simplify the passage. But each one simplifies it in a different manner, since they do not all have the same ideas regarding the harmonic importance of the different notes; this causes a horrible disorder and confusion. This buzzing chaos of strange sounds and ugly snarls is still further increased by the vain efforts of more zealous or more confident players to master the passage just as it is written.", "original": "It is a current mistake to write for the heaviest of all instruments passages of such rapidity that even the violoncellos would have trouble executing them well. Hence there result serious disadvantages: some double-bass players, too lazy or in tact incapable of tackling such difficulties, give up at once and try to simplify the passage. But each one simplifies it in a different manner, since they do not all have the same ideas regarding the harmonic importance of the different notes; this causes a horrible disorder and confusion. This buzzing chaos of strange sounds and ugly snarls is still further increased by the vain efforts of more zealous or more confident players to master the passage just as it is written.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 292.42229811223854, 253.9694776691374, 524.3356745381755, 393.88888874991994 ] } ] }, { "id": "berlioz-instrumentation-b00744", "reading_order": 735, "type": "paragraph", "english": "Composers should therefore take care to ask of double-bass players no more than is practicable. Only in this way can they be sure of an accurate execution; and only this will do away with the old system of simplification by the double-bass players, a system generally adopted in the old instrumental school, and whose danger has just beer: demonstrated. If the composer writes only that which is compatible with the nature of the instrument, the player must execute it literally. But if the composer errs, then he as well as the audience must bear the consequences; the performers are no longer to blame.", "original": "Composers should therefore take care to ask of double-bass players no more than is practicable. Only in this way can they be sure of an accurate execution; and only this will do away with the old system of simplification by the double-bass players, a system generally adopted in the old instrumental school, and whose danger has just beer: demonstrated. If the composer writes only that which is compatible with the nature of the instrument, the player must execute it literally. But if the composer errs, then he as well as the audience must bear the consequences; the performers are no longer to blame.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 291.297596965653, 394.33879039326655, 522.7610929329556, 514.4625291668001 ] } ] }, { "id": "berlioz-instrumentation-b00745", "reading_order": 736, "type": "paragraph", "english": "The double-basses are particularly suitable to express gloom, awe, meditation and preoccupation. Out of many examples only the following are quoted: the solo in Verdi’s “Otello”; the old woman’s song in Marschner’s “Hans Heiling”; Tristan’s awakening (third act). (Examples 42, 43, 44.) Also to be mentioned here is the fugue from my tone-poem “Thus spake Zarathustra”.", "original": "The double-basses are particularly suitable to express gloom, awe, meditation and preoccupation. Out of many examples only the following are quoted: the solo in Verdi’s “Otello”; the old woman’s song in Marschner’s “Hans Heiling”; Tristan’s awakening (third act). (Examples 42, 43, 44.) Also to be mentioned here is the fugue from my tone-poem “Thus spake Zarathustra”.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/p-127.jpg", "printed_label": "PDF 127", "bbox_pdf": [ 303.2194291194596, 514.2375783451268, 521.186511327736, 594.9949233258357 ] } ] }, { "id": "berlioz-instrumentation-b00746", "reading_order": 737, "type": "paragraph", "english": "No. 42. Otello, Act IV", "original": "No. 42. Otello, Act IV", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128", "bbox_pdf": [ 200.64668455085905, 85.48131223584785, 363.05353011781, 100.77796810963115 ] } ] }, { "id": "berlioz-instrumentation-b00747", "reading_order": 738, "type": "paragraph", "english": "Poco pit mosso.", "original": "Poco pit mosso.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128", "bbox_pdf": [ 116.069158327627, 154.09131284619943, 194.5732983592972, 164.66400146484375 ] } ] }, { "id": "berlioz-instrumentation-b00748", "reading_order": 739, "type": "paragraph", "english": "Otello tritt mit der ersten Note durch eine geheime Tiir in Desdemonas Schlafgemach.", "original": "Otello tritt mit der ersten Note durch eine geheime Tiir in Desdemonas Schlafgemach.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128", "bbox_pdf": [ 115.8442180983099, 166.01370639488346, 446.05647473582235, 174.11193597512167 ] } ] }, { "id": "berlioz-instrumentation-b00749", "reading_order": 740, "type": "paragraph", "english": "be abode lade _geel £ EEtE A oebe", "original": "be abode lade _geel £ EEtE A oebe", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128", "bbox_pdf": [ 182.42652597617342, 631.661907258581, 519.386989493199, 652.8072844958696 ] } ] }, { "id": "berlioz-instrumentation-b00750", "reading_order": 741, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "asset_refs": [ "p-128-m01" ] }, { "id": "berlioz-instrumentation-b00751", "reading_order": 742, "type": "paragraph", "english": "AQUESHT] AGRE A A A Amer Aba Abt A", "original": "AQUESHT] AGRE A A A Amer Aba Abt A", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_label": "PDF 129", "bbox_pdf": [ 483.1716125731449, 122.37324699026638, 492.3941619751463, 405.5863314769307 ] } ] }, { "id": "berlioz-instrumentation-b00752", "reading_order": 743, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_label": "PDF 129" } ], "asset_refs": [ "p-129-m01" ] }, { "id": "berlioz-instrumentation-b00753", "reading_order": 744, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_label": "PDF 129" } ], "asset_refs": [ "p-129-m02" ] }, { "id": "berlioz-instrumentation-b00754", "reading_order": 745, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_label": "PDF 129" } ], "asset_refs": [ "p-129-m03" ] }, { "id": "berlioz-instrumentation-b00755", "reading_order": 746, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_label": "PDF 129" } ], "asset_refs": [ "p-129-m04" ] }, { "id": "berlioz-instrumentation-b00756", "reading_order": 747, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 130, "source_image": "source-pages/p-130.jpg", "printed_label": "PDF 130" } ], "asset_refs": [ "p-130-m01" ] }, { "id": "berlioz-instrumentation-b00757", "reading_order": 748, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 131, "source_image": "source-pages/p-131.jpg", "printed_page": 416 } ], "asset_refs": [ "p-131-m01" ] }, { "id": "berlioz-instrumentation-b00758", "reading_order": 749, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 132, "source_image": "source-pages/p-132.jpg", "printed_label": "PDF 132" } ], "asset_refs": [ "p-132-m01" ] }, { "id": "berlioz-instrumentation-b00759", "reading_order": 750, "type": "paragraph", "english": "No. 44. Tristan, Act III", "original": "No. 44. Tristan, Act III", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_label": "PDF 133", "bbox_pdf": [ 204.9205489078841, 132.94593560891073, 366.87751401620085, 148.24259148269402 ] } ] }, { "id": "berlioz-instrumentation-b00760", "reading_order": 751, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_label": "PDF 133" } ], "asset_refs": [ "p-133-m01" ] }, { "id": "berlioz-instrumentation-b00761", "reading_order": 752, "type": "paragraph", "english": "Slides of short notes, preceding longer ones,", "original": "Slides of short notes, preceding longer ones,", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_label": "PDF 133", "bbox_pdf": [ 47.9122688445437, 672.8279076247919, 238.88652353476718, 684.0754487084561 ] } ] }, { "id": "berlioz-instrumentation-b00762", "reading_order": 753, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_label": "PDF 133" } ], "asset_refs": [ "p-133-m02" ] }, { "id": "berlioz-instrumentation-b00763", "reading_order": 754, "type": "paragraph", "english": "are executed by sliding rapidly with the finger on the string, without paying too much attention to the precision of the intervals; this can be extremely effective. The in the Hades scene of “Orfeo” is well known, where the double-basses deal furious blows to", "original": "are executed by sliding rapidly with the finger on the string, without paying too much attention to the precision of the intervals; this can be extremely effective. The in the Hades scene of “Orfeo” is well known, where the double-basses deal furious blows to", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_label": "PDF 133", "bbox_pdf": [ 35.76549646141994, 722.092137571241, 267.4539326580397, 770.9064658743437 ] } ] }, { "id": "berlioz-instrumentation-b00764", "reading_order": 755, "type": "paragraph", "english": "the orchestra by running up to F with the four short notes B, C, D, E (with the words “at the terrible howling of foaming Cerberus”). This rough barking, one of Gluck’s finest inspirations, becomes all the more terrible as the composer uses the third inversion of the diminished seventh chord (F-G#-B-D). Furthermore, to give his idea all the weight and vehemence possible, he doubles the basses not only with the violoncellos but also the violas and the whole mass of violins in the octave. (Example 45.)", "original": "the orchestra by running up to F with the four short notes B, C, D, E (with the words “at the terrible howling of foaming Cerberus”). This rough barking, one of Gluck’s finest inspirations, becomes all the more terrible as the composer uses the third inversion of the diminished seventh chord (F-G#-B-D). Furthermore, to give his idea all the weight and vehemence possible, he doubles the basses not only with the violoncellos but also the violas and the whole mass of violins in the octave. (Example 45.)", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_label": "PDF 133", "bbox_pdf": [ 291.74747742428724, 675.302366663198, 524.7855549968097, 774.2807281994429 ] } ] }, { "id": "berlioz-instrumentation-b00765", "reading_order": 756, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 134, "source_image": "source-pages/p-134.jpg", "printed_page": 419 } ], "asset_refs": [ "p-134-m01" ] }, { "id": "berlioz-instrumentation-b00766", "reading_order": 757, "type": "paragraph", "english": "Beethoven has also availed himself of these not too clearly articulated notes; but—contrary to the previous example—he accents the first note of each group. These bass passages are to be found in the storm scene of the Pastoral Symphony; they depict in striking fashion the wind driving the rain violently, and the hollow rumbling of the storm. It is interesting to", "original": "Beethoven has also availed himself of these not too clearly articulated notes; but—contrary to the previous example—he accents the first note of each group. These bass passages are to be found in the storm scene of the Pastoral Symphony; they depict in striking fashion the wind driving the rain violently, and the hollow rumbling of the storm. It is interesting to", "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 420, "bbox_pdf": [ 37.34007806663969, 85.48131223584785, 269.70333495121076, 155.21606695456583 ] } ] }, { "id": "berlioz-instrumentation-b00767", "reading_order": 758, "type": "paragraph", "english": "note that Beethoven here, as in many other pieces, gave the double-basses notes which they cannot execute. One might conclude from this that the orchestra for which he wrote possessed double-basses descending as low as the C an octave below the violoncello C. Such instruments are no longer to be found today. (Example 46.)", "original": "note that Beethoven here, as in many other pieces, gave the double-basses notes which they cannot execute. One might conclude from this that the orchestra for which he wrote possessed double-basses descending as low as the C an octave below the violoncello C. Such instruments are no longer to be found today. (Example 46.)", "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 420, "bbox_pdf": [ 294.44676017609254, 83.68170566246158, 528.8344791245175, 153.64141120285285 ] } ] }, { "id": "berlioz-instrumentation-b00768", "reading_order": 759, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 420 } ], "asset_refs": [ "p-135-m01" ] }, { "id": "berlioz-instrumentation-b00769", "reading_order": 760, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 136, "source_image": "source-pages/p-136.jpg", "printed_page": 421 } ], "asset_refs": [ "p-136-m01" ] }, { "id": "berlioz-instrumentation-b00770", "reading_order": 761, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 137, "source_image": "source-pages/p-137.jpg", "printed_label": "PDF 137" } ], "asset_refs": [ "p-137-m01" ] }, { "id": "berlioz-instrumentation-b00771", "reading_order": 762, "type": "paragraph", "english": "In passages for wind instruments only it is excellent to double the lowest part of the bassoons, bass clarinets, low horns, or even of the trombones or bass tubas, with one or, if necessary, several desks of double-basses; unless one prefers to let the double bassoon or the double-bass clarinet play the lower octave.", "original": "In passages for wind instruments only it is excellent to double the lowest part of the bassoons, bass clarinets, low horns, or even of the trombones or bass tubas, with one or, if necessary, several desks of double-basses; unless one prefers to let the double bassoon or the double-bass clarinet play the lower octave.", "sources": [ { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 128, "bbox_pdf": [ 50.83649182566609, 85.25636141417456, 267.4539326580397, 152.06675545113984 ] } ] }, { "id": "berlioz-instrumentation-b00772", "reading_order": 763, "type": "paragraph", "english": "47. Don Giovanni, Act II", "original": "47. Don Giovanni, Act II", "sources": [ { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 128, "bbox_pdf": [ 191.1991949195406, 167.36341132492316, 365.9777530989324, 181.9852147336866 ] } ] }, { "id": "berlioz-instrumentation-b00773", "reading_order": 764, "type": "paragraph", "english": "stimmt,aus an-dern Wel- ten, dem Sie ge-nan be - kannt sind.", "original": "stimmt,aus an-dern Wel- ten, dem Sie ge-nan be - kannt sind.", "sources": [ { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 128, "bbox_pdf": [ 92.4504342493308, 468.12265990210363, 363.50341057644425, 478.2454468774013 ] } ] }, { "id": "berlioz-instrumentation-b00774", "reading_order": 765, "type": "paragraph", "english": "The cemetery scene in “Don Giovanni” is frequently executed by wind instruments alone; however, just the double-basses which the divine Mozart added to the trombones give the scene a peculiar, ghostlike color (especially if placed backstage). {Example 47.)", "original": "The cemetery scene in “Don Giovanni” is frequently executed by wind instruments alone; however, just the double-basses which the divine Mozart added to the trombones give the scene a peculiar, ghostlike color (especially if placed backstage). {Example 47.)", "sources": [ { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 128, "bbox_pdf": [ 302.7695486608255, 87.05596798756083, 519.6119297225162, 145.76813244428791 ] } ] }, { "id": "berlioz-instrumentation-b00775", "reading_order": 766, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 128 } ], "asset_refs": [ "p-138-m01" ] }, { "id": "berlioz-instrumentation-b00776", "reading_order": 767, "type": "paragraph", "english": "A fine and dramatic effect can sometimes be obtained by giving the real bass to the violoncellos, or at least the notes which determine the chords and fall on the accented beats, while the double-basses, below the violoncellos, play an independent part whose design, interrupted by rests, permits the harmony to rest", "original": "A fine and dramatic effect can sometimes be obtained by giving the real bass to the violoncellos, or at least the notes which determine the chords and fall on the accented beats, while the double-basses, below the violoncellos, play an independent part whose design, interrupted by rests, permits the harmony to rest", "sources": [ { "pdf_page": 139, "source_image": "source-pages/p-139.jpg", "printed_label": "PDF 139", "bbox_pdf": [ 39.139599901176545, 86.83101716588754, 269.9282751805279, 144.86832915759476 ] } ] }, { "id": "berlioz-instrumentation-b00777", "reading_order": 768, "type": "paragraph", "english": "on the violoncellos. In the admirable scene of “Fidelio” where Leonore and the jailer dig Florestan’s grave. Beethoven has displayed all the solemn dignity and gloomy sadness of this kind of instrumentation. How-", "original": "on the violoncellos. In the admirable scene of “Fidelio” where Leonore and the jailer dig Florestan’s grave. Beethoven has displayed all the solemn dignity and gloomy sadness of this kind of instrumentation. How-", "sources": [ { "pdf_page": 139, "source_image": "source-pages/p-139.jpg", "printed_label": "PDF 139", "bbox_pdf": [ 293.7719394881412, 87.05596798756083, 527.4848377486148, 127.09721424540535 ] } ] }, { "id": "berlioz-instrumentation-b00778", "reading_order": 769, "type": "paragraph", "english": "ever, he gave the real bass to the double-basses (Example 48.)", "original": "ever, he gave the real bass to the double-basses (Example 48.)", "sources": [ { "pdf_page": 139, "source_image": "source-pages/p-139.jpg", "printed_label": "PDF 139", "bbox_pdf": [ 294.2218199467754, 126.19741095871223, 524.5606147674926, 145.54318162261464 ] } ] }, { "id": "berlioz-instrumentation-b00779", "reading_order": 770, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 139, "source_image": "source-pages/p-139.jpg", "printed_label": "PDF 139" } ], "asset_refs": [ "p-139-m01" ] }, { "id": "berlioz-instrumentation-b00780", "reading_order": 771, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 140, "source_image": "source-pages/p-140.jpg", "printed_label": "PDF 140" } ], "asset_refs": [ "p-140-m01" ] }, { "id": "berlioz-instrumentation-b00781", "reading_order": 772, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 141, "source_image": "source-pages/p-141.jpg", "printed_page": 126 } ], "asset_refs": [ "p-141-m01" ] }, { "id": "berlioz-instrumentation-b00782", "reading_order": 773, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 142, "source_image": "source-pages/p-142.jpg", "printed_label": "PDF 142" } ], "asset_refs": [ "p-142-m01" ] }, { "id": "berlioz-instrumentation-b00783", "reading_order": 774, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 143, "source_image": "source-pages/p-143.jpg", "printed_page": 128 } ], "asset_refs": [ "p-143-m01" ] }, { "id": "berlioz-instrumentation-b00784", "reading_order": 775, "type": "paragraph", "english": "To indicate a mournful silence, I have divided the sustained pianissimo chords beneath a decrescendo of double-basses into four parts in a cantata; they play the rest of the orchestra. ‘Example 49.)", "original": "To indicate a mournful silence, I have divided the sustained pianissimo chords beneath a decrescendo of double-basses into four parts in a cantata; they play the rest of the orchestra. ‘Example 49.)", "sources": [ { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129, "bbox_pdf": [ 40.48924127707919, 78.05793512062948, 528.8344791245175, 98.30350907122504 ] } ] }, { "id": "berlioz-instrumentation-b00785", "reading_order": 776, "type": "paragraph", "english": "No. 49. Le Cing Mai, Cantata for Bass and Chorus Berlioz.", "original": "No. 49. Le Cing Mai, Cantata for Bass and Chorus Berlioz.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129, "bbox_pdf": [ 108.42119053084537, 109.10114851154266, 526.1351963727122, 137.22000122070312 ] } ] }, { "id": "berlioz-instrumentation-b00786", "reading_order": 777, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129 } ], "asset_refs": [ "p-144-m01" ] }, { "id": "berlioz-instrumentation-b00787", "reading_order": 778, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 145, "source_image": "source-pages/p-145.jpg", "printed_page": 130 } ], "asset_refs": [ "p-145-m01" ] }, { "id": "berlioz-instrumentation-b00788", "reading_order": 779, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 146, "source_image": "source-pages/p-146.jpg", "printed_page": 131 } ], "asset_refs": [ "p-146-m01" ] }, { "id": "berlioz-instrumentation-b00789", "reading_order": 780, "type": "paragraph", "english": "The pizzicato of the double-basses, in forte as well as in piano, is of good sonority unless it is employed on very high tones; but it changes its character according to the harmonies which it supports. ‘Thus, the famous pizzicato A in the overture to “Freischuetz” derives its threatening and infernal effect only from the echo of the diminished seventh chord", "original": "The pizzicato of the double-basses, in forte as well as in piano, is of good sonority unless it is employed on very high tones; but it changes its character according to the harmonies which it supports. ‘Thus, the famous pizzicato A in the overture to “Freischuetz” derives its threatening and infernal effect only from the echo of the diminished seventh chord", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 35.76549646141994, 91.33003359935323, 266.77911197008837, 163.7641981781506 ] } ] }, { "id": "berlioz-instrumentation-b00790", "reading_order": 781, "type": "paragraph", "english": "No. 50. Tristan, Act I", "original": "No. 50. Tristan, Act I", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 201.7713856974446, 226.30052660332353, 354.28086117444286, 241.14728083376025 ] } ] }, { "id": "berlioz-instrumentation-b00791", "reading_order": 782, "type": "paragraph", "english": "(F#-A-C-Eb), which thereby is transformed into its first inversion on a weak beat. The same A, written as a major tonic or dominant, and played mezzoforte similarly to the passage in question, would no longer have anything strange about it.", "original": "(F#-A-C-Eb), which thereby is transformed into its first inversion on a weak beat. The same A, written as a major tonic or dominant, and played mezzoforte similarly to the passage in question, would no longer have anything strange about it.", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 290.6227762777017, 88.18072209592725, 522.9860331622727, 138.7946569724161 ] } ] }, { "id": "berlioz-instrumentation-b00792", "reading_order": 783, "type": "paragraph", "english": "Wagner.", "original": "Wagner.", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 490.36969991129234, 296.93508460873466, 528.1596584365662, 306.15806829733924 ] } ] }, { "id": "berlioz-instrumentation-b00793", "reading_order": 784, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132 } ], "asset_refs": [ "p-147-m01" ] }, { "id": "berlioz-instrumentation-b00794", "reading_order": 785, "type": "paragraph", "english": "In this the pizzicato G of the double-basses melodic contours, as well as “Tristan” and “Mei-", "original": "In this the pizzicato G of the double-basses melodic contours, as well as “Tristan” and “Mei-", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 53.08589411883715, 655.2817435342757, 528.1596584365662, 666.0793829745934 ] } ] }, { "id": "berlioz-instrumentation-b00795", "reading_order": 786, "type": "paragraph", "english": "together with the ninth-chord always gives me a sensation of color.", "original": "together with the ninth-chord always gives me a sensation of color.", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 52.86095388952005, 666.0793829745934, 271.2779165564305, 683.8504978867828 ] } ] }, { "id": "berlioz-instrumentation-b00796", "reading_order": 787, "type": "paragraph", "english": "ee ree ree er ee ere ees ee", "original": "ee ree ree er ee ere ees ee", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 130.4653330039218, 677.5518748799308, 272.40261770301606, 683.8504978867828 ] } ] }, { "id": "berlioz-instrumentation-b00797", "reading_order": 788, "type": "paragraph", "english": "I should like to offer a few suggestions for the treatment of the string group, always so difficult, and a strangely refractory instrument in the hand of bunglers. The best models for study are to be found in Mozart’s string quartets with their impeccable style and technique, and particularly in the polyphony of the string quintet in Wagner's scores. The “Siegfried Idyll” with its wonderful", "original": "I should like to offer a few suggestions for the treatment of the string group, always so difficult, and a strangely refractory instrument in the hand of bunglers. The best models for study are to be found in Mozart’s string quartets with their impeccable style and technique, and particularly in the polyphony of the string quintet in Wagner's scores. The “Siegfried Idyll” with its wonderful", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 52.63601366020294, 685.8750552818424, 271.72779701506477, 765.2826953325115 ] } ] }, { "id": "berlioz-instrumentation-b00798", "reading_order": 789, "type": "paragraph", "english": "stersinger’ with their almost total avoidance of tremolos, offer on almost every page a complete compendium of the art of developing the full sonority of the strings. The whole Prize Song is an outstanding model for polyphonic line and the employment of open harmony, permitting a rich resonance of overtones; see-particularly the bars from Walther’s “Dort unter einem Wunderbaum” to “das schoenste Weib” (Example 51).", "original": "stersinger’ with their almost total avoidance of tremolos, offer on almost every page a complete compendium of the art of developing the full sonority of the strings. The whole Prize Song is an outstanding model for polyphonic line and the employment of open harmony, permitting a rich resonance of overtones; see-particularly the bars from Walther’s “Dort unter einem Wunderbaum” to “das schoenste Weib” (Example 51).", "sources": [ { "pdf_page": 147, "source_image": "source-pages/p-147.jpg", "printed_page": 132, "bbox_pdf": [ 308.3930543937531, 664.7296780445537, 528.8344791245175, 754.4850558921939 ] } ] }, { "id": "berlioz-instrumentation-b00799", "reading_order": 790, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 148, "source_image": "source-pages/p-148.jpg", "printed_label": "PDF 148" } ], "asset_refs": [ "p-148-m01" ] }, { "id": "berlioz-instrumentation-b00800", "reading_order": 791, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 149, "source_image": "source-pages/p-149.jpg", "printed_page": 184 } ], "asset_refs": [ "p-149-m01" ] }, { "id": "berlioz-instrumentation-b00801", "reading_order": 792, "type": "paragraph", "english": "What other group of instruments could improve Entering in low position, with infinite softness, upon the effect of the string quintet in the passage, seemingly motionless and yet vibrating mysteriunique in its sublime inspiration, after Tristan’s ously, it leads the dying Tristan to a beautiful words, “Siehst du sie, siehst”du sie noch nicht”? world of dreams. (Example 52.)", "original": "What other group of instruments could improve Entering in low position, with infinite softness, upon the effect of the string quintet in the passage, seemingly motionless and yet vibrating mysteriunique in its sublime inspiration, after Tristan’s ously, it leads the dying Tristan to a beautiful words, “Siehst du sie, siehst”du sie noch nicht”? world of dreams. (Example 52.)", "sources": [ { "pdf_page": 150, "source_image": "source-pages/p-150.jpg", "printed_label": "PDF 150", "bbox_pdf": [ 57.584698705179285, 80.98229580238217, 528.8344791245175, 122.82314863361296 ] } ] }, { "id": "berlioz-instrumentation-b00802", "reading_order": 793, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 150, "source_image": "source-pages/p-150.jpg", "printed_label": "PDF 150" } ], "asset_refs": [ "p-150-m01" ] }, { "id": "berlioz-instrumentation-b00803", "reading_order": 794, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 151, "source_image": "source-pages/p-151.jpg", "printed_page": 186 } ], "asset_refs": [ "p-151-m01" ] }, { "id": "berlioz-instrumentation-b00804", "reading_order": 795, "type": "paragraph", "english": "Mutes are employed on double-basses, as on other bowed instruments; but their effect is not very characteristic; they diminish the tone of the double-basses very little and make it sound more gloomy and vague.", "original": "Mutes are employed on double-basses, as on other bowed instruments; but their effect is not very characteristic; they diminish the tone of the double-basses very little and make it sound more gloomy and vague.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 46.78756769795817, 80.98229580238217, 276.6764820600411, 124.84770602867252 ] } ] }, { "id": "berlioz-instrumentation-b00805", "reading_order": 796, "type": "paragraph", "english": "A Piedmontese artist, M. Langlois, who played in Paris about fifteen years ago, produced very peculiar high tones of incredible power on the double-bass (with the bow) by pinching the highest string be-", "original": "A Piedmontese artist, M. Langlois, who played in Paris about fifteen years ago, produced very peculiar high tones of incredible power on the double-bass (with the bow) by pinching the highest string be-", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 46.78756769795817, 121.92334534691983, 275.77672114277266, 164.43905064317048 ] } ] }, { "id": "berlioz-instrumentation-b00806", "reading_order": 797, "type": "paragraph", "english": "Instruments With Plucked Strings", "original": "Instruments With Plucked Strings", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 90.65091241479395, 228.1001331767098, 480.0224493627054, 257.34373999423667 ] } ] }, { "id": "berlioz-instrumentation-section-08", "type": "heading", "heading_level": 2, "english": "The Harp", "original": "The Harp", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_page": 137 } ], "reading_order": 798 }, { "id": "berlioz-instrumentation-b00807", "reading_order": 799, "type": "paragraph", "english": "This instrument is essentially anti-chromatic; that is to say, successions of semitones are, basically, not possible on it. The reason for this will be discussed", "original": "This instrument is essentially anti-chromatic; that is to say, successions of semitones are, basically, not possible on it. The reason for this will be discussed", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 42.73864357025025, 306.38301911901254, 271.2779165564305, 336.076527579886 ] } ] }, { "id": "berlioz-instrumentation-b00808", "reading_order": 800, "type": "paragraph", "english": "tween the thumb and forefinger of the left hand, thus moving almost to the bridge. -If there were need to render in the orchestra the violent outcry of a female voice, no other instrument could produce it better than the double-basses treated in this fashion. I doubt whether our artists are familiar with M. Langlois’ method; but they could easily learn it within a short time.", "original": "tween the thumb and forefinger of the left hand, thus moving almost to the bridge. -If there were need to render in the orchestra the violent outcry of a female voice, no other instrument could produce it better than the double-basses treated in this fashion. I doubt whether our artists are familiar with M. Langlois’ method; but they could easily learn it within a short time.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 299.620385450386, 85.48131223584785, 529.2843595831517, 162.41449324811092 ] } ] }, { "id": "berlioz-instrumentation-b00809", "reading_order": 801, "type": "paragraph", "english": "presently. Formerly the range of the harp was only five octaves and a sixth.", "original": "presently. Formerly the range of the harp was only five octaves and a sixth.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 295.57146132267803, 305.48321583231944, 524.5606147674926, 324.82898649622183 ] } ] }, { "id": "berlioz-instrumentation-b00810", "reading_order": 802, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152" } ], "asset_refs": [ "p-152-m01" ] }, { "id": "berlioz-instrumentation-b00811", "reading_order": 803, "type": "paragraph", "english": "As one sees, this scale is in the key of E>. All harps were tuned in this key, until the skillful manufacturer Erard invented a mechanism which eliminated the disadvantages of this system. He proposed tuning the harp in Cb, a method adopted by almost all modern harp players.", "original": "As one sees, this scale is in the key of E>. All harps were tuned in this key, until the skillful manufacturer Erard invented a mechanism which eliminated the disadvantages of this system. He proposed tuning the harp in Cb, a method adopted by almost all modern harp players.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 42.288763111616035, 416.8338725605949, 271.72779701506477, 475.9959386606685 ] } ] }, { "id": "berlioz-instrumentation-b00812", "reading_order": 804, "type": "paragraph", "english": "The chromatic intervals can be obtained on the old harp only by means of seven pedals, successively set into position by the player’s foot. Each of these raises the note to which its mechanism applies by a semitone over the entire range", "original": "The chromatic intervals can be obtained on the old harp only by means of seven pedals, successively set into position by the player’s foot. Each of these raises the note to which its mechanism applies by a semitone over the entire range", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 41.1640619650305, 479.82010262911433, 270.8280360977963, 512.6629225934138 ] } ] }, { "id": "berlioz-instrumentation-b00813", "reading_order": 805, "type": "paragraph", "english": "of the instrument—not individually. Thus the F#-pedal cannot sharp one F without raising at the same time all the other Fs on the instrument. Hence, the following combinations are all impossible (except in very slow tempo): chromatic scales; sequences of chords with chromatic progressions, or belonging to non-related keys; most embellishments consisting of appoggiaturas with accidentals or several such short notes. All these are impracticable or, at best, extremely difficult and very ugly. Completely impossible on the Ebharp are the following three seventh and three ninth chords, which must therefore be banned forever from the composer's store of harmonies:", "original": "of the instrument—not individually. Thus the F#-pedal cannot sharp one F without raising at the same time all the other Fs on the instrument. Hence, the following combinations are all impossible (except in very slow tempo): chromatic scales; sequences of chords with chromatic progressions, or belonging to non-related keys; most embellishments consisting of appoggiaturas with accidentals or several such short notes. All these are impracticable or, at best, extremely difficult and very ugly. Completely impossible on the Ebharp are the following three seventh and three ninth chords, which must therefore be banned forever from the composer's store of harmonies:", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 292.87217857087273, 418.6334791339812, 524.5606147674926, 513.3377750584336 ] } ] }, { "id": "berlioz-instrumentation-b00814", "reading_order": 806, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152" } ], "asset_refs": [ "p-152-m02" ] }, { "id": "berlioz-instrumentation-b00815", "reading_order": 807, "type": "paragraph", "english": "It is evident that all chords containing Ch and Bb simultaneously are not possible. As the harp is tuned in Eb and the pedals raise each string only a semitone, Cb can be produced only with the Bh-pedal, which immediately eliminates all the Bbs of the scale. The situation is the same with Db, which is attained by raising the Ch, as well as with Gb, produced by raising the F.", "original": "It is evident that all chords containing Ch and Bb simultaneously are not possible. As the harp is tuned in Eb and the pedals raise each string only a semitone, Cb can be produced only with the Bh-pedal, which immediately eliminates all the Bbs of the scale. The situation is the same with Db, which is attained by raising the Ch, as well as with Gb, produced by raising the F.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 40.264301047762075, 558.3279393930904, 270.6030958684792, 613.8907923463915 ] } ] }, { "id": "berlioz-instrumentation-b00816", "reading_order": 808, "type": "paragraph", "english": "¢ pedals of the Eb-harp can restore to their natural state only the three flatted tones (Bb, Eb, Ab) and can sharp only four other tones (F, C, G, D); therefore, this", "original": "¢ pedals of the Eb-harp can restore to their natural state only the three flatted tones (Bb, Eb, Ab) and can sharp only four other tones (F, C, G, D); therefore, this", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 40.03936081844497, 613.2159398813717, 269.9282751805279, 637.9605302654328 ] } ] }, { "id": "berlioz-instrumentation-b00817", "reading_order": 809, "type": "paragraph", "english": "harp is playable", "original": "harp is playable", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 294.6717004054096, 559.2277426797835, 354.05592094512576, 567.1010214383485 ] } ] }, { "id": "berlioz-instrumentation-b00818", "reading_order": 810, "type": "paragraph", "english": "only in eight keys: Eb, Bb, F, C, G, D, A, E.", "original": "only in eight keys: Eb, Bb, F, C, G, D, A, E.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 357.2050841555652, 559.2277426797835, 523.6608538502242, 567.7758739033684 ] } ] }, { "id": "berlioz-instrumentation-b00819", "reading_order": 811, "type": "paragraph", "english": "The other four keys (Ab, Db, Gb, Cb) can be obtained only by enharmonic changes, and by quickly taking and releasing", "original": "The other four keys (Ab, Db, Gb, Cb) can be obtained only by enharmonic changes, and by quickly taking and releasing", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 294.2218199467754, 567.1010214383485, 524.1107343088582, 583.7473822421714 ] } ] }, { "id": "berlioz-instrumentation-b00820", "reading_order": 812, "type": "paragraph", "english": "one or more pedals. In Ab major, for instance, the Db is", "original": "one or more pedals. In Ab major, for instance, the Db is", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 293.7719394881412, 576.5489559486264, 524.1107343088582, 592.2955134657562 ] } ] }, { "id": "berlioz-instrumentation-b00821", "reading_order": 813, "type": "paragraph", "english": "nothing but an enharmonic C}. The player must therefore quit the C#-pedal immediately after taking it to keep the Ck open, the major third of the key in which he is playing; furthermore, he must skip the Dh-string when ascending diatonically. This is so awkward that such scales may be considered almost impracticable:", "original": "nothing but an enharmonic C}. The player must therefore quit the C#-pedal immediately after taking it to keep the Ck open, the major third of the key in which he is playing; furthermore, he must skip the Dh-string when ascending diatonically. This is so awkward that such scales may be considered almost impracticable:", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 293.09711880018983, 590.7208577140433, 523.8857940795413, 638.6353827304528 ] } ] }, { "id": "berlioz-instrumentation-b00822", "reading_order": 814, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152" } ], "asset_refs": [ "p-152-m03" ] }, { "id": "berlioz-instrumentation-b00823", "reading_order": 815, "type": "paragraph", "english": "These inconveniences and difficulties are still greater in Db major and Gb major, both keys being almost inaccessible, with the exception of a few chords. Furthermore, the keys of Gb major and Cb major present new difficulties by compelling the player to transpose several notes of their scales: he must strike the Ff-string when the written note is Gb, the", "original": "These inconveniences and difficulties are still greater in Db major and Gb major, both keys being almost inaccessible, with the exception of a few chords. Furthermore, the keys of Gb major and Cb major present new difficulties by compelling the player to transpose several notes of their scales: he must strike the Ff-string when the written note is Gb, the", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 38.46477921322523, 716.0184653860623, 269.02851426325947, 765.5076461541848 ] } ] }, { "id": "berlioz-instrumentation-b00824", "reading_order": 816, "type": "paragraph", "english": "Bh-string for Cb, and the C¥-string for Db. The key of Cb becomes somewhat casier-if it is written in its other form— Bh. But since this key (like that of Ab) requires all the pedals, there still remains the frightful culty of ski one string and then releasing and at once ga. because the leading-tone (enharmonic) and the tonic are played on the same string.", "original": "Bh-string for Cb, and the C¥-string for Db. The key of Cb becomes somewhat casier-if it is written in its other form— Bh. But since this key (like that of Ab) requires all the pedals, there still remains the frightful culty of ski one string and then releasing and at once ga. because the leading-tone (enharmonic) and the tonic are played on the same string.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/p-152.jpg", "printed_label": "PDF 152", "bbox_pdf": [ 292.42229811223854, 714.893711277696, 522.3112124743215, 763.258137937452 ] }, { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 36.44031714937127, 87.73082045258069, 135.63895827821526, 96.95380414118532 ] } ] }, { "id": "berlioz-instrumentation-b00826", "reading_order": 817, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m01" ] }, { "id": "berlioz-instrumentation-b00827", "reading_order": 818, "type": "paragraph", "english": "The following example illustrates the fact that the execution of a chromatic scale of two octaves, e.g.", "original": "The following example illustrates the fact that the execution of a chromatic scale of two octaves, e.g.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 37.34007806663969, 144.4184275142482, 269.02851426325947, 160.38993585305136 ] } ] }, { "id": "berlioz-instrumentation-b00828", "reading_order": 819, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m02" ] }, { "id": "berlioz-instrumentation-b00829", "reading_order": 820, "type": "paragraph", "english": "necessitates the use of five pedals, which have to be put into action very quickly—in succession—for the first octave alone; then they have to be released just as quickly to restore the", "original": "necessitates the use of five pedals, which have to be put into action very quickly—in succession—for the first octave alone; then they have to be released just as quickly to restore the", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 38.91465967185944, 217.977346201412, 270.3781556391621, 242.27203494212668 ] } ] }, { "id": "berlioz-instrumentation-b00830", "reading_order": 821, "type": "paragraph", "english": "raised notes to their original position so that they are available for the second octave; finally the pedals have to be retaken as in the first octave. Such a scale is therefore impossible on any harp, even in very moderate tempo.", "original": "raised notes to their original position so that they are available for the second octave; finally the pedals have to be retaken as in the first octave. Such a scale is therefore impossible on any harp, even in very moderate tempo.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 38.689719442542334, 240.69737919041367, 270.8280360977963, 273.7651499763864 ] } ] }, { "id": "berlioz-instrumentation-b00831", "reading_order": 822, "type": "paragraph", "english": "In the case of a succession of chords in several non-related keys, the impossibility of execution becomes still more evident. Here several pedals would have to be taken and released simultaneously:", "original": "In the case of a succession of chords in several non-related keys, the impossibility of execution becomes still more evident. Here several pedals would have to be taken and released simultaneously:", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 38.239838983908115, 272.64039586802, 270.3781556391621, 305.03331418897284 ] } ] }, { "id": "berlioz-instrumentation-b00832", "reading_order": 823, "type": "paragraph", "english": "Certain appoggiaturas and ornaments containing", "original": "Certain appoggiaturas and ornaments containing", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 48.1372090738608, 351.14823263199605, 245.40979018496327, 369.14429836585873 ] } ] }, { "id": "berlioz-instrumentation-b00833", "reading_order": 824, "type": "paragraph", "english": "matic successions may, in fact, be executed after a fashion; but most of them are, as I have already mentioned, scarcely practicable. Those which may be admitted as exceptions are of rather poor quality, since the taking and the instantaneous release of the pedal impairs the vibration of the", "original": "matic successions may, in fact, be executed after a fashion; but most of them are, as I have already mentioned, scarcely practicable. Those which may be admitted as exceptions are of rather poor quality, since the taking and the instantaneous release of the pedal impairs the vibration of the", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 38.01489875459101, 360.1462654989274, 270.3781556391621, 405.811282298604 ] } ] }, { "id": "berlioz-instrumentation-b00834", "reading_order": 825, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m05" ] }, { "id": "berlioz-instrumentation-b00835", "reading_order": 826, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m07" ] }, { "id": "berlioz-instrumentation-b00836", "reading_order": 827, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m09" ] }, { "id": "berlioz-instrumentation-b00837", "reading_order": 828, "type": "paragraph", "english": "Figurations like the following, however, and similar pascontaining semitones ina brief tonal gamut and", "original": "Figurations like the following, however, and similar pascontaining semitones ina brief tonal gamut and", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 47.9122688445437, 529.3092833972369, 271.2779165564305, 546.6304966660796 ] } ] }, { "id": "berlioz-instrumentation-b00838", "reading_order": 829, "type": "paragraph", "english": "at a lively pace, are next to impossible:", "original": "at a lively pace, are next to impossible:", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 39.364540130493644, 545.0558409143666, 192.098955836809, 553.3790213162781 ] } ] }, { "id": "berlioz-instrumentation-b00839", "reading_order": 830, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m10" ] }, { "id": "berlioz-instrumentation-b00840", "reading_order": 831, "type": "paragraph", "english": "tenn ee Bare is pi lower stave usually has the F-clef, G-clef; but if the high range of the bass low range of the treble notes demands it, either", "original": "tenn ee Bare is pi lower stave usually has the F-clef, G-clef; but if the high range of the bass low range of the treble notes demands it, either", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 39.364540130493644, 601.7434479760342, 271.72779701506477, 635.9359728703733 ] } ] }, { "id": "berlioz-instrumentation-b00841", "reading_order": 832, "type": "paragraph", "english": "clef may be used on both staves s simultaneously. arrangement increases num! Passages impracticable on the Eb-harp still further. A passage that may easy for the right hand becomes impossible if the accompaniment in the left hand contains notes which are chromatically altered by a while the harmony uses them", "original": "clef may be used on both staves s simultaneously. arrangement increases num! Passages impracticable on the Eb-harp still further. A passage that may easy for the right hand becomes impossible if the accompaniment in the left hand contains notes which are chromatically altered by a while the harmony uses them", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 39.139599901176545, 633.4615138319673, 271.72779701506477, 682.9506946000896 ] } ] }, { "id": "berlioz-instrumentation-b00842", "reading_order": 833, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m11" ] }, { "id": "berlioz-instrumentation-b00843", "reading_order": 834, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m13" ] }, { "id": "berlioz-instrumentation-b00844", "reading_order": 835, "type": "paragraph", "english": "The two chords marked * are not played since they contain an Fk which is sharped in the melody. In these cases the note appearing in two different forms must be omitted in one of the two parts. In the preceding example it is better to leave the chord in the left hand incomplete and to eliminate the Fh.", "original": "The two chords marked * are not played since they contain an Fk which is sharped in the melody. In these cases the note appearing in two different forms must be omitted in one of the two parts. In the preceding example it is better to leave the chord in the left hand incomplete and to eliminate the Fh.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 293.322059029507, 87.05596798756083, 527.4848377486148, 134.07068971727713 ] } ] }, { "id": "berlioz-instrumentation-b00845", "reading_order": 836, "type": "paragraph", "english": "When a melody previously played by other instruments is to be repeated by the harp, and if it contains impossible or dangerous chromatic passages, it must be skillfully modified by substituting notes belonging to the same harmony for one or more of the altered notes. Thus, instead of giving the following melody to the harp in the form previously played by the violins:", "original": "When a melody previously played by other instruments is to be repeated by the harp, and if it contains impossible or dangerous chromatic passages, it must be skillfully modified by substituting notes belonging to the same harmony for one or more of the altered notes. Thus, instead of giving the following melody to the harp in the form previously played by the violins:", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 292.6472383415557, 134.29564053895044, 526.5850768313464, 189.40859184890496 ] } ] }, { "id": "berlioz-instrumentation-b00846", "reading_order": 837, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m03" ] }, { "id": "berlioz-instrumentation-b00847", "reading_order": 838, "type": "paragraph", "english": "the author considered it better to write it for the harp as follows:", "original": "the author considered it better to write it for the harp as follows:", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 293.09711880018983, 233.7239037185419, 527.709777977932, 248.12075630563203 ] } ] }, { "id": "berlioz-instrumentation-b00848", "reading_order": 839, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m04" ] }, { "id": "berlioz-instrumentation-b00849", "reading_order": 840, "type": "paragraph", "english": "The nature of the harp mechanism requires the sacrifice of the four consecutive semitones in the third bar.", "original": "The nature of the harp mechanism requires the sacrifice of the four consecutive semitones in the third bar.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 294.89664063472674, 282.5382320216445, 527.9347182072491, 298.50974036044767 ] } ] }, { "id": "berlioz-instrumentation-b00850", "reading_order": 841, "type": "paragraph", "english": "Impressed by all these grave disadvantages, M. Erard some years ago invented a different mechanism, after which the new harps are called double-action harps. In the following I am going to explain this mechanism; I shall show how it permits the harpist to play in all keys and to produce all chords, solidly or in arpeggio-form—even though he may not be able to execute chromatic sequences. °", "original": "Impressed by all these grave disadvantages, M. Erard some years ago invented a different mechanism, after which the new harps are called double-action harps. In the following I am going to explain this mechanism; I shall show how it permits the harpist to play in all keys and to produce all chords, solidly or in arpeggio-form—even though he may not be able to execute chromatic sequences. °", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 293.09711880018983, 316.28085527263704, 526.3601366020293, 396.81324943167266 ] } ] }, { "id": "berlioz-instrumentation-b00851", "reading_order": 842, "type": "paragraph", "english": "The double-action harp is tuned in Cb. Its range is six octaves and a fourth:", "original": "The double-action harp is tuned in Cb. Its range is six octaves and a fourth:", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 292.87217857087273, 395.6884953233062, 525.685315914078, 417.0588233822682 ] } ] }, { "id": "berlioz-instrumentation-b00852", "reading_order": 843, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m06" ] }, { "id": "berlioz-instrumentation-b00853", "reading_order": 844, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m08" ] }, { "id": "berlioz-instrumentation-b00854", "reading_order": 845, "type": "paragraph", "english": "Its seven pedals are so arranged that the player, by means of each of them, can raise each string at his option either a whole tone or a semitone. By using the seven pedals successively for the semitones, the Cb-harp is altered to the keys of Gb, Db, Ab, Eb, Bb, F and C, and is set for these keys. If each string is then raised another semitone by means of the second notch for the pedal, the seven tones of the natural scale are altered to F#, Ct, G#, D#, At, Ef and Bt, whereby the harp is tuned in G,", "original": "Its seven pedals are so arranged that the player, by means of each of them, can raise each string at his option either a whole tone or a semitone. By using the seven pedals successively for the semitones, the Cb-harp is altered to the keys of Gb, Db, Ab, Eb, Bb, F and C, and is set for these keys. If each string is then raised another semitone by means of the second notch for the pedal, the seven tones of the natural scale are altered to F#, Ct, G#, D#, At, Ef and Bt, whereby the harp is tuned in G,", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 292.42229811223854, 520.0862997086322, 527.0349572899808, 620.6393169965901 ] } ] }, { "id": "berlioz-instrumentation-b00855", "reading_order": 846, "type": "paragraph", "english": "Thus, all keys are available to the harp. The minar keys can be set only if they are played the same way ascending as descending, without observing the usual modifications of the sixth and seventh steps; otherwise two more pedals would have. to be taken and released.", "original": "Thus, all keys are available to the harp. The minar keys can be set only if they are played the same way ascending as descending, without observing the usual modifications of the sixth and seventh steps; otherwise two more pedals would have. to be taken and released.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153", "bbox_pdf": [ 293.7719394881412, 629.6373498635214, 527.2598975192979, 688.3495143202485 ] } ] }, { "id": "berlioz-instrumentation-b00856", "reading_order": 847, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 153, "source_image": "source-pages/p-153.jpg", "printed_label": "PDF 153" } ], "asset_refs": [ "p-153-m12" ] }, { "id": "berlioz-instrumentation-b00857", "reading_order": 848, "type": "paragraph", "english": "If the augmented second between the sixth and seventh steps is used in both directions of the minor scale, this scale can be set too, and the accidental use of the pedal is not necessary, an advantage considerable enough to justify the use of this scale:", "original": "If the augmented second between the sixth and seventh steps is used in both directions of the minor scale, this scale can be set too, and the accidental use of the pedal is not necessary, an advantage considerable enough to justify the use of this scale:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 39.81442058912786, 87.5058696309074, 269.70333495121076, 137.22000122070312 ] } ] }, { "id": "berlioz-instrumentation-b00858", "reading_order": 849, "type": "paragraph", "english": "Chords of four notes can be struck with each hand if the two extreme notes are within an octave:", "original": "Chords of four notes can be struck with each hand if the two extreme notes are within an octave:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 293.09711880018983, 88.63062373927383, 523.2109733915898, 110.90075508492892 ] } ] }, { "id": "berlioz-instrumentation-b00859", "reading_order": 850, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m01" ] }, { "id": "berlioz-instrumentation-b00860", "reading_order": 851, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m02" ] }, { "id": "berlioz-instrumentation-b00861", "reading_order": 852, "type": "paragraph", "english": "As for the six chords impracticable on the Edharp, it will be seen that the double action makes them possible. The chord is very easy to ex-", "original": "As for the six chords impracticable on the Edharp, it will be seen that the double action makes them possible. The chord is very easy to ex-", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 40.03936081844497, 175.46164090516137, 269.25345449257657, 205.15514936603483 ] } ] }, { "id": "berlioz-instrumentation-b00862", "reading_order": 853, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m03" ] }, { "id": "berlioz-instrumentation-b00863", "reading_order": 854, "type": "paragraph", "english": "ecute, its four notes being part of the scale", "original": "ecute, its four notes being part of the scale", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 40.03936081844497, 205.15514936603483, 268.80357403394237, 215.0529855196593 ] } ] }, { "id": "berlioz-instrumentation-b00864", "reading_order": 855, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m05" ] }, { "id": "berlioz-instrumentation-b00865", "reading_order": 856, "type": "paragraph", "english": "of the Cb-harp. The chord ee requires the use of the two semitone pedals Dk and F4;", "original": "of the Cb-harp. The chord ee requires the use of the two semitone pedals Dk and F4;", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 40.03936081844497, 223.37616592157084, 267.9038131166739, 258.4684941026031 ] } ] }, { "id": "berlioz-instrumentation-b00866", "reading_order": 857, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m06" ] }, { "id": "berlioz-instrumentation-b00867", "reading_order": 858, "type": "paragraph", "english": "also requires two, Fy and Ch. Three ped: als, Ch, Eh and Gh, are needed for the rd", "original": "also requires two, Fy and Ch. Three ped: als, Ch, Eh and Gh, are needed for the rd", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 39.58948035981076, 269.49108436459403, 268.128753345991, 289.51170749351627 ] } ] }, { "id": "berlioz-instrumentation-b00868", "reading_order": 859, "type": "paragraph", "english": "=. FP requires but one, Fk; and the last chord gi again three (Fh, Al and", "original": "=. FP requires but one, Fk; and the last chord gi again three (Fh, Al and", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 39.139599901176545, 292.2111173535957, 267.6788728873568, 339.67574072665855 ] } ] }, { "id": "berlioz-instrumentation-b00869", "reading_order": 860, "type": "paragraph", "english": "Thanks to the great stretch between the thumb and", "original": "Thanks to the great stretch between the thumb and", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 292.87217857087273, 174.78678844014152, 522.0862722450044, 184.23472295041944 ] } ] }, { "id": "berlioz-instrumentation-b00870", "reading_order": 861, "type": "paragraph", "english": "little finger, intervals of a tenth can also be played; consequently, chords such as these are possible:", "original": "little finger, intervals of a tenth can also be played; consequently, chords such as these are possible:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 292.42229811223854, 184.4596737720927, 521.8613320156873, 204.48029690101498 ] } ] }, { "id": "berlioz-instrumentation-b00871", "reading_order": 862, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m04" ] }, { "id": "berlioz-instrumentation-b00872", "reading_order": 863, "type": "paragraph", "english": "However, this position is less convenient and less natural, and therefore also less sonorous because none of the fingers can attack the string with as much force as in the normal position.", "original": "However, this position is less convenient and less natural, and therefore also less sonorous because none of the fingers can attack the string with as much force as in the normal position.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 291.07265673633594, 242.72193658547326, 521.6363917863702, 282.98813366499104 ] } ] }, { "id": "berlioz-instrumentation-b00873", "reading_order": 864, "type": "paragraph", "english": "Incidentally, chords in the extreme low range of the instrument have no sonority and produce confused harmonies; they should be avoided:", "original": "Incidentally, chords in the extreme low range of the instrument have no sonority and produce confused harmonies; they should be avoided:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 290.6227762777017, 282.3132811999712, 521.411451557053, 312.2317404825179 ] } ] }, { "id": "berlioz-instrumentation-b00874", "reading_order": 865, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m07" ] }, { "id": "berlioz-instrumentation-b00875", "reading_order": 866, "type": "paragraph", "english": "Ch). All this is done without difficulty. Even the chord which seems to contain at once Ch and Cb", "original": "Ch). All this is done without difficulty. Even the chord which seems to contain at once Ch and Cb", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 38.91465967185944, 344.84960962514407, 267.2289924287226, 364.64528193239306 ] } ] }, { "id": "berlioz-instrumentation-b00876", "reading_order": 867, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m08" ] }, { "id": "berlioz-instrumentation-b00877", "reading_order": 868, "type": "paragraph", "english": "is practicable:. The Dbb (or Ch) is attained by means of the pedal raising Cb a semitone, and Cb is produced with the pedal raising Bb a semitone; Abb comes from the G? raised a semitone; Fb", "original": "is practicable:. The Dbb (or Ch) is attained by means of the pedal raising Cb a semitone, and Cb is produced with the pedal raising Bb a semitone; Abb comes from the G? raised a semitone; Fb", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 38.239838983908115, 376.3427246594038, 267.0040521994055, 415.2592168088819 ] } ] }, { "id": "berlioz-instrumentation-b00878", "reading_order": 869, "type": "paragraph", "english": "uires no pedal, being a normal tone in the scale of the Cb-harp. This chord, as it is written above, will therefore be executed in this strange form:", "original": "uires no pedal, being a normal tone in the scale of the Cb-harp. This chord, as it is written above, will therefore be executed in this strange form:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 38.01489875459101, 415.93406927390174, 266.77911197008837, 445.62757773477523 ] } ] }, { "id": "berlioz-instrumentation-b00879", "reading_order": 870, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m10" ] }, { "id": "berlioz-instrumentation-b00880", "reading_order": 871, "type": "paragraph", "english": "=; hence it is better to write it in C", "original": "=; hence it is better to write it in C", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 41.389002194347604, 449.22679088154774, 265.87935105281997, 472.6216763355693 ] } ] }, { "id": "berlioz-instrumentation-b00881", "reading_order": 872, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m11" ] }, { "id": "berlioz-instrumentation-b00882", "reading_order": 873, "type": "paragraph", "english": "major in this form:. If the double-action", "original": "major in this form:. If the double-action", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 37.34007806663969, 478.695348520748, 265.87935105281997, 488.3682338526992 ] } ] }, { "id": "berlioz-instrumentation-b00883", "reading_order": 874, "type": "paragraph", "english": "harps are to be employed in an orchestral piece set in B major for the other instruments, it is better to write the harp part, for the sake of sonority and convenience, in its normal key of Cb:", "original": "harps are to be employed in an orchestral piece set in B major for the other instruments, it is better to write the harp part, for the sake of sonority and convenience, in its normal key of Cb:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 37.115137837322585, 500.29062740138323, 266.5541717407713, 539.6570211942079 ] } ] }, { "id": "berlioz-instrumentation-b00884", "reading_order": 875, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m13" ] }, { "id": "berlioz-instrumentation-b00885", "reading_order": 876, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m15" ] }, { "id": "berlioz-instrumentation-b00886", "reading_order": 877, "type": "paragraph", "english": "Composers should take care, in writing harp parts, to forewarn the player a little in advance of the changes in pedaling, for instance by placing a few bars before the occurrence of the modulation such words as, Prepare Gt, Take pedal for Ch, ‘etc.", "original": "Composers should take care, in writing harp parts, to forewarn the player a little in advance of the changes in pedaling, for instance by placing a few bars before the occurrence of the modulation such words as, Prepare Gt, Take pedal for Ch, ‘etc.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 38.91465967185944, 670.5783994080591, 267.6788728873568, 728.390760578093 ] } ] }, { "id": "berlioz-instrumentation-b00887", "reading_order": 878, "type": "paragraph", "english": "The nature of the harp having been sufficiently explained, we now proceed to the fingering. Many composers confound it with that of the piano, which it does not resemble at all.", "original": "The nature of the harp having been sufficiently explained, we now proceed to the fingering. Many composers confound it with that of the piano, which it does not resemble at all.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 38.91465967185944, 719.8426293545082, 267.9038131166739, 758.0842690389665 ] } ] }, { "id": "berlioz-instrumentation-b00888", "reading_order": 879, "type": "paragraph", "english": "These low tones are only fit for doubling a bass passage an octave lower:", "original": "These low tones are only fit for doubling a bass passage an octave lower:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 291.52253719497014, 345.0745604468174, 521.6363917863702, 365.54508521908616 ] } ] }, { "id": "berlioz-instrumentation-b00889", "reading_order": 880, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m09" ] }, { "id": "berlioz-instrumentation-b00890", "reading_order": 881, "type": "paragraph", "english": "To produce the tones of a chord successively, either ascending or descending, is in the very nature of the harp; these chord figurations have been named arpeggios from the Italian, arpa. They should, generally, also not exceed an octave, especially in a fast movement; otherwise the hand would have to change its position, which causes considerable difficulties.", "original": "To produce the tones of a chord successively, either ascending or descending, is in the very nature of the harp; these chord figurations have been named arpeggios from the Italian, arpa. They should, generally, also not exceed an octave, especially in a fast movement; otherwise the hand would have to change its position, which causes considerable difficulties.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 290.6227762777017, 410.535249553743, 521.186511327736, 480.04505345078763 ] } ] }, { "id": "berlioz-instrumentation-b00891", "reading_order": 882, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m12" ] }, { "id": "berlioz-instrumentation-b00892", "reading_order": 883, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m14" ] }, { "id": "berlioz-instrumentation-b00893", "reading_order": 884, "type": "paragraph", "english": "Only the note at the conclusion of a passage may, exceed the octave:", "original": "Only the note at the conclusion of a passage may, exceed the octave:", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 283.64962916887134, 624.0135793216892, 520.7366308691016, 645.8338090239978 ] } ] }, { "id": "berlioz-instrumentation-b00894", "reading_order": 885, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489 } ], "asset_refs": [ "p-154-m16" ] }, { "id": "berlioz-instrumentation-b00895", "reading_order": 886, "type": "paragraph", "english": "The following example is also very easy to execute because the change in the position of the hand occurs in the upward direction, and the third finger, which could scarcely be used here, is not needed at all; nor does it demand two consecutive notes with", "original": "The following example is also very easy to execute because the change in the position of the hand occurs in the upward direction, and the third finger, which could scarcely be used here, is not needed at all; nor does it demand two consecutive notes with", "sources": [ { "pdf_page": 154, "source_image": "source-pages/p-154.jpg", "printed_page": 489, "bbox_pdf": [ 287.69855329657935, 709.9447932008837, 519.162049263882, 758.7591215039863 ] } ] }, { "id": "berlioz-instrumentation-b00896", "reading_order": 887, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m02" ] }, { "id": "berlioz-instrumentation-b00897", "reading_order": 888, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m01" ] }, { "id": "berlioz-instrumentation-b00898", "reading_order": 889, "type": "paragraph", "english": "Generally care must be taken not to place the two hands too close together; they should be an octave or at least a sixth apart; otherwise they interfere with each other. If the two hands play an arpeggio chord in thirds with each other, the same string will be taken by one hand as soon as the other has left: it. Consequently the string has no time to vibrate, and the tone is stifled the moment it is produced.", "original": "Generally care must be taken not to place the two hands too close together; they should be an octave or at least a sixth apart; otherwise they interfere with each other. If the two hands play an arpeggio chord in thirds with each other, the same string will be taken by one hand as soon as the other has left: it. Consequently the string has no time to vibrate, and the tone is stifled the moment it is produced.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 47.46238838590949, 162.41449324811092, 276.6764820600411, 238.44787097368084 ] } ] }, { "id": "berlioz-instrumentation-b00899", "reading_order": 890, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m04" ] }, { "id": "berlioz-instrumentation-b00900", "reading_order": 891, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m06" ] }, { "id": "berlioz-instrumentation-b00901", "reading_order": 892, "type": "paragraph", "english": "All passages which require the skipping of a finger from one string to another can be written only in very moderate tempo.", "original": "All passages which require the skipping of a finger from one string to another can be written only in very moderate tempo.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 44.76310563410421, 370.49400329589844, 273.3023786202845, 399.28770847007877 ] } ] }, { "id": "berlioz-instrumentation-b00902", "reading_order": 893, "type": "paragraph", "english": "When a rapid series of diatonic octaves or sixths is desired, they should generally be written for two - hands. The sixths, as well as scales in thirds, can also be played by one hand, but only in descending. In this case the thumb slides from one upper note to the next while the other three fingers play the lower notes.", "original": "When a rapid series of diatonic octaves or sixths is desired, they should generally be written for two - hands. The sixths, as well as scales in thirds, can also be played by one hand, but only in descending. In this case the thumb slides from one upper note to the next while the other three fingers play the lower notes.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 35.99043669073705, 398.1629543617123, 273.07743839096736, 456.2002663534196 ] } ] }, { "id": "berlioz-instrumentation-b00903", "reading_order": 894, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m09" ] }, { "id": "berlioz-instrumentation-b00904", "reading_order": 895, "type": "paragraph", "english": "is difficult because of the distance between the thumb and the other fingers; the following two are easier:", "original": "is difficult because of the distance between the thumb and the other fingers; the following two are easier:", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 44.76310563410421, 519.6363980652857, 272.85249816165026, 538.9821687291881 ] } ] }, { "id": "berlioz-instrumentation-b00905", "reading_order": 896, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m10" ] }, { "id": "berlioz-instrumentation-b00906", "reading_order": 897, "type": "paragraph", "english": "If one wants to employ a rapid arpeggio of more than an octave, it must be written in one part distributed between both hands, instead of two parts. One hand plays a fragment while the other changes its position and prepares for the next fragment, and so on, reciprocally: RE", "original": "If one wants to employ a rapid arpeggio of more than an octave, it must be written in one part distributed between both hands, instead of two parts. One hand plays a fragment while the other changes its position and prepares for the next fragment, and so on, reciprocally: RE", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 298.0458038451662, 150.49209969942686, 527.709777977932, 211.4537723728868 ] } ] }, { "id": "berlioz-instrumentation-b00907", "reading_order": 898, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m03" ] }, { "id": "berlioz-instrumentation-b00908", "reading_order": 899, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m05" ] }, { "id": "berlioz-instrumentation-b00909", "reading_order": 900, "type": "paragraph", "english": "This arpeggio would be impossible if doubled in the octave. The following example is impracticable in quick movement, but quite possible in slow time:", "original": "This arpeggio would be impossible if doubled in the octave. The following example is impracticable in quick movement, but quite possible in slow time:", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 296.24628201062933, 276.91446147981236, 525.460375684761, 306.38301911901254 ] } ] }, { "id": "berlioz-instrumentation-b00910", "reading_order": 901, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m07" ] }, { "id": "berlioz-instrumentation-b00911", "reading_order": 902, "type": "paragraph", "english": "In the second act of “Tannhaeuser”’, with Tannhaeuser’s words “Zu Gottes Preis, in hoch erhab’ne Fernen, etc.” occurs a harp passage which it is practically impossible to execute:", "original": "In the second act of “Tannhaeuser”’, with Tannhaeuser’s words “Zu Gottes Preis, in hoch erhab’ne Fernen, etc.” occurs a harp passage which it is practically impossible to execute:", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 308.8429348523874, 376.11777383773057, 526.3601366020293, 415.2592168088819 ] } ] }, { "id": "berlioz-instrumentation-b00912", "reading_order": 903, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m08" ] }, { "id": "berlioz-instrumentation-b00913", "reading_order": 904, "type": "paragraph", "english": "The trill can be executed on the harp, but its effect is only tolerable in the high notes. The repetition of one note was difficult and unpleasant on the old harps on account of the grating noise caused by the first finger striking the string immediately after the thumb, thus interrupting its vibration:", "original": "The trill can be executed on the harp, but its effect is only tolerable in the high notes. The repetition of one note was difficult and unpleasant on the old harps on account of the grating noise caused by the first finger striking the string immediately after the thumb, thus interrupting its vibration:", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 296.9211026985807, 528.1845292888704, 526.5850768313464, 586.2218412805776 ] } ] }, { "id": "berlioz-instrumentation-b00914", "reading_order": 905, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m11" ] }, { "id": "berlioz-instrumentation-b00915", "reading_order": 906, "type": "paragraph", "english": "These scales in thirds form an exception to what has been said about keeping the hands apart; they can be executed with both hands. The disadvantage of one string being taken by two hands in quick succession is much smaller in diatonic progressions because the intermediate note allows a little more time for vibration. Nevertheless, it is better to write these series of thirds for two harps, giving the higher part to one and the lower part to another; or, if only one harp is available and a full tone is desired, to separate the", "original": "These scales in thirds form an exception to what has been said about keeping the hands apart; they can be executed with both hands. The disadvantage of one string being taken by two hands in quick succession is much smaller in diatonic progressions because the intermediate note allows a little more time for vibration. Nevertheless, it is better to write these series of thirds for two harps, giving the higher part to one and the lower part to another; or, if only one harp is available and a full tone is desired, to separate the", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 44.08828494615289, 643.1343991639184, 274.65201999618716, 739.8632524834304 ] } ] }, { "id": "berlioz-instrumentation-b00916", "reading_order": 907, "type": "paragraph", "english": "On the new harps the repetition is easy and pleasant: the double action of the pedals makes it possible to raise the adjoining string by a whole tone so that the repetition is produced on two strings in unison:", "original": "On the new harps the repetition is easy and pleasant: the double action of the pedals makes it possible to raise the adjoining string by a whole tone so that the repetition is produced on two strings in unison:", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440, "bbox_pdf": [ 297.82086361584913, 642.6844975205719, 527.4848377486148, 681.1510880267034 ] } ] }, { "id": "berlioz-instrumentation-b00917", "reading_order": 908, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 155, "source_image": "source-pages/p-155.jpg", "printed_page": 440 } ], "asset_refs": [ "p-155-m12" ] }, { "id": "berlioz-instrumentation-b00918", "reading_order": 909, "type": "paragraph", "english": "Repetition in two or four voices (occasionally very useful in the orchestra) can be obtained by using two or more harps and giving them chord which cross each other. These offer no difficulty and produce exactly the desired effect:", "original": "Repetition in two or four voices (occasionally very useful in the orchestra) can be obtained by using two or more harps and giving them chord which cross each other. These offer no difficulty and produce exactly the desired effect:", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 37.34007806663969, 80.5323941590356, 269.9282751805279, 130.6964273921779 ] } ] }, { "id": "berlioz-instrumentation-b00919", "reading_order": 910, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m01" ] }, { "id": "berlioz-instrumentation-b00920", "reading_order": 911, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m03" ] }, { "id": "berlioz-instrumentation-b00921", "reading_order": 912, "type": "paragraph", "english": "The effect of harps increases in proportion to the aumber employed (except where music is intended for execution in a small circle and close to the listeners). The tones, chords and arpeggios of a mass of harps can be heard with extraordinary brilliance above a whole orchestra and chorus.", "original": "The effect of harps increases in proportion to the aumber employed (except where music is intended for execution in a small circle and close to the listeners). The tones, chords and arpeggios of a mass of harps can be heard with extraordinary brilliance above a whole orchestra and chorus.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 40.48924127707919, 293.1109206402888, 272.85249816165026, 352.4979375620357 ] } ] }, { "id": "berlioz-instrumentation-b00922", "reading_order": 913, "type": "paragraph", "english": "Nothing can be more in keeping with ideas of supernatural splendor or of religious rites than the tones of a great number of harps, ingeniously employed. Employed singly or in groups of two, three or four, they also have a very felicitous effect, either in combination with the orchestra or as an accom-", "original": "Nothing can be more in keeping with ideas of supernatural splendor or of religious rites than the tones of a great number of harps, ingeniously employed. Employed singly or in groups of two, three or four, they also have a very felicitous effect, either in combination with the orchestra or as an accom-", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 42.288763111616035, 350.4733801669762, 273.9771993082358, 411.2101020187628 ] } ] }, { "id": "berlioz-instrumentation-b00923", "reading_order": 914, "type": "paragraph", "english": "iment to voices or solo instruments. It is remarkable that of all known timbres those of horns, trombones, and brass instruments generally blend best with the harp. Unfortunately, the lower strings, whose tones (with the exception of the soft and dull strings of the extreme low range) are veiled, mysterious and beautiful, have scarcely ever been used for anything other than bass accompaniments of the left hand. It is true that the players have no special liking for pieces moving within the lower octaves. These strings are far from the performer’s body, forcing him to bend forward, stretch his arms and to stay for longer or shorter periods of time in this uncomfortable position. But this reason can have had little weight with composers. The fact is, they simply have not thought of utilizing this peculiar timbre.", "original": "iment to voices or solo instruments. It is remarkable that of all known timbres those of horns, trombones, and brass instruments generally blend best with the harp. Unfortunately, the lower strings, whose tones (with the exception of the soft and dull strings of the extreme low range) are veiled, mysterious and beautiful, have scarcely ever been used for anything other than bass accompaniments of the left hand. It is true that the players have no special liking for pieces moving within the lower octaves. These strings are far from the performer’s body, forcing him to bend forward, stretch his arms and to stay for longer or shorter periods of time in this uncomfortable position. But this reason can have had little weight with composers. The fact is, they simply have not thought of utilizing this peculiar timbre.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 43.41346425820157, 410.31029873206967, 277.1263625186753, 570.0253821201012 ] } ] }, { "id": "berlioz-instrumentation-b00924", "reading_order": 915, "type": "paragraph", "english": "An example of the beautiful and soft sound of the low strings:", "original": "An example of the beautiful and soft sound of the low strings:", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 46.56262746864106, 567.1010214383485, 277.3513027479924, 589.3711527840036 ] } ] }, { "id": "berlioz-instrumentation-b00925", "reading_order": 916, "type": "paragraph", "english": "a. a er ee ee See see ae", "original": "a. a er ee ee See see ae", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 133.6144962143613, 610.0666283779457, 188.94979262636951, 619.9644645315702 ] } ] }, { "id": "berlioz-instrumentation-b00926", "reading_order": 917, "type": "paragraph", "english": "tasias, variations and concertos. But nothing can match the beauty of these mysterious sounds when they are combined with the medium tones of flutes and clarinets. It is strange that the affinity of these timbres and the poetry of their combination should have been recognized and actually used only once— very recently. (See example 8, p. 30, quoted in reference to harmonics on the violin, where harmonics on the harp are also employed.)", "original": "tasias, variations and concertos. But nothing can match the beauty of these mysterious sounds when they are combined with the medium tones of flutes and clarinets. It is strange that the affinity of these timbres and the poetry of their combination should have been recognized and actually used only once— very recently. (See example 8, p. 30, quoted in reference to harmonics on the violin, where harmonics on the harp are also employed.)", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 293.9968797174583, 79.63259087234248, 526.1351963727122, 168.2632146116163 ] } ] }, { "id": "berlioz-instrumentation-b00927", "reading_order": 918, "type": "paragraph", "english": "The best and almost the only harmonics on the harp are produced by touching the center of the string lightly with the lower, fleshy part of the hand while playing with the thumb and the first two fingers of the same hand; this produces the upper octave of the normal sound. Harmonics can be played by both hands simultaneously.", "original": "The best and almost the only harmonics on the harp are produced by touching the center of the string lightly with the lower, fleshy part of the hand while playing with the thumb and the first two fingers of the same hand; this produces the upper octave of the normal sound. Harmonics can be played by both hands simultaneously.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 294.89664063472674, 167.81331296826974, 526.5850768313464, 236.198362756948 ] } ] }, { "id": "berlioz-instrumentation-b00928", "reading_order": 919, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m02" ] }, { "id": "berlioz-instrumentation-b00929", "reading_order": 920, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m04" ] }, { "id": "berlioz-instrumentation-b00930", "reading_order": 921, "type": "paragraph", "english": "It is even possible to produce two or three harmonics at a time with one hand; but then it is advisable to let the other hand play only one:", "original": "It is even possible to produce two or three harmonics at a time with one hand; but then it is advisable to let the other hand play only one:", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 293.7719394881412, 304.5834125456263, 525.685315914078, 335.4016751148662 ] } ] }, { "id": "berlioz-instrumentation-b00931", "reading_order": 922, "type": "paragraph", "english": ", Harmonies Not all strings of the harp are fit for", "original": ", Harmonies Not all strings of the harp are fit for", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 304.5690704953623, 336.7513800449059, 525.460375684761, 348.67377359358994 ] } ] }, { "id": "berlioz-instrumentation-b00932", "reading_order": 923, "type": "paragraph", "english": "f harmonics. Only the two octaves above the lowest should be used; they alone are long enough to be divided by touching in the center and have sufficient tension to", "original": "f harmonics. Only the two octaves above the lowest should be used; they alone are long enough to be divided by touching in the center and have sufficient tension to", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 336.96046351702563, 346.87416702020363, 525.9102561433951, 385.34075752633515 ] } ] }, { "id": "berlioz-instrumentation-b00933", "reading_order": 924, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m05" ] }, { "id": "berlioz-instrumentation-b00934", "reading_order": 925, "type": "paragraph", "english": "produce clear harmonics.", "original": "produce clear harmonics.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 349.3321761294665, 386.91541327804816, 457.07854597236053, 397.4881018966925 ] } ] }, { "id": "berlioz-instrumentation-b00935", "reading_order": 926, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m06" ] }, { "id": "berlioz-instrumentation-b00936", "reading_order": 927, "type": "paragraph", "english": "If the course of a piece or the character of its instrumentation require the sudden transition of the harp part from one key into another very remote one (e.g. from Eb to Ek), this cannot be effected on the same instrument. A second harp must be kept ready,", "original": "If the course of a piece or the character of its instrumentation require the sudden transition of the harp part from one key into another very remote one (e.g. from Eb to Ek), this cannot be effected on the same instrument. A second harp must be kept ready,", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 292.87217857087273, 452.82600402832037, 525.0104952261267, 502.09023397476943 ] } ] }, { "id": "berlioz-instrumentation-b00937", "reading_order": 928, "type": "paragraph", "english": "tuned in the sharped key, which immediately continues the part of the harp in the flatted key. If the transition is not so sudden and only one instrument is available, the composer must give the player a sufficient number of rests to set al] pedals necessary for the modulation. When the harps are numerous and are -treated as an integral part of the orchestra (not merely as an accompaniment for an instrumental or vocal solo), they are usually divided into first and second harps and are given two separate parts; this adds greatly to the richness of their effect. Even a greater number of different harp parts may be well justified. This becomes indispensable, as we have seen, when a sudden transition into distant keys is intended.", "original": "tuned in the sharped key, which immediately continues the part of the harp in the flatted key. If the transition is not so sudden and only one instrument is available, the composer must give the player a sufficient number of rests to set al] pedals necessary for the modulation. When the harps are numerous and are -treated as an integral part of the orchestra (not merely as an accompaniment for an instrumental or vocal solo), they are usually divided into first and second harps and are given two separate parts; this adds greatly to the richness of their effect. Even a greater number of different harp parts may be well justified. This becomes indispensable, as we have seen, when a sudden transition into distant keys is intended.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 292.6472383415557, 502.09023397476943, 525.685315914078, 639.3102351954726 ] } ] }, { "id": "berlioz-instrumentation-b00938", "reading_order": 929, "type": "paragraph", "english": "The Theban bas-reliefs, where an exact representation of ancient harps is to be found, prove that these had no pedals and consequently could not modulate.", "original": "The Theban bas-reliefs, where an exact representation of ancient harps is to be found, prove that these had no pedals and consequently could not modulate.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 294.2218199467754, 639.5351860171459, 525.460375684761, 669.4536452996927 ] } ] }, { "id": "berlioz-instrumentation-b00939", "reading_order": 930, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m07" ] }, { "id": "berlioz-instrumentation-b00940", "reading_order": 931, "type": "paragraph", "english": "The strings of the highest octave have a lovely crystalline tone of voluptuous freshness, able to paint pictures of fairy-like delicacy and to whisper delicate secrets with lovely melodies. It is necessary, however, that they are not attacked with force by the player, lest their tone become dry and hard, similar to that of a broken giass.", "original": "The strings of the highest octave have a lovely crystalline tone of voluptuous freshness, able to paint pictures of fairy-like delicacy and to whisper delicate secrets with lovely melodies. It is necessary, however, that they are not attacked with force by the player, lest their tone become dry and hard, similar to that of a broken giass.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 46.33768723932395, 671.253251873079, 279.37576481184635, 742.1127607001632 ] } ] }, { "id": "berlioz-instrumentation-b00941", "reading_order": 932, "type": "paragraph", "english": "The harmonics of the harp—particularly of many", "original": "The harmonics of the harp—particularly of many", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 58.0345791638135, 740.313154126777, 280.0505854997977, 750.8858427454213 ] } ] }, { "id": "berlioz-instrumentation-b00942", "reading_order": 933, "type": "paragraph", "english": "in unison—are still more magical. Solo players employ them frequently in the cadenzas of their fan-", "original": "in unison—are still more magical. Solo players employ them frequently in the cadenzas of their fan-", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 48.36214930317791, 749.9860394587282, 280.2755257291148, 772.7060724477299 ] } ] }, { "id": "berlioz-instrumentation-b00943", "reading_order": 934, "type": "paragraph", "english": "The no less ancient harps used to this day by Welsh and Irish bards have several rows of strings. This arrangement doubtless places the chromatic style and modulation more or less within their power.", "original": "The no less ancient harps used to this day by Welsh and Irish bards have several rows of strings. This arrangement doubtless places the chromatic style and modulation more or less within their power.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 294.2218199467754, 668.5538420129994, 525.685315914078, 708.1451866274974 ] } ] }, { "id": "berlioz-instrumentation-b00944", "reading_order": 935, "type": "paragraph", "english": "In speaking of repeated notes I have pointed out above the advantage offered by modern harps in tuning two strings in unison by means of the double", "original": "In speaking of repeated notes I have pointed out above the advantage offered by modern harps in tuning two strings in unison by means of the double", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 294.6717004054096, 708.1451866274974, 526.1351963727122, 738.5135475533907 ] } ] }, { "id": "berlioz-instrumentation-b00945", "reading_order": 936, "type": "paragraph", "english": "action, e.g. one of these Cbs being produced by the Cb-string, the other by the", "original": "action, e.g. one of these Cbs being produced by the Cb-string, the other by the", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 295.34652109336093, 737.6137442666976, 526.8100170606635, 757.8593182172932 ] } ] }, { "id": "berlioz-instrumentation-b00946", "reading_order": 937, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444 } ], "asset_refs": [ "p-156-m08" ] }, { "id": "berlioz-instrumentation-b00947", "reading_order": 938, "type": "paragraph", "english": "Bb - string raised a semitone; or", "original": "Bb - string raised a semitone; or", "sources": [ { "pdf_page": 156, "source_image": "source-pages/p-156.jpg", "printed_page": 444, "bbox_pdf": [ 294.6717004054096, 757.6343673956198, 484.29631371973045, 767.9821051925909 ] } ] }, { "id": "berlioz-instrumentation-b00948", "reading_order": 939, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m01" ] }, { "id": "berlioz-instrumentation-b00949", "reading_order": 940, "type": "paragraph", "english": "where one Eb is played on the Eb-string,", "original": "where one Eb is played on the Eb-string,", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 80.52860209552415, 57.587410348360656, 270.6030958684792, 67.71019732365842 ] } ] }, { "id": "berlioz-instrumentation-b00950", "reading_order": 941, "type": "paragraph", "english": "the other on the Db-string raised two semitones. It is hardly believable what effects great harpists are now able to derive from these double strings, which they: call synonyms. M. Parish-Alvars, perhaps the most extraordinary virtuoso ever to be heard on this instrument, executes runs and arpeggios which at first sight seem utterly impossible. Yet their whole difficulty consists only in an ingenious application of the pedals. He plays, for instance, the following passage with astonishing rapidity:", "original": "the other on the Db-string raised two semitones. It is hardly believable what effects great harpists are now able to derive from these double strings, which they: call synonyms. M. Parish-Alvars, perhaps the most extraordinary virtuoso ever to be heard on this instrument, executes runs and arpeggios which at first sight seem utterly impossible. Yet their whole difficulty consists only in an ingenious application of the pedals. He plays, for instance, the following passage with astonishing rapidity:", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 37.5650182959568, 67.48524650198515, 270.3781556391621, 163.53924735647735 ] } ] }, { "id": "berlioz-instrumentation-b00951", "reading_order": 942, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m02" ] }, { "id": "berlioz-instrumentation-b00952", "reading_order": 943, "type": "paragraph", "english": "The facility of this passage is explained by the fact that the player simply has to slide three fingers downward across the strings without any fingering and as fast as he likes, because the instrument is tuned by means of the synonyms in a sequence of minor thirds producing the chord of the dinimished seventh. Instead of the scale", "original": "The facility of this passage is explained by the fact that the player simply has to slide three fingers downward across the strings without any fingering and as fast as he likes, because the instrument is tuned by means of the synonyms in a sequence of minor thirds producing the chord of the dinimished seventh. Instead of the scale", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 38.01489875459101, 240.4724283687404, 270.8280360977963, 305.7081666539927 ] } ] }, { "id": "berlioz-instrumentation-b00953", "reading_order": 944, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m03" ] }, { "id": "berlioz-instrumentation-b00954", "reading_order": 945, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m04" ] }, { "id": "berlioz-instrumentation-b00955", "reading_order": 946, "type": "paragraph", "english": "No. 53. Dante-Symphony, 1st movement", "original": "No. 53. Dante-Symphony, 1st movement", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 144.18668699226532, 400.1875117567719, 428.9610173077222, 417.50872502561475 ] } ] }, { "id": "berlioz-instrumentation-b00956", "reading_order": 947, "type": "paragraph", "english": "Quasi Andante, ma sempre un poco mosso. Liszt.", "original": "Quasi Andante, ma sempre un poco mosso. Liszt.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 103.47250548586902, 415.70911845222855, 526.5850768313464, 428.53131528760565 ] } ] }, { "id": "berlioz-instrumentation-b00957", "reading_order": 948, "type": "paragraph", "english": "The Au, it must be remarked, cannot be doubled and hence. cannot be played twice in succession. In fact, it is not possible to have four synonyms at a time, simply because there are only seven tones in the scale, whereas four synonyms would require eight strings. Furthermore, the tone Ah can be produced onfy on one string, Ab, and not on Gb, which can be raised only two semitones by the double action, that is to Ab. The same limitation is found on two other strings, Cb and Fb.", "original": "The Au, it must be remarked, cannot be doubled and hence. cannot be played twice in succession. In fact, it is not possible to have four synonyms at a time, simply because there are only seven tones in the scale, whereas four synonyms would require eight strings. Furthermore, the tone Ah can be produced onfy on one string, Ab, and not on Gb, which can be raised only two semitones by the double action, that is to Ab. The same limitation is found on two other strings, Cb and Fb.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 294.44676017609254, 56.68760706166752, 526.3601366020293, 151.1669521644467 ] } ] }, { "id": "berlioz-instrumentation-b00958", "reading_order": 949, "type": "paragraph", "english": "Three synonyms are therefore still wanting on the harp: D, G and A. This defect (for such it is indeed) would disappear if the manufacturers would provide, as Parish-Alvars proposes, a triple action for the pedals of the three notes Cb, Fb and Gb, which would", "original": "Three synonyms are therefore still wanting on the harp: D, G and A. This defect (for such it is indeed) would disappear if the manufacturers would provide, as Parish-Alvars proposes, a triple action for the pedals of the three notes Cb, Fb and Gb, which would", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 293.7719394881412, 153.19150955950627, 525.460375684761, 201.5559362192623 ] } ] }, { "id": "berlioz-instrumentation-b00959", "reading_order": 950, "type": "paragraph", "english": "it raising these strings by three semitones.", "original": "it raising these strings by three semitones.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 316.26596241985186, 201.7808870409356, 500.26707000124503, 211.4537723728868 ] } ] }, { "id": "berlioz-instrumentation-b00960", "reading_order": 951, "type": "paragraph", "english": "Mr. Erard should not allow such a defect to remain in the mechanism of this instrument. It would be worthy of so skilled a manufacturer to be the first to remove it.", "original": "Mr. Erard should not allow such a defect to remain in the mechanism of this instrument. It would be worthy of so skilled a manufacturer to be the first to remove it.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 293.5469992588241, 211.22882155121349, 525.2354354554438, 248.12075630563203 ] } ] }, { "id": "berlioz-instrumentation-b00961", "reading_order": 952, "type": "paragraph", "english": "If one does not use all synonyms at once, obviously other chords than the dimmished seventh can be obtained. Anybody can work out these manifold combinations for himself once he has clearly understood the effect of the pedals upon the strings. There will be even more combinations available after the three synonyms lacking at present are gained by a triple action of the pedals Cb, Fb and Gb.", "original": "If one does not use all synonyms at once, obviously other chords than the dimmished seventh can be obtained. Anybody can work out these manifold combinations for himself once he has clearly understood the effect of the pedals upon the strings. There will be even more combinations available after the three synonyms lacking at present are gained by a triple action of the pedals Cb, Fb and Gb.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 292.6472383415557, 250.14531370069162, 525.0104952261267, 328.65315046466765 ] } ] }, { "id": "berlioz-instrumentation-b00962", "reading_order": 953, "type": "paragraph", "english": "A brilliant example for the above mentioned method of glissando (on the diminished seventh chords) is to be found in Liszt’s Dante-Symphony; here it symbolizes the spirits of the unfortunate Francesca da Rimini and her lover as they rise from the inferno. (Example 53.)", "original": "A brilliant example for the above mentioned method of glissando (on the diminished seventh chords) is to be found in Liszt’s Dante-Symphony; here it symbolizes the spirits of the unfortunate Francesca da Rimini and her lover as they rise from the inferno. (Example 53.)", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 303.894249807411, 327.5283963563012, 524.1107343088582, 385.34075752633515 ] } ] }, { "id": "berlioz-instrumentation-b00963", "reading_order": 954, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m05" ] }, { "id": "berlioz-instrumentation-b00964", "reading_order": 955, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m06" ] }, { "id": "berlioz-instrumentation-b00965", "reading_order": 956, "type": "paragraph", "english": "Viol. II. Fate ——", "original": "Viol. II. Fate ——", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442, "bbox_pdf": [ 38.91465967185944, 697.3475471871799, 195.9229397351998, 715.5685637427158 ] } ] }, { "id": "berlioz-instrumentation-b00966", "reading_order": 957, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 157, "source_image": "source-pages/p-157.jpg", "printed_page": 442 } ], "asset_refs": [ "p-157-m07" ] }, { "id": "berlioz-instrumentation-b00967", "reading_order": 958, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 158, "source_image": "source-pages/p-158.jpg", "printed_page": 143 } ], "asset_refs": [ "p-158-m01" ] }, { "id": "berlioz-instrumentation-b00968", "reading_order": 959, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159" } ], "asset_refs": [ "p-159-m01" ] }, { "id": "berlioz-instrumentation-b00969", "reading_order": 960, "type": "paragraph", "english": "In connection with the harp, I wish to point out again the cautious use which Richard Wagner made of this instrument (see “Lohengrin” as an outstanding example, also the second act of “Tristan”). Whenever he employed it, he achieved extraordinary and striking effects with the timbre of this beautiful instrument. I can only warn beginners again to use all particularly bright and characteristic colors of the orchestra very sparingly and, before writing them, to consider seriously whether these colors are indispensable in this particular place or whether they might be replaced by simpler ones.", "original": "In connection with the harp, I wish to point out again the cautious use which Richard Wagner made of this instrument (see “Lohengrin” as an outstanding example, also the second act of “Tristan”). Whenever he employed it, he achieved extraordinary and striking effects with the timbre of this beautiful instrument. I can only warn beginners again to use all particularly bright and characteristic colors of the orchestra very sparingly and, before writing them, to consider seriously whether these colors are indispensable in this particular place or whether they might be replaced by simpler ones.", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 56.01011709995954, 439.10400390625, 275.55178091345556, 563.2768574699027 ] } ] }, { "id": "berlioz-instrumentation-b00970", "reading_order": 961, "type": "paragraph", "english": "Nowadays all these special orchestral titbits such as harps, flageolets, percussion instruments, are being terribly misused. Especially the percussion instruments should be used only as isolated highlights if their effect is to be felicitous and characteristic; see the single triangle stroke at the end of the second act of “Tristan”. Otherwise the ear of the listener becomes unnecessarily dulled: fine light-accents become formless smears of color.", "original": "Nowadays all these special orchestral titbits such as harps, flageolets, percussion instruments, are being terribly misused. Especially the percussion instruments should be used only as isolated highlights if their effect is to be felicitous and characteristic; see the single triangle stroke at the end of the second act of “Tristan”. Otherwise the ear of the listener becomes unnecessarily dulled: fine light-accents become formless smears of color.", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 55.33529641200821, 565.5263656866355, 274.65201999618716, 652.8072844958696 ] } ] }, { "id": "berlioz-instrumentation-b00971", "reading_order": 962, "type": "paragraph", "english": "Berlioz was unusually familiar with the technique of the harp, which in view of its difficulty cannot be expected from every author. A funny utterance of Richard Wagner’s to the harpist Tombo is reported. During the first rehearsal of the end of “Rheingold” in Munich, when Tombo sadly declared the harp part to be, absolutely unplayable, Wagner said to ‘the excellént artist, “You", "original": "Berlioz was unusually familiar with the technique of the harp, which in view of its difficulty cannot be expected from every author. A funny utterance of Richard Wagner’s to the harpist Tombo is reported. During the first rehearsal of the end of “Rheingold” in Munich, when Tombo sadly declared the harp part to be, absolutely unplayable, Wagner said to ‘the excellént artist, “You", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 54.435535494739796, 653.2571861392162, 274.8769602255042, 733.3396786549052 ] } ] }, { "id": "berlioz-instrumentation-b00972", "reading_order": 963, "type": "paragraph", "english": "cannot expect me to be able to play the harp; you", "original": "cannot expect me to be able to play the harp; you", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 303.6693095780939, 440.9036104796363, 523.435913620907, 451.9262007416272 ] } ] }, { "id": "berlioz-instrumentation-b00973", "reading_order": 964, "type": "paragraph", "english": "see what effects I want to achieve; now arrange", "original": "see what effects I want to achieve; now arrange", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 302.7695486608255, 449.90164334656765, 522.9860331622727, 462.04898771692496 ] } ] }, { "id": "berlioz-instrumentation-b00974", "reading_order": 965, "type": "paragraph", "english": "your part as you like”. Those who do not feel sure", "original": "your part as you like”. Those who do not feel sure", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 302.5446084315083, 460.47433196521195, 522.7610929329556, 469.4723648321433 ] } ] }, { "id": "berlioz-instrumentation-b00975", "reading_order": 966, "type": "paragraph", "english": "they possess the inspired instinct of a Wagner, had", "original": "they possess the inspired instinct of a Wagner, had", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 302.5446084315083, 469.2474140104701, 522.5361527036385, 481.16980755915404 ] } ] }, { "id": "berlioz-instrumentation-b00976", "reading_order": 967, "type": "paragraph", "english": "petter follow the saying: Quod licet Jovi, non licet", "original": "petter follow the saying: Quod licet Jovi, non licet", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 302.0947279728741, 478.2454468774013, 522.5361527036385, 497.3662667196305 ] } ] }, { "id": "berlioz-instrumentation-b00977", "reading_order": 968, "type": "paragraph", "english": "— ce eee ee ee", "original": "— ce eee ee ee", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 302.0947279728741, 513.1128242367603, 522.3112124743215, 519.6363980652857 ] } ] }, { "id": "berlioz-instrumentation-b00978", "reading_order": 969, "type": "paragraph", "english": "The harp must always be treated as a solo instrument, also in the orchestra, lest one write unnecessarily notes which are inaudible.", "original": "The harp must always be treated as a solo instrument, also in the orchestra, lest one write unnecessarily notes which are inaudible.", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 301.4199072849228, 520.0862997086322, 521.6363917863702, 549.7798081695056 ] } ] }, { "id": "berlioz-instrumentation-b00979", "reading_order": 970, "type": "paragraph", "english": "In the tutti of a modern orchestra only a group of several harps is effective. The harp part of “Tristan” is played by four harps in Bayreuth!", "original": "In the tutti of a modern orchestra only a group of several harps is effective. The harp part of “Tristan” is played by four harps in Bayreuth!", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 301.4199072849228, 549.5548573478324, 521.411451557053, 580.8230215604187 ] } ] }, { "id": "berlioz-instrumentation-b00980", "reading_order": 971, "type": "paragraph", "english": "An effect on the harp not mentioned by Berlioz is the bisbigliando (“murmuring”), used for executing tremolos. The tremolo is written as for the piano, for mstance 3; the harpist does not play it eS sin one hand, but distributes it be- i", "original": "An effect on the harp not mentioned by Berlioz is the bisbigliando (“murmuring”), used for executing tremolos. The tremolo is written as for the piano, for mstance 3; the harpist does not play it eS sin one hand, but distributes it be- i", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 299.620385450386, 579.2483658087058, 520.7366308691016, 636.38587451372 ] } ] }, { "id": "berlioz-instrumentation-b00981", "reading_order": 972, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159" } ], "asset_refs": [ "p-159-m02" ] }, { "id": "berlioz-instrumentation-b00982", "reading_order": 973, "type": "paragraph", "english": "and left hands:", "original": "and left hands:", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 299.845325679703, 637.9605302654328, 366.87751401620085, 645.8338090239978 ] } ] }, { "id": "berlioz-instrumentation-b00983", "reading_order": 974, "type": "paragraph", "english": "Figures like the following can also be executed in this fashion:", "original": "Figures like the following can also be executed in this fashion:", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159", "bbox_pdf": [ 303.4443693487768, 680.7011863833568, 524.5606147674926, 698.4723012955462 ] } ] }, { "id": "berlioz-instrumentation-b00984", "reading_order": 975, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 159, "source_image": "source-pages/p-159.jpg", "printed_label": "PDF 159" } ], "asset_refs": [ "p-159-m03" ] }, { "id": "berlioz-instrumentation-section-09", "type": "heading", "heading_level": 2, "english": "The Guitar", "original": "The Guitar", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_page": 145 } ], "reading_order": 976 }, { "id": "berlioz-instrumentation-b00985", "reading_order": 977, "type": "paragraph", "english": "_ The guitar is an instrument suitable for accompanying the voice and for taking part in instrumental compositions of intimate character; it is equally appropriate for solo performance of more or less complicated compositions in several voices, which Possess true charm when performed by real virtuosos.", "original": "_ The guitar is an instrument suitable for accompanying the voice and for taking part in instrumental compositions of intimate character; it is equally appropriate for solo performance of more or less complicated compositions in several voices, which Possess true charm when performed by real virtuosos.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 46.33768723932395, 131.14632903552447, 275.55178091345556, 193.0078049956775 ] } ] }, { "id": "berlioz-instrumentation-b00986", "reading_order": 978, "type": "paragraph", "english": "Tt has six strings, tuned in fourths and thirds as", "original": "Tt has six strings, tuned in fourths and thirds as", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 56.459997558593756, 190.98324760061797, 273.9771993082358, 202.905641149302 ] } ] }, { "id": "berlioz-instrumentation-b00987", "reading_order": 979, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m01" ] }, { "id": "berlioz-instrumentation-b00988", "reading_order": 980, "type": "paragraph", "english": "Sometimes it is tuned in the following manner, especially for pieces in the key of E:", "original": "Sometimes it is tuned in the following manner, especially for pieces in the key of E:", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 46.11274701000685, 253.29462520411755, 273.9771993082358, 274.21505161973295 ] } ] }, { "id": "berlioz-instrumentation-b00989", "reading_order": 981, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m03" ] }, { "id": "berlioz-instrumentation-b00990", "reading_order": 982, "type": "paragraph", "english": "The three lower strings are made of silk covered with silver wire; the other three of catgut. The guitar is a transposing instrument with a range of three octaves and a fifth, written in the G-clef, an octave higher than the actual sound:", "original": "The three lower strings are made of silk covered with silver wire; the other three of catgut. The guitar is a transposing instrument with a range of three octaves and a fifth, written in the G-clef, an octave higher than the actual sound:", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 42.51370334093315, 321.45472417112256, 271.5028567857476, 370.49400329589844 ] } ] }, { "id": "berlioz-instrumentation-b00991", "reading_order": 983, "type": "paragraph", "english": "Including the chromatic intervals", "original": "Including the chromatic intervals", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 79.17896071962151, 387.3653149213947, 185.80062941593002, 393.66393792824664 ] } ] }, { "id": "berlioz-instrumentation-b00992", "reading_order": 984, "type": "paragraph", "english": "Major and minor trills can be played throughout the range of this scale.", "original": "Major and minor trills can be played throughout the range of this scale.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 42.96358379956735, 473.97138126560895, 271.0529763271134, 493.767053572858 ] } ] }, { "id": "berlioz-instrumentation-b00993", "reading_order": 985, "type": "paragraph", "english": "It is almost impossible to write well for the guitar without being able to play the instrument. However, the majority of composers who employ it do not possess an accurate knowledge of it. They write things of excessive difficulty, weak sonority and small effect for the instrument. We shall at least try to indicate here how simple accompaniments should be written for it.", "original": "It is almost impossible to write well for the guitar without being able to play the instrument. However, the majority of composers who employ it do not possess an accurate knowledge of it. They write things of excessive difficulty, weak sonority and small effect for the instrument. We shall at least try to indicate here how simple accompaniments should be written for it.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 41.83888265298182, 494.21695521620455, 271.5028567857476, 563.7267591132492 ] } ] }, { "id": "berlioz-instrumentation-b00994", "reading_order": 986, "type": "paragraph", "english": "In the usual position of the right hand the little finger rests on the body of the instrument; the thumb is used for plucking the three lower strings:", "original": "In the usual position of the right hand the little finger rests on the body of the instrument; the thumb is used for plucking the three lower strings:", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 41.83888265298182, 563.9517099349225, 270.3781556391621, 593.4202675741227 ] } ] }, { "id": "berlioz-instrumentation-b00995", "reading_order": 987, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m06" ] }, { "id": "berlioz-instrumentation-b00996", "reading_order": 988, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m08" ] }, { "id": "berlioz-instrumentation-b00997", "reading_order": 989, "type": "paragraph", "english": "the forefinger plays on the G-string == : the middle finger, on the B-string = 3 and", "original": "the forefinger plays on the G-string == : the middle finger, on the B-string = 3 and", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 37.34007806663969, 620.4143661749167, 265.87935105281997, 664.0548255795338 ] } ] }, { "id": "berlioz-instrumentation-b00998", "reading_order": 990, "type": "paragraph", "english": "the third finger, on the high E-string =", "original": "the third finger, on the high E-string =", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 37.115137837322585, 665.4045305095735, 258.6812637146725, 685.650104460169 ] } ] }, { "id": "berlioz-instrumentation-b00999", "reading_order": 991, "type": "paragraph", "english": "Consequently, for chords of more than four notes the thumb has to slide across one or two of the lower strings while the other three fingers strike the three high strings directly. In chords of four notes each finger strikes only its own string; the fingers change strings only to play chords in Jow positions, for in-", "original": "Consequently, for chords of more than four notes the thumb has to slide across one or two of the lower strings while the other three fingers strike the three high strings directly. In chords of four notes each finger strikes only its own string; the fingers change strings only to play chords in Jow positions, for in-", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 36.215376920054155, 689.0243667852683, 265.2045303648687, 749.9860394587282 ] } ] }, { "id": "berlioz-instrumentation-b01000", "reading_order": 992, "type": "paragraph", "english": "Since the guitar is mainly a harmonic instrument, it is important to become familiar with the chords and hence also the ios which it can execute. We start with the easiest—those which can be played without the barrage, a procedure whereby the forefinger of the left hand is placed across the neck of the instrument over two, three or four strings, and thus serves as an artificial fret. (The fret is the little ledge across the neck, on which the strings rest and which limits their vibrating length.)", "original": "Since the guitar is mainly a harmonic instrument, it is important to become familiar with the chords and hence also the ios which it can execute. We start with the easiest—those which can be played without the barrage, a procedure whereby the forefinger of the left hand is placed across the neck of the instrument over two, three or four strings, and thus serves as an artificial fret. (The fret is the little ledge across the neck, on which the strings rest and which limits their vibrating length.)", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 297.595923386532, 136.77009957735658, 526.1351963727122, 236.87321522196783 ] } ] }, { "id": "berlioz-instrumentation-b01001", "reading_order": 993, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m02" ] }, { "id": "berlioz-instrumentation-b01002", "reading_order": 994, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m04" ] }, { "id": "berlioz-instrumentation-b01003", "reading_order": 995, "type": "paragraph", "english": "The flat keys are incomparably more difficult than the preceding; all of them require the barrage. The following chords are the easiest:", "original": "The flat keys are incomparably more difficult than the preceding; all of them require the barrage. The following chords are the easiest:", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 291.297596965653, 505.46449629986876, 519.162049263882, 534.9330539390689 ] } ] }, { "id": "berlioz-instrumentation-b01004", "reading_order": 996, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m05" ] }, { "id": "berlioz-instrumentation-b01005", "reading_order": 997, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m07" ] }, { "id": "berlioz-instrumentation-b01006", "reading_order": 998, "type": "paragraph", "english": "In all chords one must avoid using the first and third strings without the second because the thumb would be forced to skip over the second string to go from the first to the third. It is impossible to play the following chords:", "original": "In all chords one must avoid using the first and third strings without the second because the thumb would be forced to skip over the second string to go from the first to the third. It is impossible to play the following chords:", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160", "bbox_pdf": [ 290.1728958190675, 657.5312517510085, 518.2622883466136, 707.0204325191311 ] } ] }, { "id": "berlioz-instrumentation-b01007", "reading_order": 999, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 160, "source_image": "source-pages/p-160.jpg", "printed_label": "PDF 160" } ], "asset_refs": [ "p-160-m09" ] }, { "id": "berlioz-instrumentation-b01008", "reading_order": 1000, "type": "paragraph", "english": "But if the second string is added, they become easy:", "original": "But if the second string is added, they become easy:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 48.58708953249502, 85.25636141417456, 267.9038131166739, 95.8290500328189 ] } ] }, { "id": "berlioz-instrumentation-b01009", "reading_order": 1001, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m01" ] }, { "id": "berlioz-instrumentation-b01010", "reading_order": 1002, "type": "paragraph", "english": "Dominant seventh chords should not be written in the usual position of three thirds one above the other,", "original": "Dominant seventh chords should not be written in the usual position of three thirds one above the other,", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 39.139599901176545, 138.56970615074283, 270.8280360977963, 160.83983749639793 ] } ] }, { "id": "berlioz-instrumentation-b01011", "reading_order": 1003, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m03" ] }, { "id": "berlioz-instrumentation-b01012", "reading_order": 1004, "type": "paragraph", "english": "They are next to impossible. The following, though", "original": "They are next to impossible. The following, though", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 51.73625274293451, 203.58049361432185, 273.5273188496016, 215.0529855196593 ] } ] }, { "id": "berlioz-instrumentation-b01013", "reading_order": 1005, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m05" ] }, { "id": "berlioz-instrumentation-b01014", "reading_order": 1006, "type": "paragraph", "english": "difficult, is possible: _ because G is an open string; only = is very easy and sonor-", "original": "difficult, is possible: _ because G is an open string; only = is very easy and sonor-", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 40.714181506396294, 216.17773962802573, 272.85249816165026, 267.01662532618786 ] } ] }, { "id": "berlioz-instrumentation-b01015", "reading_order": 1007, "type": "paragraph", "english": "ous on account of the open E-string. The following three chords are easy and link to-", "original": "ous on account of the open E-string. The following three chords are easy and link to-", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 40.9391217357134, 269.7160351862673, 273.07743839096736, 288.6119042068231 ] } ] }, { "id": "berlioz-instrumentation-b01016", "reading_order": 1008, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m07" ] }, { "id": "berlioz-instrumentation-b01017", "reading_order": 1009, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m09" ] }, { "id": "berlioz-instrumentation-b01018", "reading_order": 1010, "type": "paragraph", "english": "Of course, these chords may sometimes have more’", "original": "Of course, these chords may sometimes have more’", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 50.83649182566609, 405.5863314769307, 275.32684068413846, 415.2592168088819 ] } ] }, { "id": "berlioz-instrumentation-b01019", "reading_order": 1011, "type": "paragraph", "english": "than four notes, namely in keys which permit the addition of a low open string, as in A, E, G, F—in short, wherever one of these three notes", "original": "than four notes, namely in keys which permit the addition of a low open string, as in A, E, G, F—in short, wherever one of these three notes", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 40.9391217357134, 415.2592168088819, 271.95273724438186, 442.7032170530225 ] } ] }, { "id": "berlioz-instrumentation-b01020", "reading_order": 1012, "type": "paragraph", "english": "The following succession of chords, requiring the", "original": "The following succession of chords, requiring the", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 52.86095388952005, 461.8240368952516, 273.07743839096736, 472.6216763355693 ] } ] }, { "id": "berlioz-instrumentation-b01021", "reading_order": 1013, "type": "paragraph", "english": "The two slurred high notes in the last example are played by plucking the E-string with the little finger of the left hand.", "original": "The two slurred high notes in the last example are played by plucking the E-string with the little finger of the left hand.", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 294.89664063472674, 81.43219744572873, 526.3601366020293, 113.15026330166177 ] } ] }, { "id": "berlioz-instrumentation-b01022", "reading_order": 1014, "type": "paragraph", "english": "Descending arpeggios are rather awkward but feasible:", "original": "Descending arpeggios are rather awkward but feasible:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 295.34652109336093, 110.67580426325563, 526.5850768313464, 130.24652574883132 ] } ] }, { "id": "berlioz-instrumentation-b01023", "reading_order": 1015, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m02" ] }, { "id": "berlioz-instrumentation-b01024", "reading_order": 1016, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m04" ] }, { "id": "berlioz-instrumentation-b01025", "reading_order": 1017, "type": "paragraph", "english": "In the opposite direction they are very easy. The following are much more difficult and less advantageous on account of the retrograde movement of the thumb on the low two notes:", "original": "In the opposite direction they are very easy. The following are much more difficult and less advantageous on account of the retrograde movement of the thumb on the low two notes:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 294.89664063472674, 216.17773962802573, 526.1351963727122, 254.1944284908107 ] } ] }, { "id": "berlioz-instrumentation-b01026", "reading_order": 1018, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m06" ] }, { "id": "berlioz-instrumentation-b01027", "reading_order": 1019, "type": "paragraph", "english": "Scales in groups of two slurred notes with the repetition of one note are elegant and sound well, especially in the brilliant keys of the instrument:", "original": "Scales in groups of two slurred notes with the repetition of one note are elegant and sound well, especially in the brilliant keys of the instrument:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 295.57146132267803, 301.4341010422003, 526.5850768313464, 332.92721607646007 ] } ] }, { "id": "berlioz-instrumentation-b01028", "reading_order": 1020, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m08" ] }, { "id": "berlioz-instrumentation-b01029", "reading_order": 1021, "type": "paragraph", "english": "Scales in thirds, although difficult at their two extremities, can be executed at a moderate speed:", "original": "Scales in thirds, although difficult at their two extremities, can be executed at a moderate speed:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 295.12158086404384, 385.11580670466185, 526.3601366020293, 405.5863314769307 ] } ] }, { "id": "berlioz-instrumentation-b01030", "reading_order": 1022, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m11" ] }, { "id": "berlioz-instrumentation-b01031", "reading_order": 1023, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m10" ] }, { "id": "berlioz-instrumentation-b01032", "reading_order": 1024, "type": "paragraph", "english": "barrage across four strings, is practicable on the lower two thirds of the neck of the guitar:", "original": "barrage across four strings, is practicable on the lower two thirds of the neck of the guitar:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 41.61394242366472, 471.94682387054945, 273.7522590789187, 493.0922011078381 ] } ] }, { "id": "berlioz-instrumentation-b01033", "reading_order": 1025, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m12" ] }, { "id": "berlioz-instrumentation-b01034", "reading_order": 1026, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m13" ] }, { "id": "berlioz-instrumentation-b01035", "reading_order": 1027, "type": "paragraph", "english": "this is the highest pomt where this fingering can be The following arpeggios on the guitar are of excellent effect:", "original": "this is the highest pomt where this fingering can be The following arpeggios on the guitar are of excellent effect:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 39.81442058912786, 545.5057425577132, 272.17767747369896, 583.2974805988249 ] } ] }, { "id": "berlioz-instrumentation-b01036", "reading_order": 1028, "type": "paragraph", "english": "This applies equally to series of sixtts and octaves.", "original": "This applies equally to series of sixtts and octaves.", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 295.12158086404384, 505.46449629986876, 526.5850768313464, 515.13738163182 ] } ] }, { "id": "berlioz-instrumentation-b01037", "reading_order": 1029, "type": "paragraph", "english": "Repeating the same tone two, three, four and even six or eight times is easy; prolonged repetitions ‘(rolls), however, are appropriate only on the highest string or possibly on the three high strings:", "original": "Repeating the same tone two, three, four and even six or eight times is easy; prolonged repetitions ‘(rolls), however, are appropriate only on the highest string or possibly on the three high strings:", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 294.89664063472674, 514.6874799884733, 527.0349572899808, 553.8289229596247 ] } ] }, { "id": "berlioz-instrumentation-b01038", "reading_order": 1030, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m14" ] }, { "id": "berlioz-instrumentation-b01039", "reading_order": 1031, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m15" ] }, { "id": "berlioz-instrumentation-b01040", "reading_order": 1032, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m16" ] }, { "id": "berlioz-instrumentation-b01041", "reading_order": 1033, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146 } ], "asset_refs": [ "p-161-m17" ] }, { "id": "berlioz-instrumentation-b01042", "reading_order": 1034, "type": "paragraph", "english": "The tones marked T are played with the thumb, the others alternatingly with the first and second fingers.", "original": "The tones marked T are played with the thumb, the others alternatingly with the first and second fingers.", "sources": [ { "pdf_page": 161, "source_image": "source-pages/p-161.jpg", "printed_page": 146, "bbox_pdf": [ 296.6961624692636, 720.0675801761815, 529.0594193538346, 740.313154126777 ] } ] }, { "id": "berlioz-instrumentation-b01043", "reading_order": 1035, "type": "paragraph", "english": "In rolls the thumb alternates with the first and second fingers on the same string:", "original": "In rolls the thumb alternates with the first and second fingers on the same string:", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 38.46477921322523, 87.5058696309074, 271.2779165564305, 107.75144358150294 ] } ] }, { "id": "berlioz-instrumentation-b01044", "reading_order": 1036, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m02" ] }, { "id": "berlioz-instrumentation-b01045", "reading_order": 1037, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m04" ] }, { "id": "berlioz-instrumentation-b01046", "reading_order": 1038, "type": "paragraph", "english": "Harmonics are easily produced on the guitar and may be excellently employed in many cases. The best are those produced on open strings—by lightly touching the octave, fifth, fourth or major third.", "original": "Harmonics are easily produced on the guitar and may be excellently employed in many cases. The best are those produced on open strings—by lightly touching the octave, fifth, fourth or major third.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 38.46477921322523, 251.94492027407787, 271.72779701506477, 291.76121571024913 ] } ] }, { "id": "berlioz-instrumentation-b01047", "reading_order": 1039, "type": "paragraph", "english": "As we have explained in the chapters on the stringed instruments, the octave, lightly touched, produces that same octave:", "original": "As we have explained in the chapters on the stringed instruments, the octave, lightly touched, produces that same octave:", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 38.46477921322523, 291.76121571024913, 271.2779165564305, 319.430166776063 ] } ] }, { "id": "berlioz-instrumentation-b01048", "reading_order": 1040, "type": "paragraph", "english": "?. saeeieemiaeneaemnsnmemnanemeiees", "original": "?. saeeieemiaeneaemnsnmemnanemeiees", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 443.35719198401705, 91.33003359935323, 510.16444009119766, 99.42826317959145 ] } ] }, { "id": "berlioz-instrumentation-b01049", "reading_order": 1041, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m01" ] }, { "id": "berlioz-instrumentation-b01050", "reading_order": 1042, "type": "paragraph", "english": "The minor third [© ~) cost harmonics produces e The minor thirds of the 6 open", "original": "The minor third [© ~) cost harmonics produces e The minor thirds of the 6 open", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 308.16811416443596, 121.92334534691983, 508.81479871529507, 146.44298490930777 ] } ] }, { "id": "berlioz-instrumentation-b01051", "reading_order": 1043, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m03" ] }, { "id": "berlioz-instrumentation-b01052", "reading_order": 1044, "type": "paragraph", "english": "The last-mentioned harmonics are the least sonorous and are difficult to produce. It should be understood that the expression actual harmonics in the preceding list refers only to the pitch of the guitar, not to absolute pitch; for in absolute pitch these harmonics, like all other tones on the guitar, are an octave lower than the written notes.", "original": "The last-mentioned harmonics are the least sonorous and are difficult to produce. It should be understood that the expression actual harmonics in the preceding list refers only to the pitch of the guitar, not to absolute pitch; for in absolute pitch these harmonics, like all other tones on the guitar, are an octave lower than the written notes.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 294.44676017609254, 193.2327558173508, 526.8100170606635, 261.1679039626825 ] } ] }, { "id": "berlioz-instrumentation-b01053", "reading_order": 1045, "type": "paragraph", "english": "Chromatic and diatonic scales in artificial harmonics can also be produced on each string. For this purpose the fingers of the left hand are pressed on the tones whose higher octave is to be produced; the forefinger of the right hand then touches the center of the vibrating part of the string, and the thumb of the same hand plucks the string behind the forefinger.", "original": "Chromatic and diatonic scales in artificial harmonics can also be produced on each string. For this purpose the fingers of the left hand are pressed on the tones whose higher octave is to be produced; the forefinger of the right hand then touches the center of the vibrating part of the string, and the thumb of the same hand plucks the string behind the forefinger.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 294.44676017609254, 262.06770724937564, 526.5850768313464, 332.2523636114402 ] } ] }, { "id": "berlioz-instrumentation-b01054", "reading_order": 1046, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m05" ] }, { "id": "berlioz-instrumentation-b01055", "reading_order": 1047, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m06" ] }, { "id": "berlioz-instrumentation-b01056", "reading_order": 1048, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m07" ] }, { "id": "berlioz-instrumentation-b01057", "reading_order": 1049, "type": "paragraph", "english": "produces the twelfth: Se e pen a", "original": "produces the twelfth: Se e pen a", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 36.44031714937127, 494.8918076812244, 251.48317637652517, 514.4625291668001 ] } ] }, { "id": "berlioz-instrumentation-b01058", "reading_order": 1050, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m08" ] }, { "id": "berlioz-instrumentation-b01059", "reading_order": 1051, "type": "paragraph", "english": "The fourth produces},,. vethe tthe b open the double octave: strings touched", "original": "The fourth produces},,. vethe tthe b open the double octave: strings touched", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 40.48924127707919, 594.5450216824892, 231.91337642593686, 621.9890219266298 ] } ] }, { "id": "berlioz-instrumentation-b01060", "reading_order": 1052, "type": "paragraph", "english": "ee ote", "original": "ee ote", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 189.1747328556866, 667.2041370829597, 253.5076384403791, 679.8013830966637 ] } ] }, { "id": "berlioz-instrumentation-b01061", "reading_order": 1053, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m09" ] }, { "id": "berlioz-instrumentation-b01062", "reading_order": 1054, "type": "paragraph", "english": "The major third pro-", "original": "The major third pro-", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 38.01489875459101, 708.5950882708439, 129.34063185733626, 718.2679736027952 ] } ] }, { "id": "berlioz-instrumentation-b01063", "reading_order": 1055, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447 } ], "asset_refs": [ "p-162-m10" ] }, { "id": "berlioz-instrumentation-b01064", "reading_order": 1056, "type": "paragraph", "english": "Unless one can play the guitar oneself, I repeat, it is impossible to write for it pieces in several voices, containing passages that require all the resources of the instrument. If one wants to get an idea what virtuosos are able to achieve in this respect, the compositions of such famous guitar players as Zanni de Ferranti, Huerta, Sor, ete. should be studied.", "original": "Unless one can play the guitar oneself, I repeat, it is impossible to write for it pieces in several voices, containing passages that require all the resources of the instrument. If one wants to get an idea what virtuosos are able to achieve in this respect, the compositions of such famous guitar players as Zanni de Ferranti, Huerta, Sor, ete. should be studied.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 292.6472383415557, 457.32502046178604, 524.5606147674926, 526.6098735371573 ] } ] }, { "id": "berlioz-instrumentation-b01065", "reading_order": 1057, "type": "paragraph", "english": "Since the introduction of the piano into all homes where there is any interest in music the guitar has been gradually disappearing, except in Spain and Italy. Some virtuosos have cultivated and are still cultivating it as a solo instrument; they are able to create pleasant and original effects on it. Otherwise composers employ the guitar neither in the church nor in the theater or the concert hall. Its weak tone, which prevents its combination with other instruments or with several singing voices of normal tone volume, is doubtless the cause of this. Its melancholy, dreamy character might nevertheless be used more frequently.", "original": "Since the introduction of the piano into all homes where there is any interest in music the guitar has been gradually disappearing, except in Spain and Italy. Some virtuosos have cultivated and are still cultivating it as a solo instrument; they are able to create pleasant and original effects on it. Otherwise composers employ the guitar neither in the church nor in the theater or the concert hall. Its weak tone, which prevents its combination with other instruments or with several singing voices of normal tone volume, is doubtless the cause of this. Its melancholy, dreamy character might nevertheless be used more frequently.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 291.52253719497014, 527.2847260021772, 525.0104952261267, 646.2837106673444 ] } ] }, { "id": "berlioz-instrumentation-b01066", "reading_order": 1058, "type": "paragraph", "english": "‘Its charm is undeniable, and it is not impossible to", "original": "‘Its charm is undeniable, and it is not impossible to", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 289.49807513111614, 645.3839073806512, 524.5606147674926, 655.7316451776223 ] } ] }, { "id": "berlioz-instrumentation-b01067", "reading_order": 1059, "type": "paragraph", "english": "write for it so as to make this manifest. The guitar —in contrast to other instruments—loses when reinforced in number. The sound of twelve guitars playing unisono is almost ridiculous.", "original": "write for it so as to make this manifest. The guitar —in contrast to other instruments—loses when reinforced in number. The sound of twelve guitars playing unisono is almost ridiculous.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 291.297596965653, 656.1815468209688, 524.5606147674926, 695.7728914354668 ] } ] }, { "id": "berlioz-instrumentation-b01068", "reading_order": 1060, "type": "paragraph", "english": "In Verdi's “Otello” the guitar is employed very felicitotisly ‘in combination with a mandolin and bagpipe as an accompaniment of the chorus:", "original": "In Verdi's “Otello” the guitar is employed very felicitotisly ‘in combination with a mandolin and bagpipe as an accompaniment of the chorus:", "sources": [ { "pdf_page": 162, "source_image": "source-pages/p-162.jpg", "printed_page": 447, "bbox_pdf": [ 302.9944888901426, 707.6952849841509, 523.8857940795413, 737.3887934450244 ] } ] }, { "id": "berlioz-instrumentation-b01069", "reading_order": 1061, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 163, "source_image": "source-pages/p-163.jpg", "printed_page": 148 } ], "asset_refs": [ "p-163-m01" ] }, { "id": "berlioz-instrumentation-b01070", "reading_order": 1062, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 164, "source_image": "source-pages/p-164.jpg", "printed_label": "PDF 164" } ], "asset_refs": [ "p-164-m01" ] }, { "id": "berlioz-instrumentation-b01071", "reading_order": 1063, "type": "paragraph", "english": "a- ve stel- che in man de - glan-ge- li fu as-sun - to in ciel che ab-", "original": "a- ve stel- che in man de - glan-ge- li fu as-sun - to in ciel che ab-", "sources": [ { "pdf_page": 165, "source_image": "source-pages/p-165.jpg", "printed_page": 450, "bbox_pdf": [ 118.76844107943228, 649.8829238141169, 524.5606147674926, 661.130464897781 ] } ] }, { "id": "berlioz-instrumentation-b01072", "reading_order": 1064, "type": "paragraph", "english": "lie-ta la can- zon, men-tre al = l’au-ra vo-la_ lie- ta, vo - la Jie- tale can- zon, la can-zon.", "original": "lie-ta la can- zon, men-tre al = l’au-ra vo-la_ lie- ta, vo - la Jie- tale can- zon, la can-zon.", "sources": [ { "pdf_page": 165, "source_image": "source-pages/p-165.jpg", "printed_page": 450, "bbox_pdf": [ 117.19385947421252, 683.175645421763, 503.8661136703187, 694.4231865054271 ] } ] }, { "id": "berlioz-instrumentation-b01073", "reading_order": 1065, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 165, "source_image": "source-pages/p-165.jpg", "printed_page": 450 } ], "asset_refs": [ "p-165-m01" ] }, { "id": "berlioz-instrumentation-section-10", "type": "heading", "heading_level": 2, "english": "The Mandolin", "original": "The Mandolin", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151 } ], "reading_order": 1066 }, { "id": "berlioz-instrumentation-b01074", "reading_order": 1067, "type": "paragraph", "english": "This instrument is almost forgotten nowadays, which is a pity. Despite its thin and nasal quality, its tone has something piquant and original about it and might be frequently used with good effect.", "original": "This instrument is almost forgotten nowadays, which is a pity. Despite its thin and nasal quality, its tone has something piquant and original about it and might be frequently used with good effect.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 36.89019760800548, 99.87816482293802, 269.9282751805279, 141.26911601082224 ] } ] }, { "id": "berlioz-instrumentation-b01075", "reading_order": 1068, "type": "paragraph", "english": "There are several kinds of mandolins. The one best known has four double strings—i.e., four times two strings in unison, tuned in fifths like those of the violin. It is written in the G-clef:", "original": "There are several kinds of mandolins. The one best known has four double strings—i.e., four times two strings in unison, tuned in fifths like those of the violin. It is written in the G-clef:", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 36.215376920054155, 139.69446025910923, 269.70333495121076, 178.8359032302606 ] } ] }, { "id": "berlioz-instrumentation-b01076", "reading_order": 1069, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151 } ], "asset_refs": [ "p-166-m02" ] }, { "id": "berlioz-instrumentation-b01077", "reading_order": 1070, "type": "paragraph", "english": "The two E-strings are of catgut; the A-strings, of steel; the D-strings, of brass; finally the G-strings, of catgut covered with silver wire.", "original": "The two E-strings are of catgut; the A-strings, of steel; the D-strings, of brass; finally the G-strings, of catgut covered with silver wire.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 37.5650182959568, 223.6011167432441, 270.3781556391621, 253.51957602579088 ] } ] }, { "id": "berlioz-instrumentation-b01078", "reading_order": 1071, "type": "paragraph", "english": "The range of the mandolin is almost three octaves: Ineluding the chromatic intervals", "original": "The range of the mandolin is almost three octaves: Ineluding the chromatic intervals", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 47.6873286152266, 253.9694776691374, 268.35369357530817, 273.3152483330398 ] } ] }, { "id": "berlioz-instrumentation-b01079", "reading_order": 1072, "type": "paragraph", "english": "It is an instrument better suited for melody than for harmony. Its strings are vibrated with a quill or plectrum held in the right hand of the player. They can produce four-part chords such as these:", "original": "It is an instrument better suited for melody than for harmony. Its strings are vibrated with a quill or plectrum held in the right hand of the player. They can produce four-part chords such as these:", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 294.44676017609254, 103.02747632636398, 527.9347182072491, 142.84377176253523 ] } ] }, { "id": "berlioz-instrumentation-b01080", "reading_order": 1073, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151 } ], "asset_refs": [ "p-166-m01" ] }, { "id": "berlioz-instrumentation-b01081", "reading_order": 1074, "type": "paragraph", "english": "if the plectrum is passed quickly across the four double strings; however, the effect of such groups of simultaneous tones is rather poor.", "original": "if the plectrum is passed quickly across the four double strings; however, the effect of such groups of simultaneous tones is rather poor.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 293.09711880018983, 217.977346201412, 526.3601366020293, 249.02055959232518 ] } ] }, { "id": "berlioz-instrumentation-b01082", "reading_order": 1075, "type": "paragraph", "english": "The mandolin shows its real character and effect only in such melodious accompaniments as Mozart wrote in the second act of “Don Giovanni” (Exam-", "original": "The mandolin shows its real character and effect only in such melodious accompaniments as Mozart wrote in the second act of “Don Giovanni” (Exam-", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151, "bbox_pdf": [ 292.6472383415557, 248.12075630563203, 525.9102561433951, 279.6138713398918 ] } ] }, { "id": "berlioz-instrumentation-b01083", "reading_order": 1076, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 166, "source_image": "source-pages/p-166.jpg", "printed_page": 151 } ], "asset_refs": [ "p-166-m03" ] }, { "id": "berlioz-instrumentation-b01084", "reading_order": 1077, "type": "paragraph", "english": "At present the mandolin is so completely neglected that in theaters where “Don Giovanni” is performed the execution of this serenade always presents difficulties. Although a guitar player or even a violinist could familiarize himself with the mandolin in a few days, so little respect is entertained for the ideas of the great masters whenever some old habit would have to be sacrificed, that people almost everywhere", "original": "At present the mandolin is so completely neglected that in theaters where “Don Giovanni” is performed the execution of this serenade always presents difficulties. Although a guitar player or even a violinist could familiarize himself with the mandolin in a few days, so little respect is entertained for the ideas of the great masters whenever some old habit would have to be sacrificed, that people almost everywhere", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 38.91465967185944, 87.05596798756083, 269.70333495121076, 168.2632146116163 ] } ] }, { "id": "berlioz-instrumentation-b01085", "reading_order": 1078, "type": "paragraph", "english": "Stringed Instruments With Keyboard", "original": "Stringed Instruments With Keyboard", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 66.13242741922933, 190.08344431392482, 498.4675481667081, 222.0264609915311 ] } ] }, { "id": "berlioz-instrumentation-section-11", "type": "heading", "heading_level": 2, "english": "The Pianoforte", "original": "The Pianoforte", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 152 } ], "reading_order": 1079 }, { "id": "berlioz-instrumentation-b01086", "reading_order": 1080, "type": "paragraph", "english": "The pianoforte is an instrument with a keyboard and metal strings set in vibration by hammers. Its present range is six octaves and a fourth, frequently even seven octaves.* Its music is written simultane-", "original": "The pianoforte is an instrument with a keyboard and metal strings set in vibration by hammers. Its present range is six octaves and a fourth, frequently even seven octaves.* Its music is written simultane-", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 40.9391217357134, 273.54019915471315, 271.95273724438186, 311.3319371958248 ] } ] }, { "id": "berlioz-instrumentation-b01087", "reading_order": 1081, "type": "paragraph", "english": "and even at the Opéra (the last place in the world where such liberties should be taken) venture to execute the mandolin part pizzicato on violins or on guitars. The tone of these instruments has by no means the peculiar delicacy of the mandolin; and Mozart knew what he was doing when he chose this particular instrument to accompany the amorous song of his hero.", "original": "and even at the Opéra (the last place in the world where such liberties should be taken) venture to execute the mandolin part pizzicato on violins or on guitars. The tone of these instruments has by no means the peculiar delicacy of the mandolin; and Mozart knew what he was doing when he chose this particular instrument to accompany the amorous song of his hero.", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 293.9968797174583, 84.13160730580815, 525.9102561433951, 164.43905064317048 ] } ] }, { "id": "berlioz-instrumentation-b01088", "reading_order": 1082, "type": "paragraph", "english": "ously in two clefs: the F-clef is used for the left hand, the G-clef for the right. Sometimes—according to the registers of passages assigned to both hands—two Fclefs or two G-clefs are used. ara |", "original": "ously in two clefs: the F-clef is used for the left hand, the G-clef for the right. Sometimes—according to the registers of passages assigned to both hands—two Fclefs or two G-clefs are used. ara |", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 296.9211026985807, 272.64039586802, 528.8344791245175, 314.93115034259733 ] } ] }, { "id": "berlioz-instrumentation-b01089", "reading_order": 1083, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452 } ], "asset_refs": [ "p-167-m01" ] }, { "id": "berlioz-instrumentation-b01090", "reading_order": 1084, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452 } ], "asset_refs": [ "p-167-m02" ] }, { "id": "berlioz-instrumentation-b01091", "reading_order": 1085, "type": "paragraph", "english": "The trill is possible on all degrees of the scale. Chords of four and even five notes can be played simultaneously or arpeggiated in any manner and with both hands; but the harmony should be as close", "original": "The trill is possible on all degrees of the scale. Chords of four and even five notes can be played simultaneously or arpeggiated in any manner and with both hands; but the harmony should be as close", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 40.9391217357134, 388.9399706731077, 272.40261770301606, 429.4311185742988 ] } ] }, { "id": "berlioz-instrumentation-b01092", "reading_order": 1086, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452 } ], "asset_refs": [ "p-167-m04" ] }, { "id": "berlioz-instrumentation-b01093", "reading_order": 1087, "type": "paragraph", "english": "Chords embracing an interval of a tenth are pos sible, too; but then the third and even the octave", "original": "Chords embracing an interval of a tenth are pos sible, too; but then the third and even the octave", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 39.364540130493644, 511.08826684170083, 270.8280360977963, 538.3073162641682 ] } ] }, { "id": "berlioz-instrumentation-b01094", "reading_order": 1088, "type": "paragraph", "english": "Example in four parts without pedal:", "original": "Example in four parts without pedal:", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 197.04764088178536, 548.2051524177926, 367.77727493346924, 559.4526935014568 ] } ] }, { "id": "berlioz-instrumentation-b01095", "reading_order": 1089, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452 } ], "asset_refs": [ "p-167-m03" ] }, { "id": "berlioz-instrumentation-b01096", "reading_order": 1090, "type": "paragraph", "english": "Feur and even five real voices may be written for the piancforte if care is taken to keep the outer parts in each hand within the space of an octave or at most a ninth. Otherwise the pedal has to be used. This raises the dampers and permits the player to prolong the tones without keeping the fingers on the keys, in which case one is free to place the voices even further apart. ‘", "original": "Feur and even five real voices may be written for the piancforte if care is taken to keep the outer parts in each hand within the space of an octave or at most a ninth. Otherwise the pedal has to be used. This raises the dampers and permits the player to prolong the tones without keeping the fingers on the keys, in which case one is free to place the voices even further apart. ‘", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 295.57146132267803, 454.40065978003327, 527.709777977932, 537.8574146208216 ] } ] }, { "id": "berlioz-instrumentation-b01097", "reading_order": 1091, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452 } ], "asset_refs": [ "p-167-m05" ] }, { "id": "berlioz-instrumentation-b01098", "reading_order": 1092, "type": "paragraph", "english": "Example with pedal:", "original": "Example with pedal:", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 236.1872407829619, 646.5086614890176, 331.7868382427322, 657.081350107662 ] } ] }, { "id": "berlioz-instrumentation-b01099", "reading_order": 1093, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452 } ], "asset_refs": [ "p-167-m06" ] }, { "id": "berlioz-instrumentation-b01100", "reading_order": 1094, "type": "paragraph", "english": "*Now 7% octaves (i.e. 88 notes)", "original": "*Now 7% octaves (i.e. 88 notes)", "sources": [ { "pdf_page": 167, "source_image": "source-pages/p-167.jpg", "printed_page": 452, "bbox_pdf": [ 39.139599901176545, 761.683482185739, 151.38477433041274, 768.6569576576109 ] } ] }, { "id": "berlioz-instrumentation-b01101", "reading_order": 1095, "type": "paragraph", "english": "The sign * (or similar) in the second example indicates that the pedal is to be released in order to restore the function of the dampers. Whenever possible, it is used when the harmony changes in order to prevent the continuation of the previous chord during the ensuing one. On account of this long prolongation of each tone, ap iaturas with accidentals and passing notes should be avoided as much as possible in the middle of the instrument while the pedal is being used; for these notes, sustained like all the others and thereby mixed with a harmony to", "original": "The sign * (or similar) in the second example indicates that the pedal is to be released in order to restore the function of the dampers. Whenever possible, it is used when the harmony changes in order to prevent the continuation of the previous chord during the ensuing one. On account of this long prolongation of each tone, ap iaturas with accidentals and passing notes should be avoided as much as possible in the middle of the instrument while the pedal is being used; for these notes, sustained like all the others and thereby mixed with a harmony to", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 38.46477921322523, 74.23377115218366, 271.0529763271134, 181.53531309034005 ] } ] }, { "id": "berlioz-instrumentation-b01102", "reading_order": 1096, "type": "paragraph", "english": "which they do not belong, produce excessive dissonances. Such melodic ornaments are possible only in the highest octaves of the keyboard, where the strings are very short and have relatively little resonance.", "original": "which they do not belong, produce excessive dissonances. Such melodic ornaments are possible only in the highest octaves of the keyboard, where the strings are very short and have relatively little resonance.", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 294.6717004054096, 73.33396786549052, 527.4848377486148, 119.89878795186029 ] } ] }, { "id": "berlioz-instrumentation-b01103", "reading_order": 1097, "type": "paragraph", "english": "Modern Steinway Grand Pianos have a third pedal, which serves to prolong a single tone at will. This is very effective and may occasionally help the player in passages of several voice-parts. Sometimes the hands are made to cross, the left", "original": "Modern Steinway Grand Pianos have a third pedal, which serves to prolong a single tone at will. This is very effective and may occasionally help the player in passages of several voice-parts. Sometimes the hands are made to cross, the left", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 304.5690704953623, 122.1482961685931, 526.3601366020293, 169.83787036332927 ] } ] }, { "id": "berlioz-instrumentation-b01104", "reading_order": 1098, "type": "paragraph", "english": "hand passing over the right or vice versa:", "original": "hand passing over the right or vice versa:", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 294.44676017609254, 170.7376736500224, 483.62149303177915, 180.41055898197362 ] } ] }, { "id": "berlioz-instrumentation-b01105", "reading_order": 1099, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153 } ], "asset_refs": [ "p-168-m01" ] }, { "id": "berlioz-instrumentation-b01106", "reading_order": 1100, "type": "paragraph", "english": "The number of such combinations among the manifold groups of tones playable on the pianoforte is very considerable. In fact, it would be impossible to mention them all here. Only by studying the compositions of great virtuosos, especially Liszt’s, can one form a clear idea of the progress made in the art of piano playing. The student will then perceive that the limits of what is attainable on this instrument are", "original": "The number of such combinations among the manifold groups of tones playable on the pianoforte is very considerable. In fact, it would be impossible to mention them all here. Only by studying the compositions of great virtuosos, especially Liszt’s, can one form a clear idea of the progress made in the art of piano playing. The student will then perceive that the limits of what is attainable on this instrument are", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 37.34007806663969, 371.84370822593814, 268.57863380462527, 449.0018400598745 ] } ] }, { "id": "berlioz-instrumentation-b01107", "reading_order": 1101, "type": "paragraph", "english": "still quite unknown, and that they are extended continuously through astonishing new exploits by performers. —", "original": "still quite unknown, and that they are extended continuously through astonishing new exploits by performers. —", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 292.87217857087273, 370.0441016525519, 523.8857940795413, 397.4881018966925 ] } ] }, { "id": "berlioz-instrumentation-b01108", "reading_order": 1102, "type": "paragraph", "english": "For the pianoforte, as for the harp, it is better in certain cases (for instance in arpeggios) not to place the two hands too near each other. A passage like the following would be rather inconvenient:", "original": "For the pianoforte, as for the harp, it is better in certain cases (for instance in arpeggios) not to place the two hands too near each other. A passage like the following would be rather inconvenient:", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 292.87217857087273, 399.06275764840547, 524.1107343088582, 438.20420061955684 ] } ] }, { "id": "berlioz-instrumentation-b01109", "reading_order": 1103, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153 } ], "asset_refs": [ "p-168-m02" ] }, { "id": "berlioz-instrumentation-b01110", "reading_order": 1104, "type": "paragraph", "english": "Diatonic and chromatic scales in thirds for both hands are, however, quite easy:", "original": "Diatonic and chromatic scales in thirds for both hands are, however, quite easy:", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 39.139599901176545, 592.9703659307761, 270.15321540984496, 613.6658415247182 ] } ] }, { "id": "berlioz-instrumentation-b01111", "reading_order": 1105, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153 } ], "asset_refs": [ "p-168-m04" ] }, { "id": "berlioz-instrumentation-b01112", "reading_order": 1106, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153 } ], "asset_refs": [ "p-168-m06" ] }, { "id": "berlioz-instrumentation-b01113", "reading_order": 1107, "type": "paragraph", "english": "Such scales in thirds can also be executed by one hand alone, but they are difficult in a fast tempo. Moreover, in keys with few sharps or flats one may write for both hands consecutive sixth-chords consisting of three notes:", "original": "Such scales in thirds can also be executed by one hand alone, but they are difficult in a fast tempo. Moreover, in keys with few sharps or flats one may write for both hands consecutive sixth-chords consisting of three notes:", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 38.46477921322523, 700.9467603339524, 270.6030958684792, 750.6608919237481 ] } ] }, { "id": "berlioz-instrumentation-b01114", "reading_order": 1108, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153 } ], "asset_refs": [ "p-168-m03" ] }, { "id": "berlioz-instrumentation-b01115", "reading_order": 1109, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153 } ], "asset_refs": [ "p-168-m05" ] }, { "id": "berlioz-instrumentation-b01116", "reading_order": 1110, "type": "paragraph", "english": "Thanks to the high degree of perfection attained by our skilled manufacturers, the pianoforte may now be considered from two viewpoints: either as an orchestral instrument or as a small orchestra complete in itself. Only once * has it been employed in the same fashion as the other instruments, so as to add its peculiar resources to the ensemble of the orchestra and to create effects which could not be attained in any other way.", "original": "Thanks to the high degree of perfection attained by our skilled manufacturers, the pianoforte may now be considered from two viewpoints: either as an orchestral instrument or as a small orchestra complete in itself. Only once * has it been employed in the same fashion as the other instruments, so as to add its peculiar resources to the ensemble of the orchestra and to create effects which could not be attained in any other way.", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 293.9968797174583, 668.5538420129994, 527.0349572899808, 756.5096132872535 ] } ] }, { "id": "berlioz-instrumentation-b01117", "reading_order": 1111, "type": "paragraph", "english": "*Cf. “L&lio” hy Berlioz, p. 157", "original": "*Cf. “L&lio” hy Berlioz, p. 157", "sources": [ { "pdf_page": 168, "source_image": "source-pages/p-168.jpg", "printed_page": 153, "bbox_pdf": [ 293.7719394881412, 766.8573510842245, 392.97058061698516, 775.4054823078093 ] } ] }, { "id": "berlioz-instrumentation-b01118", "reading_order": 1112, "type": "paragraph", "english": "Certain passages in Beethoven’s concertos ought to have drawn the composers’ attention to this point long ago. They have surely admired the wonderful effect in Beethoven’s Concerto in Eb, produced by the slow chord figurations of both hands in the high", "original": "Certain passages in Beethoven’s concertos ought to have drawn the composers’ attention to this point long ago. They have surely admired the wonderful effect in Beethoven’s Concerto in Eb, produced by the slow chord figurations of both hands in the high", "sources": [ { "pdf_page": 169, "source_image": "source-pages/p-169.jpg", "printed_page": 254, "bbox_pdf": [ 42.73864357025025, 60.06186938676677, 273.5273188496016, 109.55105015488921 ] } ] }, { "id": "berlioz-instrumentation-b01119", "reading_order": 1113, "type": "paragraph", "english": "the piano, while the flute, clarinet and", "original": "the piano, while the flute, clarinet and", "sources": [ { "pdf_page": 169, "source_image": "source-pages/p-169.jpg", "printed_page": 254, "bbox_pdf": [ 345.9580726897099, 57.587410348360656, 528.3845986658833, 68.160098967005 ] } ] }, { "id": "berlioz-instrumentation-b01120", "reading_order": 1114, "type": "paragraph", "english": "bassoon play the melody over eighth-notes of the strings in contretemps. In such combination, the tone of the pianoforte has an alluring charm, it is full of calm of freshness—the very image of grace. (Example", "original": "bassoon play the melody over eighth-notes of the strings in contretemps. In such combination, the tone of the pianoforte has an alluring charm, it is full of calm of freshness—the very image of grace. (Example", "sources": [ { "pdf_page": 169, "source_image": "source-pages/p-169.jpg", "printed_page": 254, "bbox_pdf": [ 298.27074407448333, 67.26029568031186, 529.0594193538346, 106.62668947313652 ] } ] }, { "id": "berlioz-instrumentation-b01121", "reading_order": 1115, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 169, "source_image": "source-pages/p-169.jpg", "printed_page": 254 } ], "asset_refs": [ "p-169-m01" ] }, { "id": "berlioz-instrumentation-b01122", "reading_order": 1116, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 170, "source_image": "source-pages/p-170.jpg", "printed_label": "PDF 170" } ], "asset_refs": [ "p-170-m01" ] }, { "id": "berlioz-instrumentation-b01123", "reading_order": 1117, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 171, "source_image": "source-pages/p-171.jpg", "printed_page": 456 } ], "asset_refs": [ "p-171-m01" ] }, { "id": "berlioz-instrumentation-b01124", "reading_order": 1118, "type": "paragraph", "english": "The employment of the pianoforte in the singular case mentioned above is entirely different. In a chorus of airy spirits. the author lets two pianos for four hands accompany the voices. The lower pair of hands executes a rapid. ascending arpeggio passage in triplets, which is answered by a descending three-part arpeggio of flutes and clarinets; the latter passage is", "original": "The employment of the pianoforte in the singular case mentioned above is entirely different. In a chorus of airy spirits. the author lets two pianos for four hands accompany the voices. The lower pair of hands executes a rapid. ascending arpeggio passage in triplets, which is answered by a descending three-part arpeggio of flutes and clarinets; the latter passage is", "sources": [ { "pdf_page": 172, "source_image": "source-pages/p-172.jpg", "printed_page": 157, "bbox_pdf": [ 46.11274701000685, 82.10704991074859, 276.22660160140686, 152.74160791615972 ] } ] }, { "id": "berlioz-instrumentation-b01125", "reading_order": 1119, "type": "paragraph", "english": "illuminated by a double-trill in thirds, executed by the other pair of hands on the higher piano. No other instrument could produce such a harmonious glimmering of tones, which the piano renders without difficulty. and which the sylph-like character of the piece requires. _Example 57.)", "original": "illuminated by a double-trill in thirds, executed by the other pair of hands on the higher piano. No other instrument could produce such a harmonious glimmering of tones, which the piano renders without difficulty. and which the sylph-like character of the piece requires. _Example 57.)", "sources": [ { "pdf_page": 172, "source_image": "source-pages/p-172.jpg", "printed_page": 157, "bbox_pdf": [ 298.9455647624346, 85.70626305752113, 528.8344791245175, 143.96852587090163 ] } ] }, { "id": "berlioz-instrumentation-b01126", "reading_order": 1120, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 172, "source_image": "source-pages/p-172.jpg", "printed_page": 157 } ], "asset_refs": [ "p-172-m01" ] }, { "id": "berlioz-instrumentation-b01127", "reading_order": 1121, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 173, "source_image": "source-pages/p-173.jpg", "printed_page": 158 } ], "asset_refs": [ "p-173-m01" ] }, { "id": "berlioz-instrumentation-b01128", "reading_order": 1122, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 174, "source_image": "source-pages/p-174.jpg", "printed_label": "PDF 174" } ], "asset_refs": [ "p-174-m01" ] }, { "id": "berlioz-instrumentation-b01129", "reading_order": 1123, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 175, "source_image": "source-pages/p-175.jpg", "printed_page": 160 } ], "asset_refs": [ "p-175-m01" ] }, { "id": "berlioz-instrumentation-b01130", "reading_order": 1124, "type": "paragraph", "english": "Whenever the piano is forced to go beyond its own tender effects and to compete with the power of the orchestra, it disappears completely. It must accompany or be accompanied, unless, like harps, it is emploved in large numbers. I would not be inclined to scorn such an arrangement; however, in view of the large space required, it would be difficult to place a dozen pianofortes in a moderately large orchestra.", "original": "Whenever the piano is forced to go beyond its own tender effects and to compete with the power of the orchestra, it disappears completely. It must accompany or be accompanied, unless, like harps, it is emploved in large numbers. I would not be inclined to scorn such an arrangement; however, in view of the large space required, it would be difficult to place a dozen pianofortes in a moderately large orchestra.", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 39.81442058912786, 84.806459770828, 271.72779701506477, 161.5146899614178 ] } ] }, { "id": "berlioz-instrumentation-b01131", "reading_order": 1125, "type": "paragraph", "english": "Regarded as a small independent orchestra in itself, the pianoforte must have its own appropriate instrumentation, which is closely connected with the performing pianist’s art. On many occasions it is left to the player to bring out certain voices or to keep others in the background: to play a passage in the middle register with emphasis while giving lightness to the ornamental passages above and reducing the sonority of the basses. It is for him to decide where a change of fingers is indicated or where only the thumb should be used for a particular melody. In writing for his instrument, he knows when to employ close or open harmony; he understands the various degrees of distance between tones in arpeggios and the different kinds of sound resulting from them. Especially important is the judicious use of the pedals. Outstanding composers of pianoforte music have always indicated with the utmost care where the damper pedal is to be taken and released. Unfortunately, many virtuosos— and some of the most brilliant among them— wantonly disregard these pedaling marks and play almost continuously with raised dampers. They pay no attention to the prolongation of unrelated harmonies into one another and to the ugly discords caused thereby. This bad habit is really a deplorable abuse of an excellent device; the result is noise and confusion instead of harmony! This is only the natural consequence of that intolerable tendency of virtuosos—great and small, singers and instrumentalists—to put interest in their own personality in the foreground.", "original": "Regarded as a small independent orchestra in itself, the pianoforte must have its own appropriate instrumentation, which is closely connected with the performing pianist’s art. On many occasions it is left to the player to bring out certain voices or to keep others in the background: to play a passage in the middle register with emphasis while giving lightness to the ornamental passages above and reducing the sonority of the basses. It is for him to decide where a change of fingers is indicated or where only the thumb should be used for a particular melody. In writing for his instrument, he knows when to employ close or open harmony; he understands the various degrees of distance between tones in arpeggios and the different kinds of sound resulting from them. Especially important is the judicious use of the pedals. Outstanding composers of pianoforte music have always indicated with the utmost care where the damper pedal is to be taken and released. Unfortunately, many virtuosos— and some of the most brilliant among them— wantonly disregard these pedaling marks and play almost continuously with raised dampers. They pay no attention to the prolongation of unrelated harmonies into one another and to the ugly discords caused thereby. This bad habit is really a deplorable abuse of an excellent device; the result is noise and confusion instead of harmony! This is only the natural consequence of that intolerable tendency of virtuosos—great and small, singers and instrumentalists—to put interest in their own personality in the foreground.", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 39.139599901176545, 161.73964078309106, 271.5028567857476, 458.4497745701524 ] } ] }, { "id": "berlioz-instrumentation-b01132", "reading_order": 1126, "type": "paragraph", "english": "This reproach can now also be extended to a great number of conductors.", "original": "This reproach can now also be extended to a great number of conductors.", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 51.06143205498319, 458.6747253918257, 270.6030958684792, 477.7955452340548 ] } ] }, { "id": "berlioz-instrumentation-b01133", "reading_order": 1127, "type": "heading", "english": "Wind Instruments", "original": "Wind Instruments", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 172.30421565690364, 598.8190872942815, 388.246835801326, 618.6147596015304 ] } ], "heading_level": 2 }, { "id": "berlioz-instrumentation-b01134", "reading_order": 1128, "type": "paragraph", "english": "Before studying individually each member of this large family, we shall establish as clearly as possible a musical vocabulary indicating the different degrees of high or low pitch of certain instruments, the transpositions causing these differences, as well as the customary notation and denomination of these instru-", "original": "Before studying individually each member of this large family, we shall establish as clearly as possible a musical vocabulary indicating the different degrees of high or low pitch of certain instruments, the transpositions causing these differences, as well as the customary notation and denomination of these instru-", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 35.76549646141994, 678.9015798099705, 268.128753345991, 737.6137442666976 ] } ] }, { "id": "berlioz-instrumentation-b01135", "reading_order": 1129, "type": "paragraph", "english": "They have little regard for the indispensable respect which the performer owes the composer, and for the tacit but absolute obligation to transmit the composer's ideas faithfully to the audience—whether the performer honors a mediocre author by interpreting him, or is honored himself in rendering the immortal ideas of a genius. In either case, the performer who, catering to a momentary whim, works contrary to the composer’s intentions, ought to contemplate the fact that the author of the work, whatever it may be. has probably devoted considerably more attention to the place and duration of certain effects, to the design of his melody and rhythm, to the choice of chords and instruments, than the performer has in taking his own peculiar liberties. One cannot protest enough against this senseless privilege too often claimed by instrumentalists, singers and conductors. Such presumption is not only ridiculous; if it develops further, it must produce unspeakable confusion and cause serious harm to the art. Composers and critics must fight against this at all times.", "original": "They have little regard for the indispensable respect which the performer owes the composer, and for the tacit but absolute obligation to transmit the composer's ideas faithfully to the audience—whether the performer honors a mediocre author by interpreting him, or is honored himself in rendering the immortal ideas of a genius. In either case, the performer who, catering to a momentary whim, works contrary to the composer’s intentions, ought to contemplate the fact that the author of the work, whatever it may be. has probably devoted considerably more attention to the place and duration of certain effects, to the design of his melody and rhythm, to the choice of chords and instruments, than the performer has in taking his own peculiar liberties. One cannot protest enough against this senseless privilege too often claimed by instrumentalists, singers and conductors. Such presumption is not only ridiculous; if it develops further, it must produce unspeakable confusion and cause serious harm to the art. Composers and critics must fight against this at all times.", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 296.24628201062933, 84.58150894915471, 529.0594193538346, 286.137445168417 ] } ] }, { "id": "berlioz-instrumentation-b01136", "reading_order": 1130, "type": "paragraph", "english": "(These are golden words! The Editor)", "original": "(These are golden words! The Editor)", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 350.90675773468627, 297.3849862520812, 472.5994217952409, 303.2337076155866 ] } ] }, { "id": "berlioz-instrumentation-b01137", "reading_order": 1131, "type": "paragraph", "english": "The soft pedal is used much less frequently than the damper pedal; but Beethoven and several other composers have employed it very felicitously. It is of excellent effect when contrasted with the ordinary sound of the pianoforte or with the splendid sonority produced by the damper pedal. It is equally useful in accompanying singers, especially if their voices are weak, and in the more frequent instances where the entire performance is to have a soft and tender character. Its use is indicated by “una corda” or “mit Verschiebung”. Its action consists im shifting the whole keyboard so that the hammers hit only two of the three unisono strings which are now provided in all good instruments for each tone (excepting the lower ranges). Since only two strings vibrate instead of three, the sound is reduced and the timbre is", "original": "The soft pedal is used much less frequently than the damper pedal; but Beethoven and several other composers have employed it very felicitously. It is of excellent effect when contrasted with the ordinary sound of the pianoforte or with the splendid sonority produced by the damper pedal. It is equally useful in accompanying singers, especially if their voices are weak, and in the more frequent instances where the entire performance is to have a soft and tender character. Its use is indicated by “una corda” or “mit Verschiebung”. Its action consists im shifting the whole keyboard so that the hammers hit only two of the three unisono strings which are now provided in all good instruments for each tone (excepting the lower ranges). Since only two strings vibrate instead of three, the sound is reduced and the timbre is", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 295.34652109336093, 314.70619952092403, 527.709777977932, 467.6727582587571 ] } ] }, { "id": "berlioz-instrumentation-b01138", "reading_order": 1132, "type": "paragraph", "english": "changed considerably.", "original": "changed considerably.", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 295.57146132267803, 468.5725615454501, 389.59647717722856, 477.7955452340548 ] } ] }, { "id": "berlioz-instrumentation-b01139", "reading_order": 1133, "type": "paragraph", "english": "We begin by making a line of demarcation between instruments sounding as they are written and instruments whose tones sound higher or lower than the written notes. The following two categories result from this division:", "original": "We begin by making a line of demarcation between instruments sounding as they are written and instruments whose tones sound higher or lower than the written notes. The following two categories result from this division:", "sources": [ { "pdf_page": 176, "source_image": "source-pages/p-176.jpg", "printed_page": 464, "bbox_pdf": [ 292.6472383415557, 686.9998093902087, 525.2354354554438, 734.4644327632717 ] } ] }, { "id": "berlioz-instrumentation-b01140", "reading_order": 1134, "type": "heading", "english": "NON-TRANSPOSING INSTRUMENTS", "original": "NON-TRANSPOSING INSTRUMENTS", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162 } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b01141", "reading_order": 1135, "type": "paragraph", "english": "whose tones sound as written", "original": "whose tones sound as written", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 92.2254940200137, 107.52649275982965, 222.0160063359842, 115.3997715183946 ] } ] }, { "id": "berlioz-instrumentation-b01142", "reading_order": 1136, "type": "paragraph", "english": "Viola d’amore, Viola da gamba", "original": "Viola d’amore, Viola da gamba", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 40.9391217357134, 136.54514875568327, 176.12819955529443, 155.6659685979124 ] } ] }, { "id": "berlioz-instrumentation-b01143", "reading_order": 1137, "type": "paragraph", "english": "Clarinet in C. a", "original": "Clarinet in C. a", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 40.714181506396294, 173.6620343317751, 201.9963259267617, 184.9095754154393 ] } ] }, { "id": "berlioz-instrumentation-b01144", "reading_order": 1138, "type": "paragraph", "english": "French horn im high CG Cornet in C.. Trumpet in C", "original": "French horn im high CG Cornet in C.. Trumpet in C", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 40.48924127707919, 207.17970676109437, 142.61210538704557, 236.4233135786213 ] } ] }, { "id": "berlioz-instrumentation-b01145", "reading_order": 1139, "type": "paragraph", "english": "Ophicleide in C", "original": "Ophicleide in C", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 40.03936081844497, 266.7916745045146, 111.12047328265065, 276.68951065813906 ] } ] }, { "id": "berlioz-instrumentation-b01146", "reading_order": 1140, "type": "paragraph", "english": "Voices (if written in their individual clefs and not, without any distinction, in the G-clef).", "original": "Voices (if written in their individual clefs and not, without any distinction, in the G-clef).", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 39.364540130493644, 326.4036422479348, 242.710507433158, 346.1993145551838 ] } ] }, { "id": "berlioz-instrumentation-b01147", "reading_order": 1141, "type": "paragraph", "english": "Saxophone in C", "original": "Saxophone in C", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 37.34007806663969, 485.893774814293, 108.19625030152827, 495.79161096791756 ] } ] }, { "id": "berlioz-instrumentation-b01148", "reading_order": 1142, "type": "paragraph", "english": "It will be seen from this table that all non-transposing instruments marked “in C”, whose tones sound as they are written, belong to the same category as those without any designation of key (like the violin, oboe, flute, etc.); the latter are completely equivalent to the instruments in C from the composer’s point of view. However, the designation of some wind instruments in accordance with the natural sound of their tubes has led to the most singular and absurd consequences; it has made the notation of instruments very complicated and the musical vocabulary very illogical. ie is, therefore, necessary to discuss this practicé thoroughly and to re-establish order where it is generally conspicuous by its absence.", "original": "It will be seen from this table that all non-transposing instruments marked “in C”, whose tones sound as they are written, belong to the same category as those without any designation of key (like the violin, oboe, flute, etc.); the latter are completely equivalent to the instruments in C from the composer’s point of view. However, the designation of some wind instruments in accordance with the natural sound of their tubes has led to the most singular and absurd consequences; it has made the notation of instruments very complicated and the musical vocabulary very illogical. ie is, therefore, necessary to discuss this practicé thoroughly and to re-establish order where it is generally conspicuous by its absence.", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 36.89019760800548, 539.4320703725346, 269.9282751805279, 680.026333918337 ] } ] }, { "id": "berlioz-instrumentation-b01149", "reading_order": 1143, "type": "paragraph", "english": "Performers sometimes call the tenor trombone, “the eee: in Ba the alto trombone, “the trombone in and still more uently, the o flute, “the flute in D”. ma 7 mdinary", "original": "Performers sometimes call the tenor trombone, “the eee: in Ba the alto trombone, “the trombone in and still more uently, the o flute, “the flute in D”. ma 7 mdinary", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 36.215376920054155, 680.026333918337, 269.25345449257657, 720.9673834628746 ] } ] }, { "id": "berlioz-instrumentation-b01150", "reading_order": 1144, "type": "paragraph", "english": "‘These designations are correct in the sense that the tube of the two trombones with the slide closed produces the tones of the Bb chord on the first trombone, and those of the Eb chord on the second trombone; likewise, the ordinary flute with all holes", "original": "‘These designations are correct in the sense that the tube of the two trombones with the slide closed produces the tones of the Bb chord on the first trombone, and those of the Eb chord on the second trombone; likewise, the ordinary flute with all holes", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 36.44031714937127, 720.0675801761815, 269.25345449257657, 770.0066625876505 ] } ] }, { "id": "berlioz-instrumentation-b01151", "reading_order": 1145, "type": "heading", "english": "TRANSPOSING INSTRUMENTS", "original": "TRANSPOSING INSTRUMENTS", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162 } ], "heading_level": 3 }, { "id": "berlioz-instrumentation-b01152", "reading_order": 1146, "type": "paragraph", "english": "whose tones are different from the written notes", "original": "whose tones are different from the written notes", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 312.21703829214397, 104.82708289975027, 518.7121688052478, 114.49996823170147 ] } ] }, { "id": "berlioz-instrumentation-b01153", "reading_order": 1147, "type": "paragraph", "english": "All other flutes", "original": "All other flutes", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 298.27074407448333, 157.2406243496254, 363.50341057644425, 164.66400146484375 ] } ] }, { "id": "berlioz-instrumentation-b01154", "reading_order": 1148, "type": "paragraph", "english": "Oboe d’amore, English horn All other clarinets Tenoroon, Double bassoon", "original": "Oboe d’amore, English horn All other clarinets Tenoroon, Double bassoon", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 298.0458038451662, 167.13846050324986, 422.6626908868433, 196.60701814245007 ] } ] }, { "id": "berlioz-instrumentation-b01155", "reading_order": 1149, "type": "paragraph", "english": "All otherFrench horns All other comets", "original": "All otherFrench horns All other comets", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 296.9211026985807, 207.17970676109437, 396.794564515376, 225.1757724949571 ] } ] }, { "id": "berlioz-instrumentation-b01156", "reading_order": 1150, "type": "paragraph", "english": "All other trumpets Valve alto trombone", "original": "All other trumpets Valve alto trombone", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 297.1460429278978, 227.20032989001663, 387.7969553426917, 245.19639562387934 ] } ] }, { "id": "berlioz-instrumentation-b01157", "reading_order": 1151, "type": "paragraph", "english": "All other ophicleides", "original": "All other ophicleides", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 296.9211026985807, 267.46652696953447, 387.3470748840575, 277.3643631231589 ] } ] }, { "id": "berlioz-instrumentation-b01158", "reading_order": 1152, "type": "paragraph", "english": "All other tubas", "original": "All other tubas", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 296.6961624692636, 287.71210092013, 362.6036496591758, 295.36042885702165 ] } ] }, { "id": "berlioz-instrumentation-b01159", "reading_order": 1153, "type": "paragraph", "english": "Tenors and Basses (if written in the G-clef, their sound being an octave below the written notes).", "original": "Tenors and Basses (if written in the G-clef, their sound being an octave below the written notes).", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 296.9211026985807, 327.30344553462794, 511.51408146710037, 347.3240686635502 ] } ] }, { "id": "berlioz-instrumentation-b01160", "reading_order": 1154, "type": "paragraph", "english": "Harmonica with steel tongues", "original": "Harmonica with steel tongues", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 295.57146132267803, 397.7130527183658, 427.1614954731854, 407.61088887199026 ] } ] }, { "id": "berlioz-instrumentation-b01161", "reading_order": 1155, "type": "paragraph", "english": "All other saxophones, saxhorns, saxotrombas and saxtubas", "original": "All other saxophones, saxhorns, saxotrombas and saxtubas", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 296.9211026985807, 485.6688239926197, 515.3380653654912, 503.88984054815575 ] } ] }, { "id": "berlioz-instrumentation-section-13", "type": "heading", "heading_level": 2, "english": "The Oboe", "original": "The Oboe", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163 } ], "reading_order": 1156 }, { "id": "berlioz-instrumentation-b01162", "reading_order": 1157, "type": "paragraph", "english": "stopped and all keys closed plays the tone D. Yet performers need not pay any attention to the natural sound of the tube; they simply play the written notes. Thus, the C of a tenor trombone is a C and not a Bb, the C of an alto trombone is also C and not Eb, that of the flute is again a C and not a D. The evident conclusion is that these instruments belong not to the transposing, but to the non-transposing instruments. One may consider them to be in C just as well as the oboes, clarinets, horns, cornets and trumpets in C. They require no designation of key, unless they be called “in C”. This shows at once how important it is not to call the ordinary flute, “flute in D”; for it has become the fashion to name the higherpitched flutes according to the difference between their pitch and that of the o flute. Thus, the flute in the third (i.e., “third-flute”) is called “flute in F”; the flute in the. ninth (ie., “ninth-flute”) is called “flute in Eb”. The designation of the instruments by interval rather than by key would at least have avoided the confusion of terms. The following illustrates what this terminology can lead to. In-a score the small clarinet in Eb, whose C really pro- duces Eb, can execute the same part as a third-flute, so-called “in F”. The two instruments bearing the names of different keys nevertheless produce the identical tone. One of the two designations must be false. Is it not absurd to adopt a nomenclature for the keys of the flute completely at variance with that used for the other instruments?", "original": "stopped and all keys closed plays the tone D. Yet performers need not pay any attention to the natural sound of the tube; they simply play the written notes. Thus, the C of a tenor trombone is a C and not a Bb, the C of an alto trombone is also C and not Eb, that of the flute is again a C and not a D. The evident conclusion is that these instruments belong not to the transposing, but to the non-transposing instruments. One may consider them to be in C just as well as the oboes, clarinets, horns, cornets and trumpets in C. They require no designation of key, unless they be called “in C”. This shows at once how important it is not to call the ordinary flute, “flute in D”; for it has become the fashion to name the higherpitched flutes according to the difference between their pitch and that of the o flute. Thus, the flute in the third (i.e., “third-flute”) is called “flute in F”; the flute in the. ninth (ie., “ninth-flute”) is called “flute in Eb”. The designation of the instruments by interval rather than by key would at least have avoided the confusion of terms. The following illustrates what this terminology can lead to. In-a score the small clarinet in Eb, whose C really pro- duces Eb, can execute the same part as a third-flute, so-called “in F”. The two instruments bearing the names of different keys nevertheless produce the identical tone. One of the two designations must be false. Is it not absurd to adopt a nomenclature for the keys of the flute completely at variance with that used for the other instruments?", "sources": [ { "pdf_page": 177, "source_image": "source-pages/p-177.jpg", "printed_page": 162, "bbox_pdf": [ 293.5469992588241, 539.4320703725346, 528.3845986658833, 769.7817117659772 ] }, { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 38.239838983908115, 69.73475471871798, 271.0529763271134, 135.87029629066342 ] } ] }, { "id": "berlioz-instrumentation-b01164", "reading_order": 1158, "type": "paragraph", "english": "Hence I propose the following principle, which makes any misunderstanding impossible: the tone C is the only point of comparison upon which the designation of the key of transposing instruments is to be based. The natural sound of the tube of nontransposing wind instruments is to be disregarded completely. All non-transposing instruments and those transposed only in the octave /i.e., in which the written G preduces C} are considered as being in C.", "original": "Hence I propose the following principle, which makes any misunderstanding impossible: the tone C is the only point of comparison upon which the designation of the key of transposing instruments is to be based. The natural sound of the tube of nontransposing wind instruments is to be disregarded completely. All non-transposing instruments and those transposed only in the octave /i.e., in which the written G preduces C} are considered as being in C.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 38.239838983908115, 138.34475532906953, 271.0529763271134, 227.20032989001663 ] } ] }, { "id": "berlioz-instrumentation-b01165", "reading_order": 1159, "type": "paragraph", "english": "If an instrument of the same family is tuned below", "original": "If an instrument of the same family is tuned below", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 49.26191022044634, 224.95082167328383, 270.3781556391621, 234.62370700523505 ] } ] }, { "id": "berlioz-instrumentation-b01166", "reading_order": 1160, "type": "paragraph", "english": "Reed Instruments", "original": "Reed Instruments", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 178.82748230709973, 262.7425597143955, 380.59886800454433, 282.3132811999712 ] } ] }, { "id": "berlioz-instrumentation-b01167", "reading_order": 1161, "type": "paragraph", "english": "The family of double-reed instruments is to be distinguished from that of si agle-reed instruments. The former is composed of five members: the oboe, the", "original": "The family of double-reed instruments is to be distinguished from that of si agle-reed instruments. The former is composed of five members: the oboe, the", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 36.66525737868837, 303.4586584372598, 269.25345449257657, 332.92721607646007 ] } ] }, { "id": "berlioz-instrumentation-b01168", "reading_order": 1162, "type": "paragraph", "english": "This iistrument has a range of two octaves and a fifth and is written in the G-clef:", "original": "This iistrument has a range of two octaves and a fifth and is written in the G-clef:", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 35.76549646141994, 395.9134461449795, 267.9038131166739, 414.13446270051554 ] } ] }, { "id": "berlioz-instrumentation-b01169", "reading_order": 1163, "type": "paragraph", "english": "Including the chromatic intervals ee$", "original": "Including the chromatic intervals ee$", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 55.560236641325325, 418.4085283123079, 253.9575188990133, 435.05488911613094 ] } ] }, { "id": "berlioz-instrumentation-b01170", "reading_order": 1164, "type": "paragraph", "english": "The two highest notes should be used with caution; the F in particular is risky when it enters abruptly. * Some oboes have the low B> 5 but this tone, not generally available on =) the instrument. should better be avoided.", "original": "The two highest notes should be used with caution; the F in particular is risky when it enters abruptly. * Some oboes have the low B> 5 but this tone, not generally available on =) the instrument. should better be avoided.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 35.76549646141994, 440.22875801461646, 267.9038131166739, 496.46646343293736 ] } ] }, { "id": "berlioz-instrumentation-b01171", "reading_order": 1165, "type": "paragraph", "english": "With the application of Boehm’s system the present", "original": "With the application of Boehm’s system the present", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 36.44031714937127, 498.04111918465037, 269.02851426325947, 508.1639061599481 ] } ] }, { "id": "berlioz-instrumentation-b01172", "reading_order": 1166, "type": "paragraph", "english": "or above the pitch of the basic instrument, this difference is designated according to the relation to C. Consequently, the violin, the flute, the oboe, playing unisono with the clarinet in C, the trumpet in C, the horn in C, are in C; whereas a violin, a flute, an oboe which are tuned a tone higher than the usual instruments of the same name, are called in D, because they play unisono with the clarinet in D and the trumpet in D.", "original": "or above the pitch of the basic instrument, this difference is designated according to the relation to C. Consequently, the violin, the flute, the oboe, playing unisono with the clarinet in C, the trumpet in C, the horn in C, are in C; whereas a violin, a flute, an oboe which are tuned a tone higher than the usual instruments of the same name, are called in D, because they play unisono with the clarinet in D and the trumpet in D.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 295.34652109336093, 69.95970554039127, 529.0594193538346, 158.59032927966507 ] } ] }, { "id": "berlioz-instrumentation-b01173", "reading_order": 1167, "type": "paragraph", "english": "Hence it follows that the old designations for the flutes should be abandoned: the third-flute should no longer be called flute in F, but rather flute in Eb, since its C produces Eb; likewise, flutes in the minor ninth or second should not be called flutes in E2, but rather large or small flute in D9, since their C produces D>; and so on for all keys.", "original": "Hence it follows that the old designations for the flutes should be abandoned: the third-flute should no longer be called flute in F, but rather flute in Eb, since its C produces Eb; likewise, flutes in the minor ninth or second should not be called flutes in E2, but rather large or small flute in D9, since their C produces D>; and so on for all keys.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 295.12158086404384, 156.7907227062788, 528.3845986658833, 224.27596920826394 ] } ] }, { "id": "berlioz-instrumentation-b01174", "reading_order": 1168, "type": "paragraph", "english": "English horn, the bassoon, the tenoroon, and the double-bassoon: the latter comprises clarinets, bassethorns, saxophones, etc.", "original": "English horn, the bassoon, the tenoroon, and the double-bassoon: the latter comprises clarinets, bassethorns, saxophones, etc.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 293.7719394881412, 304.1335109022797, 527.0349572899808, 334.0519701848265 ] } ] }, { "id": "berlioz-instrumentation-b01175", "reading_order": 1169, "type": "paragraph", "english": "difficulties of fingering will disappear, as for instance in rapid passages from the middle C# (D2) to the note above:", "original": "difficulties of fingering will disappear, as for instance in rapid passages from the middle C# (D2) to the note above:", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 292.6472383415557, 395.46354450163295, 525.685315914078, 422.6825939241003 ] } ] }, { "id": "berlioz-instrumentation-b01176", "reading_order": 1170, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163 } ], "asset_refs": [ "p-178-m01" ] }, { "id": "berlioz-instrumentation-b01177", "reading_order": 1171, "type": "paragraph", "english": "On these tones and also on certain others, major trills are therefore impossible or very difficult and of poor effect, as the following table shows:", "original": "On these tones and also on certain others, major trills are therefore impossible or very difficult and of poor effect, as the following table shows:", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 293.9968797174583, 480.4949550941342, 527.9347182072491, 509.7385619116611 ] } ] }, { "id": "berlioz-instrumentation-b01178", "reading_order": 1172, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163 } ], "asset_refs": [ "p-178-m02" ] }, { "id": "berlioz-instrumentation-b01179", "reading_order": 1173, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163 } ], "asset_refs": [ "p-178-m03" ] }, { "id": "berlioz-instrumentation-b01180", "reading_order": 1174, "type": "paragraph", "english": "diguigtie ef ate se:", "original": "diguigtie ef ate se:", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 332.91153938931774, 609.3917759129258, 514.2133642189057, 646.733612310691 ] } ] }, { "id": "berlioz-instrumentation-b01181", "reading_order": 1175, "type": "paragraph", "english": "We oe *« * Tl difficult [| easier i imposuible |", "original": "We oe *« * Tl difficult [| easier i imposuible |", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 304.11919003672807, 644.7090549156313, 522.7610929329556, 662.4801698278208 ] } ] }, { "id": "berlioz-instrumentation-b01182", "reading_order": 1176, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163 } ], "asset_refs": [ "p-178-m04" ] }, { "id": "berlioz-instrumentation-b01183", "reading_order": 1177, "type": "paragraph", "english": "The Paris Conservatoire Model, with some changes by Flemming, makes it possible to play all the trills marked * quite cleanly, even at a rather rapid tempo; also the broken F*-major", "original": "The Paris Conservatoire Model, with some changes by Flemming, makes it possible to play all the trills marked * quite cleanly, even at a rather rapid tempo; also the broken F*-major", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 50.83649182566609, 666.5292846179399, 271.0529763271134, 705.2208259457448 ] } ] }, { "id": "berlioz-instrumentation-b01184", "reading_order": 1178, "type": "paragraph", "english": "* This no longer applies to the modern French oboes;", "original": "* This no longer applies to the modern French oboes;", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 54.21059526542268, 717.1432194944288, 275.32684068413846, 725.4663998963404 ] } ] }, { "id": "berlioz-instrumentation-b01185", "reading_order": 1179, "type": "paragraph", "english": "| they can play piano up to == 3 they even produce\" € and", "original": "| they can play piano up to == 3 they even produce\" € and", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 41.1640619650305, 727.4909572913998, 323.46404975799925, 758.0842690389665 ] } ] }, { "id": "berlioz-instrumentation-b01186", "reading_order": 1180, "type": "paragraph", "english": "chord, for instance", "original": "chord, for instance", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 307.7182337058018, 667.4290879046331, 394.99504268083916, 675.9772191282178 ] } ] }, { "id": "berlioz-instrumentation-b01187", "reading_order": 1181, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163 } ], "asset_refs": [ "p-178-m05" ] }, { "id": "berlioz-instrumentation-b01188", "reading_order": 1182, "type": "paragraph", "english": "» but only legato.", "original": "» but only legato.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/p-178.jpg", "printed_page": 163, "bbox_pdf": [ 355.63050255034545, 746.1618754902825, 421.53798974025773, 754.0351542488473 ] } ] }, { "id": "berlioz-instrumentation-b01189", "reading_order": 1183, "type": "paragraph", "english": "Oboes, similarly to all other instruments, play with greater ease in keys with few flats and sharps. Scales in B are difficult, in Ab easier, in Db again more difficult. The following passages are easy, even at the most rapid tempo:", "original": "Oboes, similarly to all other instruments, play with greater ease in keys with few flats and sharps. Scales in B are difficult, in Ab easier, in Db again more difficult. The following passages are easy, even at the most rapid tempo:", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 36.89019760800548, 84.58150894915471, 267.4539326580397, 133.3958372522573 ] } ] }, { "id": "berlioz-instrumentation-b01190", "reading_order": 1184, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164 } ], "asset_refs": [ "p-179-m01" ] }, { "id": "berlioz-instrumentation-b01191", "reading_order": 1185, "type": "paragraph", "english": "In melodious passages the following range should not be exceeded:.", "original": "In melodious passages the following range should not be exceeded:.", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 38.46477921322523, 179.73570651695374, 269.25345449257657, 197.73177225081648 ] } ] }, { "id": "berlioz-instrumentation-b01192", "reading_order": 1186, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164 } ], "asset_refs": [ "p-179-m02" ] }, { "id": "berlioz-instrumentation-b01193", "reading_order": 1187, "type": "paragraph", "english": "The tones above or below this range sound weak or thin, hard or shrill and are all of poor quality. Rapid chromatic or diatonic runs have an unpleasant, almost ridiculous effect, even though they can be executed quite easily on the oboe; the same is true of arpeggios, There should hardly ever bé any need of writing such passages; in fact, we have never come across any. The use that virtuosos make of them in their fantasias and variations does not‘disprove their impracticability. The oboe is above all a melodic instrument; it has a pastoral character, full of tenderness—I might even say, of shyness.", "original": "The tones above or below this range sound weak or thin, hard or shrill and are all of poor quality. Rapid chromatic or diatonic runs have an unpleasant, almost ridiculous effect, even though they can be executed quite easily on the oboe; the same is true of arpeggios, There should hardly ever bé any need of writing such passages; in fact, we have never come across any. The use that virtuosos make of them in their fantasias and variations does not‘disprove their impracticability. The oboe is above all a melodic instrument; it has a pastoral character, full of tenderness—I might even say, of shyness.", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 40.264301047762075, 247.67085466228545, 270.8280360977963, 364.64528193239306 ] } ] }, { "id": "berlioz-instrumentation-b01194", "reading_order": 1188, "type": "paragraph", "english": "In the tutti of the orchestra the oboe is used, however, without consideration of its timbre; for here it is lost in the ensemble, and its peculiar expression cannot be identified. We may mention here in ad-", "original": "In the tutti of the orchestra the oboe is used, however, without consideration of its timbre; for here it is lost in the ensemble, and its peculiar expression cannot be identified. We may mention here in ad-", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 40.9391217357134, 363.7454786456999, 270.3781556391621, 403.33682326019783 ] } ] }, { "id": "berlioz-instrumentation-b01195", "reading_order": 1189, "type": "paragraph", "english": "No. 58. Le Nozze di Figaro, Act I", "original": "No. 58. Le Nozze di Figaro, Act I", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 164.2063674014878, 476.6707911256884, 400.8434886430839, 493.0922011078381 ] } ] }, { "id": "berlioz-instrumentation-b01196", "reading_order": 1190, "type": "paragraph", "english": "Non pid an-drai far-fal-lo- nc a-mo- ro-so, not- te e gior-no d’in-tor-no gi. ran-do, del-le", "original": "Non pid an-drai far-fal-lo- nc a-mo- ro-so, not- te e gior-no d’in-tor-no gi. ran-do, del-le", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 87.72668943367157, 720.2925309978548, 522.7610929329556, 730.1903671514792 ] } ] }, { "id": "berlioz-instrumentation-b01197", "reading_order": 1191, "type": "paragraph", "english": "vance that this applies also to most of the other wind instruments. Only those of extremely strong volume or with very distinctive peculiarities of tone offer an exception. They cannot be treated for purposes of general harmony like other instruments without offending both art and common sense. Among these we can put the trombones, ophicleides, double-bassoons, and in many instances also the trumpets and cornets.", "original": "vance that this applies also to most of the other wind instruments. Only those of extremely strong volume or with very distinctive peculiarities of tone offer an exception. They cannot be treated for purposes of general harmony like other instruments without offending both art and common sense. Among these we can put the trombones, ophicleides, double-bassoons, and in many instances also the trumpets and cornets.", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 291.74747742428724, 84.13160730580815, 524.1107343088582, 169.612919541656 ] } ] }, { "id": "berlioz-instrumentation-b01198", "reading_order": 1192, "type": "paragraph", "english": "Artless grace, pure innocence, mellow joy, the pain of a tender soul—all these the oboe can render admirably with its cantabile. A certain degree of excitement is also within its power; but one must guard against increasing it to the cry of passion, the stormy outburst cf fury, menace or heroism; for then its small voice, sweet and somewhat tart at the same time, becomes ineffectual and completely grotesque. Even some of the great masters—Mozart among them —did not avoid this error entirely. In their scores we find passages whose passionate contents and martial accents contrast strangely with the sound of the oboes executing them. This causes not only thwarted effects, but also startling disparities between stage and orchestra, between melody and instrumentation. The theme of a march, however vigorous, beautiful and noble it may be, loses its nobility, vigor and beauty when played by oboes. It may possibly preserve its character if given to the flutes; played by clarinets, it almost invariably retains its full power.", "original": "Artless grace, pure innocence, mellow joy, the pain of a tender soul—all these the oboe can render admirably with its cantabile. A certain degree of excitement is also within its power; but one must guard against increasing it to the cry of passion, the stormy outburst cf fury, menace or heroism; for then its small voice, sweet and somewhat tart at the same time, becomes ineffectual and completely grotesque. Even some of the great masters—Mozart among them —did not avoid this error entirely. In their scores we find passages whose passionate contents and martial accents contrast strangely with the sound of the oboes executing them. This causes not only thwarted effects, but also startling disparities between stage and orchestra, between melody and instrumentation. The theme of a march, however vigorous, beautiful and noble it may be, loses its nobility, vigor and beauty when played by oboes. It may possibly preserve its character if given to the flutes; played by clarinets, it almost invariably retains its full power.", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 291.52253719497014, 171.63747693671556, 524.3356745381755, 366.4448885057793 ] } ] }, { "id": "berlioz-instrumentation-b01199", "reading_order": 1193, "type": "paragraph", "english": "Only in pp have martial rhythms been employed successfully—to imitate trumpets played in the disstance (especially by Mozart). Cf. Figaro’s aria (Example 58).", "original": "Only in pp have martial rhythms been employed successfully—to imitate trumpets played in the disstance (especially by Mozart). Cf. Figaro’s aria (Example 58).", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164, "bbox_pdf": [ 303.894249807411, 365.99498686243277, 523.8857940795413, 404.91147901191084 ] } ] }, { "id": "berlioz-instrumentation-b01200", "reading_order": 1194, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 179, "source_image": "source-pages/p-179.jpg", "printed_page": 164 } ], "asset_refs": [ "p-179-m03" ] }, { "id": "berlioz-instrumentation-b01201", "reading_order": 1195, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 180, "source_image": "source-pages/p-180.jpg", "printed_page": 465 } ], "asset_refs": [ "p-180-m01" ] }, { "id": "berlioz-instrumentation-b01202", "reading_order": 1196, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 181, "source_image": "source-pages/p-181.jpg", "printed_page": 166 } ], "asset_refs": [ "p-181-m01" ] }, { "id": "berlioz-instrumentation-b01203", "reading_order": 1197, "type": "paragraph", "english": "Occasionally, however, oboes have to be used in pieces of a martial nature in order to give more weight to the harmony and to reinforce the other wind instruments. Since its sound is not suitable for this style, the oboe part should be written so that it is completely covered by the other instruments. It should blend with the ensemble so as not to be recognizable as an individual instrument. The lower tones of the oboe, unpleasant when used prominently, may be combined very effectively in certain strange and lamenting harmonies with the low tones of the clari-", "original": "Occasionally, however, oboes have to be used in pieces of a martial nature in order to give more weight to the harmony and to reinforce the other wind instruments. Since its sound is not suitable for this style, the oboe part should be written so that it is completely covered by the other instruments. It should blend with the ensemble so as not to be recognizable as an individual instrument. The lower tones of the oboe, unpleasant when used prominently, may be combined very effectively in certain strange and lamenting harmonies with the low tones of the clari-", "sources": [ { "pdf_page": 182, "source_image": "source-pages/p-182.jpg", "printed_page": 467, "bbox_pdf": [ 35.76549646141994, 89.30547620429368, 267.4539326580397, 197.73177225081648 ] } ] }, { "id": "berlioz-instrumentation-b01204", "reading_order": 1198, "type": "paragraph", "english": "net and the low D, E, F, G of the flutes and English horns.", "original": "net and the low D, E, F, G of the flutes and English horns.", "sources": [ { "pdf_page": 182, "source_image": "source-pages/p-182.jpg", "printed_page": 467, "bbox_pdf": [ 290.6227762777017, 86.83101716588754, 522.9860331622727, 105.95183700811668 ] } ] }, { "id": "berlioz-instrumentation-b01205", "reading_order": 1199, "type": "paragraph", "english": "Gluck and Beethoven showed admirable understanding for the use of this valuable instrument; the profound effect of several of their finest pages is due to the oboe. Concerning Gluck, I need only mention the oboe solo in Agamemnon’s aria in “Iphigénie en Aulide” (‘‘Peuvent-ils ordonner”). What other instrument could so poignantly express these laments of an innocent voice, this prolonged and ever more urgent supplication? (Example 59.)", "original": "Gluck and Beethoven showed admirable understanding for the use of this valuable instrument; the profound effect of several of their finest pages is due to the oboe. Concerning Gluck, I need only mention the oboe solo in Agamemnon’s aria in “Iphigénie en Aulide” (‘‘Peuvent-ils ordonner”). What other instrument could so poignantly express these laments of an innocent voice, this prolonged and ever more urgent supplication? (Example 59.)", "sources": [ { "pdf_page": 182, "source_image": "source-pages/p-182.jpg", "printed_page": 467, "bbox_pdf": [ 291.297596965653, 106.85164029480981, 523.6608538502242, 195.9321656774302 ] } ] }, { "id": "berlioz-instrumentation-b01206", "reading_order": 1200, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 182, "source_image": "source-pages/p-182.jpg", "printed_page": 467 } ], "asset_refs": [ "p-182-m01" ] }, { "id": "berlioz-instrumentation-b01207", "reading_order": 1201, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 183, "source_image": "source-pages/p-183.jpg", "printed_page": 168 } ], "asset_refs": [ "p-183-m01" ] }, { "id": "berlioz-instrumentation-b01208", "reading_order": 1202, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 183, "source_image": "source-pages/p-183.jpg", "printed_page": 168 } ], "asset_refs": [ "p-183-m02" ] }, { "id": "berlioz-instrumentation-b01209", "reading_order": 1203, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 183, "source_image": "source-pages/p-183.jpg", "printed_page": 168 } ], "asset_refs": [ "p-183-m03" ] }, { "id": "berlioz-instrumentation-b01210", "reading_order": 1204, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 183, "source_image": "source-pages/p-183.jpg", "printed_page": 168 } ], "asset_refs": [ "p-183-m04" ] }, { "id": "berlioz-instrumentation-b01211", "reading_order": 1205, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 183, "source_image": "source-pages/p-183.jpg", "printed_page": 168 } ], "asset_refs": [ "p-183-m05" ] }, { "id": "berlioz-instrumentation-b01212", "reading_order": 1206, "type": "paragraph", "english": "- rai point a cet ordre in-hu-main, je", "original": "- rai point a cet ordre in-hu-main, je", "sources": [ { "pdf_page": 183, "source_image": "source-pages/p-183.jpg", "printed_page": 168, "bbox_pdf": [ 368.45209562142054, 241.8221332987801, 522.7610929329556, 253.51957602579088 ] } ] }, { "id": "berlioz-instrumentation-b01213", "reading_order": 1207, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 184, "source_image": "source-pages/p-184.jpg", "printed_page": 469 } ], "asset_refs": [ "p-184-m01" ] }, { "id": "berlioz-instrumentation-b01214", "reading_order": 1208, "type": "paragraph", "english": "Consider, too, the famous ritornelle in the aria from “Iphigénie en Tauride”: “O malheureuse Iphigénie!”’ (Act II, Scene 4). Again, the childlike cry of the orchestra when Alceste, in the enthusiasm of her heroic self-sacrifice, is struck by the recollection of her two little sons and suddenly interrupts the theme “Eh, pourrai-je vivre sans toi?” to respond to the touching appeal of the instruments with her heart-", "original": "Consider, too, the famous ritornelle in the aria from “Iphigénie en Tauride”: “O malheureuse Iphigénie!”’ (Act II, Scene 4). Again, the childlike cry of the orchestra when Alceste, in the enthusiasm of her heroic self-sacrifice, is struck by the recollection of her two little sons and suddenly interrupts the theme “Eh, pourrai-je vivre sans toi?” to respond to the touching appeal of the instruments with her heart-", "sources": [ { "pdf_page": 185, "source_image": "source-pages/p-185.jpg", "printed_page": 470, "bbox_pdf": [ 40.264301047762075, 89.30547620429368, 272.62755793233316, 166.91350968157658 ] } ] }, { "id": "berlioz-instrumentation-b01215", "reading_order": 1209, "type": "paragraph", "english": "Finally, let us mention the discord of the minor second in Armida’s aria, with the words “Sauvez-moi de Yamour” (Example 60). All this is sublime—not only in its dramatic idea, its profound expression and in its melodic grandeur and beauty, but also in its instrumentation and the admirable choice of the oboe as the instrument most adequate and appropriate for creating such impressions.", "original": "Finally, let us mention the discord of the minor second in Armida’s aria, with the words “Sauvez-moi de Yamour” (Example 60). All this is sublime—not only in its dramatic idea, its profound expression and in its melodic grandeur and beauty, but also in its instrumentation and the admirable choice of the oboe as the instrument most adequate and appropriate for creating such impressions.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/p-185.jpg", "printed_page": 470, "bbox_pdf": [ 296.9211026985807, 88.63062373927383, 529.0594193538346, 166.46360803823003 ] } ] }, { "id": "berlioz-instrumentation-b01216", "reading_order": 1210, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 185, "source_image": "source-pages/p-185.jpg", "printed_page": 470 } ], "asset_refs": [ "p-185-m01" ] }, { "id": "berlioz-instrumentation-b01217", "reading_order": 1211, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 186, "source_image": "source-pages/p-186.jpg", "printed_page": 474 } ], "asset_refs": [ "p-186-m01" ] }, { "id": "berlioz-instrumentation-b01218", "reading_order": 1212, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 187, "source_image": "source-pages/p-187.jpg", "printed_label": "PDF 187" } ], "asset_refs": [ "p-187-m01" ] }, { "id": "berlioz-instrumentation-b01219", "reading_order": 1213, "type": "paragraph", "english": "3 Examples of _extended oboe melodies, invented the overtures to “King Lear” and “Cellini”, and with the peculiar character of the instrument in in the “Symphonie Fantastique”. {Examples 61 mind, are to be found in Berlioz’ works. such as g and 62.,.", "original": "3 Examples of _extended oboe melodies, invented the overtures to “King Lear” and “Cellini”, and with the peculiar character of the instrument in in the “Symphonie Fantastique”. {Examples 61 mind, are to be found in Berlioz’ works. such as g and 62.,.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/p-188.jpg", "printed_label": "PDF 188", "bbox_pdf": [ 36.215376920054155, 82.55695155409515, 527.9347182072491, 115.17482069672131 ] } ] }, { "id": "berlioz-instrumentation-b01220", "reading_order": 1214, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 188, "source_image": "source-pages/p-188.jpg", "printed_label": "PDF 188" } ], "asset_refs": [ "p-188-m01" ] }, { "id": "berlioz-instrumentation-b01221", "reading_order": 1215, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 189, "source_image": "source-pages/p-189.jpg", "printed_label": "PDF 189" } ], "asset_refs": [ "p-189-m01" ] }, { "id": "berlioz-instrumentation-b01222", "reading_order": 1216, "type": "paragraph", "english": "No other instrument could reveal the sweet; as the oboe in “Tannhaeuser”. ‘Example 63.)", "original": "No other instrument could reveal the sweet; as the oboe in “Tannhaeuser”. ‘Example 63.)", "sources": [ { "pdf_page": 190, "source_image": "source-pages/p-190.jpg", "printed_page": 175, "bbox_pdf": [ 69.50653085898594, 83.00685319744173, 526.5850768313464, 101.22786975297771 ] } ] }, { "id": "berlioz-instrumentation-b01223", "reading_order": 1217, "type": "paragraph", "english": "secret of love’s innocence in such affecting tones", "original": "secret of love’s innocence in such affecting tones", "sources": [ { "pdf_page": 190, "source_image": "source-pages/p-190.jpg", "printed_page": 175, "bbox_pdf": [ 59.159280310399026, 94.92924674612577, 279.82564527048055, 105.05203372142353 ] } ] }, { "id": "berlioz-instrumentation-b01224", "reading_order": 1218, "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 190, "source_image": "source-pages/p-190.jpg", "printed_page": 175 } ], "asset_refs": [ "p-190-m01" ] }, { "id": "berlioz-instrumentation-b01225", "reading_order": 1219, "type": "paragraph", "english": "As a rule, however, Wagner rarely gives ex-", "original": "As a rule, however, Wagner rarely gives ex-", "sources": [ { "pdf_page": 191, "source_image": "source-pages/p-191.jpg", "printed_page": 476, "bbox_pdf": [ 58.2595193931306, 85.70626305752113, 269.02851426325947, 95.8290500328189 ] } ] }, { "id": "berlioz-instrumentation-b01226", "reading_order": 1220, "type": "paragraph", "english": "tended melodies to one instrument alone. He pre-", "original": "tended melodies to one instrument alone. He pre-", "sources": [ { "pdf_page": 191, "source_image": "source-pages/p-191.jpg", "printed_page": 476, "bbox_pdf": [ 48.58708953249502, 95.60409921114562, 269.02851426325947, 105.05203372142353 ] } ] }, { "id": "berlioz-instrumentation-b01227", "reading_order": 1221, "type": "paragraph", "english": "fers the method of distributing melodies among", "original": "fers the method of distributing melodies among", "sources": [ { "pdf_page": 191, "source_image": "source-pages/p-191.jpg", "printed_page": 476, "bbox_pdf": [ 48.1372090738608, 105.05203372142353, 269.02851426325947, 115.17482069672131 ] } ] }, { "id": "berlioz-instrumentation-b01228", "reading_order": 1222, "type": "paragraph", "english": "No. 64. Walkuere, Act", "original": "No. 64. Walkuere, Act", "sources": [ { "pdf_page": 191, "source_image": "source-pages/p-191.jpg", "printed_page": 476, "bbox_pdf": [ 197.9474017990538, 174.33688679679497, 357.65496461419946, 188.9586902055584 ] } ] }, { "id": "berlioz-instrumentation-b01229", "reading_order": 1223, "type": "paragraph", "english": "in F. in die Augen; dann umschlingt sie leidenschaftlich sel- | p —==