George Frederick McKay · section 111 of 111

General index

Accent: bowing, 9

Accompaniment: heterophony, 69; homophonic texture, 55; oboe, 16; piano, 28; pitch locale, 78; viola, 26

African drums, 64

African music, 178

Afternoon of a Faun, The (Debussy), 133, 218, 220

Alternation: bowing, 7; prototypes, 194

Alto clarinet, 17

Alto flute, 15

Alto oboe (see English horn)

Alto saxophone (see Saxophone)

American dance bands, 146

Amor Brujo, El (de Falla), 28

Anacrusis, bowing, 8

And the Fallen Petals (Chou Wen-Chung), 43, 135

Antiphonal contrast, pitch locale, 127

Antiphonality: definition, 112; entrance, 12; off-stage, effects, 113; vividness, 89

Appalachian Spring (Copland), 87

Apprenti Sorcier, L’ (Dukas), 19, 160

Architectural elements, contrast, 60

Arlêsienne Suite No. 2, L’ (Bizet), 19, 71

Arranging, 35

Articulation: bassoon, 18; blend, 135

Articulation (cont.) — bowing, 7; brasses, 133, 162; clarinet, 17; contrast, 133; English horn, 16; flute, 15; harpsichord, 28; horn, 20; intensity (table), 135; oboe, 16; percussion, 135; saxophone, 19; string bass, 27; strings, 133, 162; tuba, 23; variegation, 133; violin, 24, 25; woodwind, 135, 162

Artificial harmonics, 11

Art of the Fugue (Bach), 96

Asian music, percussion, 178

Attributes of tone: categorization, 90; future, 184; percussion, 91

Bach: Art of the Fugue, 96; Concerti Grossi, 124; harpsichord, 146; instrumentation, 201; polyphony, 51, 53, 96; transcription, 179

Background: middle register, 89; percussion, 153, 155; strings, 155

Balance, idiomatic characteristics, 162

Band (see Symphonic band)

Baritone horn, 173

Bartók: clarity, 35

Bass: doubling, 174; harmony, 174; timbre, 174

Bass clarinet, 17, 18

Bass oboe, 16

Bassoon: articulation, 18; legato, 18; register, 18; skips, 18; staccato, 18

Beethoven: alternation, 194; clarity, 94; doubling, 118; harmonic limitation, 82; harmony, 84; innovation, 177; melodic components, 94; organization, 196; spacing, 47; string quartets, 25

Bell-toned percussion, 135

Berlioz: innovation, 177; instrumentation, 205; motion, 62; spacing, 47

Blend: articulation, 135; differentiated motion, 128; doubling, 122; exact, 123; octave, 123; subtlety, 122; timbre, 123

Boehm system, 155

Boléro (Ravel), 19

Boulez: instrumentation, 182, 209

Bouncing bow (see Spiccato, saltato), 10

Bowing: accent, 9; alternation, 7, 9; anacrusis, 7

Bowing (cont.) — bows per measure, 10; cello, 26; classic, 167; col legno, 11; détaché, 10, 164; down-bows, successive, 8; flautando, 11; markings, 7-9; martele, 8, 10; phrasing, 7-9; ponticello, 11; ricochet, 11; rules, 7-9; saltato, 8, 10; slur, 7, 8; spiccato, 8, 10; staccato, 8, 10; string bass, 27; sul tasto, 11; up-bows, successive, 8

Brahms: melodic components, 94; spacing, 47

Brandenburg Concerti (Bach), 194, 195 — No. 2, 202; No. 5, 218-220

Brass: articulation, 133, 162; double tonguing, 13; dynamics, 104; effects, 12, 13; expansion, 173, 205; flutter-tongue, 13; foreground, 157; harmony, 83; instrumentation, 174; limitations, 173; motion, 162; mutes, 13; triple-tonguing, 13

Brass choir: Beethoven, 82; harmony, 82; trombone, 23

Brigg Fair (Delius), 16

Cage, John, 178

Celesta, 135

Cello: bowing, 26; chords, 26; concerto, 26; harmonics, 26; intonation, 26; limitations, 26; register, 26, 88; tremolo, 26; trill, 26

Cello Concerto (Saint-Saëns), 26

Cello Concerto (Schumann), 26

Chalumeau, 17, 88

Chávez: percussion, 91

Chinese music, 43

Choéphores, Les (Milhaud), 180

Choral groups, timbre, 89

Chord and line, contrast, 146

Chordal texture: definition, 45; diagram, 39; doubling, 46; harmony, 45, 46; motion, 45; phrase pattern, 45; rhythm, 45, 46; spacing, 46

Chords: cello, 26; violin, 24

Chôros No. 10 (Villa-Lobos), 156

Clarinet: articulation, 17; legato, 17; register, 17, 88; skips, 17; types, 17

Clarity, analysis, 35

Classic orchestra, instrumentation, 201

Classic Period: contrast, 167; instrumentation, 172; strings, 146, 155

Classical Symphony (Prokofiev), 204

Col legno, 11

Combination: texture, 74-77, 96; voices, 188

Compound texture: definition, 77

Concerti grossi, instruments, 201

Concertino (Janáček), 18

Concerto da Camera (Honegger), 16

Concerto for Orchestra (Bartók), 30, 179

Concerto for Orchestra (Kodály) 54

Concerto for Two String Orchestras (Martinu), 173

Concerto No. 7 (Hovhaness), 136

Concertos: cello, 26; violin, 25

Concierto de Aranjuez (Rodrigo), 28

Consistency: harmony, 36-37; rhythm, 36, 38; rules, 36-37

Contrabassoon: doubling, 19; dramatic characterization, 19

Contrary motion, 85

Contrast: architectural elements, 60; articulation, 133; chord and line, 146; homophonic texture, 56; legato, 164, 168; motive, 58; pitch locale, 79, 127; polythematism, 61; staccato, 164, 168; timbre, 38, 112, 122 (table), 89; tonal interest, 111

Cor Anglais (see English horn)

Cornet: contour, 21; timbre, 21

Counter-melody, 57

Craft, Robert, 144

Cymbals: dynamics, 29; effects, 13

Dance band (see Jazz)

Danse macabre (Saint-Saëns), 171

Danses sacrée et profane (Debussy), 28

Daphnis et Chloé (Ravel), 157, 186, 192

Debussy: doubling, 118, 122; harp, 157; heterophony, 130; homophony, 55; idiomatic invention, 116; impressionism, 139, 155; innovation, 177; instrumentation, 205; motion, 62; non-extreme register, 133; pitch distribution, 82; pointillism, 141; polyrhythm, 64; thickness-thinness, 194; timbre, 111

Delius: harmony, 86; legato, 168

Deserts (Varèse), 184, 185

Design: alternation, 32; arpeggiation, 31; combination, 33; development, 32; expansion, 32; importance, 86; “keel” action, 85; light and shade, 193; overlapping, 193; rhythm, 31; skips, 32; thickness-thinness, 193; wave pattern, 31; values, 191; variegation, 191-194; vigor, 191, 192

Détaché, 10, 164

Differences (Berio), 184

Differentiated motion, blend, 128

Differentiation: homophonic texture, 55; polythematism, 58

Dissonance: contrast, 150; percussion, 133

Distribution: harmony, 82 (table), 84; pitch, 78; registers, 78; rules, 80

Divisi, 172, 173, 174

Dots: bowing, 8; winds, 9

Double-tonguing, 12

Doubling: basses, 174; blend, 122; contrabassoon, 19; exact blend, 123; harmonic chordal texture, 46; monophonic texture, 42; oboe, 16; octave blend, 123; piano, 28; polyphony, 51; power, 118; rule, 118; string bass, 27; subtlety, 118, 122

Down-bow (see Bowing)

Dramatic characterization: contrabassoon, 19; saxophone, 19

Dramatic verity, 74

Drum, bass, 29

Drum roll: dynamics, 104

Drum, snare: dynamics, 29; flam, 13; paradiddle, 13; ratamacue, 13

Drumsticks, 29

Dynamic balance: analysis, 100; rules, 105

Dynamics: brasses, 109; horn, 20; markings, 104

Dynamics (cont.) — percussion, 29; saxophone, 19; strings, 104; timpani, 29; woodwinds, 104

Effects: brass, 12, 13; harp, 14; percussion, 13; woodwind, 12

Electronic music, 177, 182-184

English horn: articulation, 16; expression, 16; harmony, 16

Enharmonics: harp, 14

Entrance: antiphonality, 112

Escales (Ibert), 157

Evocation Symphony (McKay), 96

Expansion: tonal groups, 170; units, 177; woodwind, 170

Extreme registers, 130-133 — limitation, 79; timbre, 79

Falla: piano, 157

Fantasia on a Theme by Thomas Tallis (Vaughan Williams), 173

“Farandole” (see L’Arlésienne)

“Festival at Bagdad, The” (see Scheherazade)

Fingered tremolo, 10

Flam, 13

Flautando, 11

Flos Campi (Vaughan Williams), 184

Flügelhorn, 173

Flute: articulation, 15; legato, 15; staccato, 15

Flutter-tongue: brass, 12; woodwind, 12

Folk music, 65

Foreground: brass, 157; woodwind, 157

Fountains of Rome, The (Respighi), 74, 75, 136, 137, 152, 154

Franck: harmony, 86; legato, 168

French horn (see Horn)

Fünf geistliche Lieder (Webern), 148

Glissando: — harp, 14, 27; string, 11; woodwind, 12

Glockenspiel: limitation, 119, 135

Grotesquerie: bass clarinet, 17; bassoon, 18; E-flat clarinet, 17

Guitar, 28

Gurre-Lieder (Schönberg), 205

Hammond organ, 183, 184

Harmon mute, 13, 22

Harmonic background: pitch locale, 78; trumpet mutes, 22

Harmonic rhythm, 85

Harmonics: artificial, 11; cello, 26; harp, 14; string, 11; violin, 24

Harmony: basses, 174; brass, 83; brass choir, 82; chordal texture, 45-46; consistency, 36-37; danger, 86; degrees of intensity, 84; distribution, 82 (table), 84; heterophony, 69; limitation, 82, 84

Harmony (cont.) — overtones, 82; polyphony, 51; spacing, 47, 85; Wagner, 123, 170; woodwind, 16, 17, 19

Harp: effects, 14; enharmonics, 14; glissando, 14, 27; harmonics, 14; impressionism, 157, 205; limitation, 27; motion, 27; pedals, 27; staccato, 27

Harp Concerto (Glière), 28

Harpsichord, 28, 124, 146, 201

Harpsichord Concerto (de Falla), 29

Haydn: bowing, 167; instrumentation, 201; string quartets, 25

Hebrides Overture, The (Mendelssohn), 166

Heterophony: accompaniment, 69; definition, 66; diagram, 40; harmony, 69; horizontal, 69; primitive music, 130; variants, 130; variation, 67; vertical, 69, 70

High frequencies, 80

Hindemith: clarity, 35 idiomatic characteristics, 162

Histoire du Soldat, L’ (Stravinsky), 116

Homophonic texture: accompaniment, 55; contemporary, 56; definition, 53, 55; diagram, 40; differentiation, 55; melody, 55; percussion, 57; sustaining elements, 57

Horn: articulation, 20; dynamics, 20; legato, 20; markings, 20; mutes, 20; skips, 20; spacing, 46; staccato, 20; stopping, 20

Humanism, 183

Humor: bassoon, 18

Hybrid texture, definition, 77

Ibéria (Debussy), 28, 65, 81, 116, 122, 125, 141, 157

Idiomatic characteristics, balance, 162

Idiomatic invention, 116

Idiophone (see Percussion)

Impressioni dal Vero (Malipiero), 68, 74

Impressionism, 139 — instrumentation, 205

Impressionistic painting, 139

Improvisation, 86, 155, 209

India, 43

Indications (see Markings)

Instrumental groups, early, 201

Instrumental motion, 30, 190

Instrumentation: classic orchestra, 201; Classic Period, 172; concerto grosso, 201; contemporary, 209; history, 201-206; jazz, 182, 209; modern orchestra, 174, 205; standard orchestra, 205; Wagner, 174

Instruments: baritone horn, 173; bass drum, 29; bass oboe, 16; bassoon, 18; celesta, 135; cello, 26; clarinet, 17; contrabassoon, 19; cornet, 21

Instruments (cont.) — cymbals, 13, 29; English horn, 16; flügelhorn, 173; flute, 15; glockenspiel, 119; guitar, 28; harp, 14, 27; harpsichord, 28; horn, 20; lute, 146; mandolin, 146; oboe, 16; Ondes Martenot, 183; organ, 89, 183; piano, 28, 119; piccolo, 14; rattle, 89; saxophone, 19; snare-drum, 13, 29; string bass, 26; tape recorder, 182; tenor tuba, 173; Theremin, 183; timpani, 29, 104, 183; trombone, 23; trumpet, 21; tuba, 23; vibraphone, 144; viola, 25; violin, 24; voices, human, 89; woodblock, 89; xylophone, 89, 119

Italian orchestras, early, 146

Janáček: onomatopoeia, 74

Jazz: instrumentation, 182, 209; percussion, 155; polyrhythm, 64; trumpet mutes, 22

“Keel” action: design, 85

Kinaesthetic response, 114

Leaps (see Skips)

Legato: — bassoon, 18; clarinet, 17; contrast, 164, 168; flute, 15; horn, 20; markings, 9; oboe, 16; piccolo, 15; string bass, 27; trombone, 23; trumpet, 22; violin, 24, 25

Leonore Overture No. 3 (Beethoven), 113

Lieutenant Kijé (Prokofiev), 19, 71, 72-73

Light and shade, 191 — design, 193; overlapping, 136

Limitation: brass, 173; cello, 26; extreme register, 79; harmony, 82; harp, 27; melodic components, 91-99; string bass, 27; trombone, 23; tuba, 23, 173

Line and Chord: contrast, 146

Lohengrin, Prelude (Wagner), 124, 173

Louisville Symphony recordings, 43, 135, 136, 182

Lutes, 146

Male chorus, timbre, 89

Mandolins, 146

Markings: bowing, 7-9; clarinet, 17; dynamics, 104; harp glissando, 14; horn, 20; percussion, 29; winds, 9

“Mars” (see Planets, The)

Marteau sans Maître, Le (Boulez), 144

Martele, 8, 10

Martenot (see Ondes Martenot)

Martinu: heterophony, 130

Measured tremolo, 10

Mechanical improvements, 177, 205

Meistersinger, Die, Overture (Wagner), 70

Melodic components, limitation, 91-99

Melody, homophonic texture, 55

Mendelssohn: doubling, 118; pitch distribution, 82

Mer, La (Debussy), 15, 28, 65, 116, 141, 157

Midsummer Night’s Dream, A (Mendelssohn), 146

“Miller’s Dance” (see Three Cornered Hat, The)

Mixture (see Total mixture)

Modern orchestra instrumentation, 174

Monophonic texture: diagram, 39; doubling, 42; percussion, 43; spacing, 42

Mother Goose Suite (Ravel), 19

Motion: blend, 128; brass, 162; chordal texture, 45; contrary motion, 85; harp, 27; instrumental, 30, 114, 191; oblique, 85; parallel, 85; polythematism, 60, 62; simplicity, 192; strings, 162; sustaining factor, 141, 150; timbre, 112; tonal interest, 111; woodwind, 162

Motive, contrast, 58

Mozart: doubling, 118; instrumentation, 155

Mozart (cont.) — pitch distribution, 82; string quartets, 25

Music concrete, 177, 182

Music for Strings, Percussion and Celesta (Bartók), 29

Music for Tape Recorder and Orchestra (Luening and Ussachevsky), 182

Mutes, brass, 13 — Harmon, 22; harmonic background, 22; horn, 20; straight, 22

“Neptune” (see Planets, The)

Night Soliloquy (Kennan), 15

Nineteenth Century: instrumentation, 124, 205; kinaesthetic values, 114; polythematism, 60

Nutcracker Suite (Tchaikovsky), 18, 92, 128

Oberon, Overture (Weber), 21, 218-220

Oblique motion, 85

Oboe: accompaniment, 16; articulation, 16; bass oboe, 16; doubling, 16; legato, 16; register, 16; skips, 16; staccato, 16

Octandre (Varèse), 144

Octave doubling (see Doubling)

Off-stage, antiphonality, 113

Ondes Martenot, 183

On Hearing the First Cuckoo in Spring (Delius), 71

Onomatopoeic texture: definition, 71, 74; diagram, 41

Orchestral types, 201 — recent trends, 205

Organ: Hammond, 183; timbre, 89

Organization: prototypes, 194, 198 (table), 196

Oriental music, 43, 135 — percussion, 178; studies, 179

Ostinato, rhythmic, 153

Overlapping: definition, 136; design, 191, 193; diagram, 138

Overtones, harmony, 82

Pacific 231 (Honegger), 74

Paradiddle, 13

Parallel motion, 85

Pastoral Symphony (Vaughan Williams), 184

Pastorale d’été (Honegger), 21

Pedal timpani, 29

Pedals, harp, 27

Percussion: articulation, 135; background, 153; bell-tone, 119; dynamics, 29; effects, 13; experimentation, 177, 179; history, 178; homophonic texture, 57; marking, 29; noise makers, 179; piano, 28; punctuation, 29; rhythm, 29; timbre, 90, 91

Peter and the Wolf (Prokofiev), 30, 74

Petite Symphonie Concertante (Martin), 29, 146, 147

Petrouchka (Stravinsky), 23, 28, 65, 116, 134, 218-220

Phrasing, 7-9

Piano: accompaniment, 28; doubling, 28; limitations, 119; percussion, 28; registers, 28; total mixture, 157

Piano Concerto No. 3 (Bartók), 59

Piano Concerto No. 2 (Brahms), 50, 94, 168

Piccolo: legato, 15; limitations, 14; registers, 14

Pictures at an Exhibition (Moussorgsky-Ravel), 74

Pierrot Lunaire (Schönberg), 187

Pines of Rome (Respighi), 74, 133, 173

Pitch: distribution, 78; rules, 80

Pitch locale: accompaniment, 78; contrast, 79, 127; harmonic background, 78

Pizzicato, 24, 25

Planets, The (Holst), 173, 184

Plectrum, 27, 28, 124, 133, 201, 205

Poem for Flute and Orchestra (Griffes), 15

Poème Electronique (Varèse), 184

Pointillism: dangers, 150; definition, 139-142

Polyphonic texture: definition, 49; diagram, 40; values, 51

Polyphony: design, 193; doubling, 51; harmony, 51; overlapping, 139; texture, 94

Polyrhythm: definition, 64; diagram, 40

Polythematism: contrast, 61; definition, 58; diagram, 40; differentiation, 58; motion, 60

Ponticello, 11

Première Rhapsody (Debussy), 18

Primitive music, 67, 155 — heterophony, 130; percussion, 178

Prokofiev: clarity, 35; homophony, 55; staccato, 168

Prologo e Fuga (Guarnieri), 161

Punctuation, 158 — percussion, 29

Quintet for Clarinet and Strings (Brahms), 18

Rapsodie espagnole (Ravel), 118, 126, 143

Ratamacue, 13

Ravel: homophony, 55

Realism, 182

Registers: alto flute, 15; bassoon, 18; cello, 18, 26, 88; characteristics, 2-5; clarinet, 17; distribution, 78; English horn, 16; extremes, 88, 130-133; flute, 15; oboe, 16; piano, 28; piccolo, 14; saxophone, 19; strings, 173; timbre, 112; tonal interest, 111; trumpet, 21; variegation, 42; viola, 26, 88

Renaissance composers, doubling, 124

Requiem (Berlioz), 113

Respighi: polyphony, 53

Rhythm: chordal texture, 45; consistency, 36, 38; percussion, 29

Rhythmic ostinato, 153

Ricochet, 11

Ride of the Valkyries (Wagner), 74

Rimsky-Korsakov: doubling, 118; idiomatic invention, 116; instrumentation, 205; motion, 62, 114

Robinson mute, 13

Roll, drum, 13

Roman Festivals (Respighi), 74

Romantic Period: homophony, 55; instrumentation, 205; pitch locale, 80; strings, 155

Romeo and Juliet Overture (Tchaikovsky), 121, 122

“Ronde du Sabbat” (see Symphonie fantastique)

Russian composers, instrumentation, 205

Russian Easter Overture (Rimsky-Korsakov), 23

Sacre du Printemps, Le (Stravinsky), 18, 116, 133, 207

Saint-Saëns: staccato-legato, 168

Salón México, El (Copland), 18

Saltato, 8, 10

“Saturn” (see Planets, The)

Saxophone: articulation, 19; dramatic characterization, 19; dynamics, 19; harmony, 19; register, 19; timbre, 184

Scarlatti: staccato, 168

Scheherazade (Rimsky-Korsakov), 55, 116, 218-220

Schelomo (Bloch), 26

Schönberg: polyphony, 53

Scoring, order of instruments, 35

Serenade for Tenor, Horn and Strings (Britten), 144

Sibelius: idiomatic characteristics, 162; polyphony, 139

Sibelius (cont.) — strings, 47; sustained tone, 150

Sinfonia Concertante (Martinu), 132

Sinfonia India (Chávez), 178

“Sirènes” (see Three Nocturnes)

Skips: bassoon, 18; clarinet, 17; design, 32; horn, 20; oboe, 16; violin, 25

Slur: bowing, 7, 8; markings, 9

Spacing: chordal texture, 46; harmony, 47, 85; horns, 46; monophonic texture, 42; trumpets, 46

Spectrum, 184

Spiccato, 8, 10

Spider’s Feast, The (Roussel), 117

Staccato: — arpeggiation, 31; bassoon, 18; bowing, 8, 10; contrast, 164, 168; flute, 15; harp, 27; harpsichord, 28; horn, 20; markings, 9, 17; oboe, 16; reiteration, 31; trombone, 23; trumpet, 22; tuba, 23; violin, 24, 25

Stereophonic effect, 113

Stockhausen: electronic music, 182

Stokowski: polyphony, 53

Stopped horn, 20

Straight mute, 22

Stravinsky: clarity, 35

Stravinsky (cont.) — heterophony, 130; idiomatic invention, 116; instrumentation, 205; motion, 62; polyrhythm, 64; timbres, 111; tradition, 188

String bass: articulation, 27; bowing, 27; doubling, 27; legato, 27; limitations, 27

String effects, 10-11

String quartets, 25

String section: Beethoven, 82; instrumentation, 174

String sound, impressionism, 157

Strings: articulation, 133, 162; background, 155; divisi, 173, 174; dynamics, 104; expansion, 172, 173; motion, 162; registers, 173

Structure: light and shade, 191; motion, 191; overlapping, 191; thickness and thinness, 191; tonal interest, 111; values, 191

Studie im Pianissimo (Blacher), 140

Suite No. 3 (Bach), 25

Suite for Viola and Piano (Bloch), 26

Sul tasto, 11

Sustained motion, 141

Sustained sound, pointillism, 141

Sustained tone, 150

Sustaining elements, 55

Sustaining factor, motion, 150

Swan of Tuonela, The (Sibelius), 173, 176

Symphonic band: instrumentation, 146; timbre, 89

Symphonie fantastique (Berlioz), 115, 129, 160, 218-220

Symphony No. 3 (Beethoven), 27, 101

Symphony No. 4 (Beethoven), 102

Symphony No. 5 (Beethoven), 103

Symphony No. 6 (Beethoven), 15, 60, 82, 162, 167, 196

Symphony No. 7 (Beethoven), 45

Symphony No. 8 (Beethoven), 160, 218-220

Symphony No. 1 (Bizet), 16

Symphony No. 4 (Brahms), 198

Symphony No. 4 (Dvořák), 165

Symphony No. 5 (Dvořák), 16

Symphony in D minor (Franck), 21, 22, 77, 151, 173

Symphony No. 94 (Haydn), 203

Symphony No. 101 (Haydn), 218-220

Symphony No. 2 (Mahler), 107

Symphony No. 1 for Small Orchestra (Milhaud), 144, 208

Symphony No. 25 (Mozart), 169

Symphony No. 40 (Mozart), 218-220

Symphony No. 5 (Rubbra), 63

Symphony No. 1 (Schumann), 47, 159, 218-220

Symphony No. 1 (Shostakovich), 70

Symphony No. 4 (Tchaikovsky), 15

Symphony No. 6 (Tchaikovsky), 23, 218-220

Symphony No. 4 (Vaughan Williams), 206

Syntax, musical, 91

Tannhäuser (Wagner), 146

Tape recorder, 182

Tapiola (Sibelius), 74

Tchaikovsky: doubling, 118; instrumentation, 205; pitch distribution, 82; polythematism, 64

Tenor tuba (see Baritone horn)

Terminology, musical, 90

Textural types, 39-41

Texture: chordal type, 45; combination, 74, 76, 77

Texture (cont.) — definition, 39, 41; heterophony, 66; homophony, 53; hybridization, 77; onomatopoeia, 71-74; polyphony, 49, 94; polyrhythm, 64; polythematism, 58

Theremin, 183, 184

Thickness-thinness, 191 — design, 193

Three Cornered Hat, The (de Falla), 21

Three Nocturnes (Debussy), 184

Till Eulenspiegel (Strauss), 18, 21, 175

Timbre: analysis, 111; archtypes, 183; basses, 174; blend, 122, 123; chamber orchestra, 124; choral groups, 89; contrast, 38, 90, 112, 122 (table), 89; cornet, 21; electronic, 183; extreme registers, 88; male chorus, 81, 89; motion, 112; organ, 89; percussion, 90, 91; pointillism, 141; register, 112; saxophone, 184; symphonic band, 89; trumpet, 21; variegation, 42; viola, 26; vividness, 88; voices, 89, 188

Timpani: dynamics, 29, 104; mechanics, 29; pedal, 29

Tlingit Suite (McKay), 123

Toccata for Percussion (Chávez), 29

Tonal attributes (see Attributes of tone)

Tonal groups, expansion, 170, 172, 173

Tonal ingredients (table), 142

Tonal mixture (see Blend)

Tone blending (see Blend)

Tone quality (see Timbre)

Toscanini, 104

Total mixture, 142 — horizontal, 179, 182; vertical, 179, 182

Transposition: chart, 6; ratios, 6

Tremolo, 10, 30 — cello, 26; fingered, 10; measured, 10; violin, 24

Trill, 10, 24, 26, 30

Triple-tonguing: brass, 13; woodwind, 12

Tristan and Isolde, Prelude (Wagner), 124, 218-220

Trois Poèmes Juifs (Bloch), 157

Trombone: brass choir, 23; legato, 23; limitations, 23; slide, 23; staccato, 23

Trumpet: contour, 21; legato, 22; registers, 21; spacing, 46; staccato, 22; timbre, 21

Tuba: articulation, 23; limitations, 23, 173; staccato, 23

Tubby the Tuba (Kleinsinger), 23

Turangalila (Messiaen), 184

Twentieth Century: American dance bands, 146; French composers, 182; heterophony, 130; instrumentation, 124; kinaesthetic values, 114

Twentieth Century (cont.) — polythematism, 60; trumpet mutes, 22

Unison, grand, 42

Unit organization, rules, 36-37

Unity: polyphony, 49; types, 39-41

Up-bow (see Bowing)

“Uranus” (see Planets, The)

Varèse: percussion, 91

Variation, heterophony, 67

Variegation: articulation, 168; design, 191, 193, 194; register, 42; timbre, 42

Vibraphone, 144

Villa-Lobos: expansion, 172; instrumentation, 209

Viola: accompaniment, 26; registers, 26, 88; timbre, 26

Violin: articulation, 24-25; bowing, 25; chords, 24; concertos, 25; harmonics, 24; legato, 24, 25; pizzicato, 24, 25; skips, 25; staccato, 24, 25; tremolo, 24; trill, 24

Violin Concerto (Beethoven), 66

Violin Concerto (Tchaikovsky), 60

Violoncello (see Cello)

Vividness: antiphonality, 89; timbre, 88

Voices: combination, 188; human, 177, 184, 188; timbre, 89, 188

Wagner: expansion, 172; harmony, 86, 123, 170; instrumentation, 174, 177, 205; legato, 168; sustained tone, 150; woodwinds, 170

Water Music (Handel), 146

Weber: design, 194; instrumentation, 155

Webern: complete works, 144, 179; instrumentation, 182, 209; polyphony, 51, 53; total mixture, 179

When Johnny Comes Marching Home (Harris), 173

Winds, phrasing, 9

Winter’s Past, The (Barlow), 16

Woodwinds: articulation, 135, 162; Beethoven, 82; double-tonguing, 12; dynamics, 104; effects, 12; expansion, 170, 205; flutter-tongue, 12; foreground, 157; glissando, 12; harmony, 16, 17; instrumentation, 174; limitation, 119; motion, 162; triple-tonguing, 12; Wagner, 170

Young Person’s Guide to the Orchestra, The (Britten), 30

Xylophone, limitation, 119