Beruflich Dokumente
Kultur Dokumente
HISTOIRE DU SOLDAT
The Soldier's
Tale
Bass
Percussion:
(see Editor's Note
on page l2)
Drum
Snare Drums
Field Drum
Tambourine
Triansle
Cymbal
III
(large) (small)
(edge) (centre)
Part I
MARCHtr DU SOLDAT
Bass Drum; Field Drum & Snare Drum I (bo th unsnared); Tambouri ne
(?)
L.H. mallet 1, R.H. mallet 2.
(1,
rL
F.D. & B.D. n
) =tt2
Cornel
poco
secco
('7\
44'..,
Bassoon
50@
The original indicates that the right hand mallet serves to strike the tambourine and the snare drum.
RE MATERiAL
Percussion
LR
64
,_,
a,
71
f
78
repeat ad lib.*
* Repeats
Musique de la
Premire Scne
PASTORALE rv Tacet
Reprise: PASTORALE rv Tacet
s'tait mis lire.
"He took the book.
"Er liest im Buch.
"Il
prir d'avantguerre."
Troisime Scne
subito
Percussion
Part II
MARCHE DU SOLDAT
& Snare Drum I (both unsnared);Tambourine
L.H. mallet l, R.H. mallet 2.
Bass Drum; Field Drum
=2
Cornet
poco
secco
/t
yf
LR
L5\U
@,
"Il
+zOr
p subito
r
a prsent. . . . . o je vais? je vais chz le roi."
"Nov, he comes to another land .. . . Wltere am I going? To see the
"In einem anderen land. . . . . Zum Knie und zur Kniein!"
Kng!"
Percussion
MARCHE ROYALE
Bass Drum (mallet le, also struck edge and centre with mallet 2); Field Drum, snared;
Snare Drum I, unsnared; Cymbal, mounted upside down on edge of Bass Drum (struck
on the edge with shaft of mallet 2.)
L.H. mallet la, R.H. mallet. 2.
) =ll2
m1f
cym.
B.D.
B.D.
(edge & centre)
RR
())
FR
S.D.I
RRR
R R
sim.
poco
gf
fr
@
>
Percussion
F.D. (snared)
Trombone
@'
v
To B.D.
L.H. reverse
mallet
:>
1a
(!@ s. D. I (unsnared)
R.-.RR
*@*
@R
nfr
@
"f
126@
* The
"
>
Percussion
PETIT CONCERT
Bass Drum; Field Drum, unsnared
L.H. mallet l. R.H. mallet2.
=I2O
/,i
tq\t'7\
B.D.
(eg
& centre)
@R
Viol
Cornet
20
8e@
101
5
Y7
q,
B.D.-ff
tr
Damp
Prepare
\<;/
for
Tango
()a\
6t
<:t/
Percussion
TROIS DANSES
Bass Drum with Cymbal, attached as before; Snare Drums
Tambourine; Triangle.
I & II'
unsnared;
1. TANGO
J=c.80 R R
OR
LR
L.H. mallet I
R.H.
ntallet2 p
10
u mosso
=92-96
lasseXibrer
ToS.Ds. I&II
66@
2. VALSE
=Jlo
(8.D.)p
71@
q9
o))
\<2
Vio
Ragtirne
Prepare for Ragtirne; L.H. mallet 2, R.H. triangle beater (see Notes).
Percussion
3. RAGTIME
t_
.--!
rir- l n
6,r
YA
-
\\ f
5Ar
\<j7
Yr
6lt*
&2)
6)
\7
RL
R.H. to mallet 4
rf
70
Q)
,--r tf
e?
To mallets 3 (or 6)
DANSE DU DIABLE
Bass Drum: Field Drum and Snare Drums
LR
Allesro J =138
F.D. and S.D.l
Nfallets 3 (or
6)t
(t
The original instructions were for the two clrums to be placed in a vertical position near to each other, and played
ensure a mechanical rhythm'.
thus: f}
It is norv =E'to
customary to retain the instruments in the normal position, a method accepted by the composer.
In certain editions: "bag. en baleine, tte en feutre dur." (see Notes).
Percussion
To mallets 2.
ToS.Ds.
I&II
L
Retc.(ad lb.)
@--
1.
PETIT CHORAL-'...,
COUPLETS DU DIABLE
Bass Drum; Field Drum, snared; Snare Drum
=120-126
Trombone
II,
unsnared.
F.D. (snared),
To B.D.
nf
(unsnared)
Fi.l). (snared),
29 Cornet
R.H. to mallet
To mallets
GRAND CHORAL-racet
"Si on allait, si on allaitl.. . . . Il l'appelle, il s'est retourn."
"Suppose, suppose we went there!. . . , lte tunts back, tlten changes his
'1Vennrvir hinreisten?...,. Er ruft. Er xinl:t -ein letzter Blick."
mnd"
Percussion
10
=tl}
@o
L.H.
L.H.
reverse
mallet
mallet
L.H.
reverse
o\
45\!./
,--,mallet
tUt-o
"f
:>>
>
and part there is confusion as to which bass drum notes should be struck on the
edge and which in the centre. The Editor believes that the composer intended the same effect as in trlarche Royale,
where the bass drum struck centrally coincides with the cymbal, and the part has been emended accordingly.
l1
Percussion
L@R
@L
LRL
LRL
Isempre Pal
RL
fineJl
RRL
SUGGESTED EQUTVALENTS
. Triangle I
. fmounted on a stand.
. t ambounneJ
. Snare Drum II (shallow), with snare release.
Snare Drum I (medium depth), wirh snare release.
Un Triangle
Un Tambour de Basque
Deux Caisses Claires sans timbre, de taille differente
. Field Drum
frxe la
Gr. C..
Bass Drum with Cymbal attached to hoop (see nore iii below)
MALLETS
ORIGINAL
SUGGESTED EQUTVALENTS
.
l.
Mailloche
Bass Drumsticks:
(a) one with reverse ends of wound fibre or wool to march mallets 2,
Baguettes en bois
Baguettes en baleine tte en feutre dur
Danse du
PERFORMANCE NOTES
i.
The percussion pan is set out on a single stave and each instrument is allotted its own line, in ascending order of pitch,
which remains constan throughout the work.
Bass
Drum
Field
+
(edge)
(centre)
Drum
Snare
Drums
Tambourine
Triangle
.r}
Cymbal
III
(large) (small)
Unless otherwise indicated the bass drum should be struck near the centre and, in general, should be slightly damped for
v.
clarity.
The cymbal attached to -the hoop of the bas.s drum should be mounted upside down and struck on rhe edge with the shaft
of the drumstick to produce as near as possible the soun-d__of a p_air-of_c1'mbals played "military band fashion". According
to the eminent American composer a-nd percussionist, William Kraft, Stravinsky, on a specific'occasion, approved of the '
use of the modern hi-hat foot cvmbals.
The suspension of the tambourine and triangle should present no problem to rhe enthusiasr. If the tambourine is mounted
upside down and sruck on the rim with the shaft of the drumstick as suggested, a narrow srrip of felr glued ro rhe rim
will lessen the click from the shaft of the drumstick and at the same time strengthen the sound of the jingles (see Marche
du Soldat). ln Ragtime, when the tambourine and triangle are plal'ed together) a triangle beater will serve ro strike both
instruments, retaining the correct sound from each.
The provision of the various double-ended mallets as suggested u'ill contribute towards rapid and noiseless changes.
SUGGESTED LAYOUT
OF TNSTRUMENTS
Triangle
Tambourine
\-
tnlSl^(::.::\"gupside down)
-'
-LJ
Bass Drum
987.