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^ Theoretical Series. No. 7.

^* "^OVELLO'S LIBRARY for the diffusion of MUSICAL KNOWLEDGE.

'
I
C/ " Studies serve for delight, for ornament, and ability. * There is no stond or impediment in the wit,
but may be wrought out by fit studies." Lord Bacon.

A TREATISE
ON

MODERN INSTRUMENTATION
AND

ORCHESTRATION
(DEDICATED TO FREDERICK WILLIAM IV., KING OF PRUSSIA)

TO WHICH IS APPENDED

THE CHEF D'ORCHESTRE

BY

HECTOR BERLIOZ
TRANSLATED BY

MARY COWDEN CLARKE. :.

NEW EDITION, REVISED AND EDITED BY

JOSEPH BENNETT.

London: NOVELLO AND COMPANY, Limited.

^'Ew York: THE H. W. GRAY CO., Solb Agents for the U.S.A.
MADE IN ENGLAND
 Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University

http://archive.org/details/treatiseonmodern1900berl
 ; ,
INTRODUCTION.
At no period in the History of IMusic has Instru-
meriUitiott,been more discussed than at the present
time. Tlie reason is doubtless to be found in
the recent development of this branch of the Art
and perhaps, also, in the multitude of criticisms,
opinions, different doctrines, judgments, rational and
irrational arguments spoken or written, for which
the slightest productions of the most inferior com-
posers form a pretext.
["'
Great importance seems now attached to the art
of Instrumentation, which was unknown at the com-
'
mencement of the last century and the advance
; vainly pleaded
of which, sixty years ago, many persons who passed
for sincere friends of Music endeavoured to prevent.
There is an effort, nowadays, to place an obstacle
in the way of musical progress upon other points.
Tt has always been thus therefore we ought not
; hibited; therefore it must not he made!"
to feel surprise. At first, music was only acknow-
ledged as a series of consonant harmonies, inter-
mingled with discords of suspension and when
; to appear in high-class music, producing effects no
Monteverde attempted to add the chord of the
seventh on the dominant without preparation, blame
and invective of all kinds were levelled at him.
But this seventh once admitted, in spite of oppo-
sition, to companionship with the discords of sus-
pension, there were not wanting those among so-
called learned authorities who held in contempt all
compositions of which the harmony was simple,
Bweet, clear, sonorous, natural. It was absolutely
requisite, to please these gentry, that music should be
crammed with chords of the second major and minor,
with sevenths, ninths, fourths, and fifths, employed
without reason or intention, unless that of being
as frequently as possible harsh to the ear. These
musicians took a fancy for dissonant chords, as
certain animals have a predilection for salt, prickly
plants, and thorny shrubs. It was the exaggeration
^of reaction.
Melody was not be found among these fine
to
combinations ; whenappeared, it was cried down
it
as the ruin of Art, the neglect of time-honoured
rules, &c.,&c. All was apparently lost. Neverthe-
less, meli'dy maintained its ground and a reaction of
; other branches of the Art.
melody, in its turn, was not long in appearing. There
were fanatical melodists, to whom every piece of
music in more than three parts was insupportable.
Some of them asserted that, in the majority of cases,
the subject should be accompanied by a bass only,
leaving to the hearer the delight of imagining the
cample mental notes of the chords. Others went
still further, desiring to have no accompaniment
at all, affirming that harmony was but a barbaroue
invention.
Then came the turn of modulations. At the time i
when modulation was only into relative keys, the \
firstwlio ventured to pass into a foreign key was
treated with conttrmely
as might have been ex-
pected. Whatever the effect of this new modula-
tion, uiasters severely objected to it. The innovator
" Listen
: observe how agree-
to it ;
ably it is brought in, how well worked, how adroitly
linked with that which precedes and follows, and
how deliciously it sounds " " That's not the ques-
I
tion!" was the reply. "This modulation is pro-
But as^^
on the contrary, that is the sole question through.
ont, modulations into foreign keys did not fail soon
less felicitous than unexpected. Almost immediately
arose a new order of pedantry ; some composers
thinking themselves degraded by modulating into
the dominant; and frolicking sweetly, in the smallest
rondo, from the key of natural to that of FJ
major.
Time, little by little, has put each thing in its
proper place. A
too rigid adherence to custom has
been distinguished from the reactions of vanity,
folly, and obstinacy ; and it is now pretty generally
agreed, as concerns harmony, melody, and modula-
tion, that whatever produces a good effect is good
that whatever produces a bad effect is had; and
that the authority of a hundred old men, even if
they were each a hundred and twenty years of age,
cannot make ugly that which is beautiful, nc.
beautiful that which is ugly.
~^ j
As for instrumentation, expression, and rhythm,
that is quite another affair. Their turn for being
discerned, denounced, admitted, fettered, freed, and
exaggerated, not having come until much later,
they have not yet attained the point reached by
It may be said thai
instrumentation, as first in order, is at the stage oi
exai,'geration.
It requires much time to discover Musical Medi-
terraneans and still more to master their naviga-
;
tion.


BERLIOZ' TREATISE UPOM

CHAPTER I. by one of them singly, nor by joining it to instru-

Evory sonorous body employed by the composer
ments of its own species, this can only be done
isa musical instrument. Hence, the following di-
by instancing the results obtained by masters in the
vision of the means now at his disposal :
Art, and tracing their mode of procedure ; results
(Violins which, doubtless, will be again modified in a thou-
Violas sand ways, for good or ill, by such composers as shall
Violes d'aniom' reproduce them.

BtriDfi^ed instruments
Violoncellos
Double-basses
The object of this work is, first, the indication
Harps of the extent, and certain essential parts of the
Played by hand
I"
-< Guitars mechanism of instruments next, the study (hitherto
;

( Mandolins much neglected) of the. quality of tone {timbre),

With keys Pianoforte. particular character, and powers of expression, per-
'
Hautboys taining to each of them ; and lastly, the best known
Oorni Inglesi
Bassoons
methods of proceeding, in order to group them
Bassons de quinte appropriately. Any endeavour to step beyond this
With reeds -J
Double -bassoons would be an attempt to set foot on the domain of
Clarinets inspiration ; where genius alone is capable of making
Corni di bassetti
discoveries, because to genius alone is reserved the
Bass-clarinets
Saxophones right of traversing it.

Without reeds Flutes, great and small
r Organ
Wind instmments With keys Melodium CHAPTER II
"I

( Concertina Instruments played with a bow.

"
Horns
Trumpets The Violin.
Comets
With mouthpiece, Bugles The four strings of a violin are usually tuned by
and of brass Trombones fifths ; thus :

Ophicleides 1st string. TX2

Bombardons 2n(t String.-'
3rd String.'
Bass-tubas
4th St^ing.T!^
Voices of men, women, children, and
artificial soprani. The highest string, E, is also called the chante-
Kettle-drums relle ;and generally known as such.
Ancient cvmbals These strings, when the fingers of the left hand
Set of bells
Of definite sonorousness do not modify the sound by shortening more or less
Glockenspiel
Keved harmonica the portion set in vibration by the bow, are called
Bells open strings the notes which are played on an
:

Instruments
'Drums open string being indicated by an placed above
m percussion
Of indefinite Long-drums them.
sonorousness, Tambours de basque (or Tam-
and producing >
.

Cynibals bourine)
Some eminent composers and performers have
various charac- Triangles not chosen to hold themselves restricted to tliis
teristic noises Gongs method of tuning the violin. Paganini, in order
Pavilion Chinois. to give more brilliancy to the instrument, occa-
The employment of these various sonorous ele- sionally raised all the strings half a tone :

ments, and their application, either for colouring

the melody, harmony, and rhythm, or for producing
peculiar impressions (originating or not in an in- i= -^E^
tention of expression) independently of all aid from and, consequently transposing his part, he played
the three other great musical powers, constitutes in Dh, while the orchestra was in Ep, and in Ap,
the art of instrumentation. while the orchestra was in Bp, &c., thus keeping
Considered in its poetical aspect, this art is as the majority of his strings open
the sonorousness
little to be taught as that of inventing beautiful being greater when open, than when pressed by the
Bubjects, fine successions of chords, or original and finger
in keys where, with the ordinary method of
striking rhythmical forms. That which suits various tuning, that would not have been possible.
instruments, that which is practicable or not for De Beriot frequently raises merely the a whole G
them, oasy or difficult, dull or sonorous, may be tone in his concertos.
indii'ated it may also be pointed out, that such
; Baillot, on the contrary, sometimes lowers the G
and such an instrument is more fitted than an- half a tone, in order to produce softer and deeper
other, to produce certain effects, and to express effects.
certain sentiments; but as for combining them V\'inter has even employed Ft] instead of tha Qt
in groups in small orchestras or large masses, with a similar intention.
--as for the art of uniting them, mixing tliem, Having regard to the degree of skill at present
in such a way as to modify the sound of some attained by onr young violinists, this is about the
by that of others, giving to the ensemble a extent which may be assigned to the violin in a
particular tone, which could neither be produced well-constituted orchestra:
 ;

MODERN INSTRUMENTATION AND ORCHESTRATION.

With all the chromatic intervals
the higiier ))art, and the other the lower. Beginning
with D
(3rd string) all intervals of a second, a third,
a fourth, a fifth, a sixth, a seventii, an octave, are prac-
3r ticable. But they become more and more difiicult
in proportion as they advance upon the higli etrin<,'3.

The great performers carry the range of the

violin several notes higher ; and even in the or-
With the clininiiiiC
chestra, a much greater degree of acuteuess may be intervals.
obtained by means of harmonics
of which mention
will be made liereafter. ;&c.
Shakes are practicable on all the steps of this S^f ?L*
_:r Witli tlic

vast ladder of three octaves and a half; but the ex-

^
r^ chroinatic
intervals.

treme difficulty of those which occur on the three top- Easy. More and more

most notes A, B, C, is to be dreaded ; and, in the
_fl. i_-J , ,-. ^
m-zr..m"P",T
difficult.

St* &c.
With the
orchestra, it would be prudent not to employ them.
The minor shake on the fourth __^ bL^_ *^ .^.'W'' Easy. More and more
G '

string, from to A|?, should be rfe

avoided as much as possible
ii difficult.

Witli the
It is harsh and its effect is scarcely agreeable.
; chromatic
intervals
Chords of two, three, or four notes, which may '-^
^'.<if"*' Easy.' '
More and more
be struck, or played in arpeggio, on the violin, are difficult.

very numerous -,---- &c

and the effects they produce ex-
;

With the
tremely various. chromatid
Chords of two notes, resulting from what is called intervals.

the double-string, are well suited to melodic figures, ^:i:---Easy.n^ ""^riir"

to sustained phrases either /M-^e or piano, to accom-
paniments of all kinds, and to the trernolo.
Chords of three or four notes, on the contrary,
produce rather a bad effect when played piano "^ ^.^P*^^ 1 I
I
' ' '
Mo re and more
^
dtfiicult.
they seem rich and energetic only when played
loud and boldly as the bow can then strike the
;
With fae
strings sufficiently together to make them vibrate chromatid
r^ intervals.
simultaneously. 'J.jyiW'^'y r I ' ' More and more
It should not be foigotten, that, of these tliree or Emv. difficult.

four notes, two at most can be sustained ; the bow The

unison is sometimes employed on a double
being compelled to quit the others immediately after string but. although it can be done upon many
;

they are struck. It is therefore useless, in a sl^w or other notes, it is well to limit it to D, A, E because ;

measured movement, to write thus :

they are the only ones that offer, with the facility
necessary to good execution, variety of timbre, and
.-F a sonority due to the fact that one of the strings is
^-- >- >^ "
u
^_-
open :

The two upper notes are alone capable of being held ;

hence
way:
it is better to indicate the jjassage in this
1^=^ In the other
unisons
gE^^^z
rr^r f^r

there being no open string, their execution becomes

rather difficult, and consequently, their strict intona
^
J^ r r r T T
fj- An clionls contained between the low (J and the
1 1
tion very rar(\
tow D are evidently impossible; since there is only A bass string can cross an upper open string, by
a single string (the G) to produce the two notes. pursuing an ascending movement while the open
When there is need of harmony in this extreme point string remains as a pedal :

of the scale, it can be obtained in the orchestra only b 0=0 zO=o=zzOz=:z With the :==m3or
iiy dividinuc the violins. Thi-: division is indicated
by the Italian word divisi ; or by the Frencii words -,-
"I*"
r I
I c '

dirises (divided), and (i deux (in two), written over It will be seen that the D, here, remains open,
tiie passage :
while the ascnding scale is executed throughout upon
Divisi.
the fourth string.
^=$ The intervals of a ninth and a tenth are feasibly
but much less easy than the preceding ;
it is much
Thf> violins are then separated, that one set may play better not to write them for the orchestra, unless


BERLIOZ' TREATISE UPON

the lower string is open, in vvbicli case there It is better in all the chords marked thus * to let
danger : them remain with three notes, and to omit the
^- ' lowest sounds
^^ J :

m
I

in With
chromatic
intervals.
the

J ?*-"*'

Care should be taken to avoid, as excessively difB- rJrT ^'

such leaps of a double V^ -^

cnlt not to say impossible
string as demand an immense displacing of the hand:
^ ;*-#-

'^
^
m
I I
i
"T I -I 1 I
I

f "i

In general, such leaps should not be written,

i2j. iH4.

^^
1. : :* :^-
- -

-XT
^ b i^ . d?-
-*-

unless the two upper notes belong to a chord of

four notes which may be struck together :
'^rjjjjrrj
Easy movement
in a of moderate speed :

rff?
This
notes may
is feasible, because the four -^
be struck at once ffl:p :

T
I
^ vZVp"

I
"
b^tj^rp- gg- :ff- g

In the following example, however, though the "I i

.1 . 1 I I
'
I

four notes can only be struck at once with some diffi- All these chords linked in this manner are not diffi-
culty (those of the last chord alone excepted), the cult. They may be executed in arpeggio ; that is to

leap from low to high is not less easy, the two say, by letting their notes be heard consecutively,
lower notes being on open strings, and the two from which frequently results the most agreeablf
others with the first and third fingeis : effects
in a pimiissimo especially:

-0*o,4i=tr

A.mong chords of three, and particularly of four Nevertheless, there are designs, similar to the
notes, the bestand most sonorous are always those preceding, of which the four notes cannot, without
which contain most open strings. I even think that extreme difficulty, be played at once, yet which are
if none of these strings can be had for a chord of easily executed in arpeggio, by means of the first
four notes, it is better to rest contented with a chord and second fingers passing from the fourth string ta
of three notes. the first, in order to produce the low note and the
Here are those most used ; the most sonorous, and high note :

the least difficult :

J .J.

^"^
-
our~ OKT- 0r or- Ott^Oti--
1
Ott Cif 0*- 00- or 0*- 1

By omitting the high note or the low note of the

J I
I I I

I , preceding examples, so many chords of three notea

arc obtained. There must be superadded those which
result from the various notes produced by the E
string above the 'wo centre open strings, or by the
E and the A, above the open I) only :

^^W-
 : ;

MODERN INSTRUMENTATION AND ORCHESTRATION.

If It be required to strike an isolated chord, Occasion may here be taken to mention that the
in D minor or major, the disposition of the A custom is to divide the violins into two sets but ;

should not he made too difficult when not led up there is no reason why they sliould not be subdivided
to; it is better to take the following, -- jf*- into two or three sets, according to the object which
which is quite easy, and more sono- o^"p ^>p the composer has in view. Sometimes, it is eveu
rous, en account of the effect of the ^Ifr ^ F^^tP advantageous to carry the number of violin parts up
two open strings :
11 to eight, either for the sake of isolating from the
It may be seen by the preceding examples that grand mass eight single violins (plaj'ing in eighl
all chords of three notes are jwssible for the violin :
parts), or in order to divide the whole of the first
if care be taken, in those which contain no open and second violins into four equal portions.
string, to spread the parts sufficiently to allow an To return to the tremolo. The chief j)oiiit, in
interval of a fifth or sixth between them. The order to ensure its complete effect, is that the move-
sixth may be found either above or below, or ment of the bow shall be sufficiently rapid to produce
both: an actual tremulousness or quivering. The composer
must therefore write it with precision, keeping in /
\'iew the nature of the movement in which the
tremolo occurs for the performers, delighted to
:

Certain chords of three notes being practicable in avoid a mode of execution which fatigues them, will
two ways, it is always better to choose that which not fail to profit by any latitude allowed in this
contains an open string :
respect.

t?- tlm. or b.
Thus, in an Allegro assai, if the following were

(inod.-j^ "~~[1~ ^'''*''''

~W~~T
~
m to be written for a tremolo
which
produces
l)oul)le shakes in thirds may be made, beginning
with the first B? below : the tremuloitsness would certainly exist but if the ;

h h- tr tremolo of an Adagio were indicated also by semi-

quavers, the performers would strictly keep to semi-
quavers the result of which would be, instead of
;

tremulousness, an effect of heaviness and flatness the

V>\\t as they are more difficult of execution than
most detestable. In such a case ~^"3 f? ~
simple shakes, and as the same effect may be ob- || _
the composer should write
tained more neatly by means of two separate violin-
parts, it is better, in general, to abstain from them and even, if the movement be slower:
in the orchestra. than an Adagio
The tremolo, simple or double, by many violins,
N^

produces several excellent effects expresses ; it

The tremolo on the lower and middle notes of the
trouble, agitation, terror, in the respective shades of third and fourth string, is much more characteristic

piano, mezzo-forte, ami fortissimo, when it is placed infortissimo if the bow strike the strings near the
on one or two of the three strings, Gr, D, and A, and bridge. In large orchestras, and when the per-
when it is not carried much above the middle B?: formers take pains to give the full effect, it produces ^

Double cord a sound like that of a rapid and powerful cascade.

This mode of execution sliould be indicated by the
mfSi
?^- i ?g- l\
words : near the bridge.
ff. A kind of tremolo occur*
fine application of tliis

It hassomething of a stormy, violent character, \ in the scene of the oracle, in the first act of Gluck'i
fortissimo on the middle of the first or second
the fortissimo
in iha Alceste.
string The effect of the tremiilousness of the second vio ,

linsand violas is there much enhanced by the grand ,'

and emphatic progression of the double-basses, by

the blow struck from time to time by the first violins,
It becomes, on the contrary, aerial, angelic, when by the successive introduction of the wind instru-
employed in several parts, and pianissimo, on the ments, and lastly by the sublime recitative which
high notes of the first string : this surging of the orchestra accompanies. I Icnow
nothing of this kind more dramatic or more terrible.
However, the idea of the tremolo near the bridge,
not having been expressed by Gluck in his score,
1st Violin
cannot be ascribed to him. The honor of it revertt
entirely to M. Habeneck, who, when directing the
studies of the Conservatoire pupils in this stupendous
scene, required the violins to trj" this energetic style
of execution
the advantage of which, in auch a case,
is incontestible :- -
 BERLIOZ' TREATISE UPON
Atcalt (ULuCK.)
No. 1

Violins

High Piiest

A-pollohas re -gard to our distressful piay'rs,

Apol-lon est sen-sible a nos gemis- sements.
Double
Basses.

and with portends sure conveys to me th'as-surance

t des si-gnes cer-tains m'en donnent I'assu - ran-ce

Fill'dbytheho ly fire, attendant on His presence, I am rais'd by his pow'r far above mortal man.
plein de I esprit di - vin qu'inspire sapr^-sen-ce je me sens e-le-ver audessus d'unmor-tel.
 MODERN INSTRUMENTATION AND ORCHESTIIATION.

and on tlie altar burns, all proclainisto my soul that the God conifs in
et bril-le sur I'au-tel tout m'an-non-ce du Dieu ta pri - sen - ce su -

pe:-son, and of our fu- tare fate to speak him-self the purport. Feelings of a Ho-ly surrounding
pre -me ce dieu sur noa des-tins veut s'ex-pli - quer lui - - me-me I'horreurd'une tainte ^/louvan-le

^^-
Flutes.

fills my mind with awful dread the ground heneath my step seems to he falling
se r^panJ mttour de rnoi. la ter - re sous mes pas fuit et se preci-
10 BERLIOZ' TREATISE UPON

^^^mu
P ^^r-

from me. Mar-ble it-self has life.

pi - te, 42- le mar - bre est ani- m(.
 !

MODERN INSTKUMENTATIJN AND ORCHESTRATION 11

siicncp. O Queen, quitat his coming these the empty trappingsof thy power. Trem ble
len ce. Rei-ne depose a son aspect le viiin orrjuetl de la pvU-san-ce. Trem
t
 ;

C2 BERLIOZ" TREATISE UPON

For certain dramatic accompaniments of an agi- force and agitation to the sound of the viohns, and
, rated character, advantageous use is made of the suit many orchestral effects,in all kinds of wwrtwrr.?:

/broken, tremolo, occasion- y j^g^rzi^^^ff: Allegro.

ally upon one string-

P^ If. li- ~m- -9- -0- -J- '^' - ^
Abbreviation.

Bometimes upon two strings :

Lastly, there is another kind of tremolo, never -i 3 S S 3 8

employed nowadays, but of which Gluck has made -1-rf-

admirable use in his recitatives. It may be entitled
Andante can moto.
the undulating tremolo, and consists of a not very e-
rapid utterance of boimd notes on the same tone
while the bow never quits the string.
Nevertlu'less, in a phrase of broad movement and
In these non-measured accompaniments, the per-
vigorous character, simple notes marhedlii detached,
formers cannot precisely hit the same number of
notes in each bar,
some playing more, others produce a much better effect, when a true tremolo
is not employed upon each note. Thus the following
fewer; and from these differences results a sort of
passage
fluctuation, or indecision in the orchestra, perfectly
Largo. :?"^. .k
adapted to express the uneasiness and anxiety of J,

certain scenes. Gluck wrote thus

^
:

ff
t=l: 3^ taking
ip 1 ^ p-
would
of tlie
be,
movement of
into consideration the slowness
an incomparably more noble
The different kinds of homing are of great im- and more powerful sonority, than this one :

portance, and exercise a singular influence on sonority Largo. ..

^
and on the expression of peculiar features and "melo-
dies. They should therefore be carefully indicated
according the nature the idea which
to of is to be Composers would be considered too minute, pro-
conveyed by the follovdng signs : bably, were they to indicate the mo- ements of the
bow in their score still, it is well, when a passage
;

demands lightness or extreme energy or amplitude

of sound, to indicate the mode of execution by these
words :

" With the point of the bow " or " with
For slurred notes, two and two ;
the heel of the bow;" or "with the full length of
the bow, upon each note." So the words " On
the bridge," and " On the finger-board,' designating
the spot nearer or farther from the bridge, where
For extended slurs :
the bow should strike the strings, might be used in
the same manner. The metallic sounds, slightly
0^=^3E^l rough, which the bows draws forth when near the
bridge, differ greatly from the soft veiled sounds
For staccato, or lightly detached notes, simple or which are generated when it is passed across the
double, which are to be executed during a single finger-board.
'

drawing of the bow, by means of a succession of In a symphonic piece, where the terrible mingles
small strokes that move it as little as possible :
with the grotesque, the back of the bow has been
employed in striking the strings. The use of this
whimsical means shoidd be very rare, and have
a decided purpose ; moreover it has perceptible
effect only in a large orchestra. The multitude
of bows then falling precipitately on the strings,
M^^S "^^^2 1^^^**
"

^^^^ L L h~m~^ 'F~^ '^ r

For 7narkedly detachednotes, which are to give
to the string all possible sonority, by permitting
it to vibrate alone after the bow has vigorously
struck it, and which particularly suit pieces of a
haughty, grand character, and of moderate move-
ment :
produce a sort of snapping noise, which would be
scarcely noticeable if the violins were few in
number, so weak and short-lived is the sound thus
obtained.
Harmonics are tiiose sounds which are generated
by touching the strings with the fingers of the left
hand, so as to divide them in their length, yet not
with sufficient pressure to place them in contact with
the finger-board, as is the case for ordinary sounds.
These Harmonics possess a singular cliaracter of
mysterious softness and the extreme acuteness of
;

Notes reiterated two, three, and four times (ac- some of them afford the violin, in the upper part, an
cording to the rapidity of the movement), give more immense compass. They are natural, or artificial.
 : :

MODERN INSTRUMENTATION AND ORCHESTRATION. IS

Natural harmonics are those which are produced by touching certain points of open strings. Her*
are some which may be produced most surely and vvitli the greatest sonority u]ion each string.
The black notes represent the real harmonics and the white notes indicate the notes touched upon ;

the open string:- - ,,.. . .

^
.
^^^ ^^^ ^^^
^

m-
I 8^

First string, E.

Second string, A.

Third string, D.

Fourth string, G.

Artificial harmonics are to be obtained very distinctly throughout the extent of the gamut by means
of the first finger which, firmly pressed upon the string, while the other fingers touch it, serves for s
;

movable nut.
Here is the table of touched intervals, and of the real harmonics which they produce :

The touched octave gives its unison

> Real harmonics.
^.__ J J
4th finger touching the string.
4 4 4
A
^ With tlie chromatic interval*.

This fingering is little used,

excepting for the 4th string, on
account of its inconvenience.

Ist finger pressed

Real harmonics.

This fingering is more easy

The touched fifth gives than the preceding, aud lesi
octave above :
80 than the following.

The touched fourth gives

-^
its twelfth above :
3Erg^'i_gjg: .
y
1
Finger pressed.

This fingering is the most easy, and is that which minor third, are very little used ; the harmonica
should be preferred for the orchestra, when the object being thus produced much less well :

is not to obtain as a real harmonic the twelfth of an

open string, for in that case the fin- '^

:=t==t=t:
^==E^S^E^g
gering by fifth is preferable. Thus,
in order to sound singly a B in alt I
_^
Ife' |: :

m The touched majjor

third gives its double
octave above
j
^
Real harmonics
3rd finger tOiiehed.
I toiiehed.

it is better to employ this positio

on account of the open E, of which Ihe touched

A m 3rd finger touched.

fifth (B) gives its octave above and is more sono- ; h

T t t ^
rous than a string upon which the first linger must
be pressed as for example
;
:
The minor third Real harmonics.
4 = gives its major seven- Fingers touching. ,
^
teenth above. 3 2 3

(^ ^-~ g^which gives equally :

^ [^r [jr
^^ rifcrrz.

The fingerings of the touched major third and r I

itt flntier pies*e<l.



14 BERLIOZ' TREA.TISE UPON

least, care should be taken not to give them rapid

above.
is
The touched major
sixth gives its twelfth
This fingering
less used than that
_-C-

Real harmonics.
4th finger touching.
k successions of notes, if their perfect execution is t*
be ensured.
It is lawful for a composer to write them in two,
three, and even in four parts, according to the num-
of the fourth it is never-
; ber of violin parts. The effect of such chords, sus-
theless tolerably good, tained, is very remarkable, if it be warranted by the
and often useful : $=^P=f,=fr^
Finger pressed.
subject of the piece, and well mingled with the rest
of the orchestration. I have employed them for the
The positions of touched fourth and fifth are un-
time, in three parts, in the scherzo of a sym
first
doubtedly the most advantageous.
phony, above a fourth violin part not in harmonics,
Some performers sound double strings in har- which sJuikes continually on the least high note,
monics but this effect is so difficult to obtain, and,
; The great delicacy of the harmonics is still more
j

consequently, so hazardous, that composers can never
be advised to write it.
/^ The harmonics of the fourth string, have some-
thing of the quality of a flute they are preferable for
; impossible to reach with ordinary sounds.
delivering a slow air. Paganini employed them
with wonderful success in the prayer of llo'ise.
The harmonics of the other strings acquire more
delicacy and tenuity in proportion as they are higher;
it is precisely this character, and their crystalline
quality, which renders them appropriate to chords
that may be called fairy-like,
that is to say, to
those effects of harmony which inspire brilliant mu-
sings, and carry the imagination towards the most
graceful fictions of the poetical and supernatural
enhanced in this passage by the use of mutes;
and thus deadened, they issue from the extreme
heights of the musical scale, which it would be
It would be well, in writing such chords in har
monies, not to neglect designating by notes of dif
ferent shape and size, placed one above another, the
note for the finger tottching the string, and that of
the real harmonic (when touching an open string)
and the note of the finger pressing, that of the
finger touching the strnng, and that of the real
harmonic, in the other cases. It is therefore some-
times necessary to employ three signs together
for a single sound as without this precaution the
;

world. However much they may have become fa- execution might become an inextricable muddle, in
miliar, nowadays, to our young violinists, they should which the author himself would have difficulty in
never be employed in a lively movement; or, at recognizing his own production.

No. 2.
Berlioz.
Romeo and Juliet.
Solo Imo. Allegro.
Flotes.

Jomo Fnglese.

Clar. in Bt'.

1st Harps,

find Harpa.

Real harmonic. - - 8ve.

^
lit Violins
divided. Finger touching the string. CL rr XL
_ Finger pressed.

Harmonics.
Real harmonic. 8ve.

Finger touching ths string. -

J'^ ^ '
j,8ve.

_ Finger pressed.!
'

^^^^
Harmonics.
tnd Violins Real harmonic. - - 8ve.
divided Finger touching the open string ^0 .,_

Violas.

M TiolODCelli.
MODERN INSTRUMENTATION AlTD ORCHESTRATION. 16
 '

16 BERLIOZ' TREATISE UPON

PPP Pizz.

Sordines (or mutes) are little wooden implements
which are placed on the bridge of stringed instru-
ments in order to deaden their sonorousness and
give them at the same time a mournful, mysterious
and softened tone, which is frequently felicitous in
all styles of music. Sordines are most often used
in slow pieces ; but they serve scarcely less well,
when the subject of the piece admits it, for rapid
and light designs, or for accompaniments of hurried
in a special way, by the mixture of clear sounds
and veiled sounds. There are others also, where
; the character of the melody is sufficiently dissimilar
from that of the accompaniments, which render the
use of the sordine advisable.
The composer, when introdticing sordines in the
middle of a piece (which is indicated by the words
" con sordini"), should not forget to give the per-
formers time to put them on consequently, he will
;

rhythm. Gluck has effectually proved this in his be careful to arrange a previous rest for the violin
sublime monologue of the Italian {" Alceste") " Chi parts about equivalent to the duration of two bars
mi pai-la." in four time (moderato).
The custom is, when employing sordines, to cause A rest of such length is not necessary, when the
theu\ to be used by all the band of stringed instru- words " senza sordini" indicate they are to be re-
ments uevertheless, there are certain circumstances,
; moved ; this operation requiring much less time.
more frequent than is generally believed, under The sudden transition from sounds deadened in a
"hich sordines placed in a single part (the first mass of violins, to sounds clear and natural (without
'loims, for instance) vdll colour the instrumentation sordines), is often immensely effective.


MODERN INSTRUMENTATION AND ORCHESTRATION. 17

SCHEBZO Preslitsimo,
No. :3. Romeo ana jutiel. Bbki fit

Flutes

HautDuv
 18 BERLIOZ' TREATISE UPON

Andante 7ion mnlio.

Con Sordini. 6 No. 4 Alcesle. (Clock.)

Vicli]i

Viola,

This instrument is obsolete and quite unknown at the present day

^.lialunifau.

Aicestc.

ouSle-B3ss.


MODERN INSTRUMENTATION AND ORCHESTRATION. 1

^y; p
^-r-|r-rn U r-^4:-^rtj:1r&:gartrlrlr. |z j:--i^ I I
Il:

f The Pizzicato is still in general use for instrti- Here is a charming example of the em])loyment
/ ments played with the bow. The sounds obtained of the Pizzicato in the second viohns, violas, and
\^
by vibrating the strings with the finger produce basses, while the first violins are playing with the
] accompaniments approved by singers, since they do bow. These contrasted effects ofsound blend here,
N not cover the voice; they do well also for symj^honic in a truly marvellous style, with the melodious 8igh
I effects, even in vigorous orchestral sallies, either in of the clarinet, the expression of which they serve to
/ the whole band of stringed instruments, or in one or heiffhten :

\ two parts only.

No. 5.
Symphony in 15 flat. ErrtuovEW.
Flute.

Hautboy*.

Violorcello

n^nibk-bass
20 BERLIOZ' TREATISE QPOJSI

Pizz.
 : ;;

MODERN INSTRUMENTATION AND ORCHESTRATION. 21

/ If the pizzicato be employed in a forte, it should Tlie double and triple iteration of the upper notea.
/ be Tvritten, generally, neither too liigh nor too low in the two last examples, become extremely easy,
(
the extreme upper notes being shrill and wiry, and by tiie successive use of the first and second finger
the deeper ones too dull. Thus, in a strenuous on the same string.
tutti of wind instruments, a remarkably striking Small bound notes arc not impracticable in
effect will result from a pizzicato like this, assigned pizzicato. The following phrase from the Scherzo
to ail the stringed instruments : of Beethoven's Symphony in C minor, containing
Pizz.

^^^ some of them, is always well executed :

m^^^^^^^m
violins together. Aliegro.

Violas and Basses

Pizzicato chords of two, three, and four notes, are ^Hii&Ji^iig^'pjL^

equally valuable in a fortissimo the single finger

r^^^^^MM
;

which violinists use, then traverses the strings so

rapidly tliat they seem struck altogether, and vibrate
almost simultaneously.
Figures of accompaniment, pizzicato pia)w, have
always a graceful effect they afford a sense of
; Paganini to execute descending scales in rapid piz-
repose to the hearer, and impart when not abused
variety to the features of the orchestra. In future,
doubtless, more original and striking effects will be
secured from pizzicato than have hitherto been ob-
tained. Violinists, not considering pizzicato as an
integral portion of violin-playing, have studied it
but little. Even yet, they have only cared to use
the thumb and forefinger in playing pizzicato; so
that they have never been able to execute passages
or arpeggios more rapid than the semiquavers of a
bar in four-time of very moderate speed. Whereas,
-P-P-H^
Some of our young violinists have learned from
zicato, by plucking the strings with the fingers of
the left hand resting on the neck of the instrument
and pizzicato passages (still with the left hand), with
a mixture of strokes from the bow, even serve as
accompaniment to an air played by the bow. These
various feats will doubtless become, in course of
time, familiar to every violin-performer; and then
will be available in composition.
Violins are able, nowadays, to execute whatever
they will. They play up to the extreme height
as easily as in the middle passages the most rapid,
;

if, laying down their bow, they were to use the designs the most eccentric, do not dismay them. In
thumb and three fingers, letting the little finger an orchestra where they are sufficiently numerous,
8Upj)ort the right liand. by resting upon the violin, that which one fails to perform is done by others
as when playing the guitar, they would soon obtain and the result is that, without any apparent mistake,
fiicility in executing passages such as the following, the plirase is delivered as the author wrote it.
impossible at present :
In cases, however, where the rapidity, complica-
The figures placed abnre the notes, show the fingers of the right hand tion, and height of a passage make it too hazardous,
that are employed 3 4- indicating the thumb.
;
or if only for the s:dve of greater sureness and neat-
+ I 2 .1

ness of execution, it should be dispersed that is to ;

say, the mass of vioUns should be divided, and one

part of the passage given to some, the rest to others.
in this way the music of each division is sprinkled
with little rests unperceived by the hearer; allow-
ing, as it were, breathing-space to the violinists,
and affording them time to take carefully the diffi-
cult positions, and thus to obtain the necessary firm-
ness for a vigorous attack :

jj=^^^JEpgg^^g^=g^gg

Here the division becomes unnecessary; the passage presenting no y, dispersing

difficulty, it would only weaken
w the general effect of the violins


22 BERLIOZ' TREATISE UPUJN

-ij-:_f:Lt-t^

without affording compensation.

b*---_j*^_--b- :*: ^" i*- -^ -o- -- "

Here, the dispersion

-^p^si.^'-JBjr^-^.m ^-^^t-f::^rtM^-t-t-f^l^r r -r--rr'^rfif- M^

life:

~\
-t^^ ?:%* (]. j>. .. M. -i^Z

becomes advantageous
SE^i -3=EE:~ i
Jt.M..m. -*-

^=?Ee^ E9: SPE EBEE

If be desired to have a similar or still more

it
difficult passage played by the whole mass of violins,
it w^ill be always better, as in the preceding example,
to divide the first violins into two sets, and the second
violins also, cansing these latter to double the two
parts of tlie first violins, than to allow all the first
violins to play one portion, and all the second violins
another for the distance of the two points of de-
; the hearer may imagine it to be executed entire by
partve of the sounds, will break the unity of the
passage, rendering the join too apparent. Whereas,
the same division occurring on both sides among the
two sets of violins, and between the two performers
who read from the same desk, one playing the first
part and the other the second, it follows that the
divided sets are so near eacli other that it is impos-
sible to perceive the dispersion of tlie passage, and
all the violins. It should therefore be written thus:

=.EPJ :5-E=^feE?=tei|
li Violins,
divided.

IguS Violins,
divided.

Moreover, this mode of procedure is applicable to string and, for certain melodies, of the high
;

all the parts of the orchestra which possess in them- notes of the third string. When i;8e is thus made
selves analogies of quality of tone or lightness; and of a particular string, it should be indicated with
it should be employed in all cases where a phrase is precision whereabouts this string is employed ex-
too difficult to admit of being well executed by clusively otherwise the performers will certainly
;

a single instrument, or single set of instnunents. yield to habit and to the facility of passing from one
1 think there might be made in the orchestra string to another, by playing the phrase in the usual
better use than hitherto of phrases on the fourth way:
-^ 3rd strina
4th ithng.'

^^^iS^^piS;^ iisii^l
It frequently happens that, in order to give a efifect of the peroration of the first movement in

passage greater energy, the first violins are doubled Beethoven's C minor Symphony is attributable to
by the second violins an octave lower but, if the ; the unison of the violins. It happens, even in
passage do not lie excessively high, it is better to such a case, that if, the violins being thus together,
double them in unison. The effect is thus incom- additional force should be sought by subjoining
parably finer and more forcible. The overwhelming the violas in octaves, this weak low^ doubling


MODERN INSTliUMENTATlON AND OUCHESTKATION. 23

on account c f the disproportionate upper part, pro- tiiesound of the violoncellos, taking care to ptit them
duces a futile imiruuuing, by which the vihratioii together (as much as the low compass of tlic instru-
of the high violin notea is rather obscured than ment will permit) in the unison and not in the octave.
MsiBted. It is preferable, if the viola part cannot This is what Beethoven did in the following pas-
be uiade prominent, to employ it in augmenting sage :

No. (;. Sgmrijnii ii C Minor. nEBTiii>VKK.

Flutes

Hautbnyis

Jlarinets in Bb.

Horns in E^
 ;

BERLIOZ' TREATISE UPuN

Violins are more brilliant, and play more easily in keys which leave them the use of the open strings.
The key of 0, alone, appears to form an exception to this rule, as regards its sonorousness, which is
evidently less than that of the keys of A and E, although it keeps four open strings, while keeps but A
three, and E two only. Tiie timbre of the various keys for the violin may be thus characterized together ;

with their greater or less facility of execution :

Major. Minor.
C. Easy. Grave; but dull and vague. c. Easy. Gloomy; not very sonorous.
c#. Very difficult. Less vague
elegant.
and more ;
4 Tolerably easy. Tragic; sonorous; elegant.

Db Difficult but less so

; Majestic. Db. Very difficult. Serious; not very sonorous.
than the preceding.
Easy. Gay, noisy, and rather D^- Easy. Lugubrious ; sonorous ;

commonplace. somewhat commonplace.

Dt Almost impracticable. Dull. Off- Almost impracticable. Dull.
Eb Easy. Majestic; tolerably sono- Efr. Difficult. Very vague ; and very
rous soft grave. ; ;
mournful.
EB Not very difficult. Brilliant; pompous; noble. Easy. Screamy and ; slightly
commonplace
Kb Impracticable. Fb. Impracticable.
FH Easy. Energetic ;
vigorous.
n- Rather difficult. Not verj' sonorous gloomy; ;

violent.

F|. Very difficult. Brilliant ; incisive.

n- Less difficult. Tragic; sonorous; incisive.
Gb. Very difficult. Less brilliant; more tender. Gb Impracticable.
Gtj Easy. Rather gay and ; slightly Easy. Melancholy ; tolerably
commonplace. sonorous ; soft.

Gt. Nearly impracticable. Dull ; but noble. Very difficult. Not ver}' sonorous; mourn-
ful ; elegant.

Ab. Not very difficult. Soft ; veiled ; very noble. At Very difficult: almost Very dull, and mournful;
impracticable. but noble.
Easy Brilliant; elegant, joyous. Easy. Tolerably sonorous soft ;

mournful; rather noble.

Ait. Inpracticable. Impracticable.
Bb. Easy. Noble ; but without distinc- Bb Difficult. Gloomy ; dull ; hoarse ;

tion. but noble.

BS. Not very difficult. Noble: sonorous; radiant. BH. Easy. Very sonorous; wild; rough-,
ominous; violent.
cb. Almost inipracticabie. Noble ; but not very Cb Imi)racticable.
sonorous.


MODERN INSTRUMENTATION AND ORCHESTRATION. 2b

Jnsfrument'i played with a b<iw. of which the com- violin, the sound of its low strings is peculiarly telling,
bination I'onns what is somewhat improperly termed its upper notes are distinguislicd by their mournfully
the quartet, are tlie base and main constituent cle- passionate accent, and its (puility of tone altogether,
ment of the orchestra. From them are evolved the profoundly melancholy, differs from that of other in-
greatest power of expression and an incontestable struments played with a bow. It has, nevertheless,
variety of different qualities of tone. Violins particu- been long neglected, or put to a use as unimpor-
larly are capable of a host of apparently inconsistent tant as ineffectual,
that of merely doubling the
shade? of expression. Tliey possess (in a mass) bass part an octave above. Several causes have
force, lightness, grace, accents both gloomy and operated to bring about the unjust treatment of
gay, tiiought, and passion. The only point is, to tills noble instrument. In the first place, the ma-
know how to make them speak JMoreover, it is jority of the composers of the last century, rarely
not needful to calculate for them.
as for wind in- writing four real parts, scarcely knew what to do
Btrumeuts
the duration of a holding -note, and to with it and when they did not readily find some
;

contrive for them occasional rests they are sure filling-up notes in the chords for it to play, they has-

;

never to be out of breath. Violins are faithful, in- tily wrote the Basso,
fatal col sometimes with so
\ telligent, active, and indefatigable servants. much heedlessness, that it produced a doubling in
Slow and tender melodies, confided too often the octave of the basses irreconcilable with the har-
now-a-days, to the wind instruments, are nevertheless mony or the melody, or with both one and the other.
Moreover, it was unfortunately impossible, at that
never better rendered tiian by a mass of violins.
time, to write anything for the violas of a prominent
Nothing can equal the touching sweetness of a
score of first strings made to sing by twenty well- character, requiring even ordinary skill in execution.

i skilled bows. That is, in fact, the true female voice Viola-players were always taken from among the
of the orchestra,
a voice at once passionate and
i<efuse of violinists. When a musician found himself
incapable of creditably filling the place of violinist,
chaste, heart-rending, yet soft, which can weep,
sigh, and lament, chant, pray, and muse, or burst
he took refuge among the violas. Hence it arose
that the viola performers knew neither how to play
forth into joyous accents, as none other can do. An
imperceptible movement of the arm, an almost the violin nor the viola. It must even be admitted
that, at the present time, this prejudice against the
nnconscious sentiment on the part of him who
viola part is not altogether destroyed ; and that there
experiences it, while producing scarcely any apparent
are still, in the best orchestras, many viola-players
effect when executed by a single violin, shall, when
multiplied by a number of them in unison, give who are not more proficient on that instrument than
forth enciianting gradation, irresistible impulse, on the violin. But the mischief resulting from for-
and accents which penetrate to the very heart's bearance towards them is daily becoming more
felt ; and, little by little, the viola will, like other
core.
instruments, be confided only to clever hands. Its
quality of tone so strongly attracts and captivates the
CHAPTER III.
attention that it is not necessary to have in the or-
The Viola. chestra quite so many violas as second violins; and the
expressive powers of this quality of tone are so marked,
The four strings of the viola are generally *,uned that, on the rare occasions which the old masters
in fifths, like those of the violin, and at a fifth afford for its display, it never fails to answer their
below them : purpose. Instance the profound impression pro-
duced by that movement in the Iphigenia in

m Tauride, where Orestes, overcome with fatigue,

panting, oppressed with remorse, grows more tranquil
as he repeats: "Composure lulls again my heart!"
Its ordinary compass is at least three octaves :
while the orchestra, deeply agitated, utters sobs and
convulsive sighs, attended throughout by the fearful

=s^m m
i^p^^^ m=i and persevering mutter of the violas. Although, in
this unspeakably fine piece of inspiration, theie is
not a note of voice or instruments without its sublime
intention, yet it should be observed that the fascination

W^igi^ji With the chronialic intervals. exercised over the hearers, and the sensation of
horror which causes their eyes to dilate and fill with
It is written on the C clef (3rd line); and on the tears, are principally attributable to the viola part,
G clef, when it extends high. to the quality of its third string, to its syncopated
rhythm, and to the strange effect of unison restilting
Wliat has been said in Chapter II. on the subject
from the syncopation of the A, abmptly broken in
of shakes, bowing, chords struck together or played
rpeggio, harmonics, &c., is throughout applicable to
the middle iiy another A
in the basses marking a

the viola, considered as a violin a fifth lower.

different rhythm

Of all the instruments in the orchestra, the one

whose excellent qualities have been longest mis-
andewtood is the viola. It is no less agile than the
 26 BERLIOZ' TREATISE UPOJS

No. 7.
Andante Iphigeniain ram id. Qlcc*.

Jtia^33^Eg3Hg=^5ia3SpiEJ3SJi[3^p3^^5j^Eg
Vioiiiig

m^^^'^^0?^^m^^^ ^=^=3=^:33r:3-
-.^r-^ziT
^^
Violas ^ir-9----m-m-f^-m-m--m- -m-m^-- --^- -m-m m- \-m m m-m-a- m m-m- \
mm---- m-m-m -\-d-m -m--m-^^-m^

Orestes ^i*^
'ni
Com
^i
-
T:^
po
m
sure
Le cal me
^^^^^z -^=:
^i^l^P_^^^^^^^[i
?8=s
:d::
p^a^3EpEg^g^[3.^^.^jz[^g^^g|gEJ^^^:Efe.^|g.^3^J^
^^^^^^^s^^^^^\^^^0^^^^^0^^^^
sf Ifmpre^p ' sf
^ ^P tj^ ^P 'sf^ ^p '

sf^ ^p ' sp^ ^p

-
M0^W^^^^^^-.
-
pl fr.

my
lulls a - gain licart, my woes at
ren tre dans mon ccBur, mes maux out

i^ l?^?li^^i l^^j^f ^gE p^ ^EFF =E ^ ^E^!E^ ^^E^fE

E4=5Ep5^^EEigSl^E^^^i^^-^^E^^g|E^^^-^ ^=:^^^
iEa-
''^-^i^^^^^^'^-^W^^^W^^^^'^^^^'^^'^^^^^^^^^
Sf~" "'P ^ ^P sf'^"^P Sf"^
"-
^P Sf^
^-
^f
:*^
8/"='
"^P ./^ ^P
m
-
jt: ^-: :: ^j . -p: .

a--F:
length pre - vail To stay Hea - - ven's dis - nlea sure,
done las - si la CO - le - re ce - les te

'm EgE^ES^ i^E;g^^gEg^^gE|E^Eef^ gEESE^EEgH|^E==F.^i^gsEg^^Eg^

HautboyB.
'&=--

^^^mm^^^^^^mm^ -Mee^^i

^^
sf^'^p V ^P P P
^
7f-^-^p '^P 7'^~^P Tf--^ 'f '/

'^^^^^^ .. .<^>-' :- .- -- --
-P-

My term
wm to tor nier pain come,
tou che au ter me du mal heur

'^ ^=^-==^^E^^E^-^EEr^^^E^^^:
 MODERN INSTRUMENTATION AND ORCHESTRATION. 27

^ ^= m E^=g ^1^^

'/~ P .f^-^p
-
V
->-
^ - 0-
sf^ ^p
-f^
'/ P #/ ^ --f
;
sf^ ^p
:- ::
^ _-: :; :- -m-

^^g-
Once more a mo - iiiont s pause is voucli - saf'd vile O
vous lais - sez res -pi rer par deO
-
- le - ri - - ci

^^^=^=\^'^^-^0E^E^^EEE^SEE^Se3Ez^^E^
'

E5f.

m g m rp-

i^=mf^m^^^^^^^^^^^^^^^^^?m
^^^^^^^m^mmmmmmmmM^^
.-. ^-
Xi^-^
'f^^P
7-

s! - -p
_^_,^,^^ .1. j
77^^-
^-y v- '. > :-: ^ scT--. ^ . -y , __ 1
\--/
*/^ c-=r_.
^?'
- \=z/ tr?'^zr-

Sii t5Ei
i 3=E^ l^^^l
res tes. Heavn's jus - tice, Heavn's . .

te. Dicux jus - tes. Ciel . . .

lfg ^^^^g^E^^-^=g=^^^=^^P^= [^=^-^-^~p^" ^m^m^i b^

'tf*-

||gf^^^^^^^^^^^^^-g_^^j[^3lfl^p.^
^^^^^^^5|^EE^igE?glgE^y^jggl^:fe^|^^^g=^

28
j. -ff";:^* ^ M*^
.gi=5
5^^=3^ a:=ds^g=a\=:
.}--=--
^f
I^E^E [i^li^gl^^l
In the overture of Iphigenia in AuUde, Gluck
lias made them sustain alone the lower part of
the harmony not so much, in this case, for the
; for any other result.
sake of pi'ociucing an effect arising from the pecu-
liarity of their quahty of tone, but in order to
accompany as softly as possible the air of the iiret
violins, and to make more impressive the entrance of
the basses ujion the forte after a considerable number
Sacchini has also given the lower part to
of rests.
the violas alone, in the air of Qildipus " Your
court became my refuge;" without intending, how-
ever, to prepare an outburst. On the contrary, the
instrumentation here gives to the phrase of melody
itaccompanies a most delicious calm and freshness.
Melodies on the high strings of the viola have a
marvellous beauty in scenes of a religious and antique
character. Spontini was the first to conceive the
idea of assigning the melody to them in several
passages of his admirable prayers in the Vcstale.
Mehul, allured by the sympathy existing between
the tone of the viola and the dreamy character
of Ossianic poetry, constantly availed himself of
them, even to the exclusion of the violins, in his
opera of JJthal. Hence arose wliat tlie critics of
the time called an intolerable monotony detrimental
to the success of the work. It was in reference to
this that Gretry exclaimed
" I'd give a guinea to
: less predominant.
hear a first strvrg!" This quality of the viola,
80 choice when it is judiciously employed, and
skilfully contrasted with the timbres of violins and
Andante con moto. J"
Violins
Violas.
Violoncello.
Double-bass.
;
BERLIOZ" TREATISE UPON
^*^ E^H^^;^p^
fe^&Ei^3^^^1
other instruments, necessarily soon palls it is too ;
unvaried, and too much imbued with moumfulness,
It is not imfrequent, at the
present day, to divide the violas into first violas
and second violas ; and in orchestras like that of
the opera, where they are snflQciently numerous,
there is no difficulty in writing for them thus bnt ;
in others, where there are at most four or five
violas, division only serves to diminish the effect
:
of a l)ody already weak in itself, and which the
other instruments are ever tending to overwhelm.
It should also be remarked that the majority of
violas at present used in our French orchestras are
far from possessing the requisite degree of power
they have neither the size, nor consequently the
strength of tone of veritable violas
being almost
violins strung with viola strings. Musical directors
should absolutely prohibit the use of these mongrel
instruments ; the weak sonority of wliich impairs
one of the most interesting parts in the orchestra
by depriving it of energy and of its fine depth
of tone.
When the violoncellos play the air, it is some-
times excellent to double them in unison by the
violas. The tone of the violoncellos then acquires
additional roundness and purity, without becoming
As an example of this, take
the theme of the Adagio \v Beethoven's minor
Symphony:
No. 8.
= 92 Sytaphony in C minor. Beetboveh.
 ;

1 1 705S
MODERN INSTRUMENTATION AND ORCHESTRATION M

P Arco. f '

avoid the notes of chords beyond a third or fourth,

CHAPTER IV. unless the lower string be an open string. Thus,
The Viole d' Amour. the A
of the second octave gives every latitude to
the high D, to extend its scale above itself :

This instrument rather larger than the viola.

is

It has almost universally fallen into disuse and ;

^were it not for M. Urban

the onl}' player of the
instrument in Paris, it would be known to us only
by name.
It is needlesss to observe that the chords of the
It has sevencatgut strings, the three lowest of

which like the C and G of the viola, are covered minor third and the second
with silver wire. Below the neck of the instrument,
and passing beneath the bridge, are seven more i^p^fl
strings, of metal, tuned in unison with the others,
are impracticable below, since the sounds that con-
BO as to vibrate symputh.eticalJy with them thereby
giving to the instrument a second resonance, full
;
stitute them are necessarily on the string. A D
moment's reflection shows similar impossibilities on
of sweetness and mystery. It was formerly tuned
instruments played with a bow.
in several different whimsical ways but Urban ; M .
the lowest string of
Harmonics have an admirable
all
effect ou the viole
has adopted the following mode of tuning in thirds
d'amour. They are obtained precisely in the same
and fiiurths, as the most simple, and the most
way as those of the violin and viola excepting that ;
rational :

its seven open strings, being disposed as a common

Q" chord, give the viole d'amour great facility in pro-
,, , ard do.
;I8 ducing with rapidity the arpeggios of its chord of
-5th do.-
-flthdo.
7th do.
- 1 D major, in the octave and double octave above
those of the chord of A
major in the twelfth above ;
The compass of the viole d'amour is three octaves and those of the chord of FJI major in the seven-
and a half, at least. It is written like the viola, teenth above :
on two clefs :
Real harmonics. -0.

Finger touching the octave.

To\icliiiJg
With the Chromatic Intervals.
the octaves.

Sr - ? ^ f C
"^ rTZT ti^i if-

It may be seen, from the arrangement of its strings,

that the viole d'amour is peculiarly appropriate to Ileal harmonics. 14 .^ _-"..
chords of three, four, or more notes, whether played ~lf:.-m=t: Lj g^*Lr-<i-.^ ==tl
arpeggio, or struck, or sustained ; and above all to
Only it is evident tha Tniirhing
melodies of double notes. the lifihs.
in designing harmonies for this instrument, a dif-
Finger touching
the ,
A^'n
"^
fifth.
S^j '

ferent plan nmst be pursued from that employed for

violins, violas, and violoncellos, which are tuned by
fifths ; and tliat care must be taken in general to (I u
 p H

ao BERLIOZ' TREATISE UPON

>-""^-*- viole d'amour, the keys of D, G, A, F4, or Bh, ak
those which will best allow of so doing. As these
three chords would doubtless not suffice for accompa-
Touching nying unintermittingly an air somewhat modulated,
*be fourths
there is no reason why a set of violes d'amour should
not be had, tuned in a different way : in C, for ex-
ample or in Dp according to the chords required
; ;

by the composer for his piece. The extreme charm

of these arpeggio harmonics on the open strings
quite deserve that every pains should be taken to
render them available.
The quality of the viole d'amour is faint and sweet >

Real harmonics.
Finger toucliing there is something seraphic in it,
partaking at once
the third.
^^^m^^ of the viola, and of the harmonics of the violin.
is peculiarly suitable to the legato style, to dreamy
It

melodies, and to the expression of ecstatic or religious

e feelings. Mons. Meyerbeer has felicitously intro-
By
these examples it will be seen that if it be duced it in Raoul's Romance, in the first act of the
proposed to use the charming arpeggios of the Huguenots:
No. 9.
'The Huguenots Meyerbeea.
Viole d'amour.

Ah! how en-chant - ing the

Ah qad spec-tade en - chan

Violoncello. tfez

Double-bass. @-g^

Here dis - clos'd to my

Vient s'of -Jrir a mes

, Drawn withjlie bosv^^ __ 7 Harmonics. Riten. -=

1
^1

m-^^-^.
fa^'^

hopes.
=^- \

1
=^r f
=t=
_- pu^]

@?8*
veux.

r^zrrr:
h -
'r-
r H
Ml
1-^^ =
^"^
P!^= :.
rrrr-. -.
1

But this is merely a solo effect. What would not horn, or a flute in its middle part, mingled witb
be that, in an andante, of a mass of violes d'amour harp arpeggios It would really be a great pity
!

playing a fine prayer m several parts, or accom- to allow this choice instrument to become lost;
panying with their sustained harmonies a melody and any violinist might learn to play upon it bv
of violas, or violoncellos, or corni inglesi, or of a a few weeks' practice.
 :

MODERN INSTRUMENTATION AND ORCHESTRATION. 81

/
CHAPTER V.
The V'wlonceUo.
Its four ritriugs are tuned in fiftlis, and precisely
an octave lower than the four strings of tiie viola

m
:

lit Siring- The following tenths /scr^

m: -2d suing would be impossible :
li^[^li
-8id String

4tb String The violoncello,on account of the depth of ita

compass may timbre and the thickness of its strings, is not suscep-
Ita be, even in the orchestra, tliree
tible of the extreme agility belonging to the violin
octaves and u half :

and viola. As to the natural and artificial harmonica

3 "** ' ViM\ tlie Chromatic Intervals.
^ tm=.
ii
of which frequent use is made on the violoncello
in solo passages,
they are obtained by the same
means as those of the violin and viola. The length
The great performers go still higher ; hut, in of its strings even contributes to render the extreme
general, these extreme upper notes which have no upper notes in harmonics, which are produced near
beauty excepting in the conchision of slow passages the bridge, much more easy and more beautiful than
are seldom given in natural sounds they are mostly ;
those of the violin. Here is a table of those which
taken in harmonics, wliich are produced more easily, are best obtained from each strinar :

ajid are of better quality. It may not be amiss,

- loco.
before going fartlier, to warn the reader of tlie
double sense given to the G
clef in violoncello music.
^^'llen it is written from the commencement of a
Rpn1 harmonic
Beal Ji.irinrmif"; *~^
piece, or immediately after the F clef, it presents to 1st string.
the eye the octave above the real sounds :

Fingers touching the open strings.

loco.

^^^m pg Real harmonics.*^

E:=r:s:fc?:

'

2ridstrine:.
Unison
Effect.
with the ViolinB. 11.^11=1 ^^ gflf
It has its full value only when succeeding the C ~^ 0*^0
Fingers touching the string.
clef (on the fourth line) which case it represents
; in
the real sounds, and not their octave above :

IE^I\
ii^Ei^i :T=^E
E^i=pi 3rd strin

Effect. ===.z:rr=rqr-i:r.'9r=CrPr.:f
Unison with
the Violi 116.-^ z:i'.0.m *y-^ Ir-
Fingers touching the string.

^
This custom, which there nothing to justify, is

leads to errors the more frequent because certain

violoncellists refuse to conform to it, and choose to ilp^l^ I^^^gf
receive the G clef in its true acceptation. In order 4th string. Real harmonics.

to avoid all misconception, it \vill be here employed

only after the C clef, and when that clef would lead
us too far beyond the stave the G clef will then ;
Fn.gcrs touching the string.
always represent the real sounds, as in the preceding
example. The best way of obtaining artifical harmonics ia

That which has Ix-en said respecting double strings, that which consists in touching the fourth, while the
arpeggios, shakes, and the bowing of the violin, first finger or thumb, strongly pressed, forma the
applies equally to the violoncello. It should, how- factitious movable nut :

ever, never be lost sight of, that the violoncello strings,

being longer than those of the violin, demand a
wider extension of the fingers of the left hand :

m ^^i ^P
whence it follows that passages of tenths on a double
string, practicable on the violin and viola, are not so
nn the violoncello and that an isolated tenth cannot
;

'w struck, unless the lower note is on an open string.



32 BERLIOZ' TREATISE UPON

This fingering is almost the only one practi- two qualities of tone resemble each other so closely
cable on the violoncello tlie position of the fifth
; as to be almost undistinguishable.
touched could hardly be used, excepting in the Example of harmonics :

apper part of the string, because the distances and

the proportions becoming much smaller than in the
lower, and the extension of the left hand proportion- !' :?" 'It
""

ably less, they then allow of the fifth being touclied 1st Violoncello
with the fourth finger, while the thumb serves for
the nut.

1
2nd Violoncellos.

o
D O" e 3rd Violoncellos.
^l^i^E^i^i?! 1 1"^ ^ 1 '1

(The sign indicates that the thumb is to be The same passage reproduced exactly, and more
placed transversely across the strings.) easily, in usual sounds, by violins :

1st Violins.

Scale of natural and artificial harmonics :

2iid Violins.

^t^ ^ ^ ^it Con sordini.

Real harmonics.

I
2
4
1

3 3 3_
3rd Violins.

Con sordini.
^ 1
4
-fJ. In the orchestra the part of the double-bass ig
ordinarily given to violoncellos, which they double
~^ 1 0000 O^ Q ^ an octave above or in unison but there are many
instances when it is advisable to separate them,
:

either to let them play, on the high strings, a melody

or melodious phrase or to take advantage of their
;

Harmonies in harmonics on the violoncello would peculiar sonorousness on an open string for producing
doubtless have a charming effect in the orchestra an effect of special harmony, by writing their part
with soft and slow music; nevertheless, it is easier, helom the double-basses or, lastly, to assign them a
;

and consequently less hazardous, to obtain the part nearly like that of tlie double-baases, but giving
same result by means of divided violins playing them more rapid notes, which the latter could not
high on the first string with sordines. These well execute :

Allegro non Iroppo.

Violoncellos.

Double-basses.!

Here the part of the violoncellos, more agitated mendous conflict of the minor second below, and at
and turbulent in its movement, has nevertheless the same time the rough vibration of the the
nearly the same notes as that of the double basses, fourth open string of the violoncello while the
the design of which it follow-s almost throughout. double basses grind out against the high octave of
In the following example, on the contrary, the vio- this C, the BO, which they tke forcibly on their
loncellos are entirely distinct from the double-basses, first string :

and go beneath them, in order to obtain the tre-

 :

MODERN INSTRUMENTATION AND ORCHESTRATION. 3d

No. 10
Regviem. lit'.Hi.loi.

Flute!

Hautboy I.

Ckrineti in A.

Ba^suons.

Hotns in E'^.

/=--

Horns in D. ^ r^=f= F
'/=-

Horns in
A); high.

Borns in C.

Violins

*'ioUs.

Riprsnii

I'ennrs.

Basses.

ViolonceUoB.

Double 1mm<!>


84 BERLIOZ' TREATISE UPON

1$:

Tlip composer should never without an excellent tone of the double-basses. When it is required to
reason that is to say, without being sure of pro- produce a very soft harmony of stringed instrumen:*,
ducing thereby a very marked effect entirely it is, on the contrary, often well to give the bass tc

separate the violoncellos from the double-basses; the violoncellos, omitting the double-basses, as Wcbsr
nor even write them, as many have done, a double has done, in the accompaniment to the Andante of
octave above. Such procedure has the result of con- Agatha's subhme air in the second act of the
siderably weakening the sonority of ihe fundamental Freyschutz. It is worthy of remark, m
this
notes of the harmony. The bass part, thus forsaken example, that tlie violas alone supply the bass
by the violoncellos, becomes dull, bald, extremely beneath a harmony of violins in four parts ttie
;

heavy, and ill-connected with the upper parts, wliich violoncellos only coming in, a little later, to double
are held at too great distance by the extreme depth of the violas :
 MODERN INSTBUMENTATION AND ORCHESTRATION, 36

No. 11.
Adagio. Der FreyschUtz. V'BSIU.
Irtutei

Oboes

Stsriivt!

Bassooiii

Violins
36 BERLIOZ' TREATISE UPON

stars, like guar di - an epi - rits, Set their night - ly watch a hove
Ian - ges im mor - tel - les e le - vez ma voix au Roi des Rou.

1^1^^

U^^. ^ J^-X^^
Quel beau del et que d'etoi-les
^^^^^^f^^^^^^-^-^^=^ ^'

Thro' the dark blue vault of sether Silence reigns with soothing pow'r But a storm o'er yonder mountain,
dansles vou - tes de i'a-zur maisquoisous de sombres voi-les
Darkly
i'kori

MODERN INSTRUMENTATION AND ORCHESTRATION. w
Adagio.

jsSgjgsB^gj^F^ga aiaiaaa^^a ^ ii

brooding, seems to loui:and alongyonforest'ssidecloudsof darkness slowly glide. Oh what

zon devient obs -cur quels nu-a-ges en che-min que d'o-ra - gespourde - main. Des

i^^
(^k^i

@^
Violoncellos together, to the number of eight or
"4=

11 ^
which permit the use of them a open strings, are
^m
ten, are essentiallymelodious their timbre, on the
; of a sinootii and deep sonorousness, perfectly appro-
upper strings, is one of the most expressive in the priate but their depth scarcely ever permits of
;

orchestra. Nothing is more voluptuously melan-
choly, or more suited to the utterance of
languishing themes, than a mass of violoncellos
playing in unison upon the fiist string. They are
also excellent for airs of a religious character and
the composer ought, in such a case, to select the
strings upon which the phrase should be executed.
giving them any other than basses more or less
tender, melodious
the actual airs being reserved for the
upper strings. Weber, in the Overture to Oberon,
has, with rare felicity, caused the violoncellos to sing
; above; while the two clarinets in A, in unison, make
their lower notes heard beneath them. The effect
is both new and striking :

The two lower strings, C and G, especially in keys

No. 12. Wzuer.

Oberon.
Adagio soatenuto.

Clarinets in A.
i
--

Horns in D.

Horns in a5.

Trompets in D.

Keitle-drunis
in D.

^Mii

aolas.

Violoncellos.

8*cssti.
 ;

d BERLIOZ' TREATISE UPON

mm
ff ^
EE-=
i
w- ffV
fa ", r -

.//.
^^
^ g=^^=^
//
:-fc
^^^f^
//

&-*
?<*- -F
//

:e^
// 1

//
m 1 p-

^=^ P^g^Iq^i^ p=^^

J.^J.^ 1
^E ^=q=F:
Senza sonliiii.

Although our violoncello-phxyers of the present the firsts executing a special })art of melody or har-

day are very skilful, and well able to execute all mony, and the seconds doubling the double-bassus,
it is seldom that rapid passages
sorts of difficulties, yet either in octave or in unison. Sometimes even, for
of violoncellos do not produce some confusion in the accompaniments of a melancholy, veiled, and mys-
lower part. As for those which require the use of the terious character, the bass is left to tlie double-basses
thumb, and lie among the higher notes, there is less alone, while above them are designed two different
to be expected they are not very sonorous, and are
;
parts for the violoncellos, which, joining the vicia
always of dubious precision. In modem orchestras of part, give a low four-part harmony. This method
large resources, where the violoncellos are numerous, is rarely well-contrived and care should bo Inker
;

they are frequently divided into firsts and seconds not to misuse it.
 MODERN INSTRUMENTATION AND ORCHESTRATION. 39

Adagio No. 13. Romeo and Julul. (BiBLIia.)

Plutes

Corno Itigjeae

Clarinets in A
 ;

40 BERLIOZ' TREATISE UPON

Tlie tremolo in double string,and forte arpeggios,
suit violoncellos perfectly they add greatly to the
; performer to slnft in playing the scale; ami next,
richness of the harmony, and augment the general
sonority of the orchestra. Koasini, in the introduc-
tion of the overture to Guillaume Tell, has written
a quintet for five ssolo violoncellos, accompanied in
pizzicato by the other violoncellos, divided into
firsts and seconds. These deep-toned timbres, all
of the same kind, are there of excellent effect and
serve to make still more impressive the brilliant
orchestration of the succeeding Allegro.
execution,
tuning in fourths not compelling tne
because of the great utility of the three low sounda
E, F. and F|I, v/hich are wanting in double-basseh
tuned in fifths, and the absence of which frequently
disturbs the order of the best-designed bass passages
by enforcing for these notes an ungraceful and un-
seasonable transposition above. These observations
; are especially applicable to English donble-bassea
which, although tuned in fourths, have, nevertheless,
only three strings. A, D, G :

The pizzicato of the violoncello cannot have much

rapidity, and the means proposed for improving the
execution of that of violins cannot avail in this case,
owing to the thickness and tension of the strings, In a well-constituted orchestra there should be
and to their too great elevation above the finger- several four-string double-basses, tuned in thirda
board of the instrument. According to the proce- and fifths :

dure generally in use, players seldom exceed, in

pizzicato, the rapidity of eight quavers in a bar in
two-time (Allegro non troppo), or that of twelve
semiquavers, arpeggio, in a bar (Andantino). Thus there would be the other double-basses
Ailegro non troppo. .^. tuning in fourths an increase of open strings and
of sonority.

Double-basies
tuned in thirds
or: and firths.
Andantino.

'Pizzicato. i^
CHAPTER
^^^^"^^^
VI.
Double-basses
tuned in fourths.

Double-basses. To double-basses belong, in the orchestra, the

lowest sounds of the harmony. In a preceding
There are two kinds those with three, and those
;
chapter it has been shown in what cases they may
with four strings. Those with three strings are
tuned in fifths :
be separated from the violoncellos. The defect
which arises for the basses out of this disposal ma^
^ rni" be amended to a certain extent by doubhng them,
in octave or in unison, with the bassoons, the corni
Those with four, are tuned in fourths :

di bassetto, the bass clarinets, or the ordinary clari-

i nets in the extreme lower notes. But, for my part,
The sound of both is an octave lower than the I detest the use which certain musicians make on
note written. Their compass in the orchestra is two such occasions of trombones and ophicleides the
octaves and a quarter; allowing, for three-stringed quality of tone of which, having neither sympathy
double-basses, two notes less below. nor analogy with that of double-basses, of course
Double-bass {f^ ^ t mixes very badly with it. There are cases where
with fuur strings
-^^ |- ^,^=^=^^=^ the harmonics of the double-basses may be success-
fully introduced. The extreme tension of the string,

E^ f r
With the chromatic intervals.
their length and distance from the finger-board, do
not permit, however, of having recourse to artificial
harmonics. Natural harmonics come out very well,
particularly commencing from the first octave,
Poulile-baSuwith^S:
threestrin^s. ^-=i^=^=^ occupying the middle of the string ; they are the
same, in the octave below, as those of violoncellos.

^
**
W.
^^ :=
With the chromatic intervals.
Strictly speaking, chords and arpeggios may be used
on the double-bass but it must be by giving them
;

two or three notes at the utmost, of which one only

The fonr-stringed double-bass appears to me pre should be fingered.
ferable to the other first, on account of facility in
:

Double-basses
tuned in fou

n n -F- n n-r~o n "^" n-*-n n-^n-i n-^n

1^
1
n-f-n-i ii
D'luble-bfcsses
tailed in fifths.
sT^ ff^ y/o //o


MODERN INSTRUMENTATION AND ORCHESTRATION 4..

The xntennittcnt tremolo may easily be obtained, The continuous tremolo of double-basses, rather
tiianivs tothe elasticity ol" the bow, wiiich causes it, less close nevertheless of excellent
than this last, is
to re-bouiul several times on the strings, when a dramatic effect, and nothing gives a more menacing
bingle blow is somewhat sharply struck. aspect to the orchestra but it should not last too
;

Ailegru inoderato ^^^^ long, since the it occasions the perfonnira

fatigue
ii-ho are jvilling to take the trouble of doing it well
soon renders it impossible. When it is needful
thus to disturb the depths of an orchestra during
This does not liold good in the following passage;
a long passage, the best way is to divide the
which is only rendered p by means of the continuoxis
double-basses, not giving them a real tremolo, but
tremolo, with some trouble, and by striking the
merely quick repercussions, mutually disagreeing as
strings with the end of the bow, which lacks force,
rhythmical values, while the violoncellos execute the
and brings out little tone.
AUeqro moderato.
true tremolo :

2nd
Double-bass.

The semiquavers meeting only at the comence-
meiU of each accenteit part of the bar with the quavers
in triplets of the other part, produce a dull murmur
Boniething like the tremolo, which is thus tolerably
well supplied. On many occasions, these different
rhythms, thus heard together, are even preferable
Rapid diatonic groups of four or five notes have
frequently an admirable effect, and are readily exe-
cuted, provided the passage contain at least one
open string :

Allegro.

More difficult on the double bass tuned in fifths : because there

occurs liO open string.

More difficult, on account

uf the descending notes.

If a long rajiid passage be absolutely requisite mended for violins ; at the same time, taking
for the double-basses, the best way is to divide great care not to remove the first double-basses
them, and apply the dispersing process recom- from the seconds.

I St Double-bass.

On the saine scale.

2nd Double-bass.

Some are so injudicious, now-a-days, as to write, fident of ability, toil away in ineffectual efforts at

for the heaviest of all instruments, passages of such executing the passage just as it is written. Com-
rapidity violoncellos themselves would find
that posers should therefore take care to ask of double-
difficulty executing them.
in Whence results a basses no more than possible things of which the ;

serious inconvenience lazy or incapable double-bass

:
good execution shall not l)e doubtful. It is enough
players, dismayed by such difficulties, give them to say that the old system of simplifying double-
up at the first glance, and set themselves to simplifyniji bass passages
a system generally adopted in the
the passage but this simplifying of some, not being ancient instrumental school, and of which the danger

;

that of others,
since they have not all tlie same has just been demonstrated is at present utterly

ideas upon the harmonic importance of the various
notes contained in the passage,
there ensues a lior-
rible disonler and confusion. This buzzing chaos,
full of strange noises and hideous grumblings, is
completed and heightened by the other double-
renounced. If the author have written no othcj
than passages suitable to the instrument, the per-
former must play them, nothing more, and nothing
less. AVhen tlie blame lies with the composer, it is
he and the audience who take the consequences ;

bass players, who, either more zealous or more con- the performer being no longer responsible.


42 BERLIOZ' TREATISE UPON

Flights of little notes, before large ones :- little preceding notes, B, 0, D, E, in the infernft.
scene in Orfeo, on the words, " At the dire howling

g^ -m-.s P-,i
of Cerberus," is well known. This hoarse barking,
one of the finest inspirations of Gluck, is rendered
the more terrible, by the author having placed it on
the third inversion of the chord of the diminished
are executed by slkling rapidly on the string, without seventh (F, G J, B, D) and, for the sake of giving
;

paying attention to the precision of any of the inter- his idea all the effect and vehemence possible, he has
mediate sounds and have an extremely good effect.
; doubled the double-basses in the octave, not only
The furious shock given to the whole orchestra by with the violoncellos, hut with the violas, and the
the double-basses coming upon the high F, by four entire mass of violins :

No. 14.
Allegro. Or/eo. Glvcx.

Hautbcy.

Violin.

Viola.

Soprano. l^^-.
Ter
Que
-
m
ror
la
has
peur
seiz'd
la
^ on him
ter-reur
;
dtrt
His
s'em -
heart
pa -
^ is

rent
struck
de
^
with fear
son cceur

Oontralto.
^5;^^==^ '^
Tenor.
^ m '^
Bass. ^paE^

Double-bass
^F*=i.
i-m ^-m^m~m^i
g zmif-WMZfiTr-m-mzne'rii=^
t-r-P^

at the 'liie hnwl in<;; of Cer - be - rus. foam ing with

a I'af - freux hur le - ment du Cer - here i - cu - mant

.nt^S^-t^^jcrff'^ i^LlT*^Lir-
 MODERN' INSTRUMENTATION AND ORCliESTKATION. 43

Beethoven, also, has availed himself of these to be observed that Beethoven, in tliis example, and
scarcely articulate notes; but (contrary to the pre- in many other passages,has given to the double-basses
vious example), by accenting the first note of the group deep notes, beyond their power of executing, which
more than the last. He has done so in a passage leads to the supposition that the orchestra written
of the Storm in the Pastoral Symphony ;which lor })ossessed double-basses descending as low as the
so well dej)ict8 the raging of a violent wind and C, an octave below the violoncello C. Such instru
rain, and the muffled rumblings of the gust. It is ments are no longer to be found.
 41 BERLIOZ' TREATISE UPON

i^m~ Pastoral Symphony

No. lu.
Allegro. Met. J 80. 'L. Beethoven.
Flutes. rfc5=r r^ :
-^--
':G=^

Hautboys. ^^ -"V^
tlt&z

Clarinets in *?. 9--&-_

B>irns in F. :^=^^Mfz^:=:

'^ ^
rrumpets in Et>.

Bassoons. ^5^
Kettle-drums
in F.

-XSi^
Violins.

fP-i^
/I
Violas. itTFi?
13
^i" Qizrgig:

Violoncellos. i^?^=ii=m f *"^^^^~r]*. f-:j ^t^^S^:3--*^:^-jf ^ ''^^F

F/'

I>ouble-batse&.

WSK

?:=r|Szzq^ ^^^^

ir-5_=:r==P;
/-

?^^
=5-^

_/Jl:^^
^H
ztnmMM:w:air_mim-.m.mji .:w::fr*z

^=g=
^i

t3
-<- ./--

'^^=
iififmiirf^u^i
-a-
wm
^^^m^^^^m^^^^^ J gz
c-
^r
 MOPKRN INSTRUMENTATION AND ORCHESTRATION. 4^

^^^^^^s^m

BEELIOZ" TREATISE UPON

Sometimes has a fine and dramatic effect to give

it loncellos. Beethoven, in the scene oi
admiral)le
the violoncellos tlie real bass, or, at least, the notes Fidcliu, where Leonora and tlie dig Flo-
jailer
which determine the chords, and mark the accented restan's grave, has displayed all the pathetic and
parts of the bar while beneath them, the donble-bass
: gloomy sadness of this mode of instrumentation.
has an isolated part, the design of which, interrupted He has, however, given in this case the renl bass to
by rests, allows the harmony to rest npon the vio- the double-basses:
No. IG fjde/fo Beethovek.
Andatite con moto.

Hautboys

Clarinets in D.

Horns in C.

Tenor
Trombone

Bass
Trombone.

Double Bassoon.

1st Violins
with sordine.

2nd Violins
with sordine. \

Violas with
ordine.

Violoncellos.

Cantn-batiM).
 MODERN INSTRUMENTATION AND ORCHKSTRATION. 47

-0-m--m^'^--m--m- m'-^~m--^-'w'-m- - m--mm^-^-m--m--^m-m--m'-m~ '^''^'l^'9''V"0"9"9"9"0"0'

IP

fP fP

m ^^P- =^m -'-'-- m

/^^-
I
/P

^^^^^^'SJJ^'i^i^gf^^S^'JSig^^:^''^^^^^

<f dpcres. W
^^^ Rocco.

Come dig away, for time Hies quiek - ly, tlie go-vcnor will soon be
jVe tardons point travaillons vi - te, fe go'iverneur bientdl vien
i BERLIOZ' TREATISE UPOl^

J ^ I

m
jfc:=:

i -1-^-'^-
=53=

E^ ^- '
r- =t=t:

~-r:^*ryir">~>r>~z::

P -I

PA* i i
I r I
I
I
U I I
I
I
I
I
I M I I

jfe: 3E^

Leonora.

Yonrzea - lous toil should well con

Du zele ar - dent qui nous a -

~rr~

)ieie: . . . . come dig a - way, The governor willsoonbe here.

dia . . . . le gouver - neur,le you-vemeurhien tot vien-dra.
 MODERN INSTRUMENTATION AND ORCHESTRATION. 4'J

-n-i- 1-
- >-
P i

^^

?e:>E^i
^^^fe^r= ^^

Col. C. B.

^^^3!ff
^
-- cret.-f^

tent him;iiiy\vil -ling aid youshall not lack.

gi - te sans doute un jour it vovs pa'ie - ra.

Come dig a-wav, fortimefliesquickly, thego-ver

ne tardons point travaillons vi - te k gou per

Area.
50 BERLIOZ' TREATISE UPON

m^ ?^

t*-
-"

^i^
f-^-^- -f

^'ourzea-lous toil should well con - tent him ;JIywill-iiig aid you shall not
Du ule ar - dent quivous a - gi - tesansdovte un jour il vims pair.

unr , willsoonbe here.

n'ur hitn tot viendra.
MODERN INSTRUMENTATION AND ORCHESTRATION 51

-rg: i ^y-^ T ^.g :-^gr

Quick here your hand, to help me lift tliis hur - den.

Viens done m'ai - der en le-vons cet - te pier - re

^i^^^
m BERLIOZ' TREATISE UPON

'^=fpnx

'tis well, 'tis well. Do not give way !

fort Wen, foTt bien, soutiens la bien

 MODERN INSTRUMENTATION AND ORCHESTRATION. 53

-zr . -rt

^-g-j
' /p'

fa - ther, I'll do my best to give as-sist - auce. It moves !

pi - re eM - ce bien la cequ'ilfaulfai - re voy - oni

push steadily. Tis

ren - ver. se fort

 !

6i BERLIOZ" TREATISE UPON

One efl'oT u in ore Ah ! what a load Ahlwliata load

en - CO - re ah quelfardeau Jort hien fort Men.
 .

MODERN INSTRUMENTATION AND ORCTIESTRATION. 66

With the view of expressing a lugubrious silence, I iiave in a cantata divided the double-basses into
four parts; causing them thus to sustain long pianissimo chords, beneath a decrescendo of all tiie rest of
the orchestra.

No The May, the Emperor's death. Bkhlio*

1 5th nf or,
(

Unis. ''
^^^m "B*. -. bta-' ^bctr ~C<2.- "b(t

Flutes.
-*=p^
rt "P:
=e^fe
fP pociif

^
Unis.
^=P ^
Clarinets
In C. ^ VP
^^
^P^35^
pocof

Horni
1
in E? 2E
fp_. ^
t Horns
In C.

Bu>oon

Bais-drum. m

Violins

Violas.

m :^^=^^
rbcc

All ! liow niournfiil the vi.-^iun, the fl^ig is black! AVhat ! lie is dead!
MaU que vois -je nu rivage I wi drnpeau noir ! Quoi ! lui viou- rir !

Chorus

What! he is dead I

Quoi I lui men- rir .'

Double string.

Vl<((n cellos.

Doable- [>vs.
PP fH,^
 !! ! ! !

56 BERLIOZ' TREATISE UPON

^ Coups de canon lointain.

Cannon in the distance.

m -r -F --

He is dead ! He! glo IT, lone - ly wi - dow;

lui mourir lui ! gloi re qwl veu - pa - ge;

He is dead ! He O glo - ry, lone - ly wi - dew

hii moftrir lui gloi - re quel veu - va - ge
 MODERN INSTRUMENTATION AND ORCHESTRATION. er

Cnit.

poco sf :^^P

i
w TT

pocotS^^'P

r - ^E^g -t --
VP
.M-M-M-

5=^g ^^ ^3^^^
pp

3*^
around I see, around 1 see, tears e'en from e - ne - mies.

au-tour de moi autour de moi, pleu - rent ses en - ne - mis.

/=-?> >!=-? 'f=~.f

 ;

68 BERLIOZ" TREATISE UPON

-m m m m
m rzt rr I
r r ^:^
Dim. sempre.

Sotio tmee.
pp, * [ o ^^^^ i?m a , bft.
m--
Far from that rock let us huriy in si - lence starof the day, cease to shine in the
Loin de ce roc nomfuyons en si - len ce. I'astre du jour. abandon tu Its
MODERN INSTRUMEISTATION AND ORCHESTRATION 69

fPP
Ah!
Ah!

PPP Put on nordini

m BERLIOZ* TREATISE UPON

i
^ 1^8

W^
ippppp

The o^ double-basses, either loud or

pizzicato what the sonority of double-basses by rendering
soft, is of good sonority, unless
it be employed on itmore gloomy and vague. A Piedmontese artist,
very high sounds; but it changes character according M. Langlois, who played in Paris about fifteen
to the harmonies beneath which it occurs. Thus, years ago, obtained with the bow, by pinching the
the famous pizzicato A, in the overture to Freyschutz, high string of the double-bass between the thumb
is big with threats and infernal accents, only because and forefinger of the left hand, instead of pressino- it
of the reflex of the chord of the diminished seventh, on the finger-board, and by rising thus, nearly to the
(FJI, A, C, Eb,) the first inversion of which it re- bridge, high sounds of singular acuteness, and in-
solves on the unaccented part of the bar. Let it credible power. If there were need to introduce in
become the major tonic, or dominant, produced the orchestra, a loud female cry, no instrument could
mezzo-forte, as in the case in question, and this A better utter it than double-basses employed in this
would no longer have anything strange in its effect. way. I doubt whether our artists are acquainted
Sordines are employed on double-basses, as on other with i\I. Langlois' method of producing acute
instruments played with a bow but the effect they
; soimds; but they would soon be able to make them
produce is little marked tJray only diminish some-
: selves familiar wi'ih it.
 ; ;

MODERN INSTRUMENTATION AND ORCHESTRATION 6l

Jtrinoed Instruments plated with the hand. for instance, the I)b the harmonic of Cj ;
is only
and the player should quit pedal immediately this Cj
21ie Harp. he has taken it otherwise, he will not be ahle to
;

This instrument is essentially anti -chromatic ; nialce the CH heard,

the major third of the key in
that is to say, successions by half-tones are almost which he is playing and moreover, he must skip &
:

impossible to it. The reason of this will be presently string (DB) when ascending diatonically, which is
stated. Its compass was formerly but five octaves so inconvenient, that the use of such scales may be
and a sixth :
considered impracticable :

.^
4 o
On
p^

the same
1

Skip the
=tzEE
-^s^m
I i I

string

This inconvenience and difficulty are doubled

in
Db and in Gt? both keys nearly inaccessible,
except for certain chords. Again, the key of
Gb, like that of Ct?, presents another difficulty,
This be seen, belongs to the key
of Eb
scale, it will
and in this key all harps were tuned,
;
that of compelling the player to an actual trans-
position for some notes of his scale, since he nmst
when the skilful manufacturer Erard, seeking to
remedy the inconveniences of the system, invented
strike the Fjjt string when the written note is Gb J

the Bfa string when the note is Cb and the Cj

the mechanism which removed them, and pro-
;

string when the note is Db- As for the key of Cb,

posed tuning the harp in Cb; a course adopted by
it becomes more practicable if written in its other
The cliromatic
all harp players of the present day.
intervals can be obtained on the ancient harp only
form,
that of BB but all the pedals being taken,
;

there still remains to be overcome in this scale (as in

by means of seven pedals, put in motion by the player,
that of Ab) the horrible difficulty of skipping a
and fixed one after the other with the foot, each of
string, and of quitting a pedal to retake it again,
which heightens by half a tone the note to which its
for the leading note (in harmonic) and the tonic,
mechanism applies, but throughout the extent of the
which occur upon the same string :

scale, and not singly Thus the F% pedal cannot

sharpen an F, without sharpening all the other Fs
in the scale by t!ie same action. Hence it results,
that every chromatic scale (unless in an excessively
slow movem<>;it), every progression of chords pro-
ceeding cbvomatically, or belonging to different It will be perceived that, for the execuiion of a

keys, the majority of florid passages containing chromatic scale of two octaves' extent like this
appogsiaturas with accidentals, or small chromatic Allegro.

notes, are all impracticable, or, at best, extremely

difficult, and detestably ugly. There are even,on the
harp in Eb, three chords of seventh major, and three
chords of ninth major, totally impossible to play
and which ought therefore to be banished from the
These are they
" Fed. Fed.
composer's store of harmonies. :

it isnecessary to put in action five pedals, rapidly and

in succession, for the first octave only and also that ;

they must be very promptly quitted, in order to

all

replace in their primitive condition those notes which

they raised, and which are to recur in the upper
octave, to be again retaken as in the first octave.
It is, evident that every chord in which
in fact, Such a scale therefore, even in a movement of
cb is be heard simultaneously with Bb, cannot
to moderate time, is impossible for any harp. If the
be possible since (the harp being tuned in Et?, and
; object be a succession of chords belonging to different
the pedals raising each string only a half-tone) Cb keys, the impossibility becomes still more evident
can only be produced by taking the Ba pedal, which because, in that case, several pedals will have to be
immediately destroys all the Bb^ in the scale. The taken at once and successively :

eame is the case with the Db, which results from

raising the Cfl and with the Gb, produced by the
;

raising of the F. The mechanism of the pedals of

the harp in Eb, only serving to restore the three
flattened notes (B, E, A) to their natural state, and
to sharpen four other notes (F, C, G, D), it follows,
that this harp can only be prepared in eight keys Certain appoggiaturas and ornaments containing
namely, Eb, Bb, F, C, G, D, A, E. The flattened chromatic successions, may, in fact, be executed after
keys are only produced in harmonics, and by taking a fashion but the majority of these ornaments, aa
:

and leaving quickly one or more pedals. In Ap, I have already observed, are scarcely practicable and :


2 BERLIOZ' TREATISE UPON

those which form the exceptions ])roduce a very in- prised in the harmony. Thus, instead of giving to
different effect, on account of the influence which tlie the harp the following air, as previously played by
movement of the pedal taken and quitted at the same the violins
instant, exercises over tlie sonority of the string :
> Violins. AlUgrOj
ri^zs^t-'-
F^^s^pg^^l^^ii
Allegro
^^^^^^ >
the author should Irave written it in the following
-C-*
.

manner
S=l
:

Possible.
.Hit^. Allegro. .,. .,,:?:.,.
Moderate.
^ Eg^gj^l'"^
Better.
Tlie natiue of the harp's mechnni.sm re(iuires the
sacrifice of the four successive semitones in tb'^
The following example, on tlie contrary, and all
third bar.
those, whicii, like it, contain several semitones in a
Struck with the important obstacles just cited,
short space, and in a quick movement, are next to
M. Erard invented, some years ago, the mechanism
impossible :

which has given to instruments so constructed the

AUeijro.
name of double -action harps. Of what it consists,
V=z^-i-:S.
and wherefore it allows the harp, if not to play
|F^f|3^^%S
W^' chromatic successions, at least to play in all keys, and
to strike or arpeggio all chords, I will now show.
The double-action harp is tuned in Cp, and its
iliit^'EfE^Eif compass is six octaves and a quarter :

It should now be the harp, being

stated that
Loco -j_a-" ^
played with two hands,
written for upon two
is
lines. The lower line usually has the F clef and 8pa. Bassa.
the upper one the G
clef; but if the height of the _8a _ _
bass notes or the depth of the treble notes demand
it, the G
clef or the F clef may find themselves on il^hi^ rz^^i:::=^r=
the two lines at one and the same time.
b^Si" SEE2 i
It will be seen that tliis disposal renders the in-
The seven pedals with which it is furnished are
executable passages still more numerous for the harp made so that the player may, by means of each oi
in Bp since a passage that may be easy for the
;
them, raise at option eacii string a tone, or a semitone
right hand becomes impossible if the left hand wisli only. By taking in succession the seven semitone
to strike certain notes of accompaniment which are pedals, the harp in Cb can therefore be set in Gp,
altered by a pedal in the melody, while the harmony
in Db, in Ab, in Eb, in Bb, in F, or in Cfc. In
admits of them only in their ordinary condition :
still farther raising each string another semitone, by

means of the second action of the pedals, the seven

t^pr notes of the natural scale will become sharpened ;

since tlie seven pedals produce P'jit, Cjjj, Gjt, Djt,

^1 AJI, EJ, and Bjfc. which gives to the harp the power
of playing in the keys of G, D, E, B, F|, and CJ.
^ These, then, are all the keys accessible to the harp;
onl}', the minor scales cannot be set, unless by treat-
ing them, in ascending as in descending, without
regarding the usage adopted with respect to the sixth
and seventh notes otherwise, two pedals must be
;

taken and quitted :

Fed. Pad. |Quit. Quit.|

|

The two chords marked with a cross cannot be

played since they contain an Ftj, sharpened in the
; By adopting the interval of the augmented second
upper part. In such a case, therefore, the note wliich between the sixth and seventh note, the minor scale
thus presents itself under a double aspect, must be can be set, and the accidental use of the pedals will
suppressed in one or other of the parts. In the not be necessary; which is a considerable advantage,
preceding example, it is better to mutilate the chord and should suffice to make this scale preferred :

in the left hand, and leave out the Ffi.

Eh=^
When a melody already played by other instru-
ments is to be repeated on the harp, and contains
^^3^E^^fel^feS
chromatin passages either impossible or hazardous, it As for the chords interdicted to the harp in Eb,
jshould be dexterously modified, by substituting for it will be seen that the double action renders then)
one or more of the altered notes, other notes com- possible.
 ;

MODERN INSTRUMENTATION AND OHCHESTRATION. 3

Also, by a great stretch of the thumb and littlo

Nothing is more easy than to produce:
finger,chords of a tenth may be reached and con- ;

taese four notes being in the scale of tlie liarp inCb- sequently, such chords as these are possible :

The chord. 'ii; S4 Br merely requires the use

of the two semitone pedals, DH and Fh ;

^rgtjgr^
But this position is less convenient, less natural,
wants only two also, FJ] and CH ; ^ii ft miist and therefore less sonorous since none of the fiugera;

can attack the string with as much force as in the

have three, Ct|, EjJ, andGil| tBZ need have ordinary position. Incidentally, let us note that
chords lying in the extreme lower part of the
but one, Fh ; and ' requires three, FJj, instrument, form groups without sonorousness,
and produce confused harmonies that should be
AQ, and Cq.
All this is done without difficulty. Even the avoided : <^^> Br These deep sounds are
chord which seems to contain at once Ch and Cp, is

equally practicable :
^f5tt^^^^|r only fit for doubling a bass in the octave below :

The Dbb is gained by means of the

(or CJ|)
pedal raising the a semitone, and the Cb is
Cb
produced by the pedal which raises the Bb a semi-
tone. The Acb comes from tiie Gb raised a semi- The successive execution of the notes of a chord,
either ascending or descending, is perfectly in the
tone, and the Fb
has no need of a pedal, being in
This chord, such as character of the harp it is even after its Italian
the Biale of the harp in CJ?- ;

I have just written it, will therefore be played under

name, arpa, that these passages have obtained the
title of arpeggios. Generally speaking, they should
this singular form :
^Efell^oEB \\herefore, it not exceed an octave in extent particularly, if tb ;

movement be quick otherwise, they would necessi-

;

would be better to write it in Cb major, and under

tate a change of position of extreme difficulty.

the following aspect :

^ "B^~"~ ^^ double-

action harps have to be employed in an orchestral

piece set for other instruments in Bn major, it would
be much better for sonority and convenience of exe-
cution to write their music in the key of Cb:

A llegro. :p ^. _^
Orchestra.

Harps.
m^ i^H-m

Almost impossible.
J:_Tr;t_ *_t: __:

The note which exceeds the extent of an octave

should never be written but for the termination of a
Composers should liave
a care, in writing harp
phrase; as thus :
parts, toforewarn the jilayer, a little in advance, of
the change he will have to make, and of the pedal
soon to be used, by placing, a few bars before the ^^^i^^^
occurrence of the modulation, such words as :

Frepare the 6^4, prepare the hey of CO, &c.

The following is very easy because the change ;

of position, occurring from below to above, does not

The nature of the instrument having been ex- require the use of the fourth finger, which can be
plained, we j)roceed now to the fingering, confounded
little employed, nor does it demand two consecutive
by many composers with that of the pianoforte, notes with the third :

which it nowise resembles. Chords of four notes

may be struck with each hand if the two extreme
notes do not extend beyond an octave :

Care should be taken, in general, not to write for

the hands too near together, but to keep them scpa-
 : :

64 BERLIOZ* TREATISE UPON

rated by an octave or a sixth at least, otherwise they

interfere with each other.

Moreover, if the two hands play an arpeggio chord

in thirds with each other, the same string being re-
taken by the finger of one hand, at the moment when
that of the other hand has just played it, it neces-
ii^^^^^siiim-^^i
sarily follows that the string has not time to vibrate,
and that its sound is stifled as soon as born :
If the object be to make heard a rapid ascending
or descending arpeggio of greater extent than an
octave, instead of writing it in two parts it should
be dispersed by giving a fragment to one hand while
Very bad. the other changes its position, and so on, recipro-
cally. The passage would then appear thus :
R. H.

Allegro. --J

Very good ; be- feEgiptfr^t^^^: Left hand.'Ciir

R. H.
cause of the distance i Right hand. L. H
between
hands :
the two
m^^^^^^
If doubled in the octave, it would be impracticable.
All successions which oblige the same fingers to
.skip from one string to another can only be written The following is impossible in a quick movement ;

for a movement in very moderate time. but possible in a slow one :

When a rapid series of diatonic octaves is desired, .,.-p- 8Te.

tlieyshould generally be written for tlie two hands.

This equally applies to series of sixths. They are

always as with scales in thirds practicable for a
single hand, but only in descending the thumb ;

then sliding from one to the other of the upper notes,

while the lower notes are played by the three finger?. r^rrru--
Thumb.
Difficult ; because
The shake can be executed on the harp, but its
of the stretch it oc-
effect is only tolerable on the high notes. The
casions between the
thumb and fingers
iteration of the same note
unpleasant and difficult
upon ancient harps, on account of the slight grating
produced upon the string by the second finger, which
Thumb.
strikes it after the first, and interrupts its vibration :

p^j-
Less difficult
^^^Mrsi^i
ip Tliumb. T.
Thumb.

is easy, and of good effect, upon modern harps the ;

Less difficult:
Z. =l^-.-,_,-o-fc.-lZ_i-_gXgrS double action of the pedals allowing the player to
3 4 ;f 3 4 2 raise by a tone the next string to the one which
gives the iterated sound, so that the iteration is thus
As an exception to what has been said above produced on two strings in unison :

respecting the distance between the parts, tliese same

scales in thirds are practicable for two hands, be-
cause, in the diatonic movement, the inconvenience
of a string taken by one finger and retaken by an-
other is much less great, since the intermediate note
allows a little more time for vibration. Neverthe-
less, it is better either to write these series of thirds Iteration in two or four parts (very useful some-
for two harps, by giving the higher part to one and times in the orchestra) may likewise be obtained
the lower part to another or, if there be but one ; and more simply, by employing two or more harps,
harp, and much sound is wished to be obtained, and by writing crossfires, which present no difficulty
by separating the parts an octave, and writing series in the execution, and produce i)recisely the desired
of tenths. effect-."-


MODERN INSTRUMENTATION AND ORCHESTRATION. oo

1st Harp.

Slid Harp.

Result to the hearer :

The effect of harpa (setting aside the question of with theirs. The lower strings (exclusive of ths
music intended to be heard near, as in a private soft and dull strings which are lov/est), with theii
room) is in proportion to their number. 'J he notes, sound so veiled, mysterious, and beautiful, have
the chords, or the arpeggios which they then tlirow scarcely ever been employed but for bass accom-
out amidst tlie orchestra and choir are of extreme paniments of the left hand and the more the
;

splendour. Nothing can be more in keeping with pity. It is true that harp-players do not care to
ideas of poetic festivities, or religious rites, than play long pieces among octaves so far removed
the sound of a large body of harps ingeniously in- from the body of the performer that he must lean
troduced. Alone, or in groups of two, three, or forward, with his arms at full length, maintain-
four, they have also a most happy effect, whether ing an awkward posture for more or less time ;

united to the orchestra, or serving to accompany but this reason can have had little weight with
voices and solo instruments. Of all known qualities composers. The fact is, they have not thought to
of tone, it is singular that the timbre of horns , trom- avail themselves of the especial quality in tone just
bones, and brass instruments generally, mingles best indicated.
Andiinlino.

Example of a beautiful
and soft sonority of the bass
strings :

The strings of the last upper octave have a deli- first fingers of the same hand ; thus j>roducing the
cate crystalline sound, of voluptuous freshness, which high octave of the usual sound. Harmonics may be
renders them fit for the expression of graceful fairy- produced by both hands.
like ideas, and for giving murmuring utterance t(j
the sweetest secrets of smiling melodies on condi- ;

tion, however, they are not attacked with

that
violence by the performer as then they yield a dry
;

hard sound, similar to that of broken glass, dis- Kxample.

agreeable and snapping.

The harmonics of the harp particularly of
many harps in unison
are still more magical.
Solo-players frequently employ them in tiie pedal-
points and cadences of their fantansies, variations,
Effect.
and concertos. But nothing comes near the sonority
of these mysterious notes when united to chords from
flutes and clarinets playing in the medium. It is
really strange, that only once, and that not more
than three years ago,
the affinity of these qualities,
It iseven possible to produce two or three at a
time, with one hand but Ihen, it is prudent to let
and tlie poetry of their association, shoiild have been
;

the other have but one note to play.

demonstrated.*
The best, and almost the only, harmonics for the Harmonics.
fiarp, are those obtained by touching with the lower
and fleshy part of the palm of the hand the centre
of the string, while playing with the thumb and two
* Sfe example (No 21 nf llie hamioiiica on tile violin enii/Ioyed in
coiniHnation \\itli tliose on the tiaru. Harmonic
t
 b
66 BERLIOZ' TREATISE
All tne strings of the harp are not fit for liar-
mouics only the two octaves above the last should
:
be employed for this purpose they being the sole
;
ones of which the strings are sufficiently long for
division by touching in the centre, and sufficiently
tightened for neatly producing harmonics.
Harmonics. ---^
^^^^^^^mm^m
s
In case the quickness of the movement and the
character of the instrumentation demands a speedy
transition of a harp part from one key into another,
rery remote from that which precedes it (from Ej?
into Ejj}, for instance), it cannot be effected upon the
same instrument there must then be a harp tuned
;
in the sharpened key, to succeed immediately the
one ])laying in t\\e flattened key. If the transition
be not sudden, and there be but one harp-player
available, the composer must let the perfor-
mer have a sufficient number of rests for time to
apply the requisite modulatory pedals. When the
harps are numerous,
treated as integral parts of
the orchestra, and not merely used to accompany a
vocal or instrumental solo,
they are generally
divided into firsts and seconds, with distinct written
parts for each; which greatly adds to the richness of
their effect. A still greater number of different
harp-parts might doubtless be excellently employed ;
and indeed, they become indispensable, as has just
Iteen seen, when the object is to render possible,
without interruption to their playing, a sudden
change of key.
The Theban bas-reliefs, where an elaborate repre-
sentation of antique harps may be found, prove that
they had no pedals and that, consequently, they
;
were incapable of modulation.
Those, not less antique, employed in our own
days by the Welsh and Irish bards, have several
rows of strings and, without doubt, this arrangement
places modulations and the chromatic style more or
less within their power.
I have specified above, in speaking of iteration,
the essential advantage possessed by modern harps,
of placing two strings in unison, by means of the
double-action pedals : ^ od Bz
one these
of Cp's being produced by the Cb
string, and the other by the Bp string raised a semi-
)ii>aazzaz
tone : or ; one of these Eb's being pro-
duced by the Eb string, and the other by the Db
etring raised two semitones. It ii hardly to be be-
lieved what resources great harp-players are now
:ible to derive from these double notes, which they
have named synonimes. Mr. Parish Alvars, the
most extraordinary player, perhaps, tliat has ever
Deen heard on this instrument, executes passages
and arpeggios which at first sight appear utterly
Impossible, the whole difficulty of which, neverthe-
less, consists only in an ingenious use of the pedals.
He plays, for instance, with wonderful rapidity,
pflag^8 like tlie following : true charm when performed by really good pJayers
UPON
It will be understood how easy such a passage is
on learning that the jilayer has only to slide three
fingers from top to bottom along the harp-strings,
without fingering, and as fast as he likes since, by ;
means of synonimes, the instrument is self-tuned
exclusively in series of minor thirds, producing the
chord of the diminished seventh ; and that, instead
of having for the seal ;,
t=a^^=r^=rt:
^zdz -dzidBz
it has
_j
The A|3, it must be remarked, cannot be double,
and therefore has no repercussion. In fact, it is not
possible to have four synonimes at once, since there
are only seven notes in the scale, and four syno-
nimes would require eight strings. Moreover. (
it observed, that the AJJ can only be obtained
upon one .string (the Ab string), and does not exist
upon the next string (the Gb string) ; this latter
being only raised by the two actions of the pedal
two semitones, which bring it to Ab. The same
remark applies also to two other strings, Ct? and
Fb.
There are therefore still wanting on the harp three
synonimes, Dfl, Gh, and AJJ) but this defect for
;
it is a serious one
will be obviated when the ma-
nufactures contrive (as Mr. Parish Alvars proposes)
to constiuct for the pedals of the three notes, Cb,
Fp, and Gb, a triple action which will permit them
to be raised three semitones.
Mr. Erard should not allow such a defect to remain
in thisinstrument it would be worthy so skilful a
;
manufacturer's ingenuity to be the first to remove
it.
It is evident that, if all the synonime strings be
not used at once, there will be chords left other than
those of the diminished seventh ; and the various
combinations that each affords, when an exact account
is taken of the action of the pedals on the strings,
will be still more numerous when the triple action of
the pedals, Cb, Fb, and Gb, shall have furnished the
three synonimes of which the harp at present i
deficient.
Guitar.
TJie
The guitar is an instrument suited for accompa-
nying the voice, and for figuring in certain quiel
compositions, as also for executing,singly, pieces more
or less complicated in several parts, which possess a

;
MODERN INSTRUiMENTATION AND ORCHESTRATION. 67

Tlie guitar has six strings, tuned in fouiths and a jirucetlure by which the forefinger of the left hand
thirde, as thus :
placed across the neck of the instrument, upon two,
three, or foiu- strings, serves as a temporary _/r<'^.
^^^mm {'I'hejret is the little piece acro.ss the neck, on whicli
-cr the strings rest, and which decides the proper lengt'
It is sonu'tinies tuned in the following manner to be put in vibration.)
especially tor pieces written in the key of E :

Inc.
-*:
SM .-d; :S: -^

Tiie three lower strings are of silk covered with And all portions
silver wire ; and the three otiiers, of catgut. The b of these cluirda

guitar is a transposing instrunieut of three octaves

and compass
a fifth in and written ; for with the G
clef, an octave above the real sound :

** "W^--
-tr -
-ir:
- -:F=_:t_ -E- :ir--n
In D,
.^:t=^t='
Witti the chromatic intervals.
-r^

z^zz

In A.
-^ 3-

Major and minor shakes can be played throughout

the e.xtent of tliis scale.

almost impossible to write well for the guitar

It is
witliout being a player on the instrument. The
majority of composers wlio employ it, are, however,
far from knowing its powers and therefore they ;
InE.
frequently give it things to ))lay of excessive difli-
culty. little sonority, and small effect.
I shall endeavour, notwithstanding, to point out The flat keys are incomparably more difficult than
the proper method of writing simple accompani- the preceding and all require Barrage
;
The most
ments for it.
easy chords are the following :

In the usual position of the riglit hand, the little

finger resting upon the body of the instrument, the
thumb is used for playing the three lower strings.
In F. r^-g-
imm
iSifficuTT^
'-=t^=-a.-=, iz ; the forefinger plays the .Lo_ l
I

J I
I

^rzii
I I

dj^trr

G, ^^ H- : the middle finger, the B, ^ - :3;

and the third finger, the first string, or E.

In Bf.:
~zzzizz&=i^-^zzB^zztJizz\izii=Mz-azz^
^^'-
whence it arises that, in j)laying chords of more than
four notes, the thumb is oblii^ed to slide over one or
In all chords, the enqtloytnent of the first and the
two of the lower strings, while the three fingers
third of the lower strings rvitliutit the second should
directly strike the three high strings. In chords of
be avoided because the thumb would then be
:

four notes, each finger strikes only the string appro-

obliged to skip over this second string in order to
priated to it the fingers change strings only when
;

go from the first to the third :

there is occasion to strike low chords like these :

-<3>

^Eg^^|^E^:HB^^=EiPZE
^--
ZdZ
-tzr-
The guitar being especially an instrument of har-
It is impossible to strike these chords but, by
mony, ii is very important to know the chorda and ;

likewise the arpeggios which it can execute. adding the second string to them, they become easy
Hero is a certain number in different keys. We
will bei;in with the easiest those which are
Jlayei without the use of Barr.-ige (marked Barr^), -' -.-^ -w- -WW
 r I

68 BERLIOZ' TR[]ATISE UPON

Chords of the dominant sevcntli also should not

bfi written in the usual uosition of tlirce thirds above
eacii other, as

Tliey are next to impossible ;

this one is difficult,

but still, practicable, flr on account of the In this last arpeggio the two bound high notes
are played by catching the first string with the little
G, which is played on an open string. The following finger of the left hand.
is very easy, and ai the same time sonorous :
Arpeggios from iiigli to low are rather troublesome
E on the open string. but quite feasible :

iva^nz on account of the

The three following chords are easy, and link well

together, in all keys :
_S5 *,q^-
--
-3; 3: 3:

Likewise in FJ, in G, in Ab, &c. ^8.1- :::

-I I
r-J-j --41;
, I

^m L-i=gEE^fe
The same reversed on the contrary, very easy.
are,
On account of the retrograde movement of the
thumb on the two low notes, the following are much
iJL^=^- more difficult, and less advantageous :

Of course, these chords may sometimes have more

than four notes, in keys which permit their having a
low open string; in A|^, for instance, in E^, in G,
in P in short, wherever one of these three notes
;

may be introduced as the bass :

Scales bound by twos and twos, with the reiteration

of a note, are elegant,and tolerably sonorous par-
This succession, which requires Barrage (marked
;

ticularly in the brilliant keys of the instrument :

Barre) of four strings,is equally practicable on the

two lower tliirds of the neck g-h-^"^- ~^3'^~n~ Atlegro.^'T-

of the s-uitar : ^E^^EgEgEESEllE --\;=rz.

^E^^1
and then, ascendingby semitones to!

which is the extreme point of height where this

fingering can be employed.
^^ e 7.

ISA

The following arpeggios have an excellent effect Scales in thirds, although difficult at their ex-
on the jruitar :
may be used in a moderately quick move-
tremities,
ment :

-i I- -^.^ Difficult.

'-2^3ESE'
=a:z

^:*ST

^^^F^^E^^dS^
"^" ^^^ Diffiniilt.
Difficult.

This applies equally to series of sixths and octaves.

Reiterated notes, two, three, four, and even six or
eight times repeated, are easily done prolonged ;

reiterations {rouJements) on the same note are rarely

^=z good excepting on the first string, or at the utmost
on the three high strings :


MODERN INSTRUMENTATION AND ORCHESTRATION. 69

12 -.2

The fifth touched pro

(!uces the tellth.

'1 oiu'liing Ihi'fiftlisof

the six open strings.

^^-t:f:;t;^:p:t-j:lr:pr-trt=t^Hf

The fourth touched pro-

duces the double octave.

Touching the fourths

the six open strings.
The notes marked with a + are jilayed witli the
thumb ; the others with the first and second finger
in succession.
For reiterations (roulement.s), tlie thumb sliouW be
made to succeed the first and second fingers on the
same string :
The major third toucl .ed
produces the seventeen
=$=S=te3^=l=i,;
ziQzzi
,uh.p=
Allegro Real harmonics.
- r:z:--g-rg3g^ g- g:P--g- fzqr:
Tuucliinp; tlie major third
of the six open strings.

~
zmzmzmzm-mzmzmzm-mm:m:m:f,.^..,-,.^^:i
The minor lird touched _fl_^f?-___
third
produces the nineteenth,!^ f=P
-
f-
'^= h- b=tr=lr7
1" 1

cr
-t::r-t::zr^= :rt::lr: r.trr:t=FP-F^C-t::pcr-p--cr:p
i |
or octave abo ve the l-'fli^?- Hr
+ 21 + 21 +?i+^'"*'

ttr-'-^.tr-r I F^*- --- *- g: Touching the minor .Irds

- * "-^ 4. 2 1 + 2 I +
of the six open strings, di

Harmonics are easily obtained from the guitar, and

upon many occasions felicitous use may be made of These harmonics are the least sonorous, and
latter
them. The best are those produced by touching are obtained with difficulty. It should be understood
the octave, the fifth, the fourth, and the third, major, that this expression of ;vZ harmonics is relative to
of tlie open strings. the diapason belonging to the guitar, and not to
As was explained in the chapters on instruments the ordinary diapason ; for, strictly speaking, thet^e
played \\nth a bow, the touched octave brings out real harmonics are heard an octave below, like all

that same octave : the other sounds on this instmment.

each string, moreover, chromatic and diatonic
On
harmonics can be produced.
scales in artificial For
this purpose, it is necessary to press the fingers of
the left iiand on the notes desired to be heard an
To.iihinp the ortpves of
the lix open airings.
octave higher, then to touch the middle of the string
with the right forefinger, and to play behind the
forefinger with the thumb of the same hand:

I repeat that, without being aide to play the players as Zanni de Ferranti, Huerta, Sor, Ac, Bhould
guitar, one can hardly write for it pieces in several be studied.
parts, containing passages demanding all the rc- Since the introduction of the pianoforte into
Bonrces of the instrument. In order to have an idea all houses where the least taste for music exists,
of what the best performers are able to produce in tiie guitar has been little used, save in Spain and

this way, the compositions of such celebrated guitar- Italy. Some performers have studied i*'. and till
 :

TO BERLIOZ' TREATISE VPOS

study it, as a solo instrument, in such a way as to It is written for on the G clef
derive from it effects no less original than delightful.
Composers employ it but little, either in the church,
X=P
theatre, or concert room. Its feeble sonority, which
does not allow union with other instruments,
its
or with many voices possessed even of ordinary The Estrings are of catgut the strings, of ; A
brilliancy, is doubtless the cause of this. Never-
steel the I) strings, of copper
; and the strings, ; G
theless, its melancholy and dreamy character might of catgut covered with silver wire.
more frequently be made available; it has a real The compass of the mandolin is about tliree
charm of its ov/n, and there would be no impossi- octaves :

bility in so writing for it as to make this manifest ^

ff--fi.

The guitar unlike the majority of instruments t^^Mr,.

loses by being employed in numbers. The sound """" With the chromatic intKrvals.
of twelve guitars playing in unison is almost
Itan instrument more for melody than for har-
is
absurd.
mony thougii its strings, being put in vibration
;

with a quill or plectrum, which the player holds in

Tke Mandolin. the riglit hand, may certainly allow chords of four
notes to be heard, such as these
The mandolin has almost fallen into disuse at
^ Si
fli_,' a__ J
1^^^ ^ -^ -^
present and this is a pity, for its quality of tone
;

thin and nasal though it be has something piquant -cr ->-

r

-cr
r .

.g.'^-rn|---z4--
"^
m^m^
r"vil

and original about it which might occasionally be

made of effective use.
which are obtained by passing the quill rapidly over
the four double notes; but the effect of tliese groups
There are several kinds of mandolins the best ;
of simultaneous notes is rather poor, and the man-
known has four double strings that is to say, four ;
dolin has its real character and effect only in such
times two strings in unison, and tuned in fifths, like melodious accompaniments as the one written by
the violin Mozart in the second act of Don Giovanni
No. 18.
Don Giovanni. M(2ART.
Allegrcrr.
iS_

Violins.

Viola

Mandolin.

forth nn-to thy win - dow, ome forth with con

vieni al - la fi - nes - tra deh vie - nia con - so


MODERN INSTRUMENTATION AND ORCHESTRATION. 71

m 11

'r=^

^^
to thy lo
plan - to mi

^^ = q=P=^4s-^^5=n::
^: ^^ ;^Z^3EE^3ZgE
'I'lie mandolin is at present so neglected, that, in they are substituted and Mozart knew quite well
;

theatres where Don Giovanni is played, tiiere is what he was about in choosing the mandolin for
always a difficulty in performing this serenade j)iece. accompanying the amorous lay of his iiero.
Although a few days' study would enable a guitar-
jilaver, or even an ordinary violin-player, to acquire Stiuxged Tnstri;ments with Keys
sufficient knowledge of the mandolin for the purpose, T/ie Pianoforte.
so little respect is entertained for the intentions The pianoforte is an instrument with a key-board
of the great musters, whenever it is a question of and metallic strings, put in vibration by hammers.
breaking through old habits, that almost everywhere, Its present compass is six octaves and seven-eighths.
even at the Opera (the last jilace in the world where It is written on two different clefs at once the F del :

sucli liberties should l)e taken), they venture to play is appropriated to the left hand ; and tile G clef, to
the mandolin part of Don Giooanni on violins piz- the right hand.
Sometimes, according to the
zicati, or on guitars. The timbre of these instru- degree of height or depth of the passages assigned
ments has not the keen delicacy of that for which to the two hands,
the clefs are interchanged :

Sva.

^
^F^-I'^t^l^fefc
^*^i

tva. Bassa. - -

The shake is practicable on all the notes of the the pianoforte, by taking care not to place between
Bcale. The player may any
strike or arpeggio in the extreme parts of each hand a distance greater
way, and with both hands, a chord of four or even than an octave or a ninth at most unless indeed tiie ;

five notes; but, at the same time, the harmony pedal which raises the dampers, by prolonging the
ehoidd be as close as possible : sounds without the player's finger remaining on the
key-board, allows of augmenting the distance be-

i
Xj I I
eS m tween the

Here is
parts.

an example in four parts, the pedal not

used :

Chords embracing an interval of a tenth may be

played, by omitting the third, and even the octave, j^ > I

for greater facility, as tlms :

mie^ 1 1* t

^ ^r- i

FoiiT and even five real parts may be written for

 ,

72 BERLIOZ' TREATISE UPON

And here is another, employing the pedal :

-,--5. i"Tri 1-5- fsss- -^j^^TTi ^ * ^ J I

^^5B ^^^^

This sign ^ indicates that the dampers must be
replaced by quitting the pedal. It is mostly used
when the harmony changes, in order to prevent the
vibration of the notes of the last chord from con-
tinuing on to the following chord. As regards this
excessive prolongation of the sound of each note,
care should be taken, in employing the principal
pedal, to avoid as much as possible appoggiaturas
with accidentals [altei-ees], and passing notes in the
middle of the instrument because these notes, being
; on this instrument are unknown and that every day ;
The number of such combinations among the
various parts playable on the pianoforte is very
considerable. It would, indeed, be inipobsible to
instance them all here, and only by studying the
compositions of the great performers those of Liszt
especially,
can a just idea be formed of the excel-
lence to which the art of pianoforte-playing haa
nowadays attained.
It will there be seen that the limits of possibility

sustained like the others, and thereby becoming in- they are farther removed by the new prodigies which
troduced into the hanuony to which nevertheless performers achieve.

they do not belong produce intolerable discords.
In the upper extremity of the key-board, where the
For the pianoforte, as for the harp, it is better in
certain cases
in arpeggios, for example not to
very short strings do not maintain tlieir sound so bring the hands too near each other. An arpeggio
long, these melodic ornaments are practicable. like the following would be rather inconvenient :

The hands are sometimes made to cross either in

obliging the right hand to pass over the left, or
in causing the left to pass over the right :

IJ-^
bsr^ M=m:-Jji^=m-^M-'-'i::;ji-E=::^m

-|-)j-j-^_J.^-j

It would be incomparably better to write it

tluis :

--ri *'r* "* "* [
r- f-r

^|g;Et^J:g-fef:El^'gfg^*g"g'^:g

Diatonic and chromatic scales in thirds, for bota

hands, are, however, easy :

These scales in two parts are practicable by one

hand alone, although difficult in a quick move-
ment. Moreover, in keys where there are few sharps
 1

MODERN INSTRUMENTATION AND ORCHESTRATION. 73

and flats, the two hands may be written for in aeries forte in the orchestra under the same conditions as
of sixth-thirds in three parts :
other instrnniciits; that is to say, letting it bring to

^.Jl^SLjsl?!
.. .. the ensemble its own peculiar resources,
which

i^^:^pi^ nothing can replace. Certain passages in Beethoven's

concertos ought, nevertheless, to have driiwn the
attention of composers to this point. Doubtless they
have all admired the marvellous effect produced in
55f=l=E^* his grand concerto in Ep, by the slow beatings
[batferirs^ of the two hands on the piano in the
The pianoforte, at tlie point of perfection to high octave during the air for the flute, clarinet, and
which onr skilful manufacturers have brought it bassoon, and upon the contretemps of the stringed
nowadays, may be considered in a double point of instruments. Thus attended, the sonority of the
view as an orchestral instninient, or as forming a
:
pianoforte is ot the most seductive kind ; it is
complete small orchestra in itself On only one oc- full of calm and freshness, and is a type of gruc*
eiufion has it been deemed well to employ the piano- it^ielf:

No. 19

Clarinets
in A.

Bassoons.

Hums in Eb

Violins.

^^
gaUl- ^
E^5 1 -j^^ jv ^ j< 1 ^^g^^^^_^,.^-^-_^^,,,a.^^^
Violonce'.lo.

Double-bass. ^ j
^^r-1- J- 1 jv *i :;]^..iz^3i}^*=^= ^:

Ma^M M^B^rt ^MMHBri MMIHS

Pianoforte.
74 BERLIOZ' TREATISE UPON

. r r r h:^ E?

i
LS.I
?fl^i^^ te=^--F=3^^;
"^ cres.

* - - -- -*- -- croiT dim.

'^
^^^^m
fee=5-
^~tZ=-ifZ ll^E^^^^l
mr^-^f-^-^^^^^^^^^'^^=p=\-^^=-^^=^^'^^^^^E^^z^ 0~^
8ves, - - - loco. >>--

^a

ii
-I* - -f- -^ -- PP __
=7= ^~^~'^~ ^='
tr
^i^"l
pzxz:r^^g^g^^e^g^p
ggg-JEiEgE^EiEg^E^^^^^g^^^^^.J^^^EiEfe
^^^g^^g^^ ff

p;*

^^^^^^^^M^5^j^^^^^^^^^^^f=^^=r^"^i^
'~^

M
pS^!^E^^^^^^:?:^^^P^5E^P^f^i^
fp
ii^^^^^;^^^^^^^^i^F^i^g^^^^s
MfeS^^igi^: ^3^E^3E^^E

l^^^^^^^^i^^^^^^^g
 1

MODERN INSTRUMENTATION AND ORCHESTRATION.

fe -^-ii=q= -
-
'

^^^ ^^=H-H ^ir=^=i

m l^^^g^^^^g^^^^^^^^i ^^ ^^^
E?^ EgZ^Eg^^q^ ^^^'^^Vr fe ?^
:

P
ggg^^Jfj^g g r-J^-^J^r'^^^^J^^^^s.^j ^^^^g^

^g^^- j>-") ^rj^g^^ j^ ^^^=j^^F^

'^f=^^^^=f=^i=]^'^=f^^:^s:
m^ ^^EEggZ?=^^i^g-T-^^^^^-^E^^=^^^^^ESEgE
B^^^^^^^g^^^^^^^^^ ^ F- E^

Morendo.
Ped^ Sempre piu dim.
-^ - ^ .;=^
ifS

'

*-l ^ *-*-^ r:^^^* 1--~- V-^^m -^~

.^^S:
^^ 5SS=I X= '
y| I
-
*!
*
l
! f I
! r
^im^Hm wmm^am hi^b^v ^^^b)

e!^-^^^^^^^^

Fagot. Comi.
Ped. :^ ^= sd .
^
-.hf! B,t
lifES^i-l^ll: -tiil:
i>^4


76 BERLIOZ' TREATISE UPON

The part taken by the pianoforte, on the unique
occasion alluded to, is quite different. The author,
in a chorus of airy spirits, has employed the instru-
ment d quatre inainn, in accompanying the voices.
The lower pair of hands execute rapid ascending
arpeggios in triplete, to which respond, at the second
balf of the bar, another (descending) arpeggio in
three parts executed by a piccolo flute, a flute, and a
clarinet, upon which trembles a double shake in
octaves by the upper pair of pianoforte hands. No
other known instrument could produce this sort of
harmonious quivering, which the pianoforte delivers
without difficulty, and which the sylph-like character
of the piece here renders desirable :

Manndrame.
No. 20. Fantaisie sur la Tempete. Bkrlioz.

Primo.

Secondo.

Piccolo
Flute Solo.

Flute Solo.

- ^ --

^
^

"^
Clarinet
Solo.
jg^ r ^g^^

Caoaua.
 F

MODERN INSTRUMENTATION AND UKCHESTRATION 77

Sves
tr^C S
'H^ ^
:^=-b==^^^
h-,
:ft
g;^_^g^^Jg-_.Jt;^ ^ -.ljJL_^_,l!^

h-
J^ ;*

p^igl^^^^^ii^iii^^^^igi^
3>*55=^^5==^i^-^^3EE.=

^^^^ .^s. .^i it"*-,. ^g -^i^^

_.^-^ ^ c
n;!^^ ^
U2.
m -r-
31:

-r-

-^^ g :p- p^^^^^^^^?j::3 "Jgi .=&z

T8ves.

mm-m-
^np 5^5 -F_ j-ti^^i P
-t=!:l=l-i>
^

tb;
- laii da Mi-ran (ia, j\Ii- iMii (la,

ran da. Mi-Tan (la, Mi -ran

-S5 p- ;gE^EEE;-Zg^^EgZ^-':EEf^:^.^^^^^~-gEE^P
ran da, Mi -ran da,
ran da. Mi-ran
_:#:

:{2;p--:
^E^E=E?^^ |e^=g^|5j^
- ran da, Mi -ran da,
- ran da. Mi-ran da,

.baz
zz^rfz
-j^rL \^ zzz:z:
z=.z/-

ran da, Mi-ran da.

ran da. Mi ran

i:-9EP=i^
;^^^^^^s=^?^
- - rati da, Mi ran da,
- - run rfa. ,1/1 ran
78 BERLIOZ" TREATISE UPON

now, now comes thy pro - des - tin'd lius band.

ehi te lie sti na - to spo

MODERN INSTRUMENTATION AND ORCHESTRATION. 79

Whenever, on the contrary, the pianoforte is made composer, should reflect that the author of the work,
to go beyond soft effects, and attempt a forcible whatever it may be, has probably devoted a hundred
competition witli the orchestra, it vanisiies entirely. times more consideration to the place and duration
It should accompany, or be accompanied unless, ; of certain effects, to the indication of particular move-
like harps, employed numbers.
in large This would ments, to the design of his melody and rhytlmi, and
not be unadvisable, I feel persuaded but there ; to the choice of his chords and instmments, than he

would always be on account of the large space has given, before thus interfering. There cannot be
they occupy
much difficulty in assembling a dozen too strong a protest made against tlie senseless pri-
grand pianos in a moderate sized orchestra. vilege too often claimed by instrumentalists, singers,
Considered as a small orchestra in itself, the piano- and directors of orchestras. Such a mania is more
forte has its own appropriate instrumentation, which than ridiculous; it will lead, unless care be taken,
forms a portion of tlie pianist's art. It is his duty, to the introduction of innumerable and unjustifiable
on many occasions, to judge if it be requisite to irregularities into the Art, and to results the most
render certain parts prominent, whilst others are left disastrous. It rests with composers and critics to
in shadow; and if he ought to play conspicuously combine never tolerating it.
in
an intermediate passage, by giving Hghtness to the A pedal much
leas used than that which raises the
upper ornaments, and less force to the bass. It is
dampers of which, nevertheless, Beethoven and
for him to decide the occasion for changing fingers, some others have availed themselves with deUcious
or the eligibility of using the thumb only, for such results
is the soft pedal (one-string pedal). It is
and such melody. He knows, in writing for his not only of excellent effect, contrasted with the usua".
instrument, when the harmony should be spread or sound of the pianoforte, and with the pomp of sono-
brought close the various degrees of distance that
; rity produced bj' the principal pedal, but it is of
arpeggios should have, and the different sonority indisputable utility in accompanying singing, when
thence resulting. He should know, above all, how a character of softness and gentleness is to be given
to use the pedals judiciously. On this subject, it to the execution. It is indicated by these words :

ought to be observed that the great pianoforte com- " soft pedal " or, in Italian, " una corda."
; Its ac-
posers have never failed to mark with as much care tion consists in preventing the hammers from reach-
is appropriateness the places where the principal ing two of the three strings strung in unison for each
pedal should be taisen and quitted. Yet many per- note. Then only the third string vibrates; whence
fonners
both great and small
persist in neglecting results a diminution of sound by two thirds, and u
these indications, and keep the dampers constantly very remarkable differpnce of character.
raised, utterly forgetting that the harmonies must
necessarily be prolonged one into the other, in a
manner the most discordant. This a deplorable
is
Wind Instruments.
abuse of an excellent thing ; it is noise and confu-
sion substituted for sonority. It is, besides, the
natural consequence of that intolerable tendency in Before studying individually each member of thia
performers great and small
singers and instru- large family, we will fix as clearly as possible the
mentalists to rank foremost whatever they imagine musical vocabulary indicating the different degreeii
conduces to their own personal interest. They think of height or depth of certain instruments, the trans-
little of the respect which is invariably due from positions to which these differences lead, the esta-
executant to composer, and of the tacit but absolute blished mode of writing for them, and the denomi-
compact, made by the former to the audience, that nations which have been applied to them.
he will faithfully transmit the latter's idea to them, We will first indicate a line of demarcation be-
whether he honour moderate talent by acting as its tween those instruments of which the sound is pro-
interpreter, or deliver the immortal thought of a duced as shown by the musical signs, and those of
man of genius. In both cases, the performer who which the sound issues above or below the written

thus allows himself following the caprice of the note. From this classification the following list*
moment to go contrary to the intentions of the result :

TABLE.
NON-TRANSPOSING INSTRUMKNTS ;
TRANSPOSING INSTRUMENTS;
FROM WHICH THE SOUND I.S.SUES AS IT I.S WRITTEN. OF WllK II THE SOUND IS DIFFERENT FROM THE WRITTBK NOTK.
Tiie Violin.
Viola.
Viole d'amour.
Violoncello The Double-Bass.
Usual Flute All other Flutes than the usn.il one.
Hautboy The Corno Tnglese.
Clarinet in All Clarinets excepting the Clarinet in C
Bassoon f Basson-quinte.
Russian Bassoon ^Double- Bassoon.
Horn in high C All Horns excepting the Horn in high
 )

80 BERLIOZ' TREATISE UPON

NON-TRANSPOSING INSTRUMENTS. TRANSPOSING INSTRUMENT!
C-orupt a Piston in C All Cornets a Piston excepting that in 0.
Tnimpet in All Trumpets excepting the Truiuj^t in C
Alt) Trombone \ Comets without Pistons.
Tenor Trombone > Alto Trombones with Valve.
Bass Trombone )
Ophicleide in C All Ophicleides excepting that in C.
Bombardon The Serpent.
Bass -Tuba.
Harp The Guitar.
Pianoforte.
;~
^ .,, ,, /^when written on the G clef
(when written on their respec- -X
1

57 . ^. f
mienors and \j
i ,i j xi
their sounds then issuing

Voices <J 11 f
, . 1 11
tive clefs; and not all equally > ^ <\ ^ i i
-5 i

on the n cleff
Basses an octave below the vvnt-
i
(^
i.1
G 1

J
I
f
Kettle -Drums. ^
Bells.
Ancient Cymbals.
Sets of Bells.
Glockenspiel Keyed Instrument with stee bars.
Keyed Harmonica.

It will be seen by this table that if all the non-
transposing instruments said to be in C, emit their
sounds as they are written, those, like the violin,
hautboy, and flute, which have no designation of key,
are in the same condition. They are therefore, in
the composer's eye, similar to instruments in C.
Now, the denomination of some wind instruments,
based on the natural sound of their tube, ha led to
the most singular and most absurd consequences it
has caused the art of writing for transposing instru-
ments to become a very complicated task, rendering
the musical vocabulary perfectly illogical. This is
the place to show a better way, and to establish
some kind of order where we find so little existing.
Performers sometimes say speaking of the tenor
trombone the trombone inljjp; in speaking of the
alto trombone, the trombone in .Sb ; and still more
frequently, in speaking of the usual flute, the flute
in n.
These designations are correct in the sense that
the tube of the two trombones, with the slide
closed, gives out, the one the notes of the chord of
B\?, the other those of the chord of Ei? ; while the
usual flute, Avitli holes stopped and its keys
its
closed, gives out the note D. But as performers
pay no regard to this resonance of the tube, as they
produce really the written notes, as the of a tenor
trombone is a C and not a Bjp, as that of the alto
trombone is still a G and not an _Ep, as that of the
flute is also a G and not a D, it evidently follows
that these instruments are not, or are no longer in
the list of trnnsposing instmments that they con-
sequently belong to that of the non-transposing
instruments ; and that they are supposed to be in
C, like hautboys, clarinets, horns, cornets and trum-
pets in C ; while no designation of key should be
has become the fashion instead of saying simply
tierce flute, ninth flute, which at least offers no con-
fusion in the terms to call these instruments, flute
in F, flute in Up. And to what does this lead ? In
a score, the small clarinet in J\p, of which the C
really makes Up, can execute the same part as a
third flute, so-called in U ; and these two instru-
ments, bearing the names of different keys, are ne-
; vertheless in unison. The denomination of one or
other must be false ;and it is absurd to adopt solely
iov Jlutes a mode of appellation and of designation
of keys, different from that in use for all other
in&triimentx.
Hence the principle which I propose, and which
renders impossible all misunderstanding : the key
ofG is the point of comparison which should be taken
in specifying the keys of transposing instruments
The natural sound of the tube of non-transposing wind
instruments can never be taken into consideration.
All non-transposing instruments, or transposing
only in the octave of which consequently the writ-
ten G
gives C are considered as being in C.
Accordingly, if an instrument of the same kind is
tuned above or below the pitch of the typical
instniment, this difference will be designated accord-
ing to the relation which exists between it and the
C key of G. Consequently, the violin, the flute, and
the hautboy which plays in unison with the cla-
rinet in G, the trumpet in G, the horn in C, are in
G ; and if a violin, a flute, or a hautboy be employed,
tuned a tone higher than the usual iustruments of
; this name, this violin, this flute, this hautboy, then
playing in unison with clarinets in B, and trumpets
in D, are in D.
Whence I conclude that the old mode of desig-
nating flutes shoidd be abolished that the tiere*.
:

applied to them, other, at least, than that of G. flute should no longer be called flute in F. but
Tliis established, it will be seen of what importance flute in E\), since its 6' makes EQ
; and that ninth
it is not to call the usual flute, flute in I). The flutes and minor second flutes should no longer be
other flutes, higher than this one, having been called flutes in E\> ; but large or small flute in D^,
designated according to the difference existing since their G makes Z>b : and so on with all the
Detween their pitch and that of the usual flute, it other kevs.


MOUEUN INSTRUMENTATION AND ORCHESTRATION. 81

Rked Instrvments. iDifllcuit.

Difficult.

The to. i':?*.. ftrzfl- ^Ji^ fl^g- ^*

family of double reed instruments should be
di8tin:^uisheii from tliat of single reed instruments.
I

^
The former is composed of five members : the
hautboy- tlie coruo inglese, tlie bassoon, the basson- Impossible
quiute, and the double-bassoon.
J}Jg- Vf'ia. !*-. iSfl. ^^f^ h^- <^ ;c:
The Hautboy c -<r;
Its compass is two octaves
iS and
ai a sixth. It is
written on the G clef :
Hautboys, like all other instruments, are much
more at their ease in keys where there are few sharps
or flats. They should hardly be made to play out of
this limit :

-m--m- ^

The last two notes should be used with much

pa^^P^lt=$J:^ 1 t:-nr

reserve the F particularly is hazardous, when it

;
The sounds that exceed it, eitlier below or above,
presents itself abruptly. Some hautboys have the being weak or thin, hard or all of rather
shrill, are
a bad quality. Rapid passages, chromatic or dia-
low Bb, 3 but this note, not being generally tonic, can be tolerably well executed on the hautboy ;

acquired on the instrument, is better avoided. but they only produce an ungraceful and almost ridi-
Boehm's system obviates the difficulties of fingering culous effect. The same is the case with arpeggios.
still belonging to the hautboy in its present state,
The opportunity for such passages can be but very
and met with in rapid passages from the middle C^ to r.ire and, indeed, we confess to not
: having yet met
the note above :
with them. That which tempts solo-performers to
use them in their fantasias or airs with variationa
goes but a little way to prove the contrary. The
\z or: hautboy especially a melodic instrument has a
'^ll is : it

paatoral character, full of tenderness nay, I would

And from the G^ to the Ff: ^rp^^^S^E:^^ oven say, of timidity.
It is nevertheless always written for, in the tutti
The shakes formed of these different intervals, parts, without paying attention to the expression of
and of some others also, are impossible, or exces- its timbre, because there it is lost, and the peculiarity

sively difficult, and produce a bad effect, as will of that expression cannot l)e distinguished. It is the
be seen from tlie following table :
same let it be at once understood with most other
wind instruments. The
only exception lies where
Difficult. Impossible. the sonority is exces.ssive, or tho quality of tone

I I I
|

m-EEi markedly distinctive. It is impossible without

tr
trampling under foot both Art and good sense to
tr tr tr tr tr employ such exceptional instruments as simple
tr tr tr instruments of harmony. Among them may be
ranked trombones, ophicleides, double-bassoons, and
in many instances trumpets and cornets. Can-
dour, artless grace, soft joy, or the grief of a fragile
DifficultTI
being, suits the hautboy's accents it expresses them ;

S^^^^li3=[Si^=^^t^ admirably in its cantabile.

A certain degree of agitation is also within it
^n^iffic ultTI tr . tr powers of expression; but care should l)e taken not
to urge it into utterances of passion or violent out-
bursts of anger, menace, or heroism for then ita ;

Difficult.
small acid-sweet voice becomes ineffectual, and abso-
Difficult. I

I
<r I
Impossible. I i i i i i

lutely grotesque. Some great masters Mozart among

others
have not escaped this error. In their scores
passages are to be found, the impassioned meaning
and martial accent of which contrast strangely with
the sound of the liautboy that executes them and ;

thence result, not only effects missed, but startling

disparities between stage and orchestra, melody and
instrumentation. The theme of a march, however
Difficult. .
]

manly, grand, or noble, loses its manliness, iti

grandeur, and its nobility if hautboys deliver it. It
has a chance of preserving something of its cha-


62 BERLIOZ' TREATISE UPON

meter if given to flutes, and loses scarcely anything Fates "). These complaints of an innocent voice.
by being assigned to clarinets. Where in order to these continued supplications ever more and more
give more weight and body to the harmony, and appealing,
what instrument could they suit so well
more force to tlie group of wind instruments em- as a hautboy ? And the celebrated burden of the

ployed hautboys are absolutely needful in a piece air of Iphigenia in Tauride : " malhereuse
such as I have just described, they should at least be Iphigenie !
" And again, that childlike cry of the
written for in such a way that their quality of tone orchesti'a, when the midst of her en-
Alceste, in
(not suited to this particular style) is completely thusiasm and heroic self-devotion, struck by the
covered by the other instruments, and so blends recollection of her young sons, suddenly interrupts
witli the mass as no longer to be recognized. The the phrase of the theme " Eh, pourrai-je vivre sant
:

lower sounds of the hautboys, ungraceful when dis- toi?" to respond to this touching instrumental appeal,
played, may agree with cei'tain wild and lamenting with the heart-rending exclamation " O mes en- ;

harmonies, united to the low notes of the clarinets, fans !

" And
then, the discord of the minor second
and to the low D, E, F, and G of the flutes and in Armida's air on the words " Sauvez raoi de :

corni inglesi. I'amour " (" Save my weak heart from love ") All I

Gluck and Beethoven understood marvellously well this is sublime not only in dramatic thought, in
:

the use of this valuable instrument. To it they both profound expression, in grandeur and beauty of
owe tiie profound emotions excited by several of melody but also in the instrumentation, and the
;

their finest pages. I have only to quote, from Gluck, admirable choice of the hautboys from amidst a
the hautboy solo of Agamemnon's air in Iplivjenia throng of instruments, either inadequate, or incap-
in Aidide: " Peuvent-iis," &c. ("Can the harsh able of producing such impresssions :

No. 21. Iphigenia in Aulide. Gluck.
*t Violins.

Ind Violins.

Flutes and
Hautlioys.

Violas.

Al AMEMNON.

Can the liarsh Fates cdndenin a Fa - tlu!i- to pre-pare the nl - tar liim
Peu-vent - Us or don-ner quun pi: - re de sa main jn-esenle a I'au

Double liasses.

U.^| "-B
: '

f
'-^^S
=f^^
g

self. and plant witli his own liaiids the wre.itli that decks the viL-tini'slnow? Deck my ten der child, mv
/ pa - re du handeau mur - lei le front dCu-ne vie - time et si len-dre et n
 MODERN INSTRUMENTATION AND ORCHESTRATION. 8*

I nc, - vcrwill o bcv their in - linnian decree ! I

je n'o - be i - rut point a cei ordre in-humain. Je

=5^=
ne-vcr will o-!iey their in - hn - man de - cree. 1 hear in each
n'oh(- i - rai point a cet ordre in - hii - main. J'entendi re - ten
Fagot.

throb of my breast the plain - tive cry of outrag'd Na - tare, How she
tir danx vion sein h cri plain - tif de la nu tu - re el It
e4 BERLIOZ' TRKATISE UPON

is more migh
est plus tit

I I I

.^^
^-
zee:
^^ ^^ o- I I
324= -^A
~f^
^
^f~

'di-j^

than or - a - dfs pro . nounccd by Fates than or - a - cles pro - noixnced by

que let - ra - cles du rles - tin. que les o - ra - cles du det

Pates. I ne-ver will obey their in - hu - man decree, 1 iie-verwill obey their in-
tin. Je no - h-i- rai point a cet ordre in-humain, Je n'o - b^ - i-rai point a cet

S^
 MODERN INSTRUMENTATION AND ORCHESTRATION. 86

No. 22. Armide. Gluck.

Moderato.

)st Violins. s=j-:3:^j=j^^ f^^^iS^rQ-r,-=5:^^^;^j^

f
Uniss,
f -
r' V- T
r-

2nd Violins.

Hautboys
i 9-e-

Violas.

Hornt in F.

Bassooni.

Arhida.
86 BERLIOZ' TREATISE UPON

^^"^J'~>^^^^^^=J=^^=^-^^33^^
 MODERN INSTIIUMENTATION AND ORCHESTRATION. 87

$ pit. save my weak lieart from Love, save my weak lieart from Love.
bk S'tu-vez - moi de - Va - monr, suu - vez - mui de I'a - moiir.

^ ^ r -f^-^-f
88 BERLIOZ' TREATISE UPON


MODERN INSTRUMENTATION AND ORCHESTRATION 83

Beethoven has demaiuled more t'roiu the joyous minor solo of tlie second return of tlie first movemeni
fcccent of the hautboys witness the solo in the
: of the Sympliiiny in A ; andante of
in tiie episodical
scherzo of the Pastoral Sympliony ; tliat in tlie tlie finale to the Eroica Symphony and, above all,
;

ec'herzo of the Choral Symphony that in ; the first in the air of Fidelio, wiiere Florestan, starving with
uiovenient of the Symphony in Bb. &c. But lie
has no less felicitously succeedeil in assigning tliem
hunger, believes himself,
in lus delirious agony,
surrounded by his weeping family, and mingles liis
Bad or forlorn jiassages. This may be seen in the tears of anguish with the broken sobs of the iiautboy

No. 23. Pastoral Symphony. Bef.tiiov en.

Hautboys

B&ssoons. vS^

Violins

^ ^=f=^^^^.=l :^==t

-^=^^' J J I
^^

i -V l; -r r- l==l s^--^ gE^^^^SE

w I

fp
tS^lD-

fP
l^^i^^^^^p^^
 ^

90 BERLIOZ' TREATISE UPON

No. 24. Symphony in A Beetkotbn

flutes

Hautboys.

Clarinets
in .i.

Homs in A.

Bassoons.

VioliLs.

M
zjirr d.. M J
p:-i,__-<cs:*_<_P

Violas.
--^=W^==^ ^B^^
rg- ^ t^

Violoncellos.

Double-basses
gPg^ Pizz.
-^-^ *r
 MODERN INSTRUMENTATION AND ORCHESTRATION. 91

No. 2o. Kroica Symjihotty --]\y:i'. i iiovbn

Poco Andante.

Hautbdj'

Clarinets in Bfr

Ist k 2nd Horns (

in Et>.

3d Horn in El?

Bassoons

Violins


:2 BERLIOZ- TREATISE UPON

-m

m^i

W-^"

*- "^ '^* ' ' eres

^feE^^^^EJ
1
 r

MODERN INSTRUMENTATION AND ORCHESTRATION. 9)

No. 2G. /iJfl'io. BiKTHOVKl.

Poco Allegro.
Solo. ^
Hanthoya.

Horn* in P.

^-^ 5 % ^- ^

Violins.

Viola.

Vialencellos.

OosMe-bui.

ZHm

~ W 5^
$> 1 j^ E3^^^fH-^^=? 1 I^^EEg^EgE^^Mq^
-J^.

i
J- =}r
^ =3?
J^
5 ^-^

Dim.
> ^ 1
^~ ^^=^=^

^^g^EJ^g^feasgsE^

Whore am I? how comes it? my

Oil suis -jef quel chamte '
Xt- .Si-

P Dol.
Dim.

Dim P Dj/.
 !

9ft BERLIOZ" TREATISE UPON

-
.. _> ^ ^ ^ I _ ^ S J
P

heart is re - liev'd what calmness pre - vails o'er my senses an an gel de-
pire en man caeur Quel cal-me sou-dain je res -pi -re mon a me, vwn

m^ ^ ^ a g ^ ^z

-V^^^-^r- ^ :4,' V

sccndeth to watch o'er my woes, and bright - en the pros - pect of ear - ly de-liv'rance.
a -me re-nnit au hon -heur quel e - tre di - vin a mes maux vient sou-ri-re.

t t ?:
 MODERN INSTRUMENTATION AND ORCHESTRATION. 95

-^
M EHfE ii
^

My wife, my Le - o - no - ra Le - o - no - ra. She smiles thro' the

E - pou - se que j'a - do - re El - le - no - re. c'est toi c'est

darkness she beck' - neth me for - ward. My an gol ! I come I

toi oui Pa - mour vient m'ouvrir . . . m'ou - vrir ce s^-jour.

 :

SG BERLIOZ' TREATISE UPOx>^

The CoDW Inglesc. to be written in O ; if U play in D, the conic

This instrument is, so to speak, the alto of the
hautboy, the compass of which it nearly equals. It
is written on the G clef, like a hautboy in F below;
and, consequently, a fifth above its real sound.
inglese should be written in A ; &c.
What has just been said upon the difficulties of
fingering for the hautboy, in certain groups of
sharpened or flattened notes, applies also to the
corno inglese rapid passages upon it have a still
;

worse effect its quality of tone, less piercing, more

;

Its scale veiled, and deeper than that of the hautboy, does
.0. .0. not lend itself so well as the latter to the gaiety of
|=H5feS3HfHr=fel3:^=i^ rustic strains. Nor can it give utterance to anguished
Fipr^ali^igl complainings accents of keen grief are almost be-
;

yond its powers. It has a melancholy, dreamy, and

produces for the hearer this rather noble voice, the tone of which possesses a
vague, remote quality that renders it superior to all
zd others in exciting regret, and reviving images and
E^EiE^!!^:.EEtEHEE^
dT^ - *- With the chromatic
sentiments of the past, when the composer desires
3: J: intervals.
to touch the secret chords of tender memories. M.
Many corni inglesi possess also the low Bt?. Hal6vy has, with extreme felicity, employed two
corni inglesi in the ritornello of Eleazar's air, in the
If the orchestra play in C, the corno inglese ought fourth act of 2%e Jewess.
No. 27. I'm Jewess. II AI.E\Y.

Andantitioespreasivo..^,'

Corni liig'esi.

mm^^^^^smM^^m
tiumi ir. P.

isl Bassoon.

Ind Bassoon

Kettle drur.is
ill P.

Violins.

Violas.

Violincellos.

UOfcbt'*^ lvuu.


MODERN INSTRUMENTATION AND ORCHESTRATION 01

^g^^5^^^^^^^^^^

M\

m 3^
'->
f* ^- -F FF- E^ ^E^ZJEt
-* Hr
-r-^- g 1 I
^^-^ ;~je ^-p=iE^^^ J I

'^^.ri?^ :- f-r ^^ -F^^ ^^^^i^

F

i;i2=r=t^rt:r |g..'^3^Spp^=gg^^g^pEg:^i^jZ::5-^ ^7^"7l

96
lu the Adagio of one of my own symphonies, the
coruo inglese, after having repeated in the bass oc-
l&\e the phrases of a hautboy
as the voice of a
youth might reply to that of a young girl in a pas-
toral dialogue
reiterates fragments of them (at the
close of the movement) with a dull accompaniment
BERLIOZ* TREATISE UPON
of four kettle-drums, daring the silence of all the
rest of the orchestra. The feelings of absence, of
forgetful ness, of sorrowful loneliness, which arise in
the bosoms of the audience on hearing this forsaken
melody would lack half their power if played by
any other instrument than the corno inglese.

No. 28. Fantastic Symphony. {Scene inthe fields.) BtfeLlOT.

Adagio.
Corno Inglese.

Ut Kettle drums 1st Drummer, drum-

in Bb, high F. stick of sponge.
Two Drummers. 2nd Drummer, do.

2nd Kettle drums

3rd do. do.
in Ab, C.
4th do. do.
Two Drummers.

#^" r -g^
pSmdim.

fPF^ PP PPP
J \

*dim.

PPP
^^g "T-y W

ipp s ^/ /=- ^
 MODERN INSTRUMENTATION AND ORCHESTRATION. 09

The mixture of the low sounds of the corno |

effect was unknown either to Mozart, ^^'ebeT, oi
mglese with the bass notes of tlie ch^rinets and I
IJoetlioven. A magnificent example of it is to be
horns, during a tremolo of double-basses, gives a i loiuxl in tlie duet in the fourth act of tlio //(^(^t/eno^*;
sonority as peculiar as it is novel, and well suited and I tliink M. Meyerbeer is the first wlio caused
to colour, with its menacing impression, ideas it to he lieard on the stage.

ID which fear and sohcitude predominate. This

No. 29.
Thf Jlut/ucnols. M E v e r b k k H.

\-:^,m:^::^mm'^^^ l^Sr.^^:m jtjmzj^mzi.m ^.y*"

Violins.

Violas.

Corno Ing.we.

CUrinott in Bp

CUrinet in A.

Bestoa-.s.

Ccmets h Pislor
in B:.

Raool.

Violoncelios.

DeoEie .>tar
100 BERLIOZ* TREATISE UPON
 1

MODERN INSTllUMENTATION AND UUCHESTllATION. 101

IIIcompositions where the prevailing impression Difficult.

Ls tliat of mehuicholy, the frequent use of the corno tr

inLclese, hidden in the midst of the great mass of

instruments, is quite suitable. Theu, only one
hautboy part nee>l bo written; replacing the second I
Imijossible.
]

by tliat of the corno inglese. Gluck has employed

this instrument in his Italian operas Teleniai'o and
Orpheo ; but without manifest intention, and with-
out much resultant effect. lie never iiitroiluced it
in iiis French scores. Neither Mozart, Beethoven,
nor Weber have used it wherefore, I know not. ;
DilticultTI DifficulTI
I I

Tlic Bassoon.
The bassoon is the bass of the hautboy ; it has a
compass of more tiian three octaves ; and it is written
[Diffic
ncult. [Difficult. i Difficult. I

thus, upon two clefs

I
I
:

IHazardous.l
All others above Fj are cither bad or impossible.
With <hc Clironiatic Intervals.
This instrument leaves much to desire on the score
l)iit it is more than prudent not to carry itabove the of precision of intonation and would gain, perhajts,
;

last Bb- I'he keys with whieli it is now-a-days more than any other wind instrument from being
constructed according to Boeiim's system.
provided allow it to give the two low notes,
'I'iie bassoon is of tlie greatest use in tlie orchestra

on numerous occasions. Its sonority is not very

which formerly were out of its reach. Its fingering
great, and its quality of tone, absolutely devoid o/
ih the same as that of the ilute.
brilliancy or nobleness, has a tendency towards tht;
There are many shakes quite impossible for the
bft8K)on, at the two extremes of its scale.
grotesque which should be always kept in mind
when bringing it into prominence. Its low notes
Impossible.
I tr tr tr tr tr tr tr tr 1r
|
I
form excellent basses to the whole group of wooden
wind instruments. The bassoon is ordinarily writtet
for in two parts but large orchestras being always
;

provided with four bassoons, it can then be without

inconvenience writtten for in four real parts; or, still
DifticulT! Impossible. T Difficult.
I

I
tr tr
I

\
It
I

|
Difficult,
tr
nnipossible.
\ tr \ tr
!

\
better, in three
the lovs'cst part being doubled an

|gpiPp^^=3-^=|33^fe=^^ octave below, to strengthen the bass. The character

of its high notes is somewhat painful and suffering
would say even miserable but they can sometimes

1 Impossible.'
tr\ tr I
tr tr be introduced into either a slow melody, or passages
of accompaniment, with most sur]n-isiiig effect. Thus
^.z^,:^^i:S^^^^^^^^ the odd little cluckings heard in the scherzo of Beet-
hoven's C minor Symphony, towards the close of the
tr tr tr tr
decrescendo, are solely produced by the somewhat
fe^^si^i^?^^ilii^^^(i^ forced sound of the higli A|7, and the of the G
bassoons in unison :

No. 30. Beetiiuvkw,

Symphony in C minnr
Allegro, t^ = 96 Inio. Sulo.

Horns in Et?.

trUMne. P Pizx.

i=^^m3^^^
P Pizx.

VioI;l.

Violoucellcs.

102 BERLIOZ' TREATISE UPON

Hautboy. Imu
m m
Solo..

%5|#^^ ^^^feg^d-^aE^i^^^ F
'PP Sempre.

PP Sempre.

!fe ^ r rn r^pT'-K^E r r u^^^=^r=r^f=^r^=r ^i

m'kz ^ ^E| zzf^^r_ |

r
-t*-c
oz^ ^^^ S r r^g| J i* r H

When M. Meyerbeer, in his resurrection of the T^,

Nuns, wished to find a pale, cold, cadaverons sound,
he, on the contrary, obtained it from the weak middle
iE^"EE^|^g=ti^^ iL;t
notes of the bassoon :

No. 31.
Robert ie Diiible. Meyerbeer.
^^^^^^^^m^^^
A ndante.

tSai;oons Soli. and detached, {the sforzandi slightly marked.)

4^-= *EME'Z^i:sc:*EiJ
3

7-t^^km ^^^^^^^i Rapid passages of bound notes may be successfully

employed they come out well when they are written
;

keys of the instrument, such as D,

in the favorite
G, F, i?b, -^b, A, and their relative minors.
C,
The following passages produce an excellent effect
in the second act of the Huf/uenots
 MODERN INSTRUMENTATION AND ORCHESTRATION. 108

No. 32.
The //mi/umo/j. MetEiiein

VIoliKS.

Violu.
m~~

flute.

PPP
Imo, Solo. ^ Col Vno. 2ndo.

O'arinet in Bb. .^=e ~ E9==

fPP

i Horns in Et?.

1 Horn in Bp,
(low.)

I^ettle- drums
E^and Bt>.
ia

^
rr^^==pz y * p ~^ z
i^^^^^^-

2 Harpf.
-^^^^^^^^^^^^^
^^^=^^.
i^=^^i5=^-=^r=^

Chorus
f young girls.

Youiic; maidens fair,

Jennes beaules,

Violoncellos.

Very soft, legato

D<i>ib'.c bviio.


BERLIOZ' TREATISE UPON

voiiiig maidens fair, who brave the Fi:n and noon -day heat.
jeunes beauU.^, bra-vent le jour et la cludeur.

The Basson-quinte. above the bassoon as does the corno inglese below the
hautboy. The corno inglese should be written a fifth
The liasson-quinte is a diminutive of the pre-
above the real sound, and the basson-quinte a fifih
ceding; and its pitch is a fifth higlier. It has
below; theretbre the basson-quinte will play in F
;

al)Out the same compass and, like it, is written upon

when the bassoons play in C, and in G when they
;

two clefs, lint transposing :

are in D, &c. There is no such instrument in the

generality of orchestras, where the corno inglese re-
places it advantageously in its two upper octaves
(>- ' With the chromatic intervals. Its quality of tone has less feeling, but more force,

^v)l'eh produces in real sounds tlie fdllo wing scale :

than that of the corno inglese, and would be of ex-
cellent effect in military music. It is a great pity
and \cry detrimental to wind instrument bands,
where masses of large and small bassoons might
With the cliromntic intervals. soften tlie harshness of its sound, tliat t!ie bassfjo-

The hasson-quinte occupies the same jiosition quinte should be entirely excluded from them.
 1

.MODERN INSTRUMENTATION AND ORCHESTRATION. lOo

2'lu: Double- Bitx.so(>n. C above the stave, partake only n little of the tart-
This -.iiatriiniciit is to tlie bassoon, what the dou- ness of the hautboy's loud sounds while in eliaracter ;

ole-bass is to tlie viohmcello. Tliat is to say, its

the lower sounds approach, l)y the roughneBS ol
ound is an octave lower than tlie written note. It (heir vibrations, those of certain notes fin the bassoon.
nas sekioiM nu)re tiian tliis con\pass :
'I'he clarinet is written on the clef; and its G
.
->-
compass in three octaves and a half, or more :

b" " Witli \\w cliromatic intervals. i -^ .i;

--
i^E^^^iM^^EE^i
" With the chromatic interval
<\"iiich produces in real sounds :-

zd --
^m-iz i: -jz
F=*= rfE=dE
Sve bassa - - loci.
lElEii
r^] Difficult. Very hazardous.
The two notes of this scale come out with
first Four registers are reckoned on the clarinet : the
difficulty ;
and are very inefl'ective. on account of low. the chalunieau, the medium, and the higii.
their extreme deptii. The first comprises tiiis part of the scale :

It needless to add that this very ponderous

is

^TT^^ W^^
instrument is only suitable for grand effects of har-
mony, and to basses of a moderate degree of speed.
Beethoven has used it in the finale of his Sym])iionv
The second, this :

in C minor ;
and in that of his Choral
Sympliony.
The^e notes are generally dull.
It is very valuable for large wiml instrument bands;

nevertheless, few players oarc to learn it. Occa-

sionally an attempt is made to replace it by the
The third contains the followingr notes
ophicleide, the sound of which has not the same
depth, since it is in unison with the usual bassoon,
and not on the octave below. Moreover, its quality
of tone has no analogy in point of character with that
of the double-bassoon. I think therefore it is better,
And tiie fourth is found in the eraainder of the
in the majority of cases, to do without the double scale n\> to the highest D :

bassoon part than to give it to an oj)hicleide. 2: ;C i=

, -1 .*- -t- -t- -
Clarinets.
Simple reed instruments, sucli as the clarinet, and
the corno di bassetto, foi-m a family wiiose connection A considerable number of diatonic successions,
with tiiat of the hautboy is not so near as might be arpeggios and sliakes, formerly impracticable, are
tliought. That which distinguishes it especially, is no longer so, thanks to the ingenious mechanism of
the nature of its sound. The middle notes of the keys added to the instrument. They will become
clarinet are more limpid, more full, more pure than even easy when the system of Sax is adopted by all
double reed instruments, the sound of which
tliose of the manufacturers. It is however jjrudent these
isnever exempt from a certain tartne.s or harshness, improvements not being yet generally adopted not
more or less concealed by the ])layer's skill. The to write such passages as the following, unless the
Vgh sounds of tlie last octave, commencing with tlie movement be verv .>low :-

,^si_^^ i=^__ ^^-T- ^^paSiTS

? J- '- -i dr* i '

' '
-t -* *--
 :

loi; BERLIOZ' TREATISE UPON

The number of major and minor shakes practicable !k A ^l sA #^

b.:^ij.t^i';.it-:..y: %. iJ-
on the clarinet is considerable. Those which are not
to be played with surety
subjoined scale
are designated in the
:
Diff. I
Very difficult. I
^
Diff- I

. Impossible. Imposs. I

"^1 I

Ir \
tr I

^i^ig!
D::zl:
"^0-
:3zz ^3^ , V- ; +^ T- 1 i -^ I -: 1 T-:^.
T-"
^=^ 17? |g i??,3i fi?S
I
Diff. I
Impossible.
Difficult. I
Diff. ~r Diff.
tr tr \ tr \ tr
The favorite keys of the clarinet are the keys of
i^9" at.^ "^-jf^Et P>'3- ^'^- 'K.S:
C, F, G, principally; and then those of B\?, E^.
.4 b, D^ major, and their relative minors. As there
exist clarinets in different keys, their use makes it
I
Diff. I
Diff. n
tr \
tr \ needless for the performer to play in keys containing

iS^fJ^^" 3?^=^-b?l -tl^ ^^5^^ many sharps and flats; as Ay^, E^, B'Q^, Dp, G|?
major, and their relative minors.

There are four clarinets in general use at present

J
Diff.
I
ni)Tff~
tr tr tr tr
\ \ \

The small clarinet in ; Ep

to which it is not
well to give a compass beyond three octaves and two
notes :

I
blflT Diff.
tr I
r tr tr

pi'3^iiii3i[^^=]i^5i^
Diff. Imp. biff. Imp.
i
I I I

tr \ tr \ tr tr
It is a minor third above the clarinet in C, and is
l^ifeil^ilSiPliiSl^ written for by transposing. Thus, to have the fol-
lowing passage
Imp.
I

, tr , tr . tr \
^
tr \ ,
tr , tr , tr \ tr

Diff. Diff. Diff

I

it must be written

il^ft^^^^=^i Of the
and in A, the two
tlie clarinets in B\f
clarinet in C, and
have a compass equal to
latter
tlie clarinet in C ; but, the one sounding a major
i4>ii|- ?44Mii-'gMI":U= second and the other a minor third lower, their
V Diff. I
Diff. parts should be written in keys so much higher.
 :
MODERN INSTRUMENTATION AND ORCHESTRATION. ion

ClmrvBct
'nC.

Clarinet
in Ut>.

Theae expressions, " good," " bad," " passable," rather than the other from })reference for such and
do not here apply to the difficulty of" execution of such a quality of tone, and not from caprice. To
the phrases themselves but merely to tiiat of the
; persist as some performers do in playing (by
key in which they are written. Moreover, it should transposing) on the clarinet in p, is therefore,
be said that the rather difficult keys,
such as with a few exceptions, faithlessness of execution.

Ah major, and EQ majur, are not to be entirely And this faithlessness becomes more manifest and
shunneil, for simple phrases and for a slow movement. more culpable when, for instance, the clarinet in
It will be seen that, independently of tiie particular A is employed by the composer, who may have
character of their quality of tone
of which we are written for it only to have the low J, which gives
about to speak,
these different clarinets are very
useful as affording facility of execution. It is to be
the a :
Clarinets in A. I
Ral sound
regretted that there are not more still. For instance,
those in the keys of Bti, and of D, which are rarely
to be found, would on numerous occasions offer would the player of the
What, in such a case, clari-
great resources to composers.
net in Bt> ilo, whose low E
gives only the D '!
The clarinet in D is little used, and unduly neg-
lected, for its quality of tone is pure, besides having Clarinet in Bt?.: Real sound :

!0
remarkable power of penetration and on many
;

occasions excellent effect might be produced by it.

The small clarinet in /' (high), formerly employed He would transjwse the note in the octave and I

in military music, has been almost abandoned for thus destroy the effect, intended by the author I

that iu Eb, which is found, and with reason, to be which is intolerable I

less screamy, and quite sufficient for the keys ordi- It has been said that the clarinet has four registers ;

narily used in wind instrument pieces. Clarinets each of these registers has also a distinct quality of
have proportionately less purity, sweetness, and tone. That of the high register is somewhat tearing,

clearness, as their key is more and more removed and be used only in the fortissimo of the
sliould

above that of B\p, whi ,n is one of the finest on orchestra (some very high notes may nevertheless be
the instrument. The clarinet in C is harder than sustained piano, when the effect of the sound lias
that in i?b, and its voice has much less charm. been jjroperly jiropared) or in the bold passages of
;

a brilliant solo. Those of the chalumeau and medium

The small clarinet in ^fbas piercing tones, which
registers are suited to melodies, to arpeggios, and to
it is very easy to render mean, beginning from tlie
smootii passages and the low register is appropriate
A above the stave. Accordingly it has been em- ;

ployed, in a modern symphony, in order to parody,
particularly in the holding notes to those coldly
tlirtatfninij effects, those dark accents of motionleits
degrade, and biackguardize (if I may be pardoned
rage which Weber so ingeniously invented. If it
the expression) a melody; the dramatic intention
this strange transformation.
be desired to cnqiloy with salient effect the piercing
of the work requiring
cries of the extreme upper iK)tes, and if a too sudden
The small clarinet in F
has a still more marked ten-
advent of the dangerous note be dreaded on the
dency of the same kind. In projiortion as the instru-
performer's account, the introduction of the clarinet
ment becomes lower, it produces, on the contrary,
should be hidden beneath a loud chord from i\\i
scunds more veiled and more melancholy.
Generally speaking, performers should use only

whole of the orchestra, which ceasing the moment
Each of the clarinet sound has had time to settle firndy and
ihe instruments indicated by the author.
these mstniments having a particular character, it is

become clear leaves it then fully displayed with-
chosen one out danger:
<<t least probable that the composer has
 108 BERLIOZ' TREATISE UPON
/TV

Clarinei in Bb

Oicliesira.

> J yy Kettle-drums. ''' //'Kettle-drunis.^-'/

r
The occasions tor appi'ujn-iately inserting these the perusal of ancient epic poems. This beautiful
extremely high holding notes are very rare. soprano instrument, so ringing, so rich in penetrating
The character of the sounds of the medium
register, imbued with a kind of loftiness tempering
accents, when employed in masses, gains, as a solo,
in delicacy, fleeting nuancea, and mysterious
a noble tenderness, render them favorable for the tenderness, what it loses in force and powerful l)ril-
expression of sentiments and ideas the most poetic. lianey. Notiiing is so virginal, so pure, as the tint
Frivolous gaiety, and even perhaps artless joy, seem imparted to certain melodies by the tone of a clarinet
ulone unsuited to them. The clarinet is little ap- ]ilayed in themedium by a skilful performer.
propriate to the Jdyl ; it is an epic instrument, like It the one of all the wind instruments which
is

horns, trumpets, and trombones. Its voice is that of
heroic love and if masses of brass instruments, in
: its sound. Thence the precious faculty of producing
grand military symi)honies, awaken the idea of a
warlike troop covered with glittering armour, march-
ing to glory or death, numerous unisons of clarinets,
heard at the same time, seem to represent loving
.vomen, witli their proud eyes and deep affection,
whom the sound of arms exalts who sing while
fighting, and who crown the victors, or die with the
defeated. I have never been able to hear military
music from afar, without being profoundly moved
by that feminine quality of tone in the clarinets.
can best breathe forth, swell, diminish, and die away
distance, echo, an echo of echo, and a twilight sc^und.
What more admirable example could I quote of the
application of some of these nvances, than the
dreamy phrase of the clarinet, accompanied by a
tremolo of stringed instruments, in the midst of the
; Allegro of the overture to Freyschiitz ! Does it
not depict the lonely maiden, the foresters fair be-
trothed, who, raising her eyes to heaven, mingles
her tender lament with the noise of the dark woods
agitated by the storm ? Weber ! I

wid struck by images of this nature, just as after

No, Der FretjKcfiuiz Weber.
Aloltn Vivace. f f I^^S
Flute " "
'

Hautboy i!.

Clar. in Bt?.

Horns in EC*.

Horns in C.

Kass ons.

Trornhdiies

Violin.''

V iolas.

/ioloiicelio
and
L)ovjble-l)as8.
duo. Afolto vitdcf,
MODERN INSTRUMENTATION AND ORCHESTRATION 109
110 BERLIOZ' TREATISE UPON
 MODERN INSTRUMENTATION AND ORCHESTRATION. Ill

I take leave a>_'ain to quote, from my Monodnime, caused the instrument to be enveloped in a leathei
the effect
if not similar, yet analogous
of a clari- bag, which serves as a " mute." The mournful
net air. the fragmenift ui which, interrupted by rests, murmur, and half-stifled sound of the boIo, repeat-
are also accompanied by a tremolo of a portion of ing a melody previously heard in another move-
the stringed instruments, while the double-basses ment, has always forcibly struck the hearers. This
play pizzicato an occasional low note, producing be- shadow of music gives birth to sorrowful dejection,
neath the harmony a heavy pulsation, and a harp and provokes tears, more than the most dolorous
mtroduccs bits of scarcely-heard arpeggios.
But in accents. It excites melancholy as much as the
this case, in omier to give to the
sound of the clarinet trembling harmonies of the ^Eolian Harp.
aa accent as vague and remote as possible, I have

(Mvnodrame.) Leiio ou Ic retour a la vie.

H. Berlioz.

Ttolinj
con sordini.

Violas
con tortlini

The instrument ihould be wrapped in a bag of cloth or leatbar.


112 BERLIOZ' TREATISE UPUN

a Teputo. a Tempo.

^-^^ '-rr-d-m-m=i-m'i
poco f ,

Ea5= -r
Pizz.

tnf^ ip
 .

MODETRN INSTRUMENTATION AND ORCHESTRATION.

Sempri: /;|2 z

Beetlioven, bearini^ in mind the melancholy and

A
noble character of the melody in major ol the
immortal Andante in his Ttli Symphony, and in order
the better to render all that this phrase contains at
^^^=^^^i^i^ii ke.

the same time of passionate regret, lias not faiieil to

consi-u it to the clarinet. Glnck. for the ritonicU'^
of Al'ceste's air, " Ah, malgre moi, &c ," had at first v(i. III ch'n-mantP E rij - phi k.

written a flute ;but, ])erceiving doubtless that the doi'd the cliainiing E - vy - phi - le.

quality of tone of this instrument was too weak, ar.d

Substitute two hautboys for the two clarinets, and
lacked the nobleness necessary to tlie delivery of a
tlie effect will be destroyed.
theme imbued with so much desolation and mournful
grandeur, gave it to the clarinet. The clarinets wanting, liowever,
This delicious orchestral effect is
again play, simultaneously with the voice, that other
in the i)rinted score of Sacchini's chef d'ceuvre but ;

air of Alceste, replete with sorrowful resignation, representation,,

" Ah, divinit^s implacables."
An effect of another kind results from three slow
notes of the clarinets in thirds in the air of Gidipus,
" Votre cceur devint mon asile." It is after the con-
clus'ion of the theme, that Polynice, before beginning
his air, turns towards the daughter of Theseus,^ and
adds, as he looks at her, "Je coi^nus, &c." These
two clarinets in thirds, descenUing softly previous to
the conmiencement of the voice part, at the moment
when the two lovers interchange a tender regard,
have an excellent dramatic meaning, and produce an
exquisite musical result. The two instrumental
voices are here an emblem of love and
purity.
Listening to them, one almost sees Eryphile^ mo-
destly casting down her eyes. It is admirable
I liave too often remarked it in the
not to feel certain of my memory.
Neither Sacchini, nor Gluck, nor any of the great
masters of that time availed themselves of the low
I cannot guess the reason.
notes of tlie instrument.
Mozart appears to be the first wlio bronglit tliem int^'>
use for accompaniments of a serious cliaracter, such
as that of the trio of masks, in Don (riovaniii. It
was reserved for Weber to discover all that is terri-
ble in the quality of tone of these low sounds, svhen
eiiiplovcd in sustaining sinister harmonies. It is
betterj in such a case, to write them in two parts,
than to place the clarinets in unison or in octave.
'. I'lie more numerous the notes of the harmony, the

more striking will be the effect. If there be three

Andanle
clarinets at disposal for the chord, Cj^, E, i/t?, f('r
-:0^==^= instance, this diminished seventh well worked, well
h'^--
-M=^^ introduced and instrumented in that way, would have
a fearful aspect, which might be further rendcreii
Polynice. gloomy, by adding '4ow double (J given to a la-^s-
Je con nits j " - <'" eiar'ni.'t
:l(i.
 :

11-* BERLIOZ' TREATISE UrON

It is a very beautiful instrument, stnd one regrel'

ClMiret in C not to find it in all well-constituted orchestras.

The Bass Clarinet,

Clannet in C.
Lower than the preceding, is an octave belov
still

the clarinet in Bp ; there is another in C, however

(an octave below the clarinet in C) bnt that in 7ib ;

is much more usual. As it is always the same

instrument,
constructed o larger dimensions, as
i
the ordinary clarinet, its compass remains much the
same. Its reed is a little weaker and more covered
than that of the other clarinets. The bass clarinet
is evidently not destined to re|)Iace in the upper notes

Tlie Alto Clarinet the high clarinets but, certainly, to extend their
;

compass below. Nevertheless, very beautiful effects

Is no other than a clarinet in F (low)
or in E\^
result from doubling, in the octave below, the high
(low) ; and consequently is a fifth below the clarinets
notes of the B\> clarinet, by a bai* clarinet. It is
in C or in B\?, of which it has the whole compass.
written, like other clarinets, on the G clef :

It is written tlierefore, in transposing, either a fifth,

or a sixth major above the real sound.

Bass Clarinet
Alto Clarinet in Bf.
in F.

Effect in real
Effect in real sounds.
sounds.

The best notes are the lowest ones but, owing to ;

the slowness of the vibrations, tliey should not be

made to follow each other too rapidly. M. Meyer-
beer has caused the bass clarinet to utter an eloquent
monologue in the trio of the fifth act of The
Huguenots

No. 86. Les Huguenots. MEYERBEEa

Marcel ^fe
Bass Clarinet
in Bf.

-- -mi

Do you know, as I join your hands in this mya

Sa-vez - vous qu'en joi-gnant voz mains dans ces te -

^m^mm^
SEn^-a is^^^^g
tc - rious place, thus 1
^^con - se - crate ye, . thus your entrance I bless in - to bonds of so -

bres je con - sa - ere et bi - nis . . le ban - qtiet des a - dieuz et Jm -io - oei /v -
 ;

MODERN INSTRUMENTATION AND ORCHESTRATION. lift

Valentine. 'PPP

According to the manner of writing for it, and Improvements in Clarinets.

the talent of the performer, this instrument may The manufacture of these instruments, which
borrow tlie wild quality of tone which distinguishes remained long almost in its infancy, is now-a-
for so
the bass notes of the ordinary clarinet, or the calm, days in a state of progress that cannot fail to bring
solemn, and sacerdotal accent belonging to certain the most valuable results. Already great advance has
registers of the organ. It is therefore of frequent been made by M. Adolphe Sax, the skilful and ac-
and fine application ; and moreover, if four or five complished Parisian manufacturer. By sliglitly
be employed in unison, it gives a rich and excellent elongating the tube of the clarinet towards the bell,
sonority to the wind instrumentb of the orchestral he has caused it to gain an additional semitone below
bass. and consequently it can now produce the Ep or Di.
The Corno di Bassetto The Bt? of the medium, -(^ ^f^d^ which was bad
Would no otherwise differ from the alto clarinet in
on the old clarinet, one of the best notes on tha
F {low) than by the little brass bell mouth which
modern instrument.
is

The following shakes :

prolongs its lower extremity, were it not that it

rr
has the faculty of descending chromatically as far
the C, a tliird below the lowest note of the clari-
net : --W^^
Corno di bassetto. the arpeggios of F to F, a^Ezr^zEr^jr^^Tyff

and numerous other formerly impossible passages,

I] jT -^^-i-*"*" With 'he chroraalic intervals.
have now become easy and of good effect. It is
Keal sounds. b:! well known that the notes of the high register are the
dread of composers and performers, who dare to use
them very seldom, and only with extreme precaution.
The notes which extend above this compass are Thanks to a little key placed close to the mo'jtb-piece
of the clarinet, M. Sax has rendered these oounds as
very hazardous nor is there any good reason for
;

employing them, since the high clarinets yield pure, as smooth, and almost as easy, as those of the
them without difficulty, and with much more
purity. medium. Thus the double lip, -^ rr- which
Like those of the bass-clarinet, the low notes of
the conio di bassetto are the finest and the most
^1
composers hardly ventured to write, comes out from
marked in character. It should be observed, how-
the clarinets of M. Sax without urging, or prepara-
ever, that all those below the E,
tion, or effort, on the part of the performer; it may
be played pianissimo without the least danger, and
-=a. =3= it is at least as sweet as that of tb.e flute. As a
rt. remedy against the obstacles arising from the too
f.Tn only be emitted slowly, and by detaching them great dryness or too great moisture necessarily
one from another. A
passage like the following induced by the uso of wooden mouth-pieces, accord-
would not be practicable :
ing as the instrument may have remained some days
Alleyretlo. without being played, or, on the contrary, have been
too long used, M. Sax has given to the clarinet a
mouth-piece of gilt metal, which enhances the i)ril-
liancv of its tone, and is free from the drawbacks
to which wooden mouth-pieces are sui)ject. This
this fine instrament in two parts
Mozait has used clarinet has more compass, more equalness, more
fordarkening the colour of his liarmonies in his facility, and more precision than the old one wliile ;

Mequicm ; and has assigned to it some important the fingering remains the same, excepting that if. is
solos in his opera, La (Jlemenza di 2\to.
in some respects simplified.


VJ6 biiJRLlUZ' TREATISE UPOJN

M. Adolplie yax's new bass chniiwf is still more two semitones below and tiiree ibove, which give*; ,

feiproved. It has 22 keys.Tliat wiiicli especially three complete octaves :

rtistingiiislies it from the old one is its perfect pre- Very I

tision of intonation, an equalized temperament liard.!

throughout the chromatic scale, and a greater

intensity of tone.
As its tube is very long, the bell of the instru-
ment, the performer standing upright, nearly touches With the chromatic intervals.

the ground; hence an unfortunate smothering of the However, as all performers have not the key,
sound, hail not the skilful fabricator thought of that is to say, the little metalic valves which give
remedying this by means of a concave metallic
reflector, which, placed lieneath the bell, prevents
to the flute the low and CQ. it is better, in
the majority of cases, to abstain from tiiese two notes
d
the sound from being lost, directs it at will, and in writing for the orchestra. The two last high
considerably augments its voi'jne.
soimds ^tj, C, should not be employed pianis-
The basn-clarinets of M. Sct. are in Bt?. simo, on account of a certain difficulty which at-
tends their emission, and their rather harsh sounds
Wind Instkuaients without Ref.ds. b

The Flute. The Bp, on the contrary, -, conies out

Tliis instrument, which long time remained
for a
.mperfect in very many respects, is now, thanks to without trouble and may be sustained as piauo.aa ;

the skill of certain manufucturers, and to the system desired, without the least danger. The number of
of fabrication pursued by Bcehni, according to tlie notes on which shakes may be made were rather
discovery of Gordon,
as complete, as true, and of restricted in the old flute but, thanks to the keys ;

as equal a sonority as could be desired. added to the modern one, the major and minor ehake
All wood wind instruments, moreover, will soon is practicable upon a large portion of its chromatic
be in the same condition. One can understand that scale :-

their truth of intonation could not be irreproachable

under the old system far from it since their holes ;
I
Iiiipossihle.
Ir
I

\
Difficult.]
ir \
Iniposs.
tr
I

I
Diff.
tr

were always pierced according to tlie natural stretch

of the performer's fingers, and not according to the 5-r^=^"?i5^5^^fe^'
rational division of the sound-tube
a division based
upon the laws of resonance, and decided by the focus
of vibration. Gordon, and after him, Boehm, began
by piercing the holes of their wind instruments at
^^^^^^^^^^^^=
Diff.
tlie exact points of the tube indicated by the Jihysi-
I !

tr I
Ir

;al principle of resonance, without paying regard to

the facility, or even the possibility of placing the
gggjagjgjfg^^^ggjgp
fingers of the hand upon tliem assured as they
; Diff.
tr tr tr\ tr tr tr tr tr tr
were of being able to accomplish this at last in one
,
.
- ,
. , ^ \ \ \
\
I

way or other.
The instrument once pierced and rendered true by
this proceeding, they invented a mechanism of keys
and rings placed in certain spots were the per-
them, and serving
foraier's fingers could easily reach
to open aad which were beyond the
close those holes
command of the fingers. By this means the old =:3.zl--\z-===i:=.\=.-=E=.-tLz=.-.-=E==^zs,zi
fingering necessarily became changed and the per- ;

formers had to commence new methods of practice :

,
Impnss.
I

but this difficulty soon being surmounted, and the Sves'

new instruments offering such ample compensation, ., , I
-
i
tr . ir \ tr \ tr ^ \
tr i^^ ^tr L J tr

we have no doubt that in a few years, the exam])le

spreading ever more and more, wooden wind in- I
Imposs. I
Diff. I
Diff. |
Very diff.

struments, constructed on Gordon's and Boehm's

Sves.,.,^
system, will bare entirely superseded the old
ones.
The flute, a lew years ago, had only the following
oompags :

With the chromatic intervals.

Icpoij. ImprisM
There have been successively added to this scale I
I
I
 :
MODERN INSTRUMENTATION AND ORCHESTRATION.
Withflutes coustnicted upon Boelun's method,
jliakesare practicable on the notes of the very ex-
treme upper part of the scale and from tlie Dt?
;
below up to tlie highest (/ ; moreover, tlioy are
incomparably more true of intonation.
The ilute is the most agile of all the wind instru-
ments it is equally suited to rapid passages (dia-
; other instriinient can couipete witli it.
tonic or chromatic) slurred or detached, to arpeggios,
and even to very extended passages iiUe this
Also, to iterated notes, liice those played staccato
which are obtained by double-
on the violin ;
tonguini)
Alltgro
The keys of D, O, C\ F, A, E^, B\?, E\>: and
their relative minors, are the iavorite keys of the
flute the others are greatly more difficult.
; flute
of Boehm's, on the contrary, can be played in 1)[)
almost as easily as in Z>3.
The sound of this instrument is sweet in the me-
dium, rather piercing in the high notes, and very
characteristic in the low <mes. The quality of tone
of the medium, and of that of the high portion, has
not a very special or decided expression. It may
be employed in melodies, or accents of varied cha-
racter l)ut without eqiuiUing either the artless gaiety
; audible,
of the iiautlioy, or the noble tenderness of the cla-
rinet. It should seem then that the flute is an in-
strument well-nigh devoid of exp.ressioij but which
may be introduced anywhere and everywhere, on
account of its facility in executing groups of rapid
Single Flute.
1st Violins.
117
notes, and in sustaining high sounds useful in th*
orchestra for adding fullness to the upper harmonies
Generally speaking, this is true nevertheless, ot
;
studying the instrument carefully, tiiere may b(
discovered an expression peculiar to it, and an apti-
tude for rendering certain sentiments, in whi(di no
If, fur
instance, it were requisite to give to a sad air an
: accent of desolation, but of humility and rosignatioi'
at the same time, the feeble sounds of the flute's
medium, in the keys of C
minor and D
minor espe-
cially, would certainly produce the desired eft'ect.
One master only, seems to me to have known how
to avail iiimself of this pale colouring and he is
;
Oluck. On listening to the melodramatic movement
in l> minor, which he has placed in the Klysian
fields scene of Orfeo, it will be at once seen that
a flute oidy could fittingly utter this melody. A
hautboy woulil have been too puerile, and its voice
would not have seemed sufficiently pure the como ;
inglese is too low; a clarinet would doubtless have
answered better ; but certain soimds would have
been too powerful
none of its softest notes could
have reduced themselves to the feeble, faint, veilefl
sound of the i^ natural of the medium, and of the
first yyp above the lines, which imparts so much
sadness to the flute in this key of D
minor, where
A these notes frequently occur. In short, neither the
violin, the viola, nor the violoncello, used in solo or
in masses, would serve to express this very sublime
lament of a suffering and despairing departed spirit.
It required precisely the instrument selected by the
author. And Gluck's melody is conceived in suet
a way that the flute lends itself to all the uneasy
writhings of this eternal grief, still imbued with the
})assions of earthly life. It is at first a voice scarcely
which seems being overheard then
to fear ;
it laments softly, rising into the accent of reproach,
then into that of j)rofound woe, the cry of a heart
torn by incurable wounds, then falling little by little
into complaint, regret, and the sorrowing murmur of
a resigned soul. What a jxjet I
No. 3G
118 BERLIOZ' TREATISE UPON


MODERN INSTRUxMENTATION AND ORCHESTRATION. 119

notes, B\p, A\?, O, F, and E\}, in flutes, have, thus

1st Flute. grouped, something of the sonorousness of the
harmonica. Thirds of hautboys, corni inglesi, or
clarinets, do not resemble them.
2inl Flute.
The low sounds of the flute are seldom, or else ill,
employed by the majority of composers. Weber, in
An effect remarkablefor its sweetness is tliat of two numerous passages of the Freyschritz, and, before
flutes playing, in the medium, successions of thirds him, Gluck, in the religious march in Alceste, have
in b or in Ap
both being keys extremely favor- nevertheless shown what may he done with it in
able to the velvet sounds of this instrument. Beau- harmonies imbued with seriousness and thought.
tiful examples of this are to be found in the chorus
These bass notes, as I have already said, mingle
of Priests in the first act of (Edipus: " vous, que admirably with the low sounds of corni inglesi and
I'innocence meme," and in the cavatina of the duet clarinets; they give the softened shade of a dark
in the Vestah : " Les Dieux prendront pitie." The colouring :

Aictste. Gluck.
Flutes.
^^5^^-Ef-^^
Violins

Violas

Buei.
 r

120 BERLIOZ' TREATISE UPON

Col. ViKi. I mo

r
F - ^ 8^ fi *^ :-

^^ ^=fEE=
i< :^ ^ -^.- _o
-tI
cr ^.^?
mE
^.o.

1^^^
*:* I

=t=^

Another instcanco of this occurs in the ux.-imple
quoted from \Veber"s Freyschniz (page 35). Tliere
is something ineffably dreamy in these low holding
notes of the two flutes, as, during her melancholy
prayer, Agatha contemplates the summits of tlio
hence results that they predominate, instead oi
blending with the whole; and thus the instrumenta-
tion becomes hard and piercing rather than sonorous
and harmonious.
Flutes form a family of themselves
like hautboys

trees silvered by the rays of the night planet.

In general the modern masters keep their flutes
too constantly in the high range; they seeui afraid
that these instruments will not be suiiiciently dis-
tinguished amidst the mass of the orchestra. It
and clarinets and are quite as numerous. The large
flute of which mention has just been made is the
most used. For ordinary orchestras no more than two
parts for the large flute are written ; nevertheless soft
chords held on by three flutes would often have an


MODERN IXSTIJUMENTA'1'IUN AND OilCHESTllATlON. 121

excellent effect. A clianiiing result is produced by the ])eculiarity of their feeble tone, it is better to
the associatini\ of a single flute aliove, with four rejjlace them by their corresponding sounds in the
violins sustair.ing a high harmony in five parts. second octave of the large flute.
Notwithstanding tlie prevailing custom for which Piccolo flutes are strangely abused now -a-days
there however of always giving to the
is reason, as is the case with all instruments whose vibrations
first highest notes of the harmony, there
flute the tiirill, ])ierce, or flash forth. In [)ieces of a joyou?
are many occasions in which a contrary plan might chaiacter, the sounds of the second octave,
be pursued with success.

The Piccolo Flute.

lUMV be very suitable, in all their gradations while
It is an octave higher tlinn the preceding :
;

the njiper notes,-

are excellent (fortissimo) for violent and tearing

Kffect :

effects : in a storm, for instance, or in a scene of

fierce or infernal character. Thus, the piccolo flute
It has the same compass, always excepting the figures incomparably in the fourth movement of
Heethoven's Pastoral Symphony
now alone and
double high C, -r-, which comes out with displayed, above the low tremolo of violas and basses,
inntating the whistlings of a tempest whose full force

great difficulty, and with a sound almost insufferalile

is not yet unchained
now on the higlier notes still,
together with the entire mass of the orchestra.
;

GlucU, in the tempest of Iphiqenia in Tauride, has

8o that it should never be written. The BQ, -^^ r shown how to make the high sounds of the ))iccolo
flutes in unison grate still nnu-c roughly, by writing
is of exceeding hardness, and can only be eni])loycd them in a succession of sixths, a fourth above the
in a fortismma of the whole orchestra. It is almost first violins. The sound of the piccolo flutes issuing
useless, by contrary reason, to write the notes of out in the upper octave produces therefore a suc-
the lower octave, since they would be scarcely cessi<ju of elevenths with the first violins, the
heard, and, uidess for an effect to be produced by harshness of which is here of the very best effect

No. 38. Pastoral Si/niphoiiy. li tF-'lKoVKN.

FIutt

Piccolo Flute.

-hyUaa n
^
^* V * g^ 1-
,'^P^
^^S^gg:
=

^1 [;&z=3 ZI^^ [
f

r&

riarintt>
ill H17.

Bassoons.

Violins.

Viola-
^^^a^^^^^^^^^^i^^
Vuiloncclio

Ooublebass.
122 BERLIOZ' TREATISE UPON
8ve.'
 MODERN INSTRUMENTATION AND ORCHESTRATION. 123

t^^^vwcr ' ipr--r-W- *- JJ T

^^^- r - T ^C '
'

124 BERLIOZ* TREATISE UPO.N

Ipbigt'iita %n Tutt'lCe. -OLl c c

Aiiff-c.

Large Flvits.

fvo HiccoU. <-e-

,=:
u

-

g- f

: cj^
tst Hautboy.

2nd Hautboy.

Clarinets in C.

Horns and
Trumpets in D.

Violins.

Viola. -^
Violino Imo,

__ ?
-^^^^- ^i 1^ -
c
f

_
Bassoons.
@-8fl-^
Viir^+p^
*=- o- F-=*
^
r-> 1:

Basses.
^3?^^^^fe^


MODERN INSTIIU.MENTATION AND OIICHESTRATION. 15*

Jn the chorus of Scytliians in tlie same opera {Tphi- worthy, generally speaking, of the nelodic Rtylv to
genia in Ttuiritlf), the two piccolo flvites double in the which it is applied.
octave tiie little grouped passagesof the violins; these The piccolo flute may have a very happy effect in
whistlins? notes,mingled with the ravings of the savage soft passages and it is mere prejudice to think that
:

troop, with the measured and incessant din ofthe cym- it sliould only be played loudly. Sometimes it serves
bals and tamhourine, make one shiver. (See Ex. 64.) to continue the high scale of the large flute, by
Everyone has remarked the diabolic sneer of the succeeding the latter at the moment when it reaches
two piccolo flutes in thirds, in the drinking song of high notes beyond its command. The passing from
the FreyscJiuf:. It is one of Weber's happiest one instrument to the other may then be easily
orchestral inventions : managed by the composer in such a way as to makfr
it appear that there is oidy one flute of extraordin.ary

compass.

'^.
i^^^ii^ppe
^ Piccolo Flute
. . 1 i*^--i
''

. . . .

Spontini, in his magniflcent bacchanalian strain in

the Dana'idcs (since become an orgy chorus in
JVurmahal) first conceived the idea of uniting a
short piercing cry of the piccolo flutes to a stroke of
the cymbals. The singular sympathy discovered
Large Flute.
^^^^^^^^D
between these very dissimilar instruments had not A charming instance of this device occurs in a
been thought of before. The
and rends
effect cuts plirase played pianissimo on a low holding note of
instantaneously, like the stab of a poignard. This the stringed instruments, in the first act of Auber's
effect is very characteristic
even when employing ojiera, Lf Dieii ct la licnjaderc.

only the two instrun.ents mentioned hut its force is;

In military music advantageous use is made of
augmented by an abrupt stroke of the kettle-drums, three other flutes, which might be very serviceable
ioined to a brief chord of all the other instruments. in ordinary orchestras; these are:
Firstly, Tlw tierce flute (said to be in F). of
whicii tiie C makes jg/b, and which should from all
Piccolo Flutes.
that has been said in commencing this chapter be
classed among transposing instruments in Eb- It
is exactly a minor third above the ordinary flute

from which it differs only in that particular, and in

'lautbnys and
Clarinets. its more crystalline qualify of tone.

Horns and
Trumpets in D. ,,_|JeJe-^-^
^-^^^^^^
^i^^i
Trombones.

ff
-^0^^
ff
Effect.
^^-^J^Fgft^^- ::
W^m-
Wooden drumsticks
Kettle drums.
l^^^>HEE^^[^ZE^^ Secondly, llie minor ninth piccolo Jinte (said to
be in Fp), the C of which makes Db and which
Damp
ff accordingly may be classed among the transposing
;

H^i
the sound.

Cymbals. -r instruments in Dp. It is a semitone higher than

the octave piccolo flute ; and it should be similarly
ff //
-r-. treated :

Violins and
Violas. --V '^ * *
ff * C^ r fe^^^^Epf=?l|
8as-es and
Dmible-basses
=^' __ _^-_^P^*--_ _^^
ff Effect.

These different examples, and others that I could

cite, appear to mc admirable in every respect. Thirdly, Tlie tenth piccolo Jlute (said to be in F)^
Beethoven, Gluck, Weber, and Spontini have thus of which the C makes ; E^
'ind which we will call
aiade ingenious use
no less original than rational tenth piccolo flute in E\?. It is an octave above the
of the piccolo flute. But when I hear the instru- minor third flute, and a tenth above the ordinary
ment employed in doubling in triple octave the air flute :
oi a baritone, or casting its squeaking voice into the
midst of a religious harmony, or strengthening and
sharpening
for the sake (jf noise only the high
1=1
part of the orchestra from beginning to end of the
act of an opera, I cannot help feeling this mode
nf tnstrunieiitatiiin to be 3 ))latitude and stupidity
Effect.
#-
 ; :

(26 BERLIOZ' TREATISE UPON

It should not be niide to go above the high The compass of the instrument is indefinite ; il
A. varies with its dimension,
which is ordinarily de-
^., and even thij note is excessively piercing, signated by the length in feet of the pipe forndng

i
ind comes out with difficulty.
the lowest note of the key-board. Thus they say
an organ of thirty-two feet, of sixteen, of eight, or
of four feet.
Some orchestras also possess a large minor second An instrument which possesses, with the lowest
fiute, of wliich tlie C makes Dp
which should be

of thirty -ttvo feet an open
;
stop called openjlute
called flute in DV, and of which the diapason is only
flute ofsixteen feet, an open flute of eight feet, a
fi semitone higher than that of the ordinary flute.
Prestant, or open flute of four feet, and the Principal
which sounds the octave above the preceding, haf
the immense compass of eight octaves:

Compass of 32 feet.

Effect.
m
All these flutes, which concur in increasing the
2 octaves lower .... l octave lower

^^^-^gip^^^^ii
high comj)as8 of the instrument, and of which the
qualities of tone are variously characterised, are
-oi-
useful, moreover, in rendering the execution more
asy, and in preserving to the flute its sonorousness, Compass of 16 feet.
by allowing it to play in one of its l)rilliant keys,
while the orchestra is written in one of its duller
keys. It is evidently much more advantageous, for
Kve
8ve hasKA.
bassa. ..._.*. lorn.
a piece in Eufor instance, to prefer the ninth minor

gpig^^iglpg^agi
piccolo flute in Dp, to the octave piccolo flute ; be-
cause the former of these plays in the key of D,
which is mucli easier and more full-sounding.
It is a pity that the FlUte d'amour should have Compass of 8 feet.
been allowed to fall into disuse its diapason was a
;

minor third below the ordinary flute (in A, therefore).

isEd^^zi^l^^E^ ^=S=rH:

Effect.
i^^^^i^^^ Compass of the Prestant of 4 feet.
This completes the low-compassed family of the
instrument (which might be made, however, as nu-
merous a family as that of the clarinets, if needful)
and its soft smooth quality of tone might be of ex-
cellent effect, either for contrasting with the quality
of high flutes or hautboys, or for giving greater body
and depth of colour to those harmonies already so ^^ii^=^^^
peculiar
which result from the bass notes of flutes, Compass of the Principal.
corni inglesi, and clarinets.
-^ -&--(-

Wind Instruments with Key-boards.

^^^Pg^^fe
tf--
xtz
-z>-- :
The Organ* 8r9.

Is an instrument with a key-board and pipes of

-wood and of metal, made to vibrate by means of the ,_^^fL:j:i:
wind sent through them from bellows.
P t=i ^^ 1
The number, greater or less, of series of pipes of With all the Chromatic Intervals.

different kinds and different dimensions possessed

These five stops as may be seen have each four
by an organ, gives it a proportional variety of stops, octaves but many others among those of which we
;

by means of which the organist can change the shall presently speak, have only three, or even two.
quality of tone, the power of sound, and the compass At the present time, organ-builders give five notes
of the instrument. higher to their key-boards. The compass above is
The mechanism by means of which, on drawing
out a little piecj of wood, the organist makes such thus extended, chromatically, up to F,
and such a stop speak, is called a register.
[ What is here said upon the organ refers to Continental organs, A large organ generally possesses five key-bogjJs
i
tnJ therefore applies bat psrtiallj to the organ in this country.
one above another.
Translator,]


MODERN INSTRUMENTATION AND OUCUESTRATION. 127

The first nearest to the organist is the choir- Among the reed stops, we will only specify the
organ key-board (le clavier du I'ositif). following :

The second, that of tiie great organ. First, the bombarde a stop of great power, which
;

The third is the bombarde key-board. is played on a sejjarate key-board, or on tiie pedal.
The fourth, the recitative key-board. Its first pipe is sixteen-feet and it is in unison with
;

the echo key-board.

'I'he fifth, the open sixteen-feet.
There is, moreover, a sixth key-board placed in Second, the trumpet stop which sounds the uni-

such a manner as to be put in action by the feet of son of tlie eight-feet pipe, and cousecjuenlly the high
ihe performer; and for this reason it is called the octave of the bombarde.
pedal key-board. This is dedicated to tlie lowest Third, the clarion stop ; the iiigh octave of the
notes of the organ. It has only the two octaves at trumpet stop.
the lower end, and often even lacks certain notes of Fourth, the Cremona stop ; the unison of the
these. Many of the stops the eight-feet stops, for trumpet stop, but less brilliant it is always placed
instance
occurring at the same time on the three in the choir-organ.
;

key-boards of the great organ, the choir-organ, and Fifth, tlio vox hvmuna stop
; which sounds the
the pedal, may be doubled or tripled. eight-feet pipe, and placed in the great organ.
is
The stops of the organ are divided into mouth Sixth, the hautboy stop ; which sounds in uuisoa
tops, and reed stops thus named, the first, from
; with the trumpet stop. It has usually the upper
a sort of open mouth
at one of the extremities, octaves only btit it is completed by means of the
;

serving for the formation of the sound, and the bassoon stop, which furnishes the two other octaves.
second, from a little tongue of brass placed also at These diiferent stops imitate tolerably well in their
the extremity, producing a peculiar quality of tone. quality of tone the instruments whose names they
The mouth stops are divided into foundation or bear. There are organs which possess many others,
octave stops, and mutation stops. The foundation such as the corno ingle.se stop, the trombone stop, &c.
stops are open or closed the closed stops
; called Every organ should have a draw-stop which serves

bourdons are an octave below the open pipes of the for the principal sounds, which corresponds with the
same size. whole of the key-board, and which, for tiiis reason,
The mutation stops have this peculiarity, that is called the Principal.

they give above each sound, its third, its fifth, its The fingering of the organ is the same as that of
tenth, in such a way as to represent, by the action of the pianoforte,
with this difference that the emis-
everal small pipes, the aliquot parts or harmonics of sion of the sounds being less instantaneous, such
the large pipes. Organ manufacturers and organists rapid successions cannot be executed as on the
agree in finding excellent the effect produced by this pianoforte the mechanism of the key-l)oard, more-
;

multiplied resonance, which, however, decidedly
causes several different keys to be heard at once.
They say, " it would be insufferable, if the higher
sounds were distinguished but they are not heard,
;
over, obliging the organist to press his Hultits more
upon each key. This instrument possesses the power
of sustaining the sounds as long as may be desired
it is therefore more suited than any otlier to the

the lowest sound absorbing them." It remains to be bound style that is to say, to that in which tl
;

explained how tliat which is not hard can produce
a good effect to tlie ear. At any rate, this singular
proceeding will always tend to give the organ the
harmonic resonance which is vainly sought to be
avoided in horizontal grand pianofortes and which,
harmony makes the most frequent use of suspensioni
and prolongations, and of oblique movement. Ir,
my opinion, however, this is no reason for invariably
remaining within the limits of this style. Music for
;
the organ is sometimes written upon three lines the ;

to my thinking, is one of the worst defects in sono- two upper ones for the hands, and the under one for
rity occasioned to this instrument by modem im- the pedal key-board.
provements.
The organ seems able like the pianoforte, and
Among the mutation stops are reckoned, the gros
even better to present itself in the instrumental
nazard, which sounds the fifth of the eight-feet open heirarchy under two aspects as an instrument :

flute. belonging to the orchestra, or as being in itself a
The grosse tierce, which sounds the fifth of the complete and independent orchestra. It is doubtless
Prestant. possible to blend the organ with the divers consti-
The onzifeme de nazard, which is in unison with tuent elements of the orchestra, and this has been
the Principal. many times done but it is strangely derogatory to
:

The tierce, sounding the third above the Principal. the majestic instrument to reduce it to a -econdary
The furniture, or ploin jeu, which consists of three place. Moreover, it sliouid be felt that the smooth,
ranks of pipes, and of seven ranks of aliquot pipes equal, and uniform sonorousness of the organ, never
the one with the other. entirely melts into the variously characterized sound*
The cymbal, which differs from the furniture stop, of the orchestra, and that there seems to exist between
only by its pipes being less thick. these two musical powers a secret antipathy. The
The cornet, a very brilliant stop, of two octaves, Organ and the Orcliestra are both Kings or rather, ;

and of five only plays in the upper

ranks of pipes ; it one is Emperor, the other Pope their mission is ;

part. Large organs possess three cornet stops, one not the same their interests are too vast, and too
;

on the choir-organ, another on the great organ, and diverse, to be confounded together. Therefore, on
a third on the recitative key-board. almost all occasions when this singular connociion

i'm
IS atl(;m})ted, eitlier the organ
over tlip. having been
orchestra, or the orchestra,
raised to an immoderate degree of influence, ahnost
eclipses its adversary.
The the organ seem alone suitable for
soft stops of
accompanying the in general, the organ is
voice,
formetl for absolute dominion it is a jealous and ;
intolerant instrument. In one case only, it seems
to me, can the organ, without dercgation, mingle
with the choir and orchestra; but even tlien
on condition of itself remaining in solemn isolation.
For example, if a mass of voices placed in the
choir of a cliurch, at a great distance from the organ,
interrupted its chaunts from time to time, that tiiey
might be repeated on the organ, in part, or en-
tirely if the same choir, in a rite of some sad cha-
;
racter, were accompanied by a lament from the
orchestra and from the organ, issuing thus from the
two extreme points of the temple, the organ suc-
ceeding to the orchestra, like the mysterious echo of
its lamentation,
this would be a mode of instru-
mentation susceptible of grand and sublime effects.
But, even in tiiis case, the organ would not really
mingle with the otiier instruments it would answer
them, it would interrogate them and the alliance
between the two rival powers would be the more
sincere, because neither the one nor the other
would lose any of its dignity. Whenever I have
heard the organ playing at the same time with
the orchestra, it has seemed to me to produce a
detestable effect, and to impair that of the or-
chestra instead of augmenting it. This is not
the place for determining the manner in which the
organ considered as a complete orchestra in itself
should be individually treated. liave not
undertaken the task of giving a series of systems
of the different instruments; but merely a careful
study of the best mode of making them conduce to
musical effect in association. The knowledge of the
organ, the art of choosing its different stops, and of
contrasting them one with the other, constitutes the
talent of the organist, sujjposing him
ing to custom, an extempore player.
case,
that is to say, considering him merely as a
simple performer having to execute a written
work, he should scrupulously conform to the in-
structions of the composer who is bound to kn(nv
;
the special resources of the instrument he writes
for, and to employ them judiciously.
I^ut these
resources are so vast and numerous, that the com-
poser will never be well acquainted with them,
as it appears to us,
unless he be himself an accom-
f'lished organist.
If, organ be combined with
in a composition, the
and with other instruments, it should not be
voices,
forgotten that its pitch is lomer by a whole tone than
the present pitch of the orchestra; and that, therefore,
itshc:.id be treated as a transposing instrument in
Bb. (The organ of St. Thomas at Leipzig, on the
contrary, is a tone hiyhfr than the orchestra.)*
The organ possesses effects of sonority, soft, loud,
" Tins la aoplicable only to ancient organs modern ora:in-buildere tune
;
ilieir in-truiiients to the pitch of the orrhestrn.
BERLIOZ" TllEATISE UPON
much predoniiiiates and awe-striking; but it is not in its Tiatare vc
deliver tliem in rapid succession. It cannot there-
fore, like the orchestra, .suddenly pass from I'iano
to Forte, or from Forte to F'udw. Imjirovements
recently introduced into its construction enable it
by the successive employment of different f<tops in
conjunction
to produce a sort of crescendo and ;
then bring in a decrescendo by withdrawing them
in the same order. But the gradation and re-
gradation obtained by this ingenious method dc
not admit of the intermediate shades which give
so much force to these fluctuations of the orchestra.
There is always felt more or less tlie operation ol
an inanimate mechanism. Erard's instrument, known
uutler the name of the expressive organ (" I'orgue
expressif") alone gives the possibility of really
swelling and diminishing the sound but it is not ;
yet adopted in churches. Serious men of otherwise
excellent understanding
condemn its use. as de-
structive of the religious character and intention of
the organ.
Without entering upon the great question, so often
discussed, nf 'he propriety of expression in sacred
music a question which simple good sense exempt
we
;
: from prejudice might resolve in a moment will
take leave to point out to the partisans of un-
ornate music, of plain-song, and of tlie inexpressive
organ (asthe loud and soft stops of different
if
qualities of tone did not already give to the organ
variety and expression) we will just request them
;
we say, to observe that they are the first to exciaiir
with admiration, when the performance of a chorus
in a sacred work, sliines by the delicacy of its gra-
duated effects of crescendo, decrescendo, light and
We shade, swelled, sustained, or suppressed sounds, in
a word, by all those attril)Utes which are wanting
in the organ, antl which Erard's invention will tend
to supply. Tliese persons are therefore evidently
inconsistent with themselves unless they pretend
;
'
(as they are very capable of doing) that expressive
gradations, perfectly appropriate, religious, and ca-
to be, accord-
;
'
tholic, in the human voice, become suddenly, when
In the contrary applied to the organ, irreligious, heterodox, and
impious. It is singular also,
let me be pardoned
this digression,
that these critical conservatives of
orthodoxy in the matter of religious music, who
maintain, and with reason, that true religious senti-
ment directs inspiration (while j)rohibiting the ex-
]iression of gradations in this sentiment), have never
thouglit of blaming the use of quick fugues, which
for ages have formed the staple of organ music in all
scliools. Is it that tiie themes of these fugues some
of which express nothing, while many other's are
of a fashion at least grotesque,
become grave and
religious merely because they are treated in fugal
style ;
that is to say, in the form which tends to
reprtjduce them oftenest and disfilay them most
constantly ? Is it that these multiplied introduc-
tions of different parts, these imitations in canon
these scraps of twisted and tangled phrases, pursuing,
flying, and rolling over one another, this " confusion
worse confounded," where true melody is exciuded,
where the chords succeed each other so rapidly tliat
their character can scarcely be discerned, this m'^ea-


MODERN INSTRU.MENTATION AND ORCH EST RATION. 129

lant Biibvcrsion of all system, tliis appearance of They have two kinds of sounds, very different in
ilisonler,these abrupt interruptions of one part by character ojien sounds, almost all of which are the
;

another, those hideous musical pascpiinades, ex-

all natural resonance of the harmonic divisions of the
cellent for depicting an orgy of savages, or a dance instrument's tube, and come; out without other assist-
of detuons become transformed in passing through ance than that of the lips and breath of the player ;
the pipes of an organ, and assume the serious, the and closed sounds, which are obtained by closing
grand, tlie calm accent, either suppliant or contem- more or less the bell (the lower orifice of tiie horn/
plative, of holy prayer, of meditation, or even of with the hand.
terror, religious awe and dread 1 There are organi- l"'irst, here is tiie table of open sounds on the
sations sufficientlymonstrous to find all this true. difterent first and second horns :

At any rate, the critics I have just alluded to, with- Rare.
Compass of the 2nd Horn.
out precisely affirming that quick organ fugues are
imbued with religious feeling, have never blamed
their inappropriateness and absurdity, probably be-
^ ;^"'^a
*:>3*<L'_

Compass of the 1st Horn.

cause they found them in long-established use be- ;

cause the most learned masters, following mere rou-

tine, have written large numbers of them and lastly, ;
^-^i{*=
because writers who treat of religious music, being ~^^^-^'
ordinarily very much attached to cliristian dogmas,
involuntarily consider everything that leads to alter- Compass of the 2nd Horn. k h t^ n-^*-

^m
|

ation in ideas consecrated by time as dangerous and

incompatible witli the immutability of faith. For ^^'

our parts, and to return to our subject, we con- Compass of the 1st Horn.

fess to thinking that if Erard's invention were ap-

plied to the old organ, merely as a new stop, so that
it might enable the organist to employ expressive

sounds, if he thought proper, or at least so that it

p^^^
uiight swell and diminish certain sounds indepen- Rare.
dently of others, it would be a real improvement,
entirely to the advantage of the true religious style.

Brass Instruments with Mouth-pieces.

The Horn.
As this instrument possesses a large number ot
movable crooks, which render its pitch more or less

low and more or less high, its comj)as3 cannot be
precisely stated, without at the same time knowing
the kind of horn in question. It is, in fact, easier to
produce high sounds than low sounds on horns of a
low key excepting, however, the keys of A, B'O,
;

and C (low), when the extreme l^gth of the tube

renders the emission of high notes very difficult.
It is easier, on the contrary, to give low notes than
high notes, on horns whose keys are high. More-
over, certain horn-players, using a large motith-
piece,and being well-practised in giving low sounds,
cannot bring forth the higher ones while others, ;

who use a narrow mouth-piece, and have accustomed

themselves to give forth the high note.s, cannot
produce the lower ones.
There is then a particular compass for each key of
the instrument, and likewise two others of a special
character, belonging to performers who play the
~"~
high part (that of the first horn), and the low part
^ (that of the second horn).
The horn is written on the G clef, and on the F
I
tjlef; with this particularity established by custom,
that the G clef is considered as being lower by an
octave ihau it really is. The subjoined examples will
mike this understood.
\j --

All horn* with the exception of the horn in C This open Fj{ cannot be lo easily played aa the OSji hut it comes
above, are transposing instruments that is to say,
;
out very wellif it be preceded by a neighliouring note like OBi or FJ

thoir .vritton notes do not represent the real sounds. or A. It is a little too hiih.
 7

110 BERLIOZ' TREATISE UPOIN

the duller and rougher the njte and the more diffi- ;

cult are certainty and precision in the playing, 'inere

is therefore an important distinction to be made among

the closed sounds ; which will be designated by

affixing the sign \ to those which are the best notes
and for bell must be only half closed.
which the
The whitenotes are the cpen sounds, the table
of which is given above and the black, represen:
;

^ 2nd Horn. |
^^
# the closed sounds.
1

<
(^ k^ .s ^- :

Very difficult (Very

^ .;^. 1" ^ -<e- " 1st Horn. |
I

jand very dull.]

i difficult]
land very dull.|
F
o
B
-^--"-tW-"->-
t^? h ir-nr^^i='-^]\
U y^,- 1^^
^
Duiin

c Mi:
^^
2nd Horn.

1
^ ^1 Rough
I

^E5^
P IVery I

rare
2nd Horn. I

(Mjz ;5^_ti_
l.st Horn.
Before going farther, and in order to be able to
give the table of the complete compass of the horn,
we will here mention that there are still some open
^^^^S^ zi20z
notes, less known than the preceding, yet reverthelesa

Horns in C,
very useful. They are, the high Gb,^^E^| 'lie
(I'igh.)
intonation of which is always a little lower, and
Non - trans-
posing Instru- which only appears truly in tune when placeu
ments; wlieie between two Fs,
tlieir

G
notes are
written on the
clef.
This key is the worst of all. ff tto

Effect. Me
it can therefore never replace Fjft ; the low ^{>,
The double G below, marked with the sign *, is easier in the higher
keys ; but is bad and uncertain in most other keys generally. II which is obtained by forcing a G, and by-
The
family of horns there are horns is complete
y
;

in all hcys, altlioughit is generally thought other-

compressing the lips; and the low Fj], H
wise Those which appear to be wanting in the
chromatic scale are obtained by means of a length- which comes out, on the contrary, by leaving the
ening piece which lowers the instrument a semitone. lips free. These two last notes are very valuable ;
Thus, although we have, in fact, formed of all pieces, the At?, particularly, produces on many occasions an
only horns in B\? (low), in C, in D, in E\), in Eh, excellent effect in all the keys higher than the key of
in >, in G, in A\?, in A^ (high), in Bb (high), D. As to the Fjlj, it is of more uncertain emission;
and in G (high) by adding lengthening pieces to
;
and there is more difficulty in sustaining it precisely
the keys of BO and C (low), -4^ is obtained, and in tune.

^Q (low) and, by the same means, the key of D

;
These low sounds can, strictly speaking, be played
is traniiformed into D\} (or C%), the kev of G into
without preparation but to this end they should
;

G\? (or Fpj, and the key of C (high) into B"^ not be preceded by notes too high it is neverthe- :

(high) (or Cp) this last key is obtained by merely

;
less much better, as a rule, to place them after
drawing the slide of the horn in C (high). aG:
The dosed sounds present, not only as compared
with the open sounds, but even with themselves, ^3F
marked differences of tone and sonorousness. These '^^W$^ w- ?=-

differences arise from the greater or smaller opening The passing from the At? to the Fh is practirAh
left in the hell by the hand of the performer. For cer- in a moderate movement :
tain notes the bell should be closed a quarter, a third.
or one luilf ; for others, it requires to be closed almost
entirely. The narrower the opening left in the bell, t^ ^
 ;
' .

MODEUN INSTRUMENTATION AND ORCHESTRATION. 131

tihe
Certaiu honi-players jiroduce beneath these notes,

EH, ^W.

unapproachable.
:H ;

1 advise composers never to em-

a detestable note, and almost
Horns in Bt>,
or in C, or m D.

possible
Tills one,
higher keys, would
m=m.
^ =^ d=:;-
AllfTO.

3^5:^
on a horn in F, and in the
also be very bad in the keys of
m
ploy it, or the following five low notes, which rarely C and of 5b low:
come out well in tune, which there is much trouble Allegro.
in fixing, and which should not be attempted, at ^^3^^=d:-gE|3^ EEE35
any rate, only on middle horns, such as the horns in
D, E, and /'; and in a descending progression :-
Care should be taken, as much as possible, in em-

^^m^ iNatural note.

^S--
1
iNatural note.

!i^8
ploying closed sounds, particularly in the orchestra,
to intersperse them with open sounds
skip from one closed note to another
and not to
or, at least,
from a bad closed note to another equally bad. Thus,
;
;

it would be absurd to write

Bv uniting the compass of the first horn with that
of tiie second, and by making the factitious open

notes, tir closed notes, succeed the natural open notes, "-^
. .

the following immense chromatic scale results, On the contrary, a passage like this
ascending from low to high :

General Compass of thk Horn.

isnot deficient in sonority, and can easily be executed,
because it contains but one bad closed note (the first
Horn in F Ap); while the same passage transposed would be
ridiculous, and of excessive difficulty :

Bad example.

:1^^^^ - -It

m^^m^i^^i
From these three examples it appears that the best
closed sounds with the exception of the five follow-
ing

^iplB^l
$^^"^11^
are to be found above the middle At?
^ they form
;

the series already indicated :

^^^^^^^Sl ^
Closed J [aosedp Closed; Closed;'
I
Dull. Good. I
Good Good. I
Good. Je-
~a
i^^i^B^fel ^m^=\ a
Closed [
I A little too
j
Hence, the phrase in Ab above cited, while good
Good. Less good. low.
I
in one octave, becomes detestable when transposed

^miUli^ei^^i^^ an octave below, where it runs almost entirely upon

the worst closed notes,
A little
Ini;h.
toT! r ^'"^'^'l!
Good Less (jood.

i ^- ^^a
mm. moreover, it begins with an open note, the A [7, i^^^S ^

This the place to point out that rapid succes-

is
and a factitious note, which thus attacked rapidly,
sions are the more difficult on the horn according as without preparation, is of extremely hazardous utter-
ance.
its key is lower; its tube, which is then of con-
siderable length,
not being able to be put instan- The old masters limited themselves, in general, to
taneously in vibration. As for natural low notes, in the use of open sounds; which they wrote it must
Imost all keys, they can only succeed each other in be owned
very clumsily. Beethoven himself is ex-
a moderate movement; it is, moreover, a general ceedingly reserved in his use of closed sounds, when
law, which should be observed in all instruments, he does not treat the horns in solo. Examples of their
that, since the low sounds are those which result employment are rather rare in his orchestral writing
from the smallest number of vibrations in a second, and when he has recourse to them, it is almost
the sonorous body should have the requisite tiTiie always for a striking effect. Instance the closed
for the production of its sound. Thus, the following sounds of the three horns in E\?, in the scherzo of
passage, on a low horn, would be impracticable, and the Eroica Symj)hony, and the low Fi of the second
of bad effect : horn in D
in the scherzo of the Symphony in A;
182 BERLIOZ- TREATISE UPON

No. 40. Snfunir. Btoica. BatrBovEN

Flutes.

Hautboy

Cl&rinets in 6 h.
MODERN INSTRUMENTATION AND ORCHESTRATION. 13.1
IS^ BERLIOZ- TREATISE UPON

tf.^^f. ,f^,fff
MODERN INSTRUMENTATION AND ORCHESTRATION. 138
 m BERLIOZ" TREATISE UPON

Presla meno assai No. 41. Symphirtiy in A BEErHo>iB

Imo. Solo

r.MVb.

Hautboys.

riariiiets in A

Home in D.

Trumpet in D.

Bassoons.

Omms, A, F.

Violins.
 MODERN INSTRUMENTATION AND ORCHESTRATION

m^^m Zf,=,^ ^^^^

sf^
-^ F- 5^

mi
@s
 ;

i3a BERLIOZ' TREATISE UPON

Thig syateir is doabtlesa greatly superior to the never be employed as notes of filling up but onlj ;

contrary method, adopted nowadays by the majority in order to produce effects inherent to their dull,
of French and Italian composers, which consists in hoarse, and wild quality of tone. For a melodic
writing for the horns exactly as for bassoons or design, the form of which imperiously demands th#
clarinets, witiiout taking into account the enormous presence of this note, I would except only the
difference existing between closed sounds and open middle ^b '

sounds, as also between certain closed sounds and

certain others, and without caring for the difficulty
the player has in taking such and such a note after ;gg^i pgg^g^^
another note which does not lead to it naturally,
for the dubious correctnesss,
for the slight sonorous-
The low Bb,^= is once introduced with
ness or hoarse and strange character of the intona-
tions produced by closing the two thirds or three excellent dramatic purpose, by Weber, in the scent
fourths of the bell,
in short, without appearing of the Freyschutz where Gaspard invokes Zamiel
to have a misgiving that a thorough knowledge of but this sound is so closed, and consequently so
the instrument, together with taste and good sense, dull, that it is not heard. only be re-
It could
may have something to do with the use of the sounds marked by the whole orchestra suddenly censing
which these pupil-masters thus introduce at all risks at the moment of its utterance. Thus, the middle
into the orchestra. Even the parsimony of the A\>, written by Meyerbeer in the Nun-scene of
ancients is preferable to such ignorant and odious Robert le Diahle, when Robert approaches the tomb
prodigality. When
closed sounds are not written to gather the enchanted branch, gains general atten-
for a particular effect, those at least should be tion only on account of the silence of almost all the
avoided of which the sonority is too weak and too other instrunients and yet this note is much more
;

mucli unlike the otlier sounds of the horn. sonorous than the low Bp. In certain scenes of
Of these, are, the Dj;] and the Dj? below the stave, silent horror, a very great effect may result from

Ah these closed notes in several parts. Mehul is the

the and the low Bb, W- _ and
only one, I believe, who has perceived this, in his
the A(? of the medium, which should opera of Phrosine et Melidore.

No. 42. Phrotine et Mllidure. M eddl.

Allegro Mo derato,

Ut Hom in D.

Ind Horn in G.

3rd Horn in D.

My re - dress tliou shall be.

Tu se - rat mon vengeur.
Dot.
 ;

MODERN INSTRUMENTATION AND OROHESTRATION. 139

Maj'jr and minor shakes are practicable on the of the closed sounds, when needful to modulate
Ijorn but in a small portion of the scale only.
; ratliei from the principal key,
far
the resources of
These are the best :
the instrument would be very limited but with ;

Less good four, on the contrary, even when it is desired to

tr tr
tr j employ only the open notes, it is easy to manage by
means of an interchange of heys
A composer who takes four horns in the same key
Horns are generally written whatever may be
almost always gives proof of egregious want of
their key, and that of the orchestra without sharps
judgment. It is incomparably better to employ two
or flats at tlie clef. When the horn is treated as a horns in one key and two in another or the first ;

reciting part, however, it is better, if the instrument

and second horn in the same key, the third in ano-
be not in the same key as the orchestra, to indicate
at the clef the sharps or flats required by the key
ther, and the fourth in another
which would be still
more preferable or, lastly, four horns in four diffe-
;

but it should always be so managed as that very few

rent keys which should be done especially when a
are employed. Thus, the horn in is very well F ;

large number of open sounds is wanted.

selected for the performance of a solo, when the
The orchestra playing, for instance, in A^, these
orchestra is playing in ; Ep
first, because it is one
four horns might be, the first, inA^ ; the second,
of the best keys of the instrument, and next, because
in (on account of its E producing G;|, which
"![]
this combination does not necessitate for the horn
gives enharmonically the A2) the third, in F, and
;

^part more than two flats (B and E) at the clef; one

the fourth, in C. Or, the first in A'q. : the second,
of which (the B) being, in the medium and in the
high, an open note, does not diminish the sonorous-
in D^
; the third, in E'tj ; the fourth, in low BJB
(on account of its E producing D||, which gives
ness of the portion of its scale which would be most
enharmonically Eb). The" composer may also ac-
employed in such a case :

cording to the texture of the piece combine the four
'
-Jtz keys in several other ways; it is for him to calculate
Horn in F.
^- ^iif^p^gi the exigences of his harmonies, and to make the

Orchestra.
^^i^^^^^^^^ choice of his horns subservient to their need.
By this means there are very few chords in which
four, three, or at least two open notes may not ba

w^^i'^m ^^^1 introduced.

Effect of the
Horn part.
3e^ i^^^^^ 1st Horn in Af

Jnd Horn in E!}

^^^^^i^^^B
Srd Horn in F.

4th Horn in C.

it is true, that a horn in E\>, for a passage like

this, would be quite as advantageous :

Horn in Et?

isiii-=^^ip
But if the melody bring in frequently the fourth
and sixth degree of this scale (^P ^"d C)- ^be horn
in F would be a great deal better than the horn in
"
E\} ; its two notes, -
^ j
'

[
which produce

^ being much
-f-
better than those of the

horn in E\>,
sounds. x/~
^ ~'
I
representing the same

Effect
Orchestras formerly possessed but two horns ;

but at present composers always find them provided

Rnlh four. Willi two horns even by making use
 ; r

140 BERLIOZ' TREATiSE UPON

When many keys are used at the same

different author did well in using this singular means of
time, it is high keys to the first
better to give the giving ^doom and remoteness to the most open
liorns, and the low keys to the second horns. sound of the horn in D.
Anotlier precaution, which many composers un- Rossini, in the hunting-scene of the second act
wisely neglect, is that of not making the performer, of Guillaume conceived the idea of causing a
Tell,
in the same piece, exchange a very high key for a diatonic phrase to be executed by four Ev horns in
very low key, and vice-versa. The horn player, for unison. It is very original. When four horns are
instance, finds it very awkward to pass suddenly from thus united, either in a sustained air, or in a rapid
the key of A
(high), to tliat of .Sb (low) and by ; passage which requires tlie use of closed sounds and

means of four horns which are now to be found in open sounds, it is far better (unless the idea be based
all orchestras
there is never any necessity, when a on this very variety and inequality of sounds) to put
change of key occurs, for skips so disproportioned. them all in different keys the open sounds on some,
;

The hom and melancholy instrument

is a noble thus compensating the slight sonority of the corre-
yet the expression of its quality of tone, and its sponding closed sotmds on others, preserve the
Bonority, do not unfit it for figuring in any kind balance, and give to the scale of the four combined
of piece. It blends easily with the general har- horns a kind of homogeneousness. Thus, while the
mony and the composer even the least skilful
; horn in C gives the Eb (closed), if the horn in '12
may, if he choose, either make it play an im- gives the (open), the horn in F
the Bb (open),
portant part, or a useful but subordinate one. No and a horn in B^ the F (closed), there results from
master, in my opinion, has ever known how to these four different qualities a very sonorous and
avail himself of its powers more originally, more beautiful Eb- It will be seen that nearly the same
poetically, and at the same time more completely, advantage attends all the other notes.
than Weber. In his three finest works, Oberon,
Euryanthe, and Der Freyschiitz, he causes the Horn in F
horn to speak a language as admirable as it is novel
a language which Mehul and Beethoven alone
Beem to have comprehended before him, and of
which Meyerbeer, better than any one, has main-
tained the purity. The horn is, of all orchestral
instruments, that which Gluck wrote least well for ;

a simple inspection of one of his works suffices to

lay bare his want of sldll in this respect. must We
however quote, as a stroke of genius, those
three Effect
notes of the horn imitating the conch of Charon in
the air from Alceste : "Charon now calls thee I"
They are middle C's, given in unison by two horns
An advantageous proceeding of which I know
D
but one example
consists in making three or four
in ; but the author having conceived the idea of horns in different keys succeed each other for the
causing the bells of each to be closed, it follows execution of a suln air. As each of them takes in
that the two instruments serve mutually as a sor- the phrase those notes which correspond with its
dine, and the sounds, interclashing, have a distant

open sounds, there results, if the melodic frag
effect, and a cavernous timbre most strange and
dramatic :
ments be adroitly linked one to another, a strait:
seemingly executed by a single horn, and having
almost all its notes equal and open.
Horns in D.
Ctoie their bei fr Andante.

Charon. imz m ^F-^^ ^ =^ Horn in Et".

1 \ 1

Charon now calls

Ca-ron Cap -pel

-J-
thee.
-le
Hom in C.
mm^^S: -i.

Hom
=rm in Ab.

Hom in D.

gtfr r^i^-p
:t:=
hark to his voice !

entends fa

however, that Gliick would have obtained

I think,
mix.
i^iipi
nearly the same result with the closed middle Ab
of two horns in <7b :
$^^
Horns in G[>.

But perhaps,
*ere no) so sure of taking such
at that period, the performers
notes;and the m^m^^^
 ;

MODERN INSTRUMENTATION AND ORCHESTRATION. 341

moreover the effect of adding to the scale of the

instrument six semitones below its lowest natural

sound. Thus, in taking this C, ^ as the

4=.-: extreme point of the compass of the horn below, th<

-J- .t>r*-
pistons give it the following notes in addition :

*=l^?3===^]f=i|?=i^^fl
^ :3:
^^
i It is the same with all the brass instruments,

_. -...b-k:...
trumpets, cornets, bugles, and tromliones, to which
r^-dz* - the meciianism of the pistons is a|)plied.
Efl'ect.
The compass of the liorn with three pistons, in
a mixed key like the key of E^, would therefore be
this :

Very rare and difficult

;

to keep steady.

8va Bassa-^ ^^^^.^ ^ ^^^^^ ,^^,^

rj: :d:,:3:
\>o-'ip-
J#
83: -arui- o-
-^-lT
8va Bassa J^^5^-|lE^^rli^E^
I have said that the horn is a noble and iiielan-

iholy instrument,notwithstanding the jocund

hunting flunrislics so often quoted. In fact, th?
gaiety of tiiese strains arises rather from the melody Tills .system offers advantages, especially for the

itself, than from the quality of tone of the horns.

second horns, owing to the considerable blanks which
Hunting flourislies are only really jocund when it fills up between their natural low notes, commencing
playe<l on trumpets
an instrument little musical, from the last low G ascending, but the
the strident tone of which, even in the open air,
bears no resemblance to the chaste and reserved timbre of the horn with pistons differs a little
voice of the horn. By forcing in a particular way from that of the ordinary horn, which it cannot
the emission of the air from the tube of a horn, it is therefore entirely replace. I think it should be
brought, however, to resemble that of the trumpet. treated almost like an instrument apart, and as
1'he sound may sometimes be made brassy (cuivre) particularly fitted for giving good basses, vibrant
with excellent effect, even on closed notes. When and energetic, yet not possessing so much force ae
there is need to force the open notes, composers gene- the low sounds of the tenor trombone, to which its
rally require the performers
in order to give the own bear much resemblance. It can also render a

sound all possible roughness to elevate the bells of melody well, especially one principally on the medium
their instruments; and they then indicate the position notes.
of the lioni by these words Raise the Bells.
: A The best keys for the horn with pistons the only
magnificent example of the employment of this means ones indeed which leave nothing to desire on the
is to be found in the final crash of the duet in

score of correctness in tune
are the intermediate
]\I61ud's Evphrosyne et Curadin: "Gardez vous de keys. Thus, the horns in i^Q, F, G, and A\^, are
la jalousie." L'nder the influence of this fearful yell much preferable to the others.
of the horn.s, Gr^try one day answered somebody who Many composers show themselves opposed to
asked him his opinion of the tempestuous piece :
this new instrument, because, since its introduction
" It is enough to split the roof of the theatre with into orchestras, certain horn-players, using the
"
the skulls of the audience ! pistons for playing ordinary horn parts, find it more
convenient to produce by this mechanism, as open
The Horn with three pistons ; and the Horn notes, notes intentionally written as closed notes

with calces.
by the author. This is, in fact, a dangerous abuse
but it is for orchestral conductors to prevent its
The horn with pistons can make
notes open all its increase and, moreover, it should not be lost sight
;

notes, by means of a particular mechanism

of which of that tiie horn with pistons, in the hands of a
the actiim consists in changing instantaneously the clever player, can give all the closed sounds of the
key of the horn. Thus the use of such and such a ordinary iiorn, and yet more: since it can execute
piston transforms the F
horn into an horn or an E ; the whole scale without employing a single open
/.'t>
horn, into a Dhorn, &c.; whence it follows that note. Sirce the use of tiie pistons, by changing
the open notes of one key being added to those of the key of the instrument, gains the open notes
other keys, the complete chromatic scale is obtained of other keys, in addition to tiiose of tlie principal
m open bcuuiIh. The use of the three pistons has key, it is clear that it mii.^t also secure the closed
 :

Ui BERLIOZ' TREATISE UPON

rotes. Thus, the horn in F naturally gives this should only be wrif.eL as a passing note placed
between a G and an E,
open C,
^ which produces F: and, by

means of the

produces G;
pistons, this open

hut if the hand be employed in the

I), ^p^^| which
and care must be taken neither
m^m to come upon it un-
bell, BO as to lower these two notes one tone, the prepared nor to sustain it. _
^
The medium BJ?, on the contrary, ^^ 5^:= jg
first becomes a Bj?, ^=i producing EJp closed. always a little too flat.
It is well to avoid the employment of the low 0,
and the second a 0,
It is
^=
composer to indicate, by the word
for the
H producing F, also closed. i^
^- on trumpets lower than the trumpet in F.

" closed," and by the figures

^ or f showing how , this note isweak, of common quality in tone, without
much the bell must be stopped, the notes which he being appropriate for any characteristic effect
and ;
does not wish produced open. It can easily be replaced by a
sound of the horn,
For a scale written like the following incomparably better in all respects.
Closed^
The three extreme high notes
-
bfi. t;iQ- :p;
f

1==-^=^ siz -.-tiz

Efe^=^P
while very hazardous on trumpets in lorv A, B\;,
the performer will therefore take the proper pistons and C, are impracticable in higher keys. The
for the open scale of C might, however, be reached, even in the key of E\>,
if it were thus brought in, Icmd :

1e EEj: 1^
and the employment of the hand, stopping the two
thirds of the bell upon each note, will make it into ff
a scale of B\>, of which all the sounds will be the
Such a jiassage, which the greater number of
dullest and most closed that can be obtained on the German and English players would face without
horn. It is thus possible, on the horn with pistons, hesitation,
would be, however, very dangerous in
after having played a passage in open sounds, to France, where there exists generally, in the use of
repeat it in closed sounds, like a very distant echo. brass instruments, much difiBculty in going high.
There are trumpets of many kinds, in B)}, in C
The horn with valves differs from the preceeding
only by the nature of its mechanism. in D,E^, in E^, in V, and in G ; very rarely in
in
high A\;. By means of the lengthening piece, of
This difference is all in it3 favor on tlie score of
which mention was made in speaking of horns, and
flexibilityand quality of tone. The sounds of the
which lowers the instrument a half tone, trumpets
horn with valves do not materially differ from those
are produced in A, in ^t], in I>\} (or Ci), in G^
of the ordinary horn. This instrument is already
(or P\)- By means of a double lengthening piece
in general use tliroughont Germany, and, without
which lowers the trumpet a whole tone, the key of
doubt, will soon become so everywhere.
low .4b is even obtained ;but this key is the worst
of all. The finest quality of tone, on the contrary,
The Trumpet.
is that of the trumpet in D^ ; an instrument full of
Itscompass is nearly the same as that of the horn, brilliancy, and of remarkably precise intonation
but ;

of which it possesses (in the upper octave) all the which seldom employed, because the majority of
is
natural open notes it is written on the G clef
;
:
composers are ignorant of its existence.
After what I have said above of the notes of the
two extremes of the trumpet scale, it is easy to
conclude that the compass of this instrument is not
the same in all keys. The low trumpets like all
other instruments of this kind should avoid the
Some performers succeed tolerably well in pro- lowest note while the high trumpets cannot reach
;

ducing certain closed notes on the trumpet, by the most acute sounds.
introducing,
as on the horn the hand into the Here is a table of the different kevs :

bell; but the effect of these notes is so bad, and

Jitticult.
nittic
their intonation so uncertain, that an immense ma-
,

jority nf composers have wisely abstained, and still Trumpet in

From this proscription low A t?.
abstain, from using them.
ehould oe excepted, and considered as an open note,

ihe high F, _A |
|
It conies out by aid of the lips
3:
^^J^
-

b-
only, but its intonation is always too sharp. It &tr I
I I


MODERN INSTRUMENTATION AND ORCHESTRATION. lin

er; difficult!

Truiiipel in
i^^s^j^ai^si
a Effect.

rrumpet in

Effe.:'..

Trumpet in
B5
Cl

Effect.
P^^^^^l The low double
which must be written on the
marked witli this sign *,
F
of excellent clef, is
and

sonority in the three high keys; on many occasions

admirable use may be made of it.
Trumpets in high A^ are seldom found but in
military bands ; is very brilliant, but
their sound
their compass is than that of trumpets in
still less
G, since they cannot go above the fourth C;
Difficult.
Trumpet
liigh Aj7.
in ^:
=3 -^ -^ ^^
rt -IT

Effect

Adolphe
^ip
Sax now makes small octave trumpets and
tenth trumpets (in high C, and in high [?,) of excellent
t;ound. 'I'hey should be found in all orchestras, and in all
military bands.
trumpet in

The shake is hardly practicable in general on the

trumpet, and I think it should be abstained from
d_-o-:S in the orchestra.
Effect.
-4l3^^?-^tr
E=3=3=gr-J:8ar:ff=t:: The following three shakes, however, come out

^
tolerably well :

I
Bad I
DifficultTI =t:
I
quality.'!
frumpet in n<-
E?.
^^'hat I have said witli regard to diffi rent keys
on the horn, and of the way of using them by means
of interchange, is applicable in all respects to the
trumpet. It should be added, though, that tha
Effect. E_^EEa-^^?^:^e^^lE^: opportunity of writing for it in different keys does
not often present itself. The greater part of our
orchestras only provide a compoaerwith two trumpets
fliidiflerent. Difficult.
and two cornets-i-pistons, instead of
!

four trumpets.
quality.
O-ri l"- I

It is better, in this case, to leavethe two trumpets

Trnmnet in

:3- ^ o- both iu one key, as the cornets-u-pistuns can give

all the intervals, and as their quality of tone ia no(
so dissimilar from that of the trumpetu but that
Effect. they can resemble them well in the whole combi-
nation, and thus suffice to complete the harnicuy.


144 BERLIOZ' TREATISE UPON

111 is no need of employing trumpets

general, there
iu^ two different keys, excepting when, in the
minor mode, it is desired to empower them to pro-
duce simultaneously the third and fifth degree of
the scale. In G't iiiiuor, for instance, if it he ne-
cessary to cause one trumpet to sound successively
tiie two notes, G|I, B, while the other sounds, at a Effect,

tliird above or a sixth below, the other two notes,

B, Djft, a trumpet must be taken in i^b ("^t wiiich
the E and the G
produce Gi, B), and a trumpet
in B'^ (of and the E give the B
which the 'x^^r^^SS^^^^^^^
and the Dj|) this is what has been done by M.
; Notwithstanding the routine genendly pursued,
Meyerbeer in the grand scene of the fourth act of charming piano effects are to be obtained from
the Huguenots. trumpets. Gluck was one of the first to prove it
by his long holding-note of the two trumpets, united
Trumpet in Ei]. pianissimo on the dominant, in the andante of the
-m~S m S m ^^^
a^
introduction to Iphigenia in Tauride ; and since
then, Beethoven (especially in the andante of his
rrumpet in Bi). Symphony in A) and Weber have obtained great
advantage therefrom.

No. 43. Iphigvnia in Tauride. Glucr..

Hautboys

Trumpets and
Horns in D.

Vidliiis.
 MODERN INSTRUMENTATION AND ORCHESTRATION. 145

No. 44. Symphun'j in i. Beethove K.

Klntes

Haatbo} s

Fniii-'pitB in D

Bassoons

Prunit, D, A
 1 :;

146 BERLIOZ' TREATISE UPON

In order that these notes
certainty, tiiey should,
be produced with
be taken in the
may
in general,
medium, and not succeed each other too rapidly.
l-T^^H^ ^^^^I
Rare, anrt in the |

lower keys only.

The five following may be taken and sustained 1 ;

pianissimo The high trumpets with cylinders

such as those in t
G can
:

/T\ /TS /T\ an d in descend chromatically as far as FJ,

s.
The Bp of the medium being too flat, this defect
of precision should be corrected as much as possible
bv the force of emitting the sound. It cannot be
does not offer the same risk it may be sustained
:
and taken softly, at least on the four lower keys,
^fl, Bb, -ff B, and C. In the key of B, I think that
a clever player can even give to this C, wiien sus-
taining it, much softness but it is prudent to con-
;
\
1 m but these extreme notes are of but poor quality.
U
=s^-
Major and minor shakes feasible on the trumpet
with cylinders are the same as those of the cornet
with three pistons. (See, farther on, the table of
shakes for this instrument.)
I
Valved trumpets, called so on account of a
movable valve similar to that of the trombone, and
worked by the right hand, are adapted to produce
the tiuest intervals. Their sound is precisely the
same as that of simple trumpets, and their compass
is this :

ceal its entrance by a forte in the rest of the I

Impossible in the
j
keys of C, of O,
orchestra. I
and below thm.
The
brilliant
quality of tone of the trumj)et
comports with warlike ideas, with cries
; it
is noble and
si m
of fury and of vengeance, as with songs of triumph; w- H3-
it lends itself to the expression of all energetic, lofty, Impossible in the I

keys of C, of D,
and grand sentiments, and to the majority of tragic I
and below them.
|

accents. It may even figure in a jocund piece

provided the joy assume a character of impulse or of
pomp and grandeur.
Notwithstanding the real loftiness and distin- :erS^zP^^
guished nature of its quality in tone, there are few #^a}(ci:Si^^ife
instruments that have been more degraded than the
trumpet. Down to Beethoven and Weber, every com- The Cornet with three pistons; and with cylinders.

poser not excepting Mozart persisted in either Its about two octaves and two or three
compass is
confining it to the unworthy function of fiUing-up, notes. The mechanism of the pistons with which it is
or in causing it to sound two or three commonplace furnished allows of its giving all the chromatic de-
rhythmical formulae, as vapid and ridiculous as they
are incompatible, very often, with the character of grees as far as the low Fj, ^^ti^B; nevertheless
the pieces in which they occur. This detestable
practice is at last abandoned. All composers, now- this note and the tvv'o or three that precede it in
adays, of any merit and style, accord to their descending,
such as A, Ab> G, are hardly prac-
melodic designs, their form of accompaniment, and ticable save on high cornets. It is possible, on
the trumpet's powers of sound, all the latitude, these high cornets, to get out the double below,
variety, and independence which the nature of the
histiument allows. It has needed almost a century "j7 " ; the first note of the natural resonance of
for the attainment of this end. -TCr-
Tru^npftn with pistons and with cylinders have the trumpet, as will presently be seen but it is a ;

the advantage of being able, like the horns with note of very hazardous utterance, of very bad quality,
pistons, to give all the intervals of the chromatic and of very dubious utility.
scale. They have lost nothing of the quality of There are comets in C, in Sp, in A, in AQ, in G,
the ordinary trumpet by the super-addition of these in F, in Eh, in E^, and in D. By means of the
facilities, and their correctness of intonation is satis-
lengthening-piece, mentioned in speaking of horns
factory. The trumpets with cylinders are the best and trumpets, which lowers the instrument half a
they will soon come into general use. tone, it is doubtless possible to obtain the keys of
kryed trumpets, still employed in some Italian Bh, FJIf, and even D\); but the facility of modulating,
orchestras, cannot be compared to them in this given by the pistons, renders these changes of key
respect. almost useless. Besides, the low keys, such as
I'he general compass of trumpets Nxith pistons and
with cylinders is this
those of O, F, E, and D,
are generally of indifferent
quality, and wanting in correctness of intonation.
:

plmiifferently good, and |

The best cornets those, I, think, which should be
!

I
passable only in the
higliei keys. almost exclusively used
are the cornets in G, and
ES especially in At>, a]], and B\). The highest of all,
ijpg|^2*= the cornet in C, is rather hard to play, while itj
intonation is not beyond reproach.
 Q

MODEEN [NSTRUIVIENTATION AND ORCHESTRATION. 147

iSubjoined is the compass we may assign to the

With the chromatic iiuervals
different keys of the cornet-d- piston; certain players,
however, obtain some very dangerous notes, both Cornet in El^
sbove and below, but these shall not be reckoned.
Its music is written on the G clef. The natural re-

sonance of its tube shorter than that of trumpets With the chromatic intervaU._ i

gives the following notes :

$m ^=^=sfl^ fto.

The chromatic compass given by the pistons, in Comet in Eb

the different keys is as follows :

lof bi With the chromatic intervals.

Iquali
Effect.
Cornet in C,
real sounds.

Difficult.

s^^^^^^^^m Cornet in D.

Effect.
Cornet in Bb

An opportunity occurs here for pointing out with

Effect.
regard to the last high notes of these examples,
"
which all produce the same G, 7k []. that they

are of much less hazardous emission, and of much

better sonority in the high keys than in the low

tsmet in A ones. Thus the high Bp of the cornet in A, ^ fl

==^ and the

Effect. high G of the cornet in C, ^^^^H i^'e incomparably

better and more easy to play than the high F of the

cornet in D, -Jl a or than the high E of the

Cornet in Ab

cornet in SP, ^^ H And yet all these notes

Effect. a
sound the same G, ^<j
j y
H Moreover, this observ-

ation applies equally to all brass instruments.

Thegreater number of major and minor shakea

Comet in O. are practicable and of good effect on the following
part of the compass of the high cornets-a-pistons,
such as those in A, B^, and C.

Effect.

Cornet in F.

Effmst
*" '"
tr ir tr * tr tr
 ;; .;;

448 BERLIOZ' TREATISE UPON

Doubtful. naturally produce (without pistons) these three note*

only

is always its second octave going from low to high.

tr
Therefore, cornets-i-pistons have their favorite notes
especially in this second octave. By considering the
We now proceed to the relations established
cornets in A, in Bf and in C, as trumpets an octave
,
between the pitches of the various keys of horns,
tnimpets, and cornets. above the trumpets in A, in Bt?, and in C, they might
The first low sound of tlie cornet in C, as already be so written for but thishaabeen judiciously avoided,
;

Been,
is an octave above that of the trumpet in C
and cornets are actually written for in their place on
the musical scale, by making their lowest sound pro-
;just as the first low sound of this trumpet is an oc-
ceed from an octave above the lowest sound of the trum-
tave above that of the horn in (low) C. The natu-
ral notes of the horn (those which result from the
pet. The best notes of these cornets are within thw
compass, and in the vicinity, of their second octave
resonance of the tube) thus reproduce themselves an
octave above, and in ihe same order, in the trumpet r Favorite notes.

wliile those of tlie trumpet also all reproduce tiiem-

Comet,
elves an octave above, and in the same order, in the "SrdOctsTe

cornet, if the player's lips had the necessary force to ;il-

7"! St Octave^ y
2nd Octave.
^
bring out the highest ones which is not the case. ;

If comets were written for as trumpets, these

1st 8ve. 2nd 8ve. 3rd 8ve. notes would always be below the stave, and would
Morn in .

low C. _ involve the constant employment of ledger lines

'^-^ L,^ .. -* "
Thus :

Real _"*
G
'i
cleff written an octave above
sounds. ;

^
according to the adopted custom Favourite notes. "~N
for learners. Cornet in C, J<S5-
This note exists it is really the first low one of the
:
written like f^z
a trumpet in
5iorn hut in all the low keys it is so detestable, and even
; C, (high.)
l^.
o indistinct, that we have abstained from giving it a place -W --2ird Octave.
V
in the scale of the sounds of the horn in (low) C and ;

for even greater reason, in that of the key of (low) Bb. This inconvenient method of writing for cornets-i-
pistonsis nevertheless adopted in Prussian militsry

music and of this it is well to be aware.

;

There remains to consider (the key of being

taken as tlie point of departure, in horns, tnimpets,
and cornets), that the changing keys of the cornet
proceed by elongation, and therefore, by becoming
low,')- and lower : this is why, in displaying their
scale, we have commenced with the highest keys
whereas, those of trumpets and^ horns (with the
exception of three,
those in BQ, in Bp, and in
It willbe seen by the above, and it is highly low A, which are lower than the key of 0) proceed
important to be remembered, that the portion of by shortening, and consequently by becoming higher
the scale of a brass instrument in which it can and hiiifher.

OiFFERi.NT Keys of tuk CORNI Different Keys of the Trumpet. D ifferent Key S OF THE H<
Pistons.
1st. C (typical key) 1 Ab (rare). high.
2nd. Btj. Gt, BSJ high.
3rd. Bb. Gb. Bb high.
-s I

4th. A. F.
5th. Ab. Ei,. Ab.
Gth. G. Eb. Gb.
7th. Gb- D^. Gb.
8th. F. F.
9th. Ek). C (typical). Eij.
lOih. El7 I 2
Eb.
llth. D. Bb. <^ Dft.
I

A (tvry rare). \% Db.

C (typical). ^?
Bb.
\
I

A {very rare J. J^


MODEHN INSTRUMENTATION AND ORCHESTRATION. 149

Let us now observe what affinities exist between plying all tlie gaps whieli separate their natural notes
horns trumpets, and cornets and the respective ; from each otlier, but tiiey also add six elii:^matio
pooition they occupy in the scale ol' sounds. notes below the two lowest sounds. Thus, for
I will here add that trumpets with pistons, or with cornets :

cylinders, having as
have just said their best
I
notes within the compass, and in the vicinity, of
2nd low sound.
their third octave (which is found in unison with !^
that of the second of the cornet ), passages written
for cornet8-a-i)islons iu A, in B, and in C, within Bad and impracticable.
this comj)as8 : 1st low sound.

rzr: Sva. bassa

"^ "" For trum])ets :-

.
8^
will necessarily be executable on trnmpets in A, in Detestable.

B, and in (.', without causing any change.

allows of replacing, witliout disadvantage, cornets
This 2nd low sound.
!^
by trumpets with cylinders, in orchestras like 8V3. bassa.J,^ S*"
Still more detestable.
German ones, which have no cornets.
Cornets in A, in B, and in C, have, minutely Ut low sound.

analysed
less compasss than trumpets in A, in B,
and in C
since they can scarcely reach above the
;
This first low is so indistinct and difficult to
sustain that the notes added below for the pistons
A it
real, ^!zz|] become, may
be imagined,
as absolutely im-
Cornet in A. Cornet in BtJ. Cornet in C. practicable. the same for the horns.
It is
Although the cornet possesses all the degrees of

i i P m the chromatic scale, the choice of key in changing

is not immaterial. It is always better to take that
Trumpets, on the contrary, have, in the first place, which offers the means of employing the most natu-
several more notes below however poor tliey may ral notes,
it is scarcely necessary here to repeat that
be; and, moreover, produce, more easily than cornets, the natural notes are those which come out without
the aid of the pistons, by the sole effect of the
this same A. .
^3:3^ in the keys of D :

resonance of the tube of the instrument such as, ;

Trumpet in D. Trumpet in F.
C2l
^^ :=l=i

P Some artists, gifted

and F:
with vigour of
i lip, can even
^=B=^i=E^JE
sound the E of the trumpet in G, ^zi=:[j which
and wnich bears few or no sharps the or flats at
signature. When the orchestra playing is in JE'fl,

~
G the cornet BS one the
for instance, as iu is of
produces B,
^ H and the of the trumpet in
good, the cornet
least ^h should which in be used,
F, 3;^^zH which produces C, ^Sl^^B; but merely would then play in G :

in passing,and if these notes be adroitly led up to. Orchestra.

But performers capable of reaching these extreme
notes are rare, and they should not, in writing, be
too much counted upon.
Cornet in
Trumpets, having a narrow tube, a small mouth-
piece and a bell of little extent, attack the high
notes with more facility. The tube of cornets, on If the orchestra be in B, the cornet in ^K should
the contrary, being rather thick, and almost conical, still be used ; it would then plav in F:
their bell and their mouthpiece, also, being rather
larger, the mastery of low notes becomes more easy
to them than that of high notes, and their tone
acquires the peculiar quality which tlistinguishesthat
of trumpets. This is the cause of difference.
Before proceeding to the examination of the
Cornet.
in a:.
^ii^^:^i,^igiMii
expressive character of the cornet-a-pistons it is
not unneedful to repeat here what I have said, in If the orchestra be in E\p, the cornet in 2?b should

epeaking of the horn with pistons, respecting the be taken, playing with one flat at the signature,
action of the three cylinders, or pistons, adaj)ted consequently in F; and so on with the rest.
to brass instruments generally. Not only do The cornet-a-pistons is very much the fashion in
these three cylinders give to instruments the chro- France at present, particularly in a certain musical
matic scale (above tkeir first octave), thereby sup- world where elevation and yurity of style are not
 .
150 BERLIOZ' TREATISE UPON

considered essential qualities ; and it has thus be- loftiness of the trumpet, renders the use of the
come the indispensable solo instrument for quadrilles, cornet-^-pistons in exalted melodies a matter of
galops, airs with variations, and other second-rate great difficulty. It may figure there with advan-
compositions. The frequency witli which nowa- tage, however ;but very rarely, and on condition of
days we hear melodies devoid of all originality and playing only phrases of large construction and of
distinction executed on this instrument in the ball- indisputable dignity. Thus, the ritornello of the
room, together with the character of its timbr-e, trio in Robert le Diable. " my son," &c., agrees
which has neither the nobleness of the horn, nor the well with the cornet-a-pistons :

No. 45.
Andante Cantabile, Robert le Diable. Meyerbeer

Clarinets in A.

eSf

Horns in B
(low./
ll].
pi PP
m ^
Very staccato.
"*' -

^
p-^-^-r-E g
-q ^ g^^p^^

Horns in
(low.)
Bb t 1
PP
j^j^^^ J j"i 1 L'^^^^'^^^T^g^S^^
Very staccato.

Horns in D. ^ PP
^3^3 *i "

Very staccato.

Horni in 0.

As soft and legato as possible.

Cai lets k Pistons

in Aa.

rrombones

PP

Ophieleide.

Drums
InEi;. BE

Rock* I

&ii>ae.

PUt.
 MODERN INSTRUMENTATION AND ORCHESTRATION. 151

^^^^ =^=^ ^P^f-^i ^^?-^i 1 1 ,n"?-i-T=F^&-J^-^^H

^
.Joyous melodies will always have to fear from this
instrument a loss of a portion of their nobleness, if
pass.
highest of them all,

The Soprano Trombone, the smallest and
exists still in some parts of
they have any, or, if they have none an additional Germany, but is unknown in France ; it has scarcely
triviality. A phrase which might appear tolerable, ever been used in the scores of the great masters ;

played on violins, or on wooden wind instruments,
would become poor and detestably vulgar if brought
out by the bitin<jr,noisy, shameless sounds of the cornet-
s-pistons. This danger is obviated if the phrase be
of such a nature that it can be played at the same
time by one or more trombones the grand tone of
; trombone under the name of Cornetto.
which then covers and ennobles that of the cornet.
Employed in harmony, the cornet blends very well
with the general mass of brass instnimeiits; it serves to
complete the chords of the trumpets, and to contri-
bute to the orchestra those diatonic or chromatic
groupes of notes which, on account of their rapidity,
suit neither the trombones nor the liorns. Cornets-
^-pistons are generally written for in two parts, each
which is no reason, however, why it should not figure
there sooner or later, as it is by no means certain that
trumpets with pistons
even the highest can ad-
vantageously supply its place. Glnck alone, in his
Italian score of Orfeo, has written for the soprano
He has
made it double the soprano voices of the chorus,
while the alto, tenor, and bass trombones double the
other voices.
These three last-named trombones are the only
ones in general use. It should also be stated, how-
ever, that the alto trombone does not exist in all
French orchestras, while the bass trombone is almost
unknown among tliem being in nearly every case
;

often in a different key. confounded with the third tenor trombone, which
plays the lowest part, and for this reason is. very
IVombon/s. im{)roperly, called the bass trombone, though ma
kinds of trombones, each of which
'ITiere are four terially differing from it.

bears the name of the human voice to whicii it has Trombones are instruments %vith slides, of which
the nearest resemblance in quality of tone and com- the double tube can be len;rthened or shortened intsn-


152 BERLIOZ' THEATISE UPON

taneously,
It may
by a simple movement of the player's arm.
be conceived that these variations of the
tubes which,
sounded in their totality, give foi
iirstlow sound, a Bb :

lenofth of tiie tube completely change the key of the

inturument,
which is the case. Whence it follows
that trombones, possessing, like all brass instru-
ments, the notes resulting from the natural resonance
of the tube in all positions, have a complete chro-
Hence the instrument is sometimes called the trom-
matic scale, interrupted only at one point below i"*
bone in Bp. It is therefore a fourth below the alto
will be presently seen.
trombone and its compass is this
; :

The Alto Trombone.

This trombone has a compass of more than two
octaves and a half; it is written for on the clef,
Very difficult.
third line :

Of bad quality!
-- -42
J |

J^.
=t==iz

5^- ^ =1=: PI ifal-

With all
z^=^=hii
the chromatic intervals.
It will be observed that the low Ep, y^' % is
ba.
-az; ^^^^^ wanting in the tenor trombone
stantly gives rise to a host of errors in scores the most
; and this note con-

IVery difficult.l
learnedly written. Thus, one of our living com-
Its quality of t(me is rather shrill, compared witli posers whose skill in the art of instrumentation is
that of tlie deeper tromliones. Its lower notes sound
eminent has commenced an opera of his wnth seve-
somewhat badly, which is one good reason for ral low Eps for the tenor trombone. It is the
avoiding them in general, as well as because these ophicleide which plays them, while the trombone
same notes are excellent on the tenor trombone, from only doubles them an octave above, and the author
which the alto trombone, in the orchestra, is scarcely perhaps never perceived that his low Ej? was not
ever separated. The high sounds, such as B, C, D, given by the instrument for which he wrote it.
E, F, on the contrary, may be very useful and on ;

their account it is to be regretted that the alto The Bass Trombone.

trombone is at present almost banished from our
Is only rare on account of tlie fatigue experienced
French orchestras. When its slide is closed, the
in playing it, even by the most robust performers.
following notes may be obtained by means merely
of the lips. They are emitted in the same order as
It is the largest
and consequently the lowest of
them all. When employed, it should have sufficiently
those from the natural resonance of brass horns,
long rests given to it, that the player may repose ;
trumpets, and cornets, in Ep

fe^- 12- ^ and it should moreover be used with extreme

t^ H-.-4-^
Iroi-
^i le
discretion and well -reflected intention.
With the slide closed, it gives the notes.
8va.
Hence the name of small trombone, or alto trom-
^Occ
bone in 'b, which players give
but which it is it ; II E55--
generally useless to adopt in scores because, sound- ;
8va.

ing the notes as they are written, it does not come on which account it is called the great trombone, oi
under the head of transposing instruments, for the bass trombone in E^.
which alone, as we have said, these variouB desig- It is consequently an octave lower than the alto
nations of key are necessary. trombone, and a fifth below the tenor trombone. It
is written for on the F clef :

The Tenor Trombone.

=4r
=i: -iia-
This without doubt, the best of them all.
is, It 3-^-=
has a full and powerful sonority it can execute ;
b5' With all the chromatic intervals.

passages the rapidity of which renders them imprac- -0- .a.

ticable on the bass trombone and its gmality of
tone is good throughout the whole extent of itsTcale.
;
m^=^=^^^. \
i="E
ii^i^l
It is ordinarily written for on the C clef, fourth line ;

but as it happens in certain orchestras that the three The sound of the bass trombone is majestic, for-
trombone parts, ander three different names, are midable, and terrible and to it belongs, of right,
;

played on three tenor trombones, it follows that the lowest part in all masses of brass instruments.
they are then written for: one on the C clef, third line Nevertheless, we have the misfortune, in Paris, of
being utterly deprived of it it is not taught at the
(like the alto), the second on the C clef, fourth line ;

(like the tenor), and the third on the F clef (like Conservatoire, and no trombone-player has yet been
the bass. Its slide being closed, it produces na- willing to acquire its familiar practice. Whence it
turally the following notes, which arc those of the follows, that the majority of modern German scores

fesonance of all brass tubes in B\f ; that is to say. and even of ancient French and Italian scores, writ-


MODERN INSTRUMENTATION AND ORCHESTRATION. 163

ten ft>r orcliestras whicli possess, or did possess, tliis tube), four notes, enormous and magnificent on
instrument, must be more or less deranged wlien tliey the tenor trombone, of indifferent sonority on
are performed in Paris. Thus, in Weber's Freyschiitz, the alto trombone, and terrible on the bass trom-
bone when they can be got out. They are called
there are some low DQs beneatli the stave, ^==^^^^^=4
pedals doubtless on account of their resemblance
:

in the accompunimentof the huntsmen's chorus and ;

in quality of tone to that of the very low notes
farther on, where tiie hermit enters, there are some on the organ, which are so named. It is rather
difficult to use tliem well, and they are even un-
low ElJs, j^ j These notes are of neces-
known many
to trombone-players. These notes are,
siiy carried into octave
above, because the
the
three ]ilayers in the Opera orchestra use only
the tenor trombone, which hae them not. It t*-
=1= i
is the same with the sustained low C'^b, ^ H in for the alto trombone ;

-^-
the chorus of Gluck's Alccste: " Pleure, O patrie."
Here, the effect of the double Cs is extremely
important, which makes their transposition truly
deplorable.
ira- ^ -$
for the tenor trombone ; and the bass trombone
The
bass trombone cannot lend itself to rapid
would have these :

movements with the celerity which marks others of

the same family the length and size of its tube
;

necessitate rather more time for vibration and ;

-^^'
it will readily be imagined that its slide ma- va Bassa-
noeuvred by the aid of a handle which supplements,
in certain positions, the length of the arm does if performers had the power of bringing thea
all

not admit of great agility. Hence the real impossi- out. Supposing, however, tiiat the bass trombone
bility for German artists who use the bass trombone possesses the first only of these pedal notes, the
to execute a crowd of passages in modern French double Eb, it would be of great value for certain
scores, which our own trombone-players render as effects which are unattainable without it since no ;

well a* they can on the tenor trombone. The imper- other instrument in the orchestra, with the exception
fection in the execution of these passages notwith- of the bass-tuba and the double-bassoon, attains this
standing the talent of some of our artists evidently extraordinary depth. These notes on all the
proves that they are too rapid even for the tenor
trombones are isolated from the others by a gap of
trombone and that trombones in general are not fit
; an augmented fourth, which separates the first natu-
for rendering such sequences. It proves at the very ral low note from tiie last (descending) of the scale
least assuming that composers are guilty of only a produced by the employment of the slide :

little exaggeration on the point of difficulty that

those instruments should always be used which they
indicate, and no others.
ters
Unfortunately, many mas-
although very well knowing that in most of
^ Osp.

our orchestras there are only tenor trombones per-
sist in writing in their scores, Alto Trombone, Tenor
Trombone, and Bass Trombone, instead of stating
1st, 2nd, and 3rd tenor trombone. Consequently, in
i
Onaccount of this gap it is indispensable, in
certain cases, to designate the keys of the trom-
bones employed for it changes place in the scale of
;

order to be able to execute their operas abroad as sounds, according to the length of the tube or the
they perform them in Paris, it would be requisite, key of the instrument and consequently, one or ;

without paying regard to the printed indications, to more pedals of a certain key may fail upon a
employ the instruments used in Paris. To sanction trombone in another key. For example, if the
generally such a latitude in the interpretation of composer who has written these pedal notes
a composer's wishes would be to open a door to
all sorts of incorrectness, and to all sorts of abuses ?
IB^
And is not just to make those authors who are
it

80 neglectful in supervising their works suffer a

little, rather than to let those run the chance of have not taken care to indicate that he desired a
seeing theirs mutilated who write with unfailing trombone in /yp, it niay be that there is in the
care, and with a profound knowledge of instrumental orchestra where his work is to l)e executed, a true
resources ? bass trombone in Eb, which lacks the and the Ap
All trombones commencing
from points more or low G or a bass trombone in F, which lacks the
;

lesslow have the same compass; which, as we four notes, Bb, A, Aj?. and (these instruments G
ha\e seen, is two octaves and a sixth. But this is are very prevalent in Germany) or, lastly, a bass ;

not all. they alsu pos-

Besi<les this extensive scale, trombone in G
(there are some of these in England)
sess
at the extreme depth, and commencing from which equally lacks P>|7, A, and Ap- It will be
tbe first low sound of A (natural resonance of the better comprehended by the following :


154 BERLIOZ' TREATISE UPON

Pedals of the Teaor Troml me in Bb- Pedals of the Bass Trombone in F. It possesses none of those belonging
to the Trombone in Bf-

Gap.
trcr -^- 9-^ -c-
mm^
P*^al of the Bass Trombone in G, One of them exists upon the Trom-
bone in B|?. Pedals of tha Bass Trombone in Et>. It does not possess the Ab nvi
the G of the Trombone in Bp.

gJS: Gap. ?liili

Gap. "^^
$*- |-'- 8va Bassa
icr F^
^
-^-

General Compass.

Alto Trombone.
Of bad quality. || Of bad quality.
to-tg^-^^
-X.
^LJpl
=3=4==!. itei3i|^[^=s?-iai-^i^^^ii i
I

P edals. Chromatically.
I J [

Very
iDifficult.l
I
^^
^enor Trombone.
i^i3iiiii^^^i^^^Sp_
^ ^^- .^ -C^-5-
Chromatically.
Pedals.

Almost
Impossible.
Difficult.! o- ^-*^
Ba'-s Trombone.
:::l^=:::|==l=B==j:=fcz|rr:rtdr=|-:^=l; ^EgSlE H-Z-te^^^^^^EI
Chromatically.

Sva Bassa loco.

Pedals.

If the pedals of the alto trombone were not of so
bad a quality, they might be employed, in orches-
tras which have no bass trombone, to fill up the
space existing between the Eb,
tenor trombone and its first
other slowly, and to intersperse them with reste
which give the player time to take breath. Care
should be taken also that the part in which they
occur shonld be written generally so low as to allow
iD of the the lips of the trombone-player to become gradually
habituated to the production of very low tones. The
pedal. but best manner of taking the pedals on the tenor trom-

unfortunately they are so shrill and so thin that they

cannot be counted on as a substitute for the fine low
bone, for instance, is to make on the first ^m
Sr
tones of the tenor trombone. The bass trombone a leap of a fifth or an octave, going from the F or

with the powerful notes of the lower extremity of the Bp upwards then, after having allowed for
;

its scale,
taking breath, to pass, descending cliromatically, to
the A, or to the Gj fthe GjJ is more difficult, of
extreme rougliness, and of very perilous utterance).
b-o It is thus, at least, that in a modern Requiem Mass,

can alone supply tliis need. the author has brought in these three notes, and
although, at the first rehearsal of his work, out of
Fortunately, the clever maker. Sax (of Paris),
the eight trombone players who had to sound them,
has surmounted the difficulty by means of a single
five or six exclaimed that the notes were not possible,
piston affixed to the body of the tenor trombone
the eight Bbs, the eight As, and the eight Gls did
;

which piston the performer moves with his left

not the less come out quite full and quite true,
thumb, maintaining the entire liberty of his right
given by artists who, never having tried to
arm for manipulating the slide and which, sup- ;
produce them, did not believe in their existence.
plying the gap, now gives to the tenor trombone in
The sonority of the three pedal notes seemed
fib this immense compass :

much finer than even that of notes far less

With the chromatic intervals.
^ __ '^

- Q-^.^-

zgE^gEg^^-^a; **-a-
1_|-
m low, and frequently employed

This effect occurs, in the work I have just quoted,

:-

v=
beneath a harmony of flutes in three parts, during
IWith the thumb piston Pedals.
1
an absence of voices and of all the other instruments

^^^B
|

^= 11 The sound of tlie flutes, separated from that of the

P"*^ "fjt pcP trombones by an immense interval, seems thns to be
-t?o- tflf^.
w^.2^gl
the extreme high harmonic resonance of these pedals,
The vibrations of the pedal notes are slow, and whose slow movement and profound voice tends t
require much wind in order, therefore, to make
; redouble the solemnity of the pauses by which the
them come out well, it is necessary to give them a choir is interrupted, at the verse ; " hostias et preces
sufficiently long duration, to make them succeed each tibi laudis offerimus."
 MOI>ERN INSTRUMENTATION AND ORCHESTRATION. 156

Andante non troppo. Requiem Bt.tiLiot.

Lento.
rimre Flit^


156 BERLIOZ' TUEATISE UPON

1 have elsewhere emp.oyed A\e pedals of the tenor

Iromboue, but with quite another intention. The T
Troin
object was to give some low harmonies of extreme With the chromatic intervals.
roughness, and of strange timbre. I beUeve I
be perceived that all these shakes are major
It will
have obtained them by means of this fifth on two the minor shakes are impracticable.
;

tenor trombones, ^^^=J; and, farther on, by a The trombone is, in my opinion, the tru e nhief
of that ,spe.cje..JjjmLd iiiiitruments which I have
diminished seventh between an ophicleide and a designated epja-iQatruments. It possesses, in an

pedal A
of the tenor trombone : eminent degree, both nobleness mid grandeur; it
has all the deep and powerful accents of high musical
Ophicltidj in C.
poetry,
from the religious accent, calm and im-
posing, to the wild clamours of tlie orgy. Jf fl<>-
pends on the composer to make it by turn chant H ke
Two Tenor a choir of priest. t.lirpatpn lamp nt, ring a tun eral
'!,

Trombones, united knell, Tai se i^ hymn of {florv. break forth into fran tic
cnes, or sound its dread flourish to awaken the dead
Anotlier particular, ignored by the majority of -Or to doo Tn the l^yinff.


composers yet nevertheless very important to be Means have nevertheless been found some thirty

j

known is tlie difficulty, and even, in certain cases, [years since degrade the trombone, by reducing
to
the impossibility, for trombones to give in succession, it to a servile doubling, as useless as grotesque, of

and with any rapidity, the following notes : the double-bass part. This plan is now alnfl'ost
abandoned. But there may be seen in a host of
scores, otherwise very beautiful, the basses doubled
Alto Trombone.
4=^^%=^ almost constantly, in unison, by a single trombone.
know nothing less harmonious or more vulgar
Tenor Trombone.
m- - * -^
I
than this mode of instrumentation. The eoimd of
the^trornbone is so markedly characterised that it
Bass Trombone. should never be heard but for the production t)f
4=4=qz ^3p i>-" some special effect; its duty, therefore, is not t
strengthen the double-basses, with the sound of
The passing from one of these notes to the other, which, moreover, its timbre has no sort of sym-
demanding an enormous change in the position of pathy. Besides, it should be understood that a
the slide of the instrument, and consequently, a single trombone in an orchestra seems always more
considerable stretcli of the performer's arm, cannot or less out of place. The instrument needs har-
be effected except in a very moderate movement. mony, or at least, unison with the other members of
A celebrated master having written this rapid suc- its family, in order that its various attributes may be
cession, B, Ajfc, B, several times repeated, the trom- completely manifested. Beethoven has sometimes
bone-players of the Th^itre-Italien undertook its employed it in pairs, like the trumpets but the ;

performance by playing it like the Russian horn- time -honored custom of writing for trombones in
players, each of whom gives a single note one took ;
three parts appears to me preferable.
the BH, and the other the Aj, to the great amuse- It is difficult to determine with precision the
ment of tlieir colleagues, who especially laughed at degree of rapidity to which trombones can attain
the pains the second trombone was at to edge in his in passages; nevertheless, the following may be said
Ai contra- tempo. on this point in a bar of four-time, and in the
It is also
and for the same reason rather :

movement Allegro moderato, for instance, a passage

difficult to play with speed this passage on the tenor of simple quavers (eight notes in a bar) is feasible
trombone :

on the bass trombone

J_,J^
:

-^-
It is better to write it reversed ; this succession of
The other trombones
alto and tenor being a
little agile, will execute without much diffi-
more
requiring no change
the notes, m^f=^=^=^^
^zC=^ "
:-=:S -d: of position.
culty, passages of quavers in triplets (twelve notes
in a bar) :

3 3 3 1 . ^9^
The shake practicable on trombones, but only
is
,

on the notes of their upper octave and composers ;

should abstain from writing it for the bass trombone,

on account of extreme tenor and The but these are the natural limits J
their agility ; to
difficulty.
alto trombones, in the hands of skilled performers,
pass beyond ihem, is to fall into confusion, if not
to attempt impossibility.
may shake on the following notes :

The character of the timbre of trombones varies

according to the degree of loudness with which their
Altc
trombone. sound is emitted. In a/orfusimo it is menacing and
With the chromatic intervals.
formidable; particularly if the three trombones be in
unison, or at least, if two of them be in tinison, the


MODERN INSTRUMENTATION AND ORCHESTRATION. 167

third being an octave below tlic two others. Fn- unlucky first verso
" I)ivinit6s dn Styxl muiistres
:

itiince the terrific scale in P

minor, upon which de la mort !" Let us here remark moreover thai
Gli.ck has founded the chorus of Furies in the second towards the close of the first movement of this piece,
act of his Jpkii/enia in Tauride. Such also but when the trombones divided into tiiree parts respond
still more sublime
is the immense sin mt nf \\\,' thred imitating the rhythm of tlie air in tlie phrase

unite d Xromboaes, auawenuK, Ti^ the wiathlul voice

" Je n'invoquerai point votre piti6 crnelle I" let u
\A tliel nfi^rnal god^. to Alceste's summons " Om- : here observe, I say, that by the very effect of tliis
bre! larvel compagne dimorte !" in that prodigious division, the timbre of the trombone instantly
air the original idea of which Gluck allowed to be assumes sometliing of an ironical, hoarse, frightfully
perverted by the French translator; but which, as it joyous rnality
very different from the grand fury
is, has dwelt in the memory of all the world, with its of the preceding unisons :

No. 47.
Aleeslr.Oi.\icti.

Hautboys.

Clarinets
in C.

Violins. V f W \ \ y
f ^

Horns in Bt'

Ttombones

Viola.

Bass.

r -pTT^ ffi

r
j^^^^^^i^^^jp^^g^
Alczitk.
-0

Ycgodsthafflwell in iiiirti', Yi- gods that dwell in nigVit;

Di - vi - vi - t<f^ d'l Styx, Di -vi-ni - tfy du Styx.
FaK.--
168 BERLIOZ' TREATISE UPON
Aaagio. Tempo \mo

P^^ii^^^

Ye powr's of as - pect dread ; 1 no Ion -ger in-veke your too un-feel ing pi - tv,
Mi -nis - tres de la mort jen'in-vo - queraipoint. tre pi-ti^ cru el - ie

Adagio. Tempo \mo.

I no longerinvoke I no longerinvoke your too un feel - ing pi

Ji. n'in- voquera i point , jen'lnvoqueraipoint vo - tre pi- tie cru - el
MODERN INSTRUMENTATION AND ORCHESTRATION. 169

Andante un poco

Jndante un poco.
 BERLIOZ" TREATISE UPON

i^i^i
moment of weak hes-i - ta-tion make me shrink from my du-ty ? E'en grim Death . shall not stay me.
vous a - bandonne une e - pou-se inais je vous a - bandon-ne une 6 - pou - - se fi - de - le

Lento

Ye Rods that dwell in night ye gods that dwell in night, ye pow'rs of as - pact
Di-.vi - ni - Ms du Stix, di - vi - ni - tfy du Stix, Mi - nia - tret de la
Fag.

Animal*. Lento
 MODERN INSTRUMENTATION AND ORCHESTIJATION. IGl

Animate. Tempo Jifm,

im^^^^^^^^
ditad ; to die fur niv tic-lov'd one, for my he - lov'd one shall cancel all re - gret, my heating heait shall know his
mart 7iiO'i rir pour ce qu'on, ai - me, pnur ce qu on at - me est un trap doux ef - for t , une ver- tu si na - tu -

safetv, his safety gain'd liy me; 'tis this sweet thought ex - alts ev'n the death that I meet for his sake.
- rel-le, si na- tu - rel - - - le mon caur est a - ni - m( du plus no - hie plus noble trans - port.

16'J BERLIOZ' TREATISE UPON

gf^-f=-rif :j =- !
U-' -JE
'/
:fc
^I^^i ^^i^^^^'"g^^;jg^pg=gg^i=i
...
-J 1 |

f / y.

The thought of his dan - gerim-pels me,

^si^^_i^^^
I hasten to pm - vTiTe tor his
je sens u ne for - ce nou - vel - Ic, je vais ou mon a - monr
.,. .m- -m- -m-kr :!L
 MODERN INSTRUMENTxVTlUN AND ORCHESTRATION. 163

No. 48. Iphigenia in Tnuride. Gluck.

Animated.

Violins.

^^
rioinbones.

^Re- venge of - fend- ed na lure, re- venge of - fend -ed man, and the out rage to
Fen geont et la na - tu re, ven - geons et la na - ture, et les Dieux en cotir
1-

Re- venge of- fend- ed na - - ture, re-venge of-fended man, and the
Oliorus. Ven-geons et la na - tu - - re, ven geonset la na - ture. et les

Re venge of- fend-cd na ture, re-venge of - fi-nd -ed man, and the out rage to
Fen geons et la na - tu re. vengeuns et la na - tu - re. ven -gtons et (a (k"

^ :- t|
#- .
-- a_
 BERLIOZ' TREATISE UPOi^

m ^ 1=^ m dsnz

Heav'n, and the nut - rage to Heav'n tortures new should be made, tortures new should he
rotfx, et les Dievx en cour - roux in - ven - tons des tour- mens, in- ven - tons des tour

man. and the out - rage to Heaven; tortures new should he made, tortures new should be
Dieux et les Dieux en cour - roux ; in - ven - tons des tour- mens, in - ven - tons des tour

man, and the out - lage to Heav'n ;

tortur 's new should be made, tortures new should be
Dieux ven tom

^
ture, et les en cour - roux , in - ven - tons des tour - mens, in- - de tour -

mm Heav'n,
B^^Szp
and the out - rage to Heav'n ;
^^^m drf-
oa-
tortures new should be made, toitures new
S should be
ture. et les Dieux en cour - roux ; in- ven Inns des tour -mens, in-ren-timx dss tour -
 MODERN INSTRUMENTATION AND ORCHESTRATION IG0

In simple /br^e, trombones, in three-part liarinony, pets they no longer menace, _thgy_-prQclajm ; they
;

in the medium particularly, liave an expression of chauut, instead of roar. It should be remarked,

heroic pomp, of nuijiiiiUs of loftine ss, which the however, that in such a case tlie sound of tlie basa
prosaic connno!i])lace of a vulgar melody could alone trombo-ne predominates more or less over the
impair or destroy
They then acquire witli enor- two otiiers ;
particularly if the first be an alto
mously increasetl grandeur- the exprcseion of trum- trondioi'
 16G BERLIOZ' TREATISE UPON

No. 49.
Allegro nor, troppo e pompoto Symphoiiie Funibre el Tricmphaie, BcELio.
t & 2nd Horns
in Ei7.

id fr 4th Horns
in G.

(th & Gth Horns

in D.

Ist & 2nd Trum

pels in Bf.

!id & 4111 Tnim

pets in BI7.

IstAlto or Tenor
Trombones, &
2nd Tenor
Trombones.

pcev.
MODERN INSTRUMENTATION AND 0RCHL':STRAT10N.

eret. molto
168 BERLIOZ' TREATISE UPON


MODERN INSTRUMENTxVTION AND OUCUESTKATION. 169

In mczto forte in the medium, either in unison ru8ea_of the Prietfs of Isis {Die Zauherfi'ite), ha
or harmony, and in a slow movement, trombones produced admirable examples :

assume a relif ^ioii.j p^<nv<^t.-r

j Mozart, in the cho-

No. 50. Zauberjlote. Mueart.

Adagio.

Clarini
in
&
D.
Corni
^M -^
p-'or
-
-=XJ:
-jOc.
3 =^=J
1st Trombone.

2nd Trombone. i:^^ ^[E

rdrJ-
=*==*
^
3rd 'J'roinbonf. l?3E ^^ J=:>

Pl[it?s & Oboes.

Fagotti.

Y iolind

Viola.

Great I gieat -SI - - - - ris, at last dis - pcr-seth

Chorus of the Grand' I grand - ri, al Jin smar - ri - to.
Sacerdoti.

Great \ - great ris, at last dis - per-seth

Grand' I - grand ri, al Jin smar - ri - to.

Violoncello

Dosb:e bus
170 hEULlOZ* TREATISE UPON

the hor rid gloom The friend - ly ray of rea - son to tliinkingman a -
e il fos - -COOT - ror da - mi - CO sole al rag - gio gia il forte il saggio un

no -ther life dis - co vers. Dress me O - siri's al - tar for liis ser
al - tra vita im - pa - ra prunto e per lui suW a -ra il sa - era ri
 M<jDERN INSTRUMENTATION AND ORCHESTRATION. 171

The pianissimo of trombones, applied to har- effect been obtained fiom this sperial quality of
monies belonging to the minor mode, is gloomy, trombones than by Spontini, matchless funeral
in his
lugubrious, I had almost said hideous. If, parti-
march of the Vestale: "Perisse la Vestale impie,"
cularly, the chords be brief, and broken by rests, it &c. and by Beethoven, in the immortal duet of the
;

has the effect of strange monsters giving utterance, second act of Fidelia, sung by Leonora and the
in dim shadow, to howls of ill-suppressed rage. jailer, while digging the grave of the prisoner about
Never, to my thinking, has a better dramatic to die.

No. 51. La Vestale. Spontini.

Lento assat.

Violins.

1st and 2nd

Tromboiiee.

Jrd Trrmbones

(Cettle-druni in
F, iiiuHled.

Violas.

Stace.

Altos.

to death the Ves - tal impure, the

se la Ves - - taU im - pi - e oh

'Xei;i>ra.

Con - detiin death the Ves - tal impure, the

Pg - la Ves tale hn - pi - e oh

Starr.

Con dcinn tleath the Ves - tal impure, the

Fi ris la Ves - - tale im - pi - c oh

Violoncelloi.

I>eubie-lMst.
 BERLIOZ' TREATISE UPON

ob - ject
^^S^=
liat.e to tlioGods.
i^ E^
de la hai - ne des Oieux

^fee:
9==^~-
ob
^mm^^^
ject of hate to the Gods. Her pun
jet de /a hai - ne dexDieux, que son

ipls^-E ^l
ject of hate to the Gods. Her pun i.sh -
jet de h.ai - ne des Dieux, que Jon
 |
MODERN INSTRUMENTATION AND ORCHESTRATION. 17b

Thecustom, adopted nowadays by some masters, deville duet, or with the frivolous noise of a quad-
af forming a quatuor with three trombones and an rille ; to prepare, in the tutfi of a ccncerto, the
)phiclei(ie, confiding to the hist the true bass, triumphal advent of a hautboy or a flute ; is to
is not altogetlier bhimeless. The fimbre of trom- impoverish, to degrade a magnificent individuality ;
bones, so penetrating, so dominant, is far from being to malie d hero into a slave and a buffoon to ;

the same as that of the ophicleide and I tliink it is ; farnish the orchestra to render impotent and futile
;

much better to simply double the lowest part by this all rational progress in instrumental work; to rui<
instrument, or, at least, to give a correct bass to the the past, present, and future of Art; to commit
trombones, by writing their three several parts as if a voluntary act of vandalism, or to give token of
they were to tie heard alone. an absence of feeling for expression amounting to
Gluck^_Jjeetlu)ven, Mozart, Weber, Spontini. and stupidity.
Bome^otEers, have comprehended all the importance
oFjEIlrom bone's duties; they have with perfect in- 2^he Alto Trombone with Pistons;
telligence a|>plied the various characteristics of this
or with Cylinders.
noble instrument to dejiicting niman passion, a nd to
I

illustrating the s gpnds of aturfl N

and they have, in
Thereare alto trombones in^b aud in F; and it
consefiuence, maintained its |)ower, its dignitv. ami is absolutely requisite to denote for which of these
its po^try^. B ut
to constrain it asThe^herd of keys the composition is written, since the habit has
C()mpo.<ers_uo\vlLj to lu*vvl-out ia a credo brutal obtained of treating this trombone as a transposing
phrases less worthy of a sacred edilice than of a instrument. It has no slide and is, in some sort,
;

ta\-ern to sound as for the entry of Alexander intu

; only a coniet-a-pistons in E\} or in F, with rather
Babylon, when there is nothing more forthcoming more sonority than the regular cornets.
than the pirouette of a dancer to strum chords of ; 'J"he compass of the alto trombone with pistons is
the tonic and the dominant in a light song that a nearly the same as that of the ordinary alto trombone.
guitar would suffice to accompany to mingle its ; It is written for on the G
ckf, transposing as with
olympian voice with the trumpery melody of a vau- the cornet-a-pistons.

Mto Trombone with

viistons, in F.

Effect in real sounds.

iNotes of a very bad quality. o n ^

Alto Trombone with
pistons, in Eb-

Effect in real sounds.

8 -o- m^
-'**-
With the chromatic intervals. i.

^~-f

The trombone with pistons,
aid of the slide, cannot produce the low notes, called
pedals, of the other trombones.
The shakes of the alto trombone with a slide,
made by the performer with the lips only, are
practicable on the trombone with pistons. Some
of them may be made also with tiie pistons; but it
being deprived of the slide,becomes thereby one of those instruments with
fixed intonations, to which the lips can give but
very slender modifications. Solo themes are fre-
quently written for the alto trombone with jjistons.
Well phrased, a melody thus playeil may have great
charm but it is erroneous to iielievo that
; if con-
fided to a fine artist
it would have less on the

should be observed that the minor shakes are the trombone with slides. M. Dieppo has many times
only ones whicii produce a good effect, and which triunipliantly jiroved this. Besides, I repeat it, unlest!
<8an be done raj)idly. These are the best :
the execution of rapid passages be the point in view,
the main advantage of greater correctness is far
Example of ^h^kes produced by the pistons.
preferable, and should have its due weight with
composers forming their decision. In Germany
in

The system of pistons adapted to the

gives it much agility, but causes it to lose somewhat
trombone descend as low as the Bp, ^
there are some tenor trombones with cylinders which

t>o-
standing this advantage, I hold the trombones with
tl ; but notwith-

in correctness of intonation. It may easily be

slides to be greatly preferable.
conceived that the movable slide, obeying instan-
taneously the slightest impulse, converts if the The Bugle, or Clarion.
performer possess a good ear the ordinary trombone
into the most correct of all wind instruments and ;
We
conclude the discussion of wind irgrmrrent*
that the trombone with pistons, deprived of the with a few words on the bugie family.
 .

174 BKRLIUZ' TREATISE UPON

The simple bugle, or clarion, is written for on the TJie Keyeu Bu^le.
G clef, like the trumpet ; it possesses, in all, eight
In cavalrj' music, and even in csriain Italiar
uotes.
orchestras, bugles with seven keys are found, which
=P=^ traverse chromatically a compass of more than two
-:r^ ^ :t
i=
:^-
octaves, running from Bp beneath the stave, up to
tlie C above :

but the last, the high C, is only practicable on the

deepest bugle while the low one is of a very bad
quality of tone.
;

There are bugles in three keys :

a
ir Rare.

JBt^, C, and Et> and they are seldom to be found

;
:n=te' i^AeJi^^^fM^^.
in any other. The flourishes played upon them,
lying always exclusively on the three notes of the
common chord, are necessarily so monotonous as to The keyed bugle can make the j^J jy.
be almost wearisome. The timbre of this instru- shake upon all the notes of the scale, ^EE^z:_zErff=
ment is rather ungracious; it generally wants noble- with the exception of this -S^ :

ness; and it is difficult to play well in tune. As it It does not want many artists play it in
for agility,
can execute no diatonic succession, shakes are of a remarkable way
but its quality does not differ
;

course impossible. from that of the simple bugle or clarion.

Bugles appear to me to rank no higher in the
hierarchy of brass instruments than fifes among The Bugle with Pistons ; or with Cylinders.
wooden instruments. Both the one and the other It has a lower compass than the preceding : but
can hardly serve for more than leading recruits to this is a slender advantage, for its bass notes are of
drill while, to my idea, such music should never be
;
very bad quality, and moreover come out easily only
heard by our soldiers, young or old, since there is no nj)on the small bugle in the compass of which, Ep ;

need to accustom them to the ignoble. As the sound consequently, is tiiis :

of the bugle is very loud, it is not impossible that an Bugle witli Cylinders in Ef.
opportunity may occur for employing it in the
orchestra, to give additional violence to some terrible
cry of trombones, trumpets, or horns united. This
is probably all that can be expected from it.

The bugle, a much shorter instrument tlian the

trumpet, possesses only the notes of the three lower
r>ctaves of this latter :
%^3^^i^^m^^^ nare. i

Pt S^ the
This instrument
keyed bugle ;
is

it
of
produces a
much more worth than
good effect in
8va. baaaa.
certain melodies of slow, or at least moderate
but on account of the small length of its tube, these nK)vement ; its timbre presents, for lively or
notes*come out an octave higher. Hence they are o-ay phrases, same inconvenience which we
the
written pointed out in the cornets a pistons, that of lacking
distinction nevertheless, this may be favorably
;

modified by the talent of the performer. Beginning

from middle E, ijz all the major ami minor

Thus the bugle, or clarion, in C, is a non-transposing shakes are good upon the bugle with pistons,

instrument while the bugles in B]? and in i'b, on

: excepting this :

the contrary, are written in transposition as trumpets Very difficult.

in B]p and in 'b are written.

1^=^^'^ r^==H=
>J Iv
Bugle in Bt?.
The Bass Ophideide.
tto. Ophicleides are the altos and basses of the bugle
Effect in real
sounds.
E^^^EEgz-EE^B The bass ophicleide offers great resources for main-
^EiSi taining the low part of masses of harmony
is also the most used.
and it
It is written for on the F clef;
;

E&- and its compass is three octaves and one note :

-2-
Bugle in Ef :zl=:i;

^dUi
Eftect :n real
sounds.
=t^
^W^
Wtli iv'.l the dironunic intervals-
 P

MODERN INSTRUMENTATION AND ORCHESTRATION. I7fi

In the hands of a skilful

artist, the major ami The first low G, it will be observed, is the unison
oaiiiorshakes are possible on the subjoined part of of this SJ' \
n on the double-bass. It is a pity that
ts scale as proved by M. Caussinus in the excellent
;

work which he has just publislied :

the ophicleide in Ab
should be so little employed.
The quality of these low sounds is rough but it ;
Ir
IT If i <r itr Ir
does wonders
in certain cases beneath masses of
V F F -c= bmss instruments. The very high notes have a wild
M
1

character, of which perhaps sufficient advantage has

I

/r /r (r 'r /r (r tr Ir

1
I
. |
\
I
I

not yet been taken. The medium notes especially

when the player is not very skilful, too much recall
the sounds of the cathedral serpent,* and of the cor-
nct-a-bouquin. I think they should rarely be allowed
to have prominence. There is nothing more coarse
I might almost say, more monstrous, or less fit
to harmonise with the rest of the orchestra, than
the passages, more or
less rapid, written in the
form of solos the ophicleide medium in some
for
modern operas. It is as if a bull, escaped from its
stall, had come to play off its vagaries in the middle

I
Very d ifficult. |
1 of a drawing-room.
The Alto Ophicleide.
Formerly the low EjS, could onlv he There are alto ophicleides in F and in Ep, and
produced in an incomplete way with the lips this their compass is the same as that of the bass ophi-
;

note essentially lacked correctness and steadiness cleides they are both written for on the G clef,
;
;

but i\I. Caussinus added to the instrument a key like horns and, in the same way as for horns,
;

which rendered it as good as the others. this clef represents in the octave below the written

Passages of a certain rapidity, diatonic, and even note. Thus, this C, im-*^"^ ] corresponds with that
chromatic, are practicable in the three upper octaves
of the ophicleide but are excessively difficult below,
; of the F clef, ^^H which in reality sounds that of
where they moreover produce no other tlian a
detestable effect :
the G clef, Bearing in mind at present the
AtlegrP-
transposition produced by the diapason of tlieir spe-
Good.
mim cifickeys, here
written scale :
is, in real sounds, the result of their

Bad

Staccato passages arc much less easy, nay, almost

impossible
in a quick movement. There are bass With the chromatic intervals.

ophicleides in two keys, in C and in and there Up ; Effect in

real .sounds.
are some even made at present in Ap. The.'^e last 3.-
will be of sreat utility, on account of the extreme -t>- IT-
depth of their lower notes, which form a unison with Difficult.

the three-striai^ed double-basses The ophicleide in -^^=A=i;=^fi=p

, ^-
i^t? has already rendered eminent service in this 7r*-O
t-a =t:
respect. They are each of them written for in
transposition, like all transposing instrumenrs :

Ww^^^" 'of rather

^^^^-^^1
bac!
-T=tr m
Ophicleide quality.
I
in Bb- Alto
Ophicleide,
in F-b. i WWbS^^~^\=^=^^3=^
Effect in
^v^ With the chromatic intervaU.

real sound!
?^^=3E^Ei.-^M=^^^^

Effect fn

r* An instrumetit much used in French churches TruniMor \



17B BERLIOZ' TREATISE UPON

They are employed in some Iciruls of military Tlte Bass- Tuba (the Doulle-Bass of IhirhioiM,Jk
music to fill up the harmony, and even to execute
It is a species of bombardon, the mechanism of
certaiiiphrases of melody; but their quality is gene-
which lias been improved by M. Wibrecht, master
rally disagreeable, and not ncble, and they lack
of the King of Prussia's military bands. The bass-
precise intonation; hence the almost complete neglect
into Avhich these instruments have now fallen.
tuba, much used at present in the North of Ger-
many, particularly at Berlin possesses an immense
advantage over all other low wind instruments. Its
The Doxihle-Bass Ophicleide
quality of tone, incomparably more noble than that
The double-bass ophicleides, or monster ophi- of opliicleides, bombardons, and serpents, has some-
cleides, are very little known. They may be useful thing of the vibration of the timbre of tromboiies.
in very large orchestras ; but, until now, no one has It has less agility than the ophicleides but its ;

been willing to play them in Paris. They require sonority is more powerful than theirs, and its low
an amount of breath which would exhaust the lungs compass is the largest existing bi the orchestra.
of the most robust man. They are in and in E\^, F Its tube gives
like that of the bombardon the
a fifth below the bass ophicleides in Cand in B\^ ;
notes of the chord of F nevertheless, Adolphe Sftx
;

and an octave below the alto ophicleides in i^and in now makes bass-tubas in E^. Notwithstanding this
E\?- Thev must not be made to go higher than diiTerence they are all treated, in Germany, as non-
the F. transposing instruments. The bass-tuba nas five
cylinders, and its compass is four octaves. For some
years past these instruments have been used in
France, where they are written for, like horns and
trumpets, as transposing instruments.

Bass Tuba
in Ep.

Double l)as8
Ophicleide
ill Eb-
^^^^^^sm With the chromatic
lVtSJ?HE;c=n=
intervals.
i
Kffect in
In France the preceding scale would be writtee
real sounils. a third below.
The bass-tuba can produce some few notes higher,
and even lower than the above, by the aid of the
needless to state that shakes and rapid jx"^- cylinder mechanism. Those which are extremely
It is
with the nature of such high are very dangerous while those extremely low
;
Bages are incompatible
are scarcely to be heard; the C, the Bb, and the
instruments.
A, which I have just marked in its scale, are only
The Bomhardon. to be distinguished by doubling them in the octav
above with those of another bass-tuba, which both
This is a low instrument, without keys, and with
imparts to them and acquires from them additional
three cylinders. Its quality differs but little from
sonority.
that of the ophicleide.
It must be well understood that this instrument
Its compass is this :
is not better adapted than the bombardon to shakes
and rapid passages. It can play certain measured
melodies. An idea can hardly be formed of the
effect produced in grand military harmonies by a
mass of bass-tubas. It has at once something of the
trombone and of the organ.
With the chromatic intervalt.

Instruments with a Mouth-piece, and of Wood.

It possessesfive other notes, both above and
below; but they are of uncertain emission, and The Serpent
better avoided. Is a wooden instrument covered with
leather, and

This instrument the sound of which is very having a mouth-piece it has the same compass as

powerful can only execute passages of moderate
;

the bass ophicleide, with rather more agility, pre-

movement. Florid phrases and shakes are precluded. cise intonation and sonority. There are three
It produces a good effect in large orchestras where
wind instruments predominate. Its tube gives
notes, -*^

naturally the notes of the chord of F, hence it is

called in F
; nevertheless, the custom is, in Ger- mucli more powerful than the others henee those ;

many, to treat it, like the trombone, as non-trayis- startling inequalities of tone which its players
nosino, and to write for it onlv real sounds. sliould apply themselves with all care to overcome u
 1 - :

MODERN INSTRUMENTATION AND ORCHESTRATION 177

mnch as possible. The serpent is in 7?b; conse- VoiCE-S.

quently, it must be written tor u wliole tone above
the real scund, like the opliicleide in Bp. Voices aredivided into two great
naturally
classes male low voices ami femali>
voices, or ;

Serpent.

3^ ^-J-WithP=3^
^^^ voices, or high voices. The latter comprise not
only the voices of women, but also the \oices of
children of both sexes, and the voices of artificial
the chromatic intervala.
Effect in
sopranos. Both the one and the other are sub-
real sounds, divided into two distinct species, which a generally
S ^^- -^ -^ ^- "* received theory considers as being of the same
compass, and iliffering only among themselves in
7. -U~JZ
<*_pi_,L_L_^ degree of depth. According to established custom
^ ^_p-^.g^r-e^ -- <^
U-^_U , 1
+--
^ in all the schools of Italy and Germany, the lowest
male voice (the bass) will reach from F below the
stave (F clef) up to 1) and Eb above
^ ^,_-^v,^r-i<-^-0,
#-^-f^^r--i-J r-i=r:
-- r ,_| - and the
highest (the tenor), placed a fifth above the pre-
;

ceding, will consef|uently go from the C below the

The essentially barbarous quality of tone which

stave (C clef on fourth line) up to the and Bb A
distinguishes this instrument would have suited
above. The voices of women and children will, in
the same order, range precisely an octave higher
better the rites of the sanguinary Druidical worship
than the two male voices, dividing themselves under
than those of the Catholic religion wherein it ;

the names of contralto and soprano the first cor-

always figures as a monument of the want of ;

responding with the bass voice, the second with the

intelligence, and of the coarseness in sentiment and
tenor voice. Thus, the contralto will go, like the
taste which, from time immemorial, have marked
bass, from the low F to the high Et? (nearly two
in our temples the applications of Musical Art to
Divine Service. Exce])tion must be made in favor
octaves) and the soprano, like the tenor, from the
;

low C to the high Bb-

of cases where the serpent is employed, in masses
for the dead, to double the terrible plain-chant of the
High voice of ,o-o:f
Dies Ira. Its frigiil and abominable blaring doubt- , women, chil- Jc: -|^r-trC:St=t::
^"l'""-idren.&artiliciali' ' -r^c:-T-C-
less then befits the occasion ; it seems invested with '

V Sopranos.

a kind of lugubrious poetry, when accompanying With the chromatic intervals.

words expressive of all the horrors of death, and be,

the vengeance of a jealous God. It would be no less
well placed in profane compositions, if ideas of tlie
Contralto
(
I
Low
women,
voice of

|dren,&artificial3p
J. Sopranos.
chil- iM
il^^^^-*^^'^^
.p..=^
With the chromatic
ija

intervals.
m
same nature had to be expressed; but then oid\'. It
mingles ill, moreover, with the other timbres of
Tenor.
High^voiceof^3^-3g^^
orchestra and voices; and, as forming the bass to a
mass of wind instruments, the bass-tuba, and even With the chromatic intervs!:.

the ophicleide, are greatly preferable.

^f*^-t:^::
Bass.
Low voice of ^ffi .

^^:a':^}^::^
i:~l I
^, trV^ -T^=^-
men.
The Russian Bassoon With the chromatic intervals.

Is a low instrument of the serpent kind. Its timhre Doubtless this regular disposal of the four most
has nothing very characteristic, its sounds lack characteristic kinds of the human voice is very
steadiness and consequently precision in tune and, ; seductive but, unfortunately, it must be acknow-
;

in my opinion, it might be withdrawn from the ledged as in some respects insufficient and hazar-
family of wind instruments without the smallest dous, since it would deprive the composer of a
injury to Art. Its general compass is this great number of precious voices, if it were admitted
without restriction in writing for choirs. Nature, in
fact, does not proceed in the same manner in all
climates and if it be true that in Italy she produces
;

With tlie chromatic intervals. many contralto voices, it cannot be denied that in
France she is very sparing of them. Tenors that
Some instruments go down to C, @?' and up to
[]
can easily go up to A and Bb are common in France
and Italy, but are rarer in Germany, where as
the high D, ^rirrfl but these are exceptions, of

compensation they have in their bass notes more
;
sonority than anywhere else. It therefore appears

which no practical account can be made. The best to me absolutely imprudent to write choruses in four
notes of the Russian bassoon are D
and EJ?. Only real parts of equal importance, according to the
detestable effects are to be obtained from shakes on classical division of voices into Sopranos, Contraltos,
this instrument. Russian bassoons are found in Tenors, and Basxes. It is at least certain that in

military bands; but it is to be hoped that they will l'aris,'\\\ achorus thus arranged the contralto part
not figure there when the basa-tuba becomes more comparatively with the other parts, especially in
Iraowu a large ma.s8 ol voices
would be so weak as to mis

ITS BERLIOZ' TREATISE UPOxN
the grroater portion of the effects assigned to it by
the composer. Neither is it to be doubted that in
Germany, and even in Italy and Fmnce, if the tenor
were to be written within the established limits
that is to say, a fifth above the bass, a good
number of those voices would stop short at passages
wherein the composer requires them to go up to the
high A and B[? or else would only give utterance
; when the music goes beyond the high F, to sub-
:o notes false, forced, and of bad quality. The
same observation holds good in the case of bass
voices ; many of them lose much of their sonority
after the low C or B, and it is useless to write for
them either G's or F's. As Nature everywhere
produces sopranos, tenors, and basses, I think it
infinitely more prudent, more rational, and even
more musical, i/ iA object be to make nil the voices
vsefnl, to write choruses either in six parts first
and second sopranos, first and second tenors, bary-
tones, and basses (or first and second basses) or in
three parts, taking care to divide the voices each
time that they approach the extremes of their
respective compass, by giving to the first bass a
note higher by a third, by a fifth, or by an octave,
than the too-low note of the second bass or to the
second tenor and the second soprano intermediate
;
sounds, when the first tenor and first soprano rise
too high. It is less essential to separate the first
sopranos from the second sopranos when the phrase
extends very low than in the contrary case the
high voices lose, it is true, all their power, and
their distinctive quality of tone, when they are
made to sing notes proper only to a contralto or
a second soprano voice but at least they are not
;
compelled to give forth bad sounds, like the second
sopranos, when they are forced up too high and it
is the same with the two other voices. The second
soprano, the second tenor, and the first bass, are
generally placed a third or a fourth below and
above the principal voice of which they bear the
name, and possess a compass almost equal to theirs;
but this is true more as regards the second soprano
than as regards the second tenor and the first bass.
If the second soprano be given as its compass an
octave and a sixth, beginning from the B below the
stave up to the G above
^-^z^^=:,-=z=i=zt
j=S=^- ^ -S-P3
:1r=rc
all the notes will sound well and without difficulty.
It would not be the same with the second tenor, if
given a scale of like extent its :low D's, C's,
and B's would have scarcely any sonority and
unless with set intention, and for a particular effect,
it is better to avoid these low notes, which can be
easily given to either the first or second basses,
whom they perfectly suit. The contrary holds good
for the first basses, or barytones if supposing
: voices pass abruptly from the
them to be a third above the second basses
their part extend from the low A
to the high G, the
low A will be heavy, and vague and the high
excessively forced, to say the least.
;
This latter note
is really only fit for the first and second tenors.
Whence it follows tiiatthe most limited voices are
the second tenors ; which do not ascend as high as
;
the first nor descend much lower; and tlie
tenorfc,
first basses, which, withoutgoing any higher than
the second basses, cannot descend so low. In a
chorus w-ritten in six parts as I propose
the true
contralto voices (for there are always more or less
in every choral body) must necessarily sing the
second soprano part; and this is why I think it well,
divide them again, in order that the contraltos may
not be forced to scream out notes too liigh for them.
Subjoined is the most sonorous compass of the
seven different voices to be found in nearly all great
choral bodies;
I abstain from indicating the extreme
upper or lower notes possessed by certain individuals,
which should only be written exceptionally :
t-
Ut Soprano.
2nd Soprano.
\la.
Contralto.
m Vs-
1st Tenor.
2nd Tenor.
;
2nd Bass, or
;
Choruses of women in three parts have an en-
chanting effect in pieces of a tender and religious
they are then disposed in the order of
character ;
the three voices just stated, first soprano, secoi.i
soprano, and third soprano, or contralto.
Sometimes a tenor part is given as bass to these
Weber has done so with
three-part female voices.
great success in his chorus of spirits ( Oberon) ; but
it can only be good in a case where the object is to
produce a soft and calm effect, such a chorus having
naturally but little energy. On the contrary, choruses
composed of men's voices only have much power,
the more because the voices are deeper and less
divided. The division of the basses into firsts and
seconds (to avoid the high notes) is less necessary
in rude and fierce accents, with which sounds forced
;
and exceptional Hke the high F and Fjft agree
better from their peculiar character than the more
natural sounds of the tenors upon the same notes.
But it is necessary to lead to these notes, and to bring
them in dexterously, taking care not to make the
medium or depth to the
extreme upper register. Thus, Gluck, in his terrible
chorus of Scythians, in the first act of Jphigenia in
G Tauride, gives the high Fj to all the basses joined
with the tenors, on these words
" lis nous am^nent
:
des victimes "; but the F;| is preceded by two D's
and the voice can easily be carried on, by binding
tlie last D with the Fj on the syllable " nous":
 : ;

MODERN INSTRUMENTATION AND ORCHESTRATION. 17

JUtgro.

Tenors.
's^^^M^m He brings viclinis in ^n(! - cos-sion.
quality of tone.
composer were

It would not be the same
to give the tenors
if the

the basses
as auxiliaries to the contraltos and the eecocd
sopranos the female voice would then be aimosl
at:!! less,

lis nous - menent des vie - ti - met. :

eclipsed, and from the moment of the male voice's

Ba>se>.
^ii^Si^^^n entrance, its character of vocal sonority would
change abruptly, so as to destroy unity of execution
He
Hs
brings us
noiis a -
victims in s>ic - ces-.sion.
mifient des pit - ti- mcs.
in the melody. Juxtapositions of this kind one
voice coming to the aid of iinother are therefore
The sudden unison of the tenors and basses in this not good with all timbres indiscriminately, when
passage gives to the phrase, moreover, such a volume the character of the voice which commenced and con-
of sound, and so powerful an accent, that it is im- tinued the phrase is to be preserved. For, I repeat,
possible to hear it without shuddering. Here we if the contraltos in the medium register become lost,

have another of the touches of genius which are to
be met with in almost every page of the scores of
this giant of dramatic music.
Independently of the expressive idea, which here
eeems to predominate, the common exigences of
vocal scoring may frequently introduce unisons of
this kind into choruses. If the direction of the
melody, for instance, leads the first tenors towards
the Bqs (a very dangerous Dote, and one to be
ahunned), the composer may bring in, for this phrase
only, the second sopranos and contraltos, which can
sing without difficulty in unison with the tenors, and
blend with, while they confirm their intonations.
2iid Sopranos
and
Contraltos.
Island 2nd
Tenors.
Ju - dicandus,
when sustaining the unison of the tenors in the high
register, the tenors in the medium woidd cover to
the point of hiding them altogether the second
sopranos in the low register, if united suddenly with
them. In a case where the composer desires simply
to add the compass of one voice to the compass of
another voice, in a melodic descending progression,
for instance, he must not make a mass of heavy
timbres suddenly succeed to one of lighter quality,
since the joining-point would be too apparent. It
would be better first to let the higher half of the
high voices cease, substituting for them the upper
half of the low voices, and reserving until a little
later the interweaving of the two other halves.
Thus, supposing a long descending scale, beginning
with the high G by the first and second sojmuios
Ju di can - dus, together, at
the moment when the scale reaches
the E tenth below the first G, let the first
a
:crii:*f*:f:c soprano stop, and bring in the first tenors on the D
(a whole tone below the last E of the first sopranos)
Ju - di-can-dus homo- the second sopranos continuing to descend, thus
united with the first tenors, will cease upon the low
ii, after which the second tenors should come in
upon the A in unison with the first tenors the ;

first tenors ceasing upon the F to make room for the

first basses; interweaving of the second tenors
tlie

re - us, Ju - dican - dus ho - mo with the second basses will take place on the lower
D or C then the united basses will continue to de-
;

When, on the contrary, the tenors are compelled scend as far as the G, and the result for the hearer
by the exigence of a melodic design to descend too will be a descending scale of three octaves' extent,
low. the first basses are there to serve them as auxi- during which the voices will have succeeded each
liaries, and to strengthen them without perverting other in such a way that the passing from one voice
their vocal character by a marked difference in to the other shall have scarcely been perceived :

Ut Soprano.

1st Bass,
or Baritone

2nd Bass
or Bast.

After these observations, it will easily be con- possess the suitable quality of tom-, move with
,'eived that the composer has to make his choice calnmess and precision, and can be sustained with-
of the register of voices subservient to the cha- out the least effoit in a pianissimo. This is what
racter of the {)iecc in which he employs tliem. He ]\Iozart has done in his celestial prayer " Ave :

should use only notes of the medium in an An- verum cor)iuw."
dante of soft and sustained sounds thooe alone ;
 IW BERLIOZ' TREATISE UPON

Sottoyoee.
No. 52. Ave verum. Mciixt.
y Adagio.

^^^m
J,

^ logins.
^^^mm=^^^^.
Violas

Canto.

Contralto.

Tenor.
MODERN INSTRUMENTATION AND ORCHESTRATION. 181
 i

182 BERLIOZ" TREATISE UPON

ti8 ex - a

m ^^ tis ex - a

^yyF-^F^ ^^j q^- -.-j^

* ex a
tis - -

m^
tis ex

Fine effects are always to be obtained from since, of twenty basses taken at random, ten of them,
the extreme low notes of the second basses, such at least, could give, in chest voice, a high Fj|, if
as the Eb, and even the D below the stave, properly led up to; while in the same number o'
which many voices can easily intone, when they tenors, one would not be found who could give, it
have time to taUe them firmly, when the notes are chest voice, a tolerably good high C|!.
preceded by sufficient time for breath, and written The ancient masters of the French school, who
upon a sonorous syllable. Brilliant, pompous, or
never employed the head voice, have written in
violent choruses should, on the contrary, be written their operas a part which they call " haute-contre ";
rather higher without, however, letting the preva^
: and foreigners, deceived by the natural interpreta-
lence of high notes be too constant, and without tion of the Italian word Contralto, often take it
giving the singers many words to pronounce rapidly. for the low voice of women. This name, however,
The extreme fatigue resulting from this mode of denoted the voice of a man accustomed to sing
writing would soon induce bad execution besides, ; almost exclusively, and in chest voice, the five high
a continuance of high notes, on syllables articu- notes (including the Bfl) of the first tenor's compass.
lated with difficulty, is not at all agreeable to the
The pitch was as is generally believed lower by
hearer. a whole tone than the present pitch, but the proofs
We have not yet spoken of those very high notes of this do not appear to me to be unimpeachable ;
of the voice called head notes or falsetto. They and a doubt on the point is still allowable. At the
are of great beauty in tenor singers, whose compass present time, when a Bh occurs in a chorus, the
they considerably augment many artists being
; majority of tenor singers take it in head voice but
;

able without difficulty to reach, by liead notes, up the very high tenors (the haute-contres) still take M
to Eb and F above the stave. Frequent and valu- without hesitation in chest voice.
able use might be made of these notes in choruses, Children's voices are of excellent effect in large
if choralists were more proficient in the art of choirs. Boys' soprano voices have even something
singing. Head notes are of good effect for basses penetrating and crystalline which is wanting in the
and barytones only in an extremely light style of timbre of women's sopranos. In a soft, smooth,
music, such as that of our French comic operas. calm composition, however, the latter, fuller and
High and feminine-toned sounds, so dissimilar from less piercing, always appear to me preferable.

the natural notes

called chest notes of the low As for artificial sopranos to judge from those
voices, have, in fact, something revolting, every- I have heard in Rome
it does not seem that
where but in bufib music. There has never been their almost entire abandoment is much to be
any attempt to introduce them into a chorus, or into regretted.
any theme pertaining to the noble in style. The There are in the North of Germany, and in Russia,
point where the chest voice ends, and the head basses so deep that composers do not fear giving
voice begins, cannot be exactly determined. Clever them, without preparation, D's and C's below the
tenor singers, moreover, give, forte, certain high stave to sustain. This valuable kind of voice
nctes such as A, B, and even (J, in head voice, or called basso profondo,
contributes powerfully to
in che-<<t voice, at pleasure nevertheless, for the
; the prodigious effect of the choir in the Imperial
majority, I believe, tlie Bb must be fixed as the
Chapel at St. Petersburg!!, the first choir in the
Umit of a tenor singer's chest voice. And this again world, according to those who have heard it. A
proves that the tenor voice is not strictly a fifth above basso projondo can hardly ever go beyond B ca C
the bass, as 's stated to be the case by school theories; above the stave.

MODKIIN INSTRUMENTATION AND ORCHESTRATION. 183

For the effective employrnent of tlie very low notes word " Amen," which make vocal fugues in church
r^ bass singers, they should never have a too raj)i(l vnnsic an indecent
and abominable buffoonery, will
succession of notes, or be too much overcharged witli be banished in future from every sacred comjiosition
words. Besides, choral vocalisations in the lowest worthy of the name. Slow and soft vocalisations of
partof the scale are of detestable effect. They are sopranos alone, accompanying a melotly of tiie other
not it is true, much better in the medium ; and let voices placed beneath, have, on the contrary, a pious
lis hope notwithstanding the example set by
that, and angelic expression. It should not be forgottnn
the majority of the great masters, those ridiculous to intersperse them with short rests, to afford breatu-
roulades on the words ' Kvrie eleison." or on the ing-time for the chorus-singers.

Soprani.

fenorL

Bmu.
Ag - nu8 qui

Those modes of emission wliich
men voice-sounds called mixed, and veiled, are ex-
tremely valuable and give much character to both
; chorus- singers possessed intelligence, expression,
Bolo-singing and choral-singing.
The mixed voice combines somewhat the quality
of chest notes and head notes; but in the same
way as for these latter it is impossible to assign
fixed limits for the mixed voice, either above or
below. Such and such a voice may be able to
take the mixed quality very high while such
another can only employ it upon lower notes. As
for the veiled voice
of which the name indicates
the character it depends not only on the mode
of utterance, but also on the degree of force, of
execution, and of feeling, which animates the
singers. A
chorus of a somewhat agitated cha-
produce from racter, and properly called sotto voce, would be
very easily executed in veiled voice, provided the
and practice in singing. 'J'his kind of vocal exe-
cution, contrasted with that of the powerful and
brilliant sounds of the high forte, always produces
a fine effect. As a magnificent example of this,
Gluck's chorus in Armida:"'Fo\\o\s Love, since
you thus persist," should be cited. Here the two
; first stanzas, uttered in veiled voice, give terrible
potency to the peroration, taken in full voice, and
fortissimo, on the return of the phrase " Follow :
Love." It is impossible better to characterise sup-
pressed menace, and then a sudden explosion of
fury. ^ It is thus that Spirits oj liage and Hate
should sing :

No. 53. Armida. Gluck.

1st Violin.

Ind Violin.

Viola.

Hautboy.

Clarinets.

Bassoons.

Soprano.
Follow Love, since you thus per- sist, un-for- tu-nate Ar - mi - da, follow
Suis Va mour puisque tu le veux in -for - tu - n^e Ar mi
- - de, suis la
m m , a * " -
IliJte contre.

Violoncello
and
Douhlc-hass.


i8i BERLIOZ' TREATISE UPOJN

Love, who mis -leads you to take this fa - tal stcj), to take this fa - tal step.
tTiour, qui te gui - de dans un abime affreiix, duns un a- bime af-freux.
m-i ^z
^ gg
^
r rz3Xg
* ^r-fe
F^^F
* 0-r
' #--
^j-

= g^^E^
:K:
-r-j wj 3a=:

Inthesewild desert paths 'tis in vain thoucon-ceal - - - est howthishero lias touch'd thy
Sur ces bords g-car-tes c est en vain que tu - ca - - - ches le h^-ros donttonccsur a'et

too coii-fiding heart will Fame. from whom tliou hast torn him, not regain her for-mer
trap laissitou - clter la gloire a qui tu I'ar- ra ches doit bientot te I'ar- ra -
-O.
 MODERN INSTRUMENTATION AND ORCHESTRATION. 18A

_ JJ-fji = e f* r b

Qg .

o r
&
-, .

,- 1
,

p
JfJLi = . .
,, E W* ,
4
......
:

^>^=-
tr

-=f -4==^ -.^ -P

(fin^- 1
'^' ** ,
^j-M
|-'ff"
r "j-a
^
1-
:

Chorus, f

capettiine t'ndeai' - nients. Follow Love, since you thuspei-sist, un - foi-tunate Ai- mi - da, follow
per a tes char - vies. Suisl'a- vU'Urpuisque tu le veux. in for-tun^e Ar-mi-de, suisl'a-

M m m _ m * ,-f*-. :*-_^:jL-i^i-f - V^- .

f - _
18R BERLIOZ' TREATISE UPON

Love who mis-leads you to take this fa - tal step, to take this fa tal step.
mour qui te gui - de dans vn a-hime af-freux. dansnn a - bime freux.

^=^ ^
S ^^m^^.
^mm ~-^^^-

Mark well my words this day ; my warn - ingbear in mind; defeat shallwait on each en dea - vour. I
Tu me rappel - le - rat pent I - Ire des cejour ettonat-len te se ra vai - tie. Je
 *
MODERN INSTRUMENTATION AND ORCHESTRATION. 187

-Z~-mz Eg^^^^-^^^ t^ ^
^ i K \"
^gf^^==y ^=^=^=^';'=r ^^M

quit
tai's
thee,
te
ne-ver
quil-ttr
to re
sans re
-

-
turn
tour
;
mmm^^^^^m^^^^^^
no greater punishment can I inflict
Je ne puis le pu - tiir d'vneplusru -
up -on
de pet
thee, than leave tliee to tlie gnaw
ne que de t'a-ban don-ner
- ing
pour
re
ja -

^j^Egfgr^^^^^^^^ '/ / '/

Col. I mo

grets born of Love. FollowLove,sinceyouthusper- sist, tin - for-tu-nate, Ar mi -da. follow

mais a I'a-mour. mour puisque tu
Suis V a- le veux in - /or - tu - nfy Ar - mi - de. suis la

//"fg r^
!* -^ -
^^^rz^^^iffefegEgEp
 -

BERLIOZ' TREATISE UPON

/

Love who mis -leads you to take this fa - tal step, to take this fa - tal Slop.
mour qui te gui - de dans un a - bime af-freux, dans un a - hime - freux.
-* f <r> p -! i
-f -
<^f

Our remarks on the voice have been limited, we " a "

and dreads having high notes to execute a ;

need hardly say, to its employment in clioral bodies. sostenuto of a few bars upon G
will appear to him
The art of writing for single voices is really in- both difficult and dangerous. The first, thanks tc
fluenced by a thousand circumstances, very difficult the flexibility of his mixed voice,
can take abruptly
to determine, but which it is necessary to take a high and loud note the other, on the contrary, in
;

into account, and which vary with the organisa- order to give a high note in all its power, will
tion belonging to each singer. The showing how require to have it gradually led up to, because in this
to write for Kubini, for Duprez, for Haitzinger case lie employs his chest voice, reserving the mixed
who are all tenor singers is easy
but it would ; notes and head notes exclusively for half-effect and
be difficult to indicate the mode
of writing a tenor for tender accents.
Another whose tenor is of that
part equally favourable to, or perfectly suitable for, kind formerly called in France haute-contrf, will
the three. have no fear of high notes, taking them in chest
The solo tenor is, of all the voices, the most voice without preparation and without danger.
iifficult to suit, on account of its three registers, The first soprano voice is rather less difficult to
comprising chest notes, mixed notes, and head treat than the first tenor; its head notes are scarcely
notes, the extent and facility of which as I have different from the rest of the voice. iStill, it is well

already said
are not the same in all singers. Such to know the singer for whom one writes, on account
and such a performer uses his head voice a great of the inequalities in certain sopranos some being ;

deal, and can even give to his mixed voice much
power of vibration such and such another will sing
;
with ease high and sustained phrases in all degrees
of loudness, and in all degrees of rapidity he will
like the e and the i; while such another, on the con-
trary, uses the head voice with difficulty, and prefers
singing constantly full vibrating chest notes; such
another excels in impassioned pieces, but requires
that the movement be sufficiently measured to permit
vague and dim in the medium, or in the lower
part, thus compelling the composer to select the
registers carefully upon which he places the pre-
;
dominant notes of his melody. Mezzo-soprano
(second soprano) and contralto voices, are generally
more homogeneous, more equal, and consequently
more easy to employ. Nevertheless care should be
taken, for both of them, not to place many words oi.
phrases that nin high the articulation of syllables
:

the eniicsion
naturally rather slow of his voice ; then becoming very difficult and sometimes im-
he will urefer open syllables, sonorous vowels like possible.
 MODERN INSTRUMENTATION AND ORCHESTRATION. 18

Tlie convenient voice is the bass, on account

111081 sing, but also very much on the manner in which
jf its siiuplicity. Head notes beins,' banished from composers dispose their accompaniments. Some
its repertory, there need be no anxiety as to changes
overwhelm the voices by an instrumental uproar
oi t'milire ; and the clioice of syllables becomes also which might bo of very hajijiy effect cither before
on this very account less important. Every
or after the vocal phrase, but not while tlie singers
singer who assumes to be gifted with a true ba.ss are endeavouring to make it heard; others, without
voice ought to be able to sing ail reasonably written burdening the orchestra beyond measure, take deliglit
music, from the low (t to the Eb above the stave. in displaying some particular instrument, which,
j?()me voices descend much lower
like that of performing passages, or an elaborate theme, during
Levasseur, who can sing the low Eb, and even the an air, distracts the hearer's attention from the main

D others like that of Alizard can rise, without
; point, and annoys, embarrasses, and vexes the singer,
losing any of the purity of tlieir quality, up to the instead of aiding and supporting him. We do not
Fj, and even to the G but tiiese are exceptions.
;
mean that simplicity of accompaniment should be
On the otlier hand, voices which, without going up carried to such an excess as to preclude orchestral
to the high Eb, cannot make themselves heard below design, the expression of which is eloquent, and the
the C (within the stave), are but incomplete voices musical interest really maintained particularly when
fragments of voices, of which it is difficult to make
;

interspersed witii brief rests which give "a little

use, whatever may be their power or tlieir beauty.
Baritones are often in this condition they are very
; do not necessitate a metronomical exactitude of
limited voices, singing almost always within a single
octave (from the middle Eb to the Et2 above), which
places the composer in the predicament of being
unable to avoid an awkward monotony.
The excellence or mediocrity of vocal execution
in choral bodies, or in solo-singers,depends not only
on the art witli which the registers of the voices are
chosen, on that with which means are contrived for
them to take breath, aud on the words given them to
it is
rhythmical latitude to the vocal movements, and
measure.
Thus whatever may be said by several
great artists the plaintive figure of the violoncello*
in the pathetic air of the last act of Rossini's Gml-
lanmt- Tell : " Sois immobile." is of touching and
admirable effect; it renders the idea of the piece
complex, undoubtedly; but without fettering the air.
the affecting and sublime expression of which it, on
the contrary, enhances.

No. 54. Guillaume Tell. UossiNi.

Hautboys

e'%T. in BP.

Nam* in P.

Bkcsoons.

Violin*.

VIoIu.

OalUtune

Babni.
 190 BERLIOZ' TREATISE UPON

Sot to vuce.

m '-^=t^-

nio - tMii, film as our moun - tains; Fi'oin Hi'av'n you imistpray for sup-port.
bi - le et vers la ter - re in - dine un genou suppli - ant.

^S^^^

A single instrument playing in the orchestra some

pdrase constructed like a vocal melody, and forming
with the voice a sort of duet, is also very often of
excellent effect. The horn solo in the second act of
Spontiiii"8 La Vf stale, which murmurs in duet with
Julia's sorrowfully impassioned air " Toi que j'im-:
plore," gives added intensity to the accent of the
-vocal part the mysterious quality of tone
; veiled
and somewhat painful of the horn in i^ was never
more ingeniously or more dramatically employed.
We have another example in Hachael's cavatina
accompanied by a solo on the corno inglese, in the
second act of Halevy's Juive. The feeble and
touching voice of the instrument mingles incom-
parably well here with the supplicating voice of the
young girl.
 MODERN INSTRUMENTATION AND OHCHESTRATIOIS. ii)l

No. 65.
Largo esprettivo a fMla/. SraKTiML

Qonu ill E&

i<uo Horn in F.

Flutes.

ClaiiiieU.

Fagotti.

Violins. a punta d'arco.

fiU_,
E^-1^
m-m^r^mm:^ ^^^^m^^M^^
^ i^; -

Viols.
^^^:'^^^^^^P^m
JVIIA.

Violoncello.

DouDie-bass.
I'J-' BERLIOZ" TREATISE UPOJ

i^fes^^^S^

^^* "^ ''

-ij,-L.i:'L;_.~J^j;^EE&f _v>_/.Ijl|j_r^^f^
 MODERN INSTKUMENTATIUN AND OUCHESTRATION. 193

pgr ^i^^^^e^

God duss, that I, thy most unhappy priestess, may find for -givness by thy grace.
es se, que ta malheu -reu- se pre-tresse ob-tien-ne grd- ce de - vant toi.

As for single iustniments that perform passages, inflexions of singing, its delicacies
of expression
arpeggios, or variations, during a strain of song, they and subtle gradations, being more or less over-
are, I repeat, of sucli inconvenience to the singer, borne or dimmed by the juxtaposition of another
as well as to the hearers, that it requires extreme melodic part and, lastly, it is fatiguing for the
;

^rt and evident appropriateness to make them toler-
able. I declare, at any rate, that witli the single ex-
ception of the viola solo in Annette's ballad, in the
third act of the Freyschutz, they have always ap-
peared to me insufferable. Moreover, it is seldom
good notwithstanding the example set by Mozart,
Ghick, the majority of masters of the ancient school,
and some composers of the modern school to double
the vocal part by an instrument in the octave or
anison, particularly in an Andante. It is almost
always useless, the voice being suflBcient for the
eninciation of a melody ; it is rarely agreeable, tlie
o
singer, who, if he be clever, will deliver a fine
air all the better for being left entirely to him-
self.
In choruses, or in grand tutti pieces, it is some-
times the fashion to form a sort of vocal orchestra;
one portion of the voices then adopts an instru-
mental style, executing beneath the theme accom-
paniments rhythmed and figured in various ways
It almost always produces charming effects. Wit-
ness the chorus during the dance in the third act of
(Juillavnie Tell:
"Toi que," <fec.
 lt BERLIOZ' TREATISE UPON

Gni.'laun.g Tilt RcsciMi.

I oopr^noi I mo.

3 Bopratios 2<lo.

^
Toi que I'oi - seau ne suivrait pas

^
Sotto voce.

I Tenors I mo. S^ g^pggg^ gi; :z:zF^^g='

A nos chants viens mfe-lertes pas 6-trang6 - re si le - gS - re veux tu plai - re

i Tenore Idn.
i
4: ^^zgz C^
A noschants viens
r I
g-^
m6-ler tes pas
i=^- g^nzqaa
e trangfe - re si le - gS
:

- re
m^
veux tu plai - re

2!^3^ ?S^^^ i;f r-^r ^!Ei.

i^-^=r=r^
A noschantsviens in6-ler tes pas e trangS - re si le-gfe - re veux tu plai - re

^^^^^=m ^
sur nos ac - cords r&-gle tes pas
1

sur nos ac - cords rS-gle tes pas

i^ PB=P^^^=g^zr^;^ ; ^ ^E^^^^^^f
ah ne fuis pas fleur nouvel - le est moins bel - le quand pr6s d'el - le vent tes pas.

^^=^ ^^ '^^ m ^^^^^fii

ah ne fuis pas fleur nouvel - le est moins bel le quand pres d'el - le vont tes pas.

:^^
ah nc fuis
'^^^
fleur r.ouvel
-y

est
V=i=
moins bel - le qu;uid pr6s d'el -
?^P
le vont tes pas.
^
Here a good opportunity offers to point out to chords and renders them harmonious, is given to tlie
composers that, in choruses accompanied by instru- instrumental basses, the sound of which differs essen-
ments, the hannony of the voices should be correct, tially from that of the sopranos, and is moreover too
and treated as though they were alone. The various distant from them, by reason of its extreme depth and
timbres of the orchestra are too dissimilar from point of departure. Hence it follows that, instead of
those of the voicew to fill in I'espect of them the sounding consonant chords, the voices, isolated on the
office of a bass harmony, without which certain suc- stage and remote from the orchestra, give out a series
cessions of chords become defective. Thus Gluck, of fourths rendered dissonant or, at least, extremely
who in liis works often employed progressions of harsh
by the apparent absence of the sixth.
thirds and sixths in three parts, has made use of them If the harshness of these successions be of dra
even in his priestess choruses of Iphigenia in Tau- matic effect in the chorus of the first act of the opera
ride, which are soprano choruses written in two parts in question

" O songe affreux," &c. it is not so when
only. In these harmonic successions, as is well the priestesses of Diana come (in the fourth act) to
known, the second part occurs a fourth beneath the sing the hymn, so antique and so fine in colour never-
first part the effect of the series of fourths being
; theless :
" Chaste fiUe de Latone." must bear We
softened only by that of the bass written a third in mind that, here, purity of harmony was absolutely
below the intermediate part, and a sixth below the indispensable. The
series of fourths left uncovered
upper part. Now, in the choruses of Gluck just in the voices then, an error of Gluck's
is, an error
alluded to, the women's voices execute the two high which would disappear were a third vocal part
Darts, and are therefore written in successions of added, beneath the second, an octave above the
fourtlis while the low part, which completes the
; basses of the orchestra.
 MODERN INSTRUiAlENTATION AND ORCHESTRATION. 195

No. 57. iphigenia in Taunie. Gldcs,

^ Slou.
la( Yi iliiif
,

i^
PP
tad VIol.ns
*
y^-^- ff Gi =^==::i^
PP
-- - fto-
Tiolai.

pp

Hautbov. PP
?iM?^i^^P^^iill^^[^i^"i^^F_^^
'PP

Clarinels.

/v
^^^^^L^^^^^ Col. Vno, 2do.

ttt Soorano. i=8?=:Fi=:z=:zr:c

P/* O dreadful dream ! night fraught with an- giiish! what des-pair! O whatmoi-tiil dread! is their
songe af-freux nuit ef froy - a - ble 6 dou - tetir 6 mortel ef - froi toncour-

tnd Soprano. 3iiE^^^[S-Efe3

FPO dreadful dream ! night fraught with an-guish! what des-pair! () whatmor-tal dread! is their
songe af- fieux nuit tf-froy - a - ble 6 dou - leur mortel ef - froi ton cour-
Cul Basso.

Sassuonfc.

Sasses. CZ=.t-t.

PP ~

isjs ^^ms^^i^^^^^^^^^^M^m^^^^^ w^mi

pg^^f^^_!^^^f^FE?-^5|fpig^^gg^g3^p
=S?=f8c

Col Vno. Imo.

Col Vno. 2do.

i-
^^fe

Ig^fJlitl^iEgE^^^P^E^
Eig^li^^^l^^l rirrt ^tEg=?ESlfe.^l^!!^^^i^l
an - ger still un-ap - peas -ed ? O hear our pray'r, ye Gods regard our cry, ye Gods re-gard our c y.
roi/.T ext a impla ca ble enteiuis twf cris o del appai-if. loi o del ap - pai - se lot.

im^^?^^
an-gfr still tin-ap - peas-ed
25Hr-J^^^
? Oluarour pray'r,
=!liz
ye Gods regard our cry,
^i^^^^^MM ye Gods re-gard our civ.
J sux est it impla - ca - hie cntends nos cris o del ap pai - se tot o del ap - pai ne Id.
-

$^^^;^^^sM^Jim^^m^s^^--msLf^^f^w^
^
 196 BERLIOZ' TllEATISE UPON

No. 58.

r aiiiiet.

lit Yioliii.

InG VisUn.

Viola.

Fagotti.

1st Soprano.

Daughter chaste of dread La - to - na, Lend gracious ear to our snng.s,

Clias te Jit - le de La - to - ne. Pre - te Vo - reille a nos chants.

lod Soprano.

Daughter chaste of dread La - to - na, Lend gracious ear to our songs,

Chas - te jil - le de La - to - ne. Pre - te I'o - reille a not chants,

BMStes.

May our vows, with in - cense sweet as - cend - ing, reach un-to thy . . throne.
Que nos vaeux que noire en - cens s'e - le - - vent jus - qua son tro - - - ne.

May our vows, with in - cense sweet as - cend ing, reach un-to thy . throne.
Qfte no! vceux que noire en - cens V - li - vent jus - qu'a son tro - - - ne.

Dowt. FlVIk
 MODERN INSTRUMENTATION AND ORCHi: STRATION. IH7

In the heav'ns, and throughout nature all things con - foiin to thy law,
Dann kt Cieux et tur la ter - re. tout est sou - mis a la loi.
198 BERLIOZ" TREATISE UPON

Here 'tis thou a. - lone we wor - ship, Through the land thy name resounds.
ft Von t'of - - fre le seul cul - te, r^ - ve - - r6 dans ces cli - mats.

Here 'tis thou a - Inne we wor - ship, Thioujjh tlie land thy name resounds.
ei Ton t'of- -fre le seul cul - te, r - ve - - re dans ces mats.
cli -

-Ml ,0 n-a-T r r Q ^^^ O-

Male-voice unison choruses, introduced into dra-
matic music by the modern Italian school, give
occasionally some fine results but we must allow
that the device has been greatly abused, and that if
some masters still adhere to it, they do so solely
because it favors their idleness, and lends itself con-
veniently to several choral bodies ill fitted for ren-
dering well a piece in several parts.
Double choruses are, on the contrary, of a richness
and pomp quite remarkable they are certainly not ;
The long drum, the side-drum, the tambour, the
tambour basque (or tambourine), the common cym-
; bals, the tam-tam, the triangle, and the pavilion
chinois, merely make noises variously characterised.
Kettle- Drums.
Of all the instruments of percussion, kettle-drums
appear to lue to be the most valuable at least they ;

are in most general use, and from them modern

hackneyed nowadays. They are, for expeditious
musicians both composers and performers
long to write and to learn. To say the truth, the
ancient authors, who made the most frequent use
too composers have derived the most picturesque and
dramatic effects. Ancient masters used them only
to strike the tonic and the dominant on a rhythm

of them, generally composed merely two dialogue

more or less common, in pieces of a brilliant cha-
choruses, in four parts; choruses in eight real con- racter, or of warlike import and therefore almost ;

tinuous parts are rather rare, even in their works. always combined them with trumpets.
There are compositions for three choirs. When the In the majority of present orchestras there are
idea they have to render is worthy of so magnificent but two kettle-drums, the larger of which is used for
an investiture, such bodies of voices, divided into the lowest sound.
twelve, or at least nine, real parts produce im- The custom is to give them the first and the
pressions the memory
which is ineffaceable, and
of
fifth note of the key of the piece in which they
cause grand choral music to rank as the highest are to figure. Some masters had the habit, not
among arts.
many years ago, of invariably writing vS' | rfl for

the kettle-drums contenting themselves with indi-

;
Instrdments of Percussion.
cating at the commencement the real sounds that
These are of two kinds the first comprises : these notes were to represent so that they wrote ;

instniments of fixed sound, and musically appre- thus

Kettle-drums in
:
; thence making D G
ciable ; the second includes those of which the less signify -Kettle-drums in O, and then
musical product can bo ranked only among noises
dfistined to produce special effects, or to colour the G meant ^-"^ ^-pfl These two examples will
^

rhythm. suffice to demonstrate the vices of such a system.

Kettle-drums, bells, ihe glockenspiel, the keyed The compass of kettle-drums is one octave, from
liarmonica, and small ancient cymbals, have fixed
that is to say, by means of the
tounda.
 F

MODERN INSTRUMENTATION AND ORCHESTRATION. 199

screws uhich compress the circumference called posers complained for many years of the vexatious
tliebrace
of each kettle-drum, and which augment necessity in which they found themselves for want
or diminish the tension of the parcliment, the low
kcllle-drum can be tuned in the following keys
of a sound in kettle-drurae of never em-
third
:
ploying the instniment in chords of which neither
of these two notes formed a part they never asked ;

themselves whether a single drummer might not

play upon three drums. At length, one fine day,
the drum-player at the Paris opera having shown
and the high kettle-drum in these :

that the thing was easy, they ventured to try

^^ -^-;i=i
l^^^^=\
the audacious innovation and since then, com-
;

posers who write for the opera have at their dis-

posal three kettle-drum notes. It required seventy
Now, supposing that kettle-drums are intended to years to reach this point It will be still better,
I

sound only the tonic and the dominant, it is very evidently, to have two pairs of kettle-drums and two
evident that the dominant will not occupy in all keys drummers and this method has been pursued in the
;

tlie same relative position with the tonic and that ; orchestration of several modern symphonies. But
kettle-drums should therefore be tuned sometimes in progress is not so rapid in theatres and there it ;

fifth, sometimes in fourth. In the key of C, they will take some score of years to attain.
will be in fourth, the dominant necessarily occurring As many drummers may be employed in the or-
chestra as there are drums, so as to produce at pleasure,
below, ^^^rtz| since there is no high G (although
according to their number, rolls, rhythms, and simple
there might be one) ; and
same in D\?, it will be the chords, in two, three, or four parts. With two pairs,
in 2?tp' '" -2/b. But in Bb, the com-
and in B^. one be tuned J.q El?,
poser is at liberty to have his drums tuned in fifth or
if in ^'^Z?5E| for instance,

in fourth, and to place the tonic above or below, since and the other in C F, ^5ri=^| there may, with
h-i has two Fs at his disposal. Tuning in fourth, four drummers, be played the following chords: in
^5:0=3^1 will be dull, the parchment of the two two, three, and four parts :

kettle-drums being then very little strained the F,

particularly, will be vapid and of
;

bad quality. Drums In C F\

Two drummers.
-5 ^ [-*> ^
Tuning in fifth, @'^-t'-B becomes sonorous for

the opposite reason. It is the same with kettle- Drums in jO E^;

drums in F^, which may be tuned in two ways; in Two drummers. grt-h-| i
1- -^ nl-rfff^
fifth. ^^la^y or in fourth, ^sfaE^IJ In the keys
--=^-=
of G, A\?, and ^/^Q, on the contrary, the tuning must mi
be in fifth, because there is no low D, Ep, or Eh. without reckoning the
There no need, it is true, to mention in this case
is enharmonics, as :

the tuning in fifth, since the drum-player will be ^3"^

obliged to adopt it but is it not absurd to write
;

movements of fourth when the performer has to play

movements of fifth and to present to the eye as the

and vice-versa?
;

lowest note that which, to the ear, is the highest, to produce, in the key ^=^^
of Z>b minor, the
chord :

^:zxhziz=i^=Tti
Kettlo-drums
In At7.
/Ta v
v^' J
I
""
.'

j^V
! T
^ |~n Effect.

is
The principal cause
treating the kettle-drum as a transposing instrument
doubtless the idea, which all composers once took
of this strange custom of

Or this one. in Ci
^^
minor :

up, that kettle-drums ought only to give the tonic s=irJ

-=^:
and the dominant ; but when the fact appeared that
it was frequently useful to give them other nofc to

play, it became necessary to write tlie real sounds. and the advantage of having at least one note to

Accordingly, kettle-drums are now tuned in all sorts place in almost all tlie chords which are not too
of ways,
in minor third or major, in second, in fourth remote from the principal key. In order thus to
true or augmented, in fifth, in sixth, in seventh, and obtain a certain number of chords in three, four,
in octave. Beethoven has drawn charming effects and five parts, more or less doubled, and moreover
a striking effect of very close rolls, I have employed
from the tuning in octave F F, ^~~\^ in his
in my grand requiem mass eight j)air8 of drumc
eighth Symphonv and in his ninth (choral). Com- tuned in different ways, and ten drum-plavein.
 200 BERLIOZ' TREATISE UPON

t)
a

o
S5

*j)S3i)aio 33jc[ 3q) ju o[ppiuu aqi ui uiera

-si 3uo[e SUJOU sqx 'Xpoq iBiuaumjjsin
Due [eioijo jeajS aqi ;o sjsuioo jiioj aqi
'jiudB paoB|d aq pinuqe ')>iu3uir.ii
-dl ssBjq JO seitsjijaio iiEtun (. asaqx
 MODERN INSTRUMENTATION AND ORCHESTRATION. 201

^4^
r

LI*

m ^1 l)D m

m m m i> w w
DlOfitmnjp 3.11)11 piuoijs sJ3iuuinjp sv; nV

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nuiiup JO siiBd 8 P"'

auo SAtq i>inaii8 (iiiid xis smmi (u u-^'I

BERLIOZ' TREATISE UPON

III

ft
 MODERN INSTRUMENTATION AND ORCHESTRATION. 2C4

M44 U44 U- J+H kW-l Li

i fi,"j

^1 W ti m
204 BEELIOZ' TREATISE UPON

ux,.

m
 1

MODERN INSTRUMENTATION AND ORCHESTRATION. 205

4W JJ L. 4-J i-M -' LL

fltl f 1 1
1
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1 n
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1 1 1 . 1 1 1 1
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20f) BERLIOZ" TREATISE UPON

i
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 MODERN INSTKU.MENTATION AND ORCHESTRATION 207

l-U UiU m n

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BERLIOZ' TREATISE UPON
 MODKRN INSTRUMENT ATION AND ORCHESTRATION. 209

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10 BERLIOZ' TREATISE UPON
MODERN INSTRUMENTATION AND ORCHESTRATION.

\\\

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212 BERLIOZ" TREATISE UPON
MODERN INSTRUMENTATION AND ORo'HESTRATJON. ^13
 .

214 BERLIOZ' TREATISE UPON

We said just now

that xettle-drums have but one
octave compass the difficulty of getting a parchment
, talent which the drummer should possess in the
sufficiently large to cover a vessel bigger than the
great bass kettle-drum is perhaps the reason which
prevents our obtaining sounds lower than F. But
this does not hold good with regard to the high
kettle-drums: assuredly, by diminishing the size of
the metallic vessel, it would be easy to obtain the
high G, A, and BP- These small kettle-drums
might be, on numerous occasions, of the happiest
effect. Formerly, drum-players were hardly ever
obliged to change the tuning of their instrument in
the course of a piece but now composers do not
;
This proves that, independently of the particular
manipulation of his drumsticks, he ought to be an
excellent musician, and endowed with an ear of
extreme delicacy. This is why good drum-players
are so rare.
There are three kinds of drumsticks, the use of
which so changes the nature of the drum's sound
til at it is worse than negligence on the part of com-
posers if they fail to indicate in their scores the
Idnd which they desire the performer to use.
Drumsticks with wooden ends produce a harsh,
dry, hard sound scarcely good for anything but to
;

hesitate to subject the tuning, during a very short

strike a violent blow, or to accompany a great noise
space of time, to a tolerably large number of modi-
of the orchestra.
fications. They might be
spared the employment
of this means
which is troublesome and difficult Drumsticks with wooden ends covered with leather
for the performers
if there were, in all orchestras,
are less hard they produce a sound less startling
;

than the preceding, but very dry nevertheless. In

two pairs of kettle-drams, and two drummers at ;

any rate, when recourse is had to it, care should be numerous orchestras these drumsticks alone are used;
taken in the first place to give the drum-player a which is a great pity.
number of rests proportioned to the importance Drumsticks with ends made of sponge are the
of the change demanded from him, so that he may best, and are those of which the use musical,
have time to conveniently ; in this case,
effect it rather than noisy
should be more frequent. They
also, it is necessary to indicate a tuning nearest to give to the kettle-drum a grave, velvety quality of
that which is quitted. tone, which, making tlie sounds very neat, renders
For example, if the kettle-drums being in A E, therefore the tuning very distinct, and suits a large
number of gradations soft or loud in execution,
fe
^'^J ^^ 1
it be wished to go into the key of B\?, it
wherein the other drumsticks would produce a
wonld be an egregious piece of awkwardness to detestable or, at least, an insufficient effect.

indicate the new interval F B^ (fourth), <^ i

\is^ Whenever the object is to play mysterious sounds,

v.'hich compels letting down the low kettle-drum

dimly menacing, even in a. forte recourse should
and the high kettle-drum an augmented be had to the drumsticks with sponge ends. More-
a third,
over, as the elasticity of the sponge aids the rebound
fourth, when Bp F (fifth), ^^gpfl merely neces- of the drumstick, the player need only touch the
sitates the raising both a half tone. It may easily parchment of the kettle-drums to obtain, in pianis-
be conceived, besides, how difficult it is for the simo, delicate rolls, verv soft and very close. Beet-
drum-player to give a precisely correct new tuning to hoven, in his Symphonies in B\? and in C minor,
his instrument, obliged as he is to turn the keys or has deduced from the pianissimo of the kettle-drums
screws compressing the brace during the perform- a marvellous effect; and these admirable passages
ance of a piece full of modulations; which may make lose much by being played with drumsticks without
him sound the key of Bh major at the very moment
sponge ends, although the author in his scores has
when lie is seeking the key of C or the key of F. specified nothing on this point.

Adagio. 84.:::
J*
No. 60.
Symphony in Sf- BEErFO^EN.

Flute.

(Isrinets in Bt'.

Horns in Ef

Bassoons.

Violoncello.

Double-baas


MODERN INSTKUMENTATIUN AND ORCHESTRATION. 21fi

Kettle-druini in Eb<
W=^^^^^
.
'
. _, S^^" _GSE|^S -l^SSS ^'^-m'-m- m-^-m'
fc^

P cret.

^5.1^
-i/S- --^^-S

//' ff
'^?^^m
^ ff
e^^e^s^I^^e^e^IBe
//"

iM^ ffl^^
[^
//!
g^--['jZ3Zg.E^

Eg:^! -1-Pf-
i //-i
~^=C3-
//-i:

isi?
::pz:=z=zz
^EE^^E^EZEEE^g^Bg^^HEp'EEgZEP-EglE
//
z^r^rr
H^^?^i
" 1

5E=iHE
3 //3 Pus. Arco.

^^^^sl^|^|^fil=^^^^^^^^Jp^-^p^^
ff*
Col. Violoncello. Pizz. Arco.

i^^iiilL^^^^
ff
Pizz.

Pizz. Arco,
Together.
A uyci|CFM _^_. ^^_^^_ ^^^.^^_ _,_ y_


216 BERLIOZ' TREATISE UPON

No. 61. Sj/mph-.-ny in C minor. BEmTiOTca.

Allegro. * .= 96

FluKis.

Violins

Viol*.

Violoncellos

Double bass.

P,zz. ppp Area.

ffej:

-p :^i^^^^^^^FErf^^T^^S^^
r- =-p
r-

^^^i^
MODERN INSTRUMENTATI(3X AND ORCHESTRATION. 217
n6 BERLIOZ- TREATISE UPON
 MODERN INSTIJUMENTATION AND ORCHESTRA TION. 210
Alia, cr = m.

r.ute.

nccolo Flute

Hautb jys.

Clarinets in C.

Homs in C.

limpets in C.

Bassoons,

Kettle-drums
in C.

Alto Trombone.

Tenor Trombone.

Bass Trombon.

Violins.

Violas.

Violoncellos.

Double-basses, &
Doubie-bassoont

In the works of the ancient masters especially, BeKs.

there is frequently found this indication: Kettle- These have been introduced into instrumentation
drums muffied, or covered. It signifies that the
for the production of effects more dramatic than
parchment of the instrument is to he covered with
musical. The timbre of low bells is appropriate
a piece of cloth the effect of which is to deaden
;
only to solemn or pathetic scenes that of high hells,
;

the sound, and to render it extremely lugubrious.

on the contrary, gives rise to more serene imj)res-
The drumsticks with sponge ends are preferable sion ;they have something rustic and simple about
to the others in this case. It is sometimes well to
them, which renders them particularly suitable to
indicate the notes that the drummer should play
religious scenes of rural life. ITiis is wdiy Rossini
with two drumsticks at once, or with a single
drumstick : has employed a little bell in high O,
^ ^=^^ to

accompany the graceful chorus in the second act of

Guillaume Tell, of which the bui-den is " voici la
nuit"; while Meyerbeer has had recourse to a bell in
low F, @' "~ B to give the signal for the massacre
The nature of the rhythm, and the place of the of the Huguenots, in the fourth act of the opera of
loud accents, should decide the choice. that name. He has taken care, moreover, to make
The sound not very low it is
of kettle-drums is ;
of this F the diminished filth of the Bt] struck below
heard as it is written on the F clef; in unison there- by the bassoons which, aided by the low notes of
;

fore with the corresponding notes on the violon- two clarinets (in A
and in B\>), give tiiai sinister
cellos, and not an octave below, as some musicians quality of tone which nwakeus tlie tenor and alarm
have supposed pervading this inimortal scene.
 -

220 BERLIOZ' TREATISE UPON

No. 62
Msestoso molto. Lu HuguenoU. MEVKmiaeBL

Viiiiint.

Violas.
SS^
Flutes.
gS^^i^^

I Hautboy.

\ Corno
Inglfise.

. Clar. in Bt7

I Clar. in A.

^ PP
^j^g^J^fe 5:^ m
m Sr*=
'd2E^=E^-l^ jv"^1 ^*'^'-3-J^;:^3:a|g=: ^^3S^
Horns in F.

i=^:^i ^5: :^-^

m^^^V

Trombones,

Ma^;#
^:fe:
-^: eS ^5;

Ophicleide.

Bell in F.

Valentine.
Yes, they freeze my very
lis me gla-cent de ter

B,AOUL
Hearest thou tho.se sounds of mourning ?
En-tends tu ces sons fu - ne - bres

Violoncello,

Ooubit bu*
 MODERN INSTRUMENTATION AND ORCHESTRATION. 221

Fromout the mid - niglit dark - ness There comes a cry of rage. Oh ! wliere was I then,
JDu seindes noi res te - n; - bres s'e'-leveun cri de fu-reur ou done 6 - tais-je.
2Sj^ BERLIOZ* TREATISE UPON

^"L
Col Flauto 2(lo.

Col Flauti, 8ve lower.

>i^
^^: ^5= ^ i=

m i^-p-f-
=i=?
5
=3=3^ --^=^

^^ ?^ p r^
"

-^^ E?Eg^ 3E
:t=:jc xrn:=7=

i^ i^^ ^^^5 !^^

me, dear Ha-oul,

^=^==,=$^^^^^^^^^!^^^
moi cher Ra-oul,
,feb:
3
Ah, still the fa - - - tsl thimght how they massacred my brothers. 'Tis the hni-rid sig
Ah. sou - ve - nir fa - lal du mas - sn ere de mes freres cest Vhor-ri ble si -
 :

MODERN INSTRUMENTATION AND ORCHESTRATION. 223

Sets of Bells. chanism of keys. He gave it the following jomp:ise

and wrote for it upon two lines and two clefs, like the
Felicitous effects are obtained, especially in mili-
])ianoforte :
tary music, from a set of very small bells (similar in
quality to those of chiraney-clocks), fixed one above
another on a frame of iron, numbering eight or ten,
and ranged diatonicaPv in the order of their size
the highest note naturally being at the summit of
the pyramid, and the deeper ones below. These With aU the chromatic intervals.
chimes, which are struck by a little hammer, can \Ylien they got up,at the Paris opera, the in)i)erfect
execute melodies of moderate quickness, and small rasticcio known under tiie name of the Mysfcrien
compass. They ore made in different scales. The of Isis, in whicii was introduced
more or less dis-
highest are the best. figured
a portion of the music in tlie Magic Flute,
they procured, for the glockenspiel piece, a little
The Glockenspiel.
instrument, the hammers of which, instead of striking
'Moza.n ha..written, ?o his opera of the Magic on bells, struck upon bars of steel. Tiie sound is
Flute, an important part for a keyed instrument produced an octave above the written notes it ia ;

that he caUs Glockenspiel, composed doubtless sweet, mysterious, and of extreme delicacv. It
of a great immber of very small bells, arranged ia adapts itself to the most rapid movements and is ;

such a manner as to be put in vibradon by a mo- incimiparably better than that of little bells.

No. G3.
The Magic Plate. MoZAHI.
Andante.

Vlolins.
^^^^mm
Vtoias

Olockenspiel

Oh charming sound of music, the sweetest de-light, la-ui la la la

Oh ca - ra armo - ni- a, oh dolce pia-cer, la ra In la la

224 BERLIOZ" TREATISE UPON

t!k= ^^^J4
gH^P=j*= J J J^

B.=r. zm \-F- ^-^-\ f=^=^ -

:

la ra la la la la la la All anger dis - perseth at me - lo dy's might, la ra

la ra la la la la la la la, rabbia va vi - a o per - dt il po - ter, la ra

=F'F

m^==^^ f^^is^e^^e^^fS

la la la la, ra la la la la ra la All anger dis -perseth at me lo - dy's

la la la la, ra la la la la ra la. la rab bia va vi - a o per de il po -
 ;

MODERN INSTRUMENTATION AND ORCHESTRATION Itit

^^^i^gg

might, la ra la, la la la, ra la la. la, la ra la.

- ter. la ra la, la la la, ra la la, la, la ra la.

The Keyed Harnionica Ancient Cymbals.

is ail same kind as the preceding

instrument of tlie
Those are very small, and their sound becomea
the haniniers striking upon plates of glass. Its higher proportion as they are thicker and less in
in

quality of tune is of an incomparably voluptuous size. I have seen some in the Pompe'ian Museum

delicacy, which the most poetical application

of at Naples which were no larger than a dollar. The
might frequently be made. Like that of the key- sound of those is so high, and so weak, that it could
board of steel bars I liave just mentioned, its sonority hardly be distinguished without the complete silence
is extremely weak, and the fact should be kept in of the other instniments. These cymbals served, in
mind, when associating it with other instruments of ancient times, to mark the rhythm of certain dances,
the orchestra. The softest mezzo forte of the violins like our modern ca-ttanets, doubtless.

alone would suffice to cover it entirely. It would In the tairy-like scherzo of my Romeo and Juliet
blend better with light accompaniments uf pizzicato, Symphony I have employed two pairs, the same
or harmonics; and with some very soft middle notes size as the largest of the Porapeian cymbals ; that
of the flutes. is than the size of the hand, and
to say, rather less

The sound of the keyed harmonica comes out as tuned the one a fifth from the other. The lowest
it is written. It can hardlv be given more than two
gives this Bb, =^^=^H and the highest this F,
octaves all the notes beyond the high E,
;

being scarcely perceptible, and those beyond the low

i To make them vibrate well, the player should-
instead of striking the cymbals full one against the

1),
^^ -g having a very poor tone, still more other- strike them merely by one of their edges.
All bell-founders can manufacture these small cym-
weak than the rest of the scale. This defect in the bals which are first cast in brass or copper, and then
;

low notes might perhaps be remedied by giving them turned, to bring them into the desired key. They
glass plates of greater thickness than the others. should be of at least three lines and a half in thick-
Pianoforte -makers are the usual manufacturers of ness. There is also a delicate instrument of the
this delicious and too little known instrument. It is nature of the keyed harnionica but its sound is
;

written for, like the preceding, on two lines and two louder, and can easily be heard through a large
G clefs. orchestra playing either piano or mezzo forte.
It is needless to add that the mechanism of exe-
cution on these two little key-boards is exactly the The Long Drum.
same as that of the pianoforte, and that all the pas- Among instruments of percussion having au in
wges, arpeggios, and chords may be written for definite sound, the long drum is asstiredly tiiat
them, within their respective compass, which would which has done the greatest mischief, and brought
written for a very small pianoforte.
* the largest amount of nonsense and barbaiism into
 BERLIOZ' TREATISE UPON

modem mnaic. None of the great masters of the gradually reinforced by the 3ucce8ive entrance ol
last age thought of introducing it into the orches- groups of the most sonorous instruments. Its in*ro
tra. Spontini was the first to make it heard, in his duction thp.n does wonders the swing of the orches-
;

triumphal march in the Vestaie ; and a little later tra becomes one of unmeasured potency the noise, ;

in some pieces of his Fernand Coitez : where it was thus disciplined, is transforced into music. The
well placed. But to write for it as it has been pianisshiii) notes of the long dram, united with the
written for these fifteen years, in all full pieces, in all cymbals, iu an andante, and struck at long intervals,
finales, in the slighest chorus, in dance-tunes, even in have something very grand and solemn about them.
cavatinas, is the height of folly, and (to call things The pianis-siino of the long drum nlone, is, on the
by their right names) of brutal stupidity the more ; contrary, gloomy and menacing (if the instrument
because composers, in general, have not even the be well made, and of large size) it resembles a
;

excuse of an original rhythm, which they might be distant sound of caimon.

supposed to wish to display and make predominant I have employed, in my Requiem, the long drum
over the accessory rhythms. Instead of this they forte without cymbals, and with two drumsticks.
strike senselessly the accented parts of each bar, The performer, striking a blow on each side of the
they overwhelm the orchestra, they overpower the instrument, can thus sound a tolerably rapid succes-
voices there is no longer either melody, harmony,
; sion of notes, which, mingled as in the work I have
design, or expression hardly does the prevailing key
; just mentioned with rolls on the kettle-drums in
remain distinguishable And then they innocently
1 several parts, and with an orchestration where ac-
think they have produced an energet'ic instrumenta- cents of terror predominate, give the idea of the
tion, and have written something very fine ! strange and awful noises that accompany great
It is needless to add that the long drum used in cataclysms of nature. (See No. 59, ]iage 2 iQ.)
this style is scarcely ever unaccompanied by cym- On another occasion, in order to obtain in a sym-
bals as if these two instruments were in their
; phony a dull roll much deeper
than the lowest sound
nature inseparable. In some orchestras they are of the kettle-drunjs could caused it to be given
lie. I
even played by one and the same musician, who, a by two drummers playing together on a single long
cymbal being attached to the long drum, can strike drum placed upriglit like a small drum.
it with the other in the left hand, while in the right

lie flourishes his drumstick. This economical pro- Cymbals.

ceeding is intolerable the cymbals, losing thus their
; Cymbals are very
sonority, produce a noise which might be compared
to the fall of a sack full of ironmongery and broken
glass. It has a trivial character, deprived of all
pomp or brilliancy, and is fit for nothing better
than to Tuake dance-music for monkeys, or to
accompany the feats of jugglers,
swallowers of swords and serpents, in
streets and alleys.
The long drum has nevertheless an admirable
effect when judiciously employed. It should, for
example, be introduced in a full piece, in the midst
of a large orchestra, merely to augment little b\ Httle
the force of a lofty rhythm already established, and
often united with the long drum;
but, as I have just they may be treated apart
said,
with the greatest success on numerous occasions.
Their quivering and shrill sounds, the noise of
which predominates over all the other noises of the
orchestra,
ally themselves incomparably well, in
mountebanks, and certain cases, either with sentiments of extreme
the public ferocity (then united to sharp whistlings of piccolo
flutes, and to the strokes of the kettle-drum or small
drum), or with the feverish excitement of a bacclia-
nalian orgy, where revelry verges upon frenzy.
Never has there been a finer effect of cymbals pro-
duced, than in the chorus of Scythians: " Les dieux,"
in Gluck's Iphiyenia in Tuuridr.

No. fi4.
Allegro.
(...I. Vo. lu.o.
Iphigenia in Tauride. Gluck.
piccolo Flutes.

Otjoi and Clar

in C.

Violins. Co!. Vo. Imo.

^^^m
Violk.

Umm.

C.Tinbals.

Baser B.
 )

MODERN INSTRUMENTATION AND OltCllESTRATlUN. 227

Cul. Vno. Inio.

?fcr-_i

Col. Vno. Imo.

t=r^^=-r-
1st Tenors (Hautes Contre,

The gods a
bate thfir
dieux aj) pal - sent
2nd Tenors.

Basses.

m^ :&
m.

an - ger - now ; They bring us victims, vie - tims wor thy ; The
leur coiir - roux ; Us nous a - m^nent des vie - ti vies les
228 BERLIOZ' TREATISE UPOU
Col. Viio. Imo,

m ?^^ ?^^^^

Gods
Dieux
a
ap
hate
pai
their
sent
an
leur
ger
cour
now
roux
; They
Us
bring
nous
m^^^ victims,
minint
victims
des vie -

ii=^ :e
^f g'--f^.-g--g' f

:f -f --

ii
fe^z
^ fESffEsa?
^


MODERN INSTRUMENTATION AND ORCHESTRATION. :;29

Col Violino.

^E

blood be pDur'd out for us, Let their blood be pour'd out for
sang soil of - - firt pour TMUS, qne h'ur sang soit of - - fert pour

'^r-
'^^i

A vigorous and well-marked rliytliiu gains greatly that ot a long-drum, is used to strike a cymijal
in an immense chorus, or in the dance-tune of an suspended i>y its This produces a
leather strap.
orgy, it' executed, not by a single pair of cymbals, metallic quiver of moderate length sinister, tiiough ;

but by four, and even more, according

six, ten pairs, without the formidable accent of a stroke of the
to the" space, and to the mass of other instruments
and voices. The composer should always be careful Thb Gomj.
to determine the length that he wishes his cymbal
notes to last, followed by a rest in case he wish to;
The gong, or tam-tam, is employed only in fune-
have the sound prolonged, he must write long and real com))osition8 and in dramatic, scenes where horror
sustained notes, as : ^'-^^^^ with this indi- is carried to height. The vibrations of the gong,
its

cation :
"let
them vibrate ;" but, in the contrary
mingled with the thrilling chords of the brasa
/tf/-^^
instruments (trumpets and trombones), make the
case, he must place a quaver or a semiquaver, as :

jgi'^gL^ ^
with these words: "damp the sound;" hearer siiudder; its pianissimo strokes, heard nearly
by themselves, are no less fearful from their lugu-
which the player does by bringing the cymbals brious sound. M. Meyerbeer has proved this in his
against his chest as soon as he has struck them. magnificent scene of Robert h Diable, the Kesurreo-
Sometimes, a drumstick with a sponge end, or tion of the Nuns;-
 280 BERLIOZ" TREATISE UPON

No. 65. Robert le Diat/e. M eybkbcbr.

As piano as poastOf^
Andante. Imo. Solo.
ifyed Tnim
tn lip.

Honis ill Ep.

Horns in C.

rroni"3ones

Kettle-drums

la^^
wandering Bohemians, or gypsies the Basque na
The Tamhour Basque (or Tamhourine). ;

tion ; the Roman peasants ;and those of the Ab-

This favourite instrument of the I lalian peasantry, bruzzi and Calabria. It produces three kinds of very
who use it in nil their festivities, is of excellent different noises when it is simj)ly struck with the
:

when employed in
effect masses, striking like cym- hand, sound has not much effect (unless employed
its
bals, and with them, a rhythm in a dance scene in numbers) and the tambourine thus struck is not
;

or orgy. It is seldom introduced alone in the distinguishable unless left nearly alone by the other
orchestra ; unless in a case where the subject of the instruments if it be played by rubbing its parch-
:

piece renders it illustrative of the manners of the ment with the ends of the fingers, there results a roll
people who habituall)- use liie instrument such as in which the noise of the small bells hung round
 ;
;

MODERN INSTRUMENTATION AND ORCHESTRATION. 231

its edge is chiefly heard. The roll is thus written, butt-end of the nuiskets as they drop on the ground,

(^ ? ji^ H but should be very short, because the

signify nothing at all when oiie, two, three, ten, oi
even a score of men produce tliem but let the
;

finger which rubs the parchment of the instrument action be performed by a thousand men, ani im-
soon, as it advances, reaches the edge, where an end mediately the thousand unisons of an insignificant
is put to its action. noise will give a brilliant aggregate which involun-
A roll like this, for instance, would be impossible tarily attracts and captivates the attention which
pleases, and in which I find even some vague and
occult harmonies.
Drums are used vmffied, like kettle-drums but
By rubbingthe parchment, without quitting it, ;

instead of covering the parchment with a piece of

with tlie whole weight of the thumb, the instrument
cloth, the players often content themselves with
gives out a wild rumbling, sufficiently grotesque
loosening the braces of the drum, or with passing a
and ugly, but of which it is not absolutely im-
leather strap between them and the lower parchment,
possible to make use in some masquerade scene.
in such a way as to check the vibrations. The drums
then acquire a dim, dull sound, somewhat analogous
The Drum. to that produced by muffling the upper parchment
Drums, pro])erly so
termed called also " caisses and are thus rendered fit for compositions ot a fune-
claires" are rarely well placed in other than large real or terrible character.
orchestras of wind instruments. Their effect is the
better and nobler in proportion as they are more The Caisse Roulante, or Side-Drurr>.
numerous a single; drum particularly when it The sidedrtimis a drum rather longer than the
figures in the midst of an ordinary orchestra has preceding one, the body being of wood instead of
always appeared to me mean and vulgar. Let us brass. Its sound is dull and somewhat
like that
own, nevertheless, that M. Meyerbeer has known of the drum without or viuffled.
tone, It pro-
how to derive a peculiar and terrible sonority from duces a sufficiently good efi"ect in military music
the association of a drum with the kettle-drums for and its subdued rolls serve as a kind of back-
the famous crescendo roll in the Benediction of the ground to those of the drums. It is a side-drum
Daggers (Les Iltigueno(s). But eight, ten, twelve, that Gluck has employed for striking the four con-
or more drums executing, in a military march, tinued quavers whose rhythm is so barbarous in
rhythmical accompaniments, ov crescendo rolls, prove the chorus of Scythians {Iphigenia in Tanride).
magnificent and powerful auxiliaries to the wind in- (See No. 64, page'S.'G.)
struments. Simple rhythms, without either melody,
harmony, key, or anything that really constitutes The IVianffle.
music, serving only to mark the step of soldiers, At
the present time as deplorable a use is made
become attractive when performed by a body of of this instrument as of the long drum, cymbals,
forty or fifty drums alone. And perhaps we may kettle-drums, trombones, and. in short, of all that
here take occasion to remark the singular as well as thunders, sounds, and resounds. It is, however, still
actual charm for the ear, which arises from a multi- more difficult to find fit occasion for introducing it

})licity of unisons, or from the simultaneous repro- into the orchestra than the others. Its metallic noise
duction, by a very large number of instruments of suits only pieces of an extremely brilliant charactei
the same kind, of the noise they individually produce. when forte, or of a certain wild whimsicality whei
This may have been observed in attending infantry piano. Weber has felicitously employed it in hif
soldiers' the word of command to
exercise. At gipsy chonis oi Fvi-ciosa ; and Gluck still better ir<
" shoulder arms " or to " ground arms," the slight the major of his terrible dance of Scythians, in the
clink of the firelocks, and the dull sound of the first act of Iphigenia in Tanride :
No. 66. Iphigenia in Taurid^. Gll'cr,
Rather animated

Violins.
^^^^^^^^l^^=^^^^^^m^^^^^^-^^^i
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Hotnb III D.

Triatig'c.

mm^^=mm^^
 *

BERLIOZ' TREATISE UPON

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'^^^^^^^^^^^^^^^^^^^^^^^ ?7=^:p-
 ; y

MODERN INSTliUMENTATlUN AND UllCllLSTUATION. 233

Tht PdciUun Cltuwin. sorrowful while that of their bass notes is, on the
;

contrary, of a calm and, so to speak, pontifical

With its numerous
little bells, serves to give bril-
grandeur.
liancy to lively pieces, and pompous marches in
military music. It can only shake its sonorous locks,
All of them, the baritone and the bass princi-
nt somewhat lengtheied intervals that is to say,
pally possess the faculty of swelling and diminish-
;

about twice in a bar, in a movement of moderate time. ing their sound; whence results, in the lower ex-
We will say nothing here of certain instruments
tremity of their scale,
effects hitherto unheard, and
quite peculiar to themselves, at tiie same time bearing
more or and little known such as the
less imperfect, ;
some resemblance those of the "expressive organ."
to
Eolidicon, the Anemocorde, the Accordeon, tlie
The quality of tone of the high saxophone is much
Poikilorgue, the ancient Sistrum, ifec. referring :
more penetrating than that of clarinets in D\) and
those of our readers curious to know more of them,
in C, without having the piercing and often shrill
to M. Kastuer's excellent (jenrral treatise of instru-
brilliancy of the snudl clarinet in Eq. As much
mentation. Our intention, in the present work, is
may be said of the soprano. Clever composers will
merely to study tlie instruments used in modern
hereafter derive wondrous effects from saxophones
music ; endeavouring to discover according to what
associated with the clarinet family, or introduced in
laws harmonious sym|)athios and striking contrasts
other combinations which it would be rash to attempt
may be estabiisbeil between them and taking into
;
foreseeing. This instrument is played with great
)>.irticular account their powers of expression, and
facility its fingering proceeding from the fingering
;
the appropriate character of each.
of tlie flute and hautboy. Clarinet-players, already
familiar with the mouthing, render themselves
New Instruments. masters of its mechanism in a very short time.

The author of this work

doubtless not obliged
is
Saxophones are six in number the high, the :
soprano, the alto, the tenor, the baritone and tlia
to indicate the multitude of attempts of all kinds
bass saxophone.
daily made by instrument-makers, and their pre-
tended inventions, more or less disastrous, or to i\I. Sax is about to produce a seventh, the
make kno'wn the futile specimens which they seek to double-bass saxophone.
introduce amidst the race of instruments. But he The compass of each of them is nearly the same ,"

must point out and recommend to the attention of and here is their scale, written for all on the G clef,
composers admirable discoveries made by ingenious like that of clarinets, after the system proposed by
artists ;
particularly when the excellent result of M. Sax, and already adopted by composers :

those discoveries lias been geaerally recognised, and

K'hen their appreciation is already a thing achieved, With the cliromatic intervals. .C_
in musical performance, throughout a portion of High Saxophone
in Et*.
Europe. Such manufacturers are few in number
and Messrs. Adolphe Sax and Alexandre rank at
the head of them.

Mi Sax whose labours will first occupy our Real sounds.

attention
has brought to perfection (as I have
already remarked here and there in the course of
this work) several ancient instruments. He has,
besides, supplied many voids existing among the Soprano
Saxoplione in C
family of brass instruments. Hi-i principal merit, or in Bb
however, is the creation of a new family, complete
since a few years only
that of the instnunents Real sounds of
the Saxoplione
^^^th a single reed, with a clarinet moutli -piece, and in Bt7.
in brass. They are called Saxophones. These new
voices given to the orchestra possess most rare and
precious qualities. Soft and penetrating in the higher
Alio Saxophone
part, full and rich in the lower part, their medium
in F, or in Ef.
has something profoundly expressive. It is, in short,
a quality of tone sui generis, presenting vague Effect of the
analogies with the sounds of the violoncello, of the Saxophone in F
Th.-il in the k'
clarinet and corno inglese, and invested with a brazen of f Is a note
tinge which imj)arts a quite peculiar accent. The lower.

body of the instrument is a parabolic cone of brass,

provided with a set of keys. Agile, fitted for the With the chromatic interval!..

execution of passages of a certain rapidity almost Tenor Saxophone

as much as for cantilena passages
saxophones may in C, or in Bf
figure with great advantage in all kinds of music;
Effect of llie
but especially in slow and soft pieces. Tenor S.ixophone
The quality of tone of the high notes of low
eaxophones partakes something of the painful and
in C. That in
the Key ol HP
in a note lower.
!==^^=^=p^^^


234 BERLIOZ' TREATISE UPON

With the cucomafic intervals. employed beneath the low A. But there is nothing
Idaritone Sax-
opl^one iti F, more brilliant, more neat, more devoid of shrillnes-"
or in E|?.
notwithstanding their vivid appeal than all the
Effect of tlie notes of the higher octave. The quality of tone is
Baritone Saxo-
phone in F. besides so clear and so penetrating, that it allows a
That in the key single very high sax-horn to be distinguished among
of Ef is a nile
lower. a considerable mass of other wind instruments. The
very high sax-horn in B\? is more used than the one
in C
; and, although it is a note lower than the other,
Bass Saxophone
in C, or in li[7
there is still much difficulty
or at least much care

Effect of the
is required for the performer to bring out the twc
Bass Saxophone last sounds :
in 0. That in
Real sounds.
tlie key of Bl?
is a note lower.
rr
In Bf.
and minor shakes :ire practicable on almost
]\Injor
all the extent of the chromatic scale of the saxophone. One should, therefore, be very sparing of tliesc
Here are those which it is well to avoid :
precious notes, and introduce them with skill.
With the chromatic intervals.^ ..
Soprano Saxhsrn
in E b. A
below the pre-
ceding, in Bb.
fifth
HI
Effect.

M. Sax has also produceil the family of sax-horns,

Commencing with the soprano sax -horn in E^.
of saxotrombas,
and of sax-tubas, brass instruments we will no longer indicate the first low note of the
tube's resonance. It is too bad to be employed.
with a wiiie mouth-piece and with a mechanism of
;

three, four, or five cylinders.

Sax-Horns.
Their sound is round, pure, full, equal, resounding,
and of ])erfect homogeneousness throughout the We will merely warn composers that, if they
indicate an instrument rvithj'our cylinders, the chro-
extent of the scale. The changing keys of the sax-
horn proceed, like those of the cornet a pistons, by matic compass of the low part of this instrument no
descending commencing from the typical instru-
;

ment, the small very-high sax-horn in C, wliich

longer stops at the ^
Fjfc, ^ j but goes down to

is an octave above the cornet in C. The custom the fir.t C. S^=B ^^

has obtained in France of writing all these instru-

ments as well as saxotrombas and sax-tubas, the
lowest and the highest
on the G clef, as horns are
written with this difference only, that if, for the
;

horn in low C, we have to represent the real sound

an octave below the note written on the G clef, we

must for certain very low instruments ot Sax
represent it two octaves below.
y. With the chromatic intervals.
Small very high
Saxhorn,
in C, or in li]?.

. Tenor Saxhorn
Effect of the
small very higli in V.^. A fifth
Saxhorn in C. below the pre-
That in the key ceding.
of Bb is a note
lower.
Effect
I
Very dillicult in
I
the key of C.

i =i|=*- Baritone Sax-

horn, and Bass
Saxhorn in Bp.
A fourth below

m the preceding.

The extreme lower notes are of rather a bad Effect.

quality of tone, and thi? instrument should rarely lie

 ;;

MODERN INSTRUMENTATION AND ORCHESTRATION li:J5

These two sax-horns, the baritone and bass, a quality of tone analogous to that of the con
have the same compass in the high part of the certina, produces the same effects, and moreover is
instrument. The tube is rather smaller for the capable of many others beyond the power of the
baritone. The bass, whicli lias almost always four concertina.
cylinders, has a tube somewhat wider, which allows The concertina is a kind of small elastic box
of its descending lower and more easily. which held horizontally between both hands,
ia it
is played by means of knobs, pressed with the points
Chromatically. of the fingers, and which, raising a valve, cause tc
Rouble-bass
Saxhorn in El? pass over the plates or reeds of brass a column o;
A fifth below the
preceding.
air supplied by a bellows placed between the two
sides of the box. These sides are formed by two
Efftct. tablets: which hold, on the outside, the key-lioard
of knobs and, on the inside, the vibrating plates.
The bellows, having no valve, can only fill and empty
itself by means of the set of reed-valves, which
Double-bass
Saxhorn in Bf. inspire and expire, each in turn, the air necessary
A fourth below
the preceding. for the vibration of the reeds.
The concertina has its small family complete
independently of its relationship to the melodium.
Kfl'ect.
There is the bass concertina, the alto, and the
soprano. The bass concertina has the compass of
the violoncello the alto, that of the viola
; and the ;

There moreover, the low double-bass sax -horn

are,
soprano, that of the violin. The soprano concertina
in b, and the drone sax-linrn in i?b, which are
is almost the only one used.
an octave below the two ]>recediiig but of which ;
We will presently give the compass of the con-
only the medium notes should be employed in a
certina, which, owing to its popularity in England, is
moderate movement.
called the English concertina.
It will be jierceived, in these two chromatic
Saxotrombas.
scales (one of which repre.seiits the notes of the left
These are brass instruments with mouth-piece, and tablet, and the other those of the right tablet) that
with three, four, or five cylinders, like the preceding.
the maker of the English concertina has established,
Their tube, being more contracted, gives to the sound ill the three first octaves, enharmonic intervals l>e-
which it produces a character more shrill, par-
taking at once of the tivibre of the trumpet and of
tween the Ap
and the Ol, and between the Ep and
the Uj, giving a little more elevation to the than Ap
the bugle. to tlie G^, and to the Eb than to the D| thus ;

The number of the members

saxotrombas equals that of sax-horns. They are
of the family of
disposed in the same order, from high to low and
possess the same compass.
Sax-Tubas.
These are instruments with mouth-piece and a
mechanism of three cylinders they are of enormous
;
sonority, carrying far, and producing extraordinary
effect in military bands intended to be heard in the
open air.
They should be treated exactly like sax- horns
merely taking into account the absence of the low
double-bass in E\), and of the drone in B\>.
Their shape elegantly rounded recalls that of
antique trumpets on a grand scale.
The Concertina.
conforming to the doctrine of the acousticians. a
doctrine entirely contrary to thej9;flc^^ef of musicians.
;
This is a strange anomaly.
It is very evident that the concertina, being an
instrument with fixed sounds, like the pianoforte, the
organ, and the melodium, should, like these instru-
ments, be tuned according to tlie law of temperament.
In its enharmonic notes in fact
jiresent state, its
prevent it from being played with a jnanoforte,
organ, or melodium, without producing discords
wlien the musical phrase or the harmony intro-
;
duces unisons between the enharmonic Abs or the
Gjjjis, the Ebs or the Dfs, of the concertina, and the
same notes as temperamented on the other instru-
ment since the Ap and the G J, as well as the Eb
;
and the Djjt, are identical on the instruments tuned
in temperament, while they are not so on the con-
certina and that neither the one nor the other of
;

This is a small instrument, with tongues of brass

the enharmonic sounds (Ab and G J of the concertina)
put into vibration by a current of air. The accor-
will be in strict unison with the'Ab or the G% of
deon, which for some years was a musical toy,
the temperamented instrument, which jireserves the
formed the groundwork of the concertina, and,
middle between the two sounds of the concertina.
subsequently, tliat of the melodium. The sound
Moreover, the effect of this disposition of a portion
of the concertina is at once penetrating and soft;
of the scale will be still more frightful if the con-
notwithstanding its weakness, it can-ies tolerahlj'
certina play a duet with an instrument having
far it allies itself well
; with the timbre of the
movable sounds, such as the violin. Musical
harp and j)iauoforte, and unites still more with the
practice, musical sense, the ear, in short, of all
sound of the melodium, wliicii is now the head of
people with whom modern music is cultivated,
its family. But there would be little advantage in
allows that, in certain cases, notes called " wiulinq,"
CiiuBing such an a&sop'ation since the melodium hn
:


230 BERLIOZ' TREATISE UPON

obedient to the attraction exercised over them by
their vpper tonic, aiui minor sevenths and ninths,
obedient to the attraction of the note upon
vvhicli they make their resohUion, may become
the first sliglitly sharper than it would be in
temperamented scale, and the second slightly
flatter.
Violins.
Violins.
would find itself nearly in unison with the concertiiib
executing the same passage written in this absurd
way,
Slightlj Btiarp. This ancient endeavour of the acousticians to
introduce at all risks the result of their calculations
into the practice of an art based especially on the
Sliglitly flat. study of the impressions produced by sounds upon

^^^^^t .iES^^^E the hu7)ian ear is no longer maintainable.

So true is it, that Slusic rejects it with energy

The GJ {too jlat) of the concertina could not, and can only exist by rejecting it.
then, be in tune with the G|J (too sharp) of the So true is it, even, that the various modifications
violin nor the At? {too sharp) of the one, with the
;
of the interval between two sounds which are mu-
At? (too fiat) of tiie other
each of tiie performers,
tually attracted (in musical practice), are extremely
obeying two diametrically opposite laws (the law delicate gradations, which artists and singers should
of the calculation of vibrations, and the musical
employ with great precaution, from which orchestral
law) if the violinist, yielding to the necessity of
performers should in general abstain, and which
effecting strict unison, did not play in such a
composers, with the due foresight of their office,
manner as to assimilate with the sound (whatever should treat in an especial manner.
it might be) of the instrument having fixed into-
So true is it, in short, that the immense majority

nations playing therefore falsely. This takes
of musicians instinctively avoid them, in harmonious
place in less proportions, and without hurting the
Whence
ear unconsciously with violins when used with
combinations.
so-called irreconcilable by the
it results that the sounds
acousticians, are per-
the pianoforte and other temperamented instruments.
fectly reconciledby musical practice; and that those
But a fantastic proceeding, whicli should reconcile
relations declared false by calculation, are accepted
the system of the English concertiua with the mu-
as true by the ear, which takes no account of inap-
sical system of ascending leading notes, and descend-
preciable differences, nor of the reasonings of ma-
ing sevenths, would consist in adopting the exact
thematicians. There is scarcely a modern score, in
reverse of the acoustician's opinion on the enliar-
which, either to facilitate execution, or for some other
monics, by employing the Ap in place of the Gi.
and vice-versa. The violin executing then this pas-
reason,
nay, frequently without any reason, the
composer has not written harmonic or mel(Klic
sage musically,
Violin. passages, in the sharpened liey for one portion
of the orchestra or choir, and in i\\Q Jiattened hey
for the other:

fe- . . Ir- \'- %- ^^'^ru.

Violins. A^^'^t
its:i^^=^^^^=K=i:^EL=^E=^^^i^f=^i^i^i^^"E
\i\^Vi ^|o~7.f^>:
Win.!
Instruments,
^Se^^^^=^^^^^
Cliorus.
"mw^^^^m^^^^^^m.
In Do mi ne, spe ra

te, - - -

Violoncellos and f
* ^-^-^-g^i*-,-* . bl m-. g*_^--?-
?^
Double-ba.sses

Le& Huguenots, Meyerbeer.

Chorus.
^
!3=fe Pl^-

Glai - ves pi - eux Saint - es - pe - - es.

\
-Viai
Orchestra.
--Xtpt-

Horn in At? (high.)

?l^l These two part>

Kitlier
Clarinet in At are in unUon.
Uf'odially

^^^^E ^^IB
:

J
:3^e3=|?:
C :
 J !

MODERN INSTRUMENTATION AND ORCHESTRATIOJN. 237

Or cnder the
jearaiioe of two dif
ap
Violoncellos antl Double-basses.
more properly, extinguished, by the sudden en-
trance of or sixty men's voices in unison, and
fifty
fereiit keys, of wind
only two notes are ii by all the rest of the mass cf stringed iiistrumenifi
enharmonic relation Trombones. attacking (with the bow) the Y^furtitiiimo.
as in this passaiiffroni
These ridiculous arguings, these ramblingsof men
Weber's t're'jacltulz
^?i^^^^=i=fi-ED of letters, these absurd conclusions of the learned,

Here, the violoncellns ami the double-basses seem

possessed
all of them
witii the mania of speaking
and writing upon an art of which they are ignorant,
ti) [ilay ill G minor, while the trombones appear to
can have no other result than that of making musi-
play ill minor. Bp cians laugh. But it is a pity knowledge, eloquence,
:

in this example, it' the violoncellos and the double-

genius, siiould always remain surrounded by the
basses made their V% too sharp, and it' the trombones
admiration and respect due to them.
made their Gp too flat, doubtless a diseord would be
After this long (iigression, I return to the English
heard but supposing that the execution is good, this
;
concertina; of which, this is the barbarous scale:
need not be tiie case then, the two sounds, each of
; Notes of the
which has a tendency contrary to that of the other, left tablet.

will be perfectly in tune together.

m^F^^^^^-^^^^-
On all such occasions, the orchestra becomes a
large temperamented instrument. It becomes so in

w^^m
Notes of the right tablet.
a nu!!il>er of other cases and, sometimes, when tlie
:

musicians who constitute it are not aware of the fact.

In the celebrated chorus of demons, in his Orfeo,
Gluck has established an enharmonic relation between
two parts, in an indeterminate key. I allude to the
passage on whicit J. J. Rousseau and others have
written so many follies, grounded upon the difference
which they believed they discovered between theOb bH-
end the 'j^. -sf-- ''^^ '^'^^ ^
ee;
1st Orcliestra. -I 1 J-
Ticlins, Violas,
& Basses.
{Pizsicah.) ^- V I I I
The concertina, notwithstanding the disposition
of the preceding example, is written for on a single
G
ORFtO,

Spectres!
^^^^
larves
line, and on the clef. The shake
all the notes of the scale; less easily, however, in
the lower extremity. The double shake (in thirds)
is practicable on

Tenors and Basses. is easy.

Chorut. feSr =02 Diatonic and chromatic passages, or arpeggios, of
// Non, Non, tolerable rapidity, may be executed on this instrument.
2nd Orchestra. It is possible to add to the principal part, if not
Violins, Violas,
z&zT z]=eee^b:e^ several other complicated parts, as on the pianoforte
& Basses.
(With the bow.)
^=^if^ ^- and organ, at least a second part, proceeding nearly
i

ffi^.
parallel with the melody, ami also chords of four to
If it were true that the execution permitted any six notes: or richer still:
difference to be perceived here between the of Fj
the chorus and the Gp
of the basses (pizzicato), this iC=t:
difference I repeat
could produce only an intoler-
able and anti-musical discord the ear would be ;

.yevolted. and that is all. Far from this, the hearer

is profoundly stirred by an emotion of awe, most

grand, ai.d musical. He know.s not, it is true, the

i^M^iiS?ilillipi=i^pl
precise key that he liears. Is it Bp ? Is it mi- G The German much used also

nor? He cannot tell, he cares little but nothing ;
England
concertina
not constructed on the system
is
in
of
liurta his car in the association of the various instru-
the preceding. Its scale, which extends lower (it
mental and vocal parts. The Fj of the chorus, and
of the second orchestra, produ'ces the jirodigious
effect we feel, on account of the unexpected way in
goes down to C and Bp), "=:rn iB
contains no
wiiich it is introduced, and tiie accent of wiidncss
imparted by this indefiniteness of key, and not on enharmonic interval. It is consequently constructed
account of its assumed and monstrous discord according to the law of temperament.
with the Gp. One must be, moreover, childislily The compass of concertinas varies with the num-
i^'norant of the phenomena of sound, not to be aware ber of keys, knobs, or stops, given to them and this ;

that this discord could not in any case cause the number changes according to the caprice of 'he
effect produced, since tlie Gt7 pizzicato of several makers. Finally, this instrument like tiie guitai
basses phnjvu] piano is necessarily covered, or, requires that the composer who would turn it it

238 BERLIOZ' TREATISE UPON
advantageous account should have a knowledge of
its niechaiiism, and be able to play it himself, more
or less well.
The Meloamm Organ (Alexandre's).
This instrument has a key-board, like the ori,^an
built with pipes. Its sound results
like that of the
concertina, from the vibration of free metallic
reeds, over wiiich passes a current of air. This
current of air is produced by a bellows, put in motion
by the feet of the performer and according to the
;
mode in which the feet act upon this blowing me-
chanism, in certain conditions wherein the instrument
may be placed, the sounds acquire more or less
intensity.
The melodium organ possesses crescendo and
diminuendo
it is expressive.
; Hence the name
" Register of Expression." given to the particular
mechanism it possesses. The fingering of the key-
board is the same as that of tiie organ key-board.
It is written for on two lines, and even on three; like
the organ. Its compass is five octaves :
Chromatically.
The compass, however, not limited to the
is
ai:ove for melodiums with more than one stop. The
number of stops is very variable. The most simple
melodium the one with a single stop, of which we
have just shown the compass, contains two different
qualities of tone the timbre of the corno inglese
;
for the left half of the key-board, and that of the
flute for the right half.
The others, according to the will of the maker,
may have, by different combinations, bassoon,
clarion, flute, and hautboy stops (so
clarinet, fife,
called on account of the analogy which exists be-
tween their quality of tone and that of the instru-
ments after which they are named) and, moreover,
;
the Grand stop, the Forte, and the Expressive.
Tliese stops give to the melodium a compass of
seven octaves, although its key-board has only
five.
They are placed at the command of the performer
by means of a mechanism like that of the organ,
arranged on each side of the body of the instrument,
and put in action by drawing forward a wooden
handle with either liand.
Some obtained by a similar me-
otlier stops are
chanism, placed beneath the body of the instrument,
and moved by pressure from left to right, and from
right to left, with the knee of the performer. This
mechanism constitutes what is called " the register."
The melodium does not possess the mixture
stops of the organ, the effect of which excites in
many people a traditional admiration but which, ;
have a horrible tendency to noise it has
in reality,
only double and single octave stops, by means of
which eaci' Icey is made to give the octave and the
;
double octave of its note, or the double octavfi
without the single, or even the upper octave and thr.
lovA er octave at the same time.
Many ignorant players and lovers of noise make
deplorable use of tliese octave stops. Thence results
also a barbarism, less, it 's true, than that of the
mixture stops of the organ, whicii give to each note
the simultaneous sound of the two other notes of the
major common chord, that is to say, of its major
third, and of its fifth but still an actual barbarism,
;
because,
besides the harmonic tiiickeniiig produced,
it necessarily introduces into tiie harmony tlie most
frightful disorder, by the inevitable inversion and
spreading of the chords. Ninths thus produce
seconds and seventlis seconds, sevenths and ninths
;
fifths, fourths; fourths, fifths. Ac. In order to
remain in true musical condition with sucli stops, it
would be needful to use tiiem only in pieces written
in fuunterpoint invertable in octave,
which is not
done.
It is to the ignorance of the middle ages, groping
blindly for laws of harmony, that we must doubtless
attribute the introduction of these monstrosities into
organs. Mere custom has preserved and transmitted
them to us, and we must hope they will by degrees
disappear.
The sounds of the melodium being of rather slow
emission, like the sounds of the organ with pipes,
render it better adapted to the legato style than to
any other and peculiarly suitable to sacred music,
;
to soft and tender melodies, of slow movement.
Pieces of a skipping, jietulant, or violent character,
executed on the melodium, will always attest in my
opinion
the bad taste of the performer, the igno-
rance of the composer, or the bad taste and ignorance
of both.
To impart to the sounds of the melodium a reli-
gious and dreamy character,
to render them sus-
ceptible of all the inflexions of the human voice, and
of the majority of instruments,
such is the object
M. Alexandre has both proposed and accomplished.
The melodium is at once a Church instrument,
and a Theatre instrument a drawing-room, and a
;
concert-room instrument. It occupies but little
space ;and it is portable. It is therefore a servant
of indisputable utility to composers and amateurs.
Since Rlessrs. Meyerlteer, Halevy, Verdi, have em-
ployed the organ in their dramatic works, how many
provincial theatres in France, and even Germany,
not possessing organs, have found difficulty in exe-
cuting these works and to how many mutilations
:
and rearrangements (more or less clumsy) of scores,
this absence of organs has given rise The directors of
1
these theatres would now be inexcusable were they to
tolerate such misdeeds; since for a very moderate
sum they may have in lieu of an organ with pipes
a melodium organ very nearly sufficing to replace it.
The same thing applies to small churches, where
music hitherto has not been possible. melodium. A
played by a musician of good sen.se, might and could
introduce there harmonic civilization aiui cause, in;
; time, a banishment of those grotesque bowlings
which still, in such places, ming'.e with religious
service.


MODERN INSTRUMENTATION AND ORCHESTRATION. 239

Pianoi and Melodiums (by Alexandre) with But if on the knee-pieco stop
this tresli pressure
prulonged sound. the effect of prolongation produced by the preceding
pressure, it is also immediately replaced by * freHh
The prolongation of sound is the most important
effect, if one or more fresh keys be struck at cue
recent musical invention that has been brought into
This invention, apiilied
same time thus ;
:

key-b(j;ird instruments.
now-a-days to pianos and melodinm organs, gives
the phiyer the power of sustaining tor an indefinite
time, by a simple movement of his knee, a note, a =iE^E^^riEM
chord, or an arpeggio, in all the compass of the ^=s^=f=''-''-^'Y='^
key-board, after his fingers have ceased to press tlie knee.

keys. And during

steady sustaining of a greater
tliis

or less number of notes, the player, having his hands

at liberty, can not only strike and make otlier notes
speak which form no part of the sustained chord,
but also the prolonged notes themselves. It will at
once be perceived to what a multitude of various
and charming combinations this invention affonls If it be wished, after a brief chord, to produce
scope on the melodium organ and piano. They are the prolongation of a single note of this chord, the
absolute orchestral effects, of the nature of those
movement of the knee must be made only alter
which are prodiiced when the stringed instru-
(putting the keys corresponding with the sounds that
ments execute four or five parts diversely designed
are not desired to be held on, but while the finger
amidst a sustained harmony of the wind instruments
stillpresses the key of tlie note wished to be sus-
(flutes, hautboys, and clarinets) ; or, better still, like
tained; after which, the hand becomes entirely free.
those which result from a piece in several parts,
A similar series of movements is made for changing
played by wind instruments, during a harmonious
the notes held on besides another supplementary
;

holding-on oi divided violins ; or when the harmony

movement, for stopping, while the finger still puts
and the melody are moving above or below a pedal down the key of that note desired to be sustained, the
point.
prohjiigation of those notes of the chord not required
Moreover, the effect of prolongation may take to be held on.
place with different degrees of intensity on the me-
lodium acconling as the Forte-regisiev which is
;

appended be opened or shut.

to it P-:
Two Jtnee-piecesare placed beneath the key-board
m such a way as to be readily put in action by a knee. knee.
touch of the player's knees. The one, the right,
produces the prolongation of the sounds on the right
half of the key-board the other prolongs them on
;

the other half. In order to prolong the sound, the

key should be put dinvn at the same time that the
knee-piece is pressed ; thus :

This applies indifferently to both knee-pieces,

whether for the piano or for the melodium.
knee-piece.
"^^^ It is necessary, in writing for the piano or organ
if be wished to stop the sustaining of the sounds,
it melodium with prolonged sounds, to employ at least
4 second pressure of the knee stops it immediately three lines, and often four reserving, in this latter

;
;

thus case, the upper line for the high or intermediate

sustained-notes, and the lower line for the low sut-
tained-notes. The two middle lines then remain foi
the parts executed by the two hands :

fnivngations
left knee.
 ;

240 BERLIOZ' TREATISE UPON

RiRht knee.

Prolongation,

Prolongation.

Prolongation.

Left knee.

Hie Octo-bass. We shall not here contest the opinion that tends
to consider the recent inventions of instrument-
M. Vnillaume, a mnsical-instrument maker of
makers as fatal to musical art. These inventions
Paris, whose excellent violins are so much esteemed,
has just enriched the family of stringed instruments
oxert, in their sphere, the influence common to all
hy a fine and powerful member, the octo-bass. advances of
that
civilisation ; may be made
the abuse that

This instrument is not as many imagine the of them even which indisputably is made
proves nothing against their value.
low octave of the double-bass it is but the low oc-
;

tave of the violoncello. It consequently descends

lower by a third than the four-stringed double- \v The Orchestra.
bass. The orcn^tra may be considered as a large in-
Ithasonly three strings, tuned in fifth and fourth :
strument capable of uttering at once or successively
a multitude of sounds of different kinds and of ;

whicli the power is mediocre or colossal according as

it employs the whole or a part only of the executive

The left-hand fingers of the player not being means belonging to modern music, and according as
sufficiently long, nor sufficiently strong, to act fitly those means are well or ill chosen and placed in
on the strings (for the octo-bass is of colossal acoustic conditions more or less favorable.
dimension), M. Vnillaume has contrived a set of The performers of all kinds whose assemblage
movable keys, which, pressing the strings with constitutes it thus seem to be its strings, its tubes,
energy, bring them on to frets placed on the neck of its pipes, its planes of wood or metal machines,;

the instrument, for producing the tones and semi- intelligent it \a true, but subject to the action of an
tones. These keys are moved by levers, which the immense key-board, played upon by the conductor
left hand seizes and draws up and. down behind tlie under the direction of the composer.
neck of the instrument and by seven other pedal-
;
I believe I have already said that it seemed to me
keys, upon which the foot of the player acts. impossible to indicate how fine orchestral effects are
It suffices to say that the octo-bass cannot execute to be found ;
and that this faculty developed doubt-
any rapid succession and that it must have assigned
;
less by practice and rational observation
is like the

to it a special part, differing in many respects from faculties of melody, of expression, and even of har-
the double-bass part. Its compass is an octave and mony and belongs to the number of those precious
;

a fiftli only : gifts which the musician-poet, the inspired inventor,

Chromatically,
8va. bassa.
This instrument has sounds of remarkable power
and beauty, full and strong, without roughness. It
would be of admirable effect in a large orchestra
and fill Festival orchestras, where the number of the
instrumentalists amounts to more than 150, should
have at least tiiree.
must receive from nature herself.
But certainly it is easy to demonstrate, in a manner
almos<t exact, the art of making orchestras fit to give
a faitliful rendering of compositions of all shapes and
dimensions.
Theatrical orchestras and concert orchestras should
be distinguished the one from the other. The former,
in certain respects, are generally inferior to the latter
The place occupied by the musicians, their disposaJ
on a horizontal plane or on an inclined plane, lu aa

MODERN INSTRUMENTATION AND ORCHESTRATION.
enclosed space with tliree sides, or in the very centre
of a room, with reverberators formed by hard bodies
fit for sending back the sound, or soft bodies which
absorb and interrupt the vibrations, and more or
less near to the performers, are points of great im-
portance. Hecerberators are indispensable they are
; lights, and on a horizontal plane, are deprived of
to be found variously situated in all enclosed spaces.
The nearer they are to the point whence the
sounds proceed, tlie more potent is their influence.
This is why there is no such thing as music in tlie
open air. The most enormous orchestra placed in
the miildle of an extensive garden open on all sides
like thatuf the Tuileries would produce no eftoct.
The reverberation from the palace walls even, were
it placed against them, is insufficient
; the sound
instantaneously losing itself on all the other sides.
An orchestra of a thousand wind instruments, with
a chorus of two thousand voices, placed in a plain,
would not have a twentieth ])artof the musical action
that an ordinary orchestra of eighty players with a
chorus of a hundred voices w^ould have if well dis-
posed in the concert-room at the Conservatoire.
The brilliant effect produced by military bands in
the streets of great towns comes in support of this
statement, which it seems to contradict. But the
music is not then in the open iiir ; the walls of higii
houses skirting the streets right and left, avenues of
trees, tlie fronts of grand palaces, neighbouring mo-
numents, all serve as reverberators ; the souiul
revolves and circulates freely in the circumscribed
space thus surrounding it, before escaping by the
points left open ;but let the military band, j)ursuing
its march, and contiiuiing to play, leave the large
street for a plain devoid of trees and habitations, and
the diffusion of its sounds is immediate, the orcliestra
vanishes, there is no more music.
The best way
of disposing the performers, in a
room with dimensions proportioned to their number,
Is 'o them one above another by a series of
raise
steps, arranged in such a way that each row may
send out its sounds to the hearer without any inter-
mediate obstacle.
All well-organised concert orchestras should be
thus arranged in steps. If the orchestra be erected
in a theatre, the stage should be completely closed
in at the back, at the sides both right and left, and
above, by an enclosure of wooden planks.
If, on the contrary, it be erected in a room dedi-
cated to the purpose, or in a church where it occiii)ics
one of the extremities, and if, as it frequently hap-
pens in such cases, the back of this space be formed
of massive building which reflects with too much force
and hardness the sound of the instruments ])laced
against it, the force of the reverberation
and con-
3equently the too great resounding may easily be
mitigated, by hanging up a certain number of
draperies, and by bringing together at this point such
bodies as will break the motion of the waves of sound.
Owing to the construction of our theatres, and to
21 First Violins. Hautboys.
20 Second do. Corno Inglese.
18 Violas. Clarinets.
8 First Violoncellos. Corno di Bassetto, or
7 Second do. Clarinet.
10 Double- Basses. 4 Bassoons
4 Harps. 4 Horns with Cylinders.
I' Piccolo Flutes, 2 Trumpets with Cylinders.
t4 Large Flutes. 2 Cornets a Pistons
CvlinderaV
I
241
1 the exigences of dramatic ropreseutatiou, this am-
phitheatrical disposal is not possible for orchestras
intended for the performance of operas. The instru-
mentalists brought together in lyric theatres, in the
lowest central point of the building, before the foot-
the majority of the advantages resulting from the
arrangement I have just indicated for a concert or-
chestra; hence, what lost effects, what unperceived
delicate gradations in opera bands, in spite of tho
most admirable execution The difference is such
I
that composers are almost compelled to bear it in
mind, and not to instrument their dramatic scores
quite in the same way as symphonies, masses, or
oratorios, intended for concert-rooms and churches.
Opera orchestras were always formerly composed
of a number of stringed instruments proportioned to
the mass of other instruments ; but this has not been
the case for many years. A
coniio Ofiiicg^ orchestra
in which there w^ere only two flutes, two hautboys,
two clarinets, two horns, two bassoons, rarely two
trumpets, and hardly ever any kettle-drums, was
balanced then with nine first violins, eight second
violins, six violas, seven violoncellos, and six double-
basses but as four horns, three trombones, two
;
trumpets, a long drum, and cymbals figure there now-
adays, without the number of stringed instruments
having been increased, the balance is destroyed, the
violins are scarcely to be heard, and the result of the
whole is detestable. The orchestra of the Glxand-
Ul)6ra, where there are, besides the wind instruments
already named, t\vo_ cornetB-a-j)i8 tons and an ophj-
cleiile, the instruments of pei'cussimi, and sometimes
six or eight harps is not Balanced either with
twelve first violins, eleven second violins, eight
violas, ten violoncellos, and eight double-basses it ;
should have at least fifteen first violins, fourteen
second violins, ten violas, and twelve violoncellos^
the extra instruments being left unused in those
pieces where the accompaniments are very soft.
The
proportions of a comic opera orchestra would
suffice for a concert orchestra intended for the
performance of Haydn's and ^Mozart's symphonies.
A larger number of stringed instruments would
even be, sometimes, too much for the delicate effects
which these masters have usually assigned to the
flutes, hautboys, and bassoons.
For Beethoven's symphihiies, Weber's overtures,
and modern compositions conceived in the grand an.
impassioned style, there needs, on the contrary, the
mass of violins, violas, and basses which I have just
indicated for the grand opera.
But tlie finest concert orchestra, for a room scarcely
larger than ftTar"onTre Conservatoire, the niost
complete, the richest in gradations, in varieties of
tone, the most mnjestic, the most powerful, and at
the same time the most soft and smooth, would be an
orchestra thus composed :
f 1 Alto.
\
Trombones or 3
\ 2 Tenors, 3
Tenors.
Great I>.ass Trond)one.
one Bass-
Ophicleide in lip (or a Lass-
Tuba).
Pairs of Kettle- Drums, una 4
Drummers.
Long Drum.
(or with
Pair of Cymbals.

24: BERLIOZ' TREATISE UPON
If a choral composition were to be executeil,
{ Firsts
46 Sopranos < and 40 Tenors <
( Seconds.
By doubling or tripling this mass of performers,
in the same proportions, and in the same order, a
magnificent Ee&tjyal orch estra might doubtless be
obtained. But it is erroneous to believe that all or-
chestras should be constituted according to a system
based on the predominance of stringed instruments
very admirable results may be obtained from a con-
trary plan. 'I'he stringed instruments too weak to
prevail over masses of clarinets and brass instruments,
then serve as a harmonious link with the thrilling
sounds of the wind instruments softening their
; resources which it really possesses without the
brilliancy in some cases, and animating their effect
in others, by means of the tremolo, which, by
blending with them, renders musical even the roll
cf the drums.
Common sense tells the composer unless he be
compelled to a different course by any particular form
of orchestra
that he should combine his mass of
performers according to the style and character of the
work he brings forth, and according to the nature
of the principal effects which the subject demands.
Thus, in a Re.qmejji, and in order to deliver musically
the grand images of this hymn of the dead, I have
employed four small orchestras of brass instrunients
(trumpets, trombones, cornets, and ophicleides),
))laced apart from each other, at the four corners of
the main orchestra, formed of an imposing body of
stringed instruments, of all the other wind instru-
ments doubled and tripled, and of ten drummers
playing on eight pairs of kettle-drums tuned in dif-
ferent keys. It is quite certain that the particular
effects obtained by this novel form of orchestra were
absolutely unattainable by any other.
Here we have an opportunity to remark upon the
importance of the various points of procedure of
the sounds. Certain parts of an orchestra are in-
tended by the composer to interrogate and answer
each other now, this intention can only be made
;
manifest and of fine effect by causing the groups
between which the dialogue occurs to be placed at
a sufficient distance from one another. The com-
poser should, therefore, in his score, indicate for
them the disposition which he judges proper.
The drums, long drums, cymbals, and kettle-drums,
if employed to strike certain rhythms all
after the common mode of proceeding may remain
they have to execute an interlocu-
but
together ; if
tory rhythm, of which one fragment is struck by
the long drums and cymbals, and the other by the
kettle-drums and drums, there is no doubt the effect
will be made incomparably better, finer, and more
intei'esting, by placing the two masses of instruments
of percussion at the extremities of the orchestra,
and consequently at a sufficient distance from one
another. The constant uniformity of the executive
masses is one of the great obstacles to the production
of sterling and really new works it besets com-
;
posers more from old custom, routine, laziness, and
want of reflection than from motives of economy,
; :
such an orclie.-^tra would recjuire :
r Firsts fFirst.1
I
and I 40 Basses < and
(^Seconds. I
( Secondi.
motives unfortunately but too important, in Franc*
especially, where Music is so far from forming a part
of the moral being of the nation, where the govern-
ment does everything for theatres, and nothing at
all for music properly so called, where capitalists
are ready to give 50,OUUf. and more for some great
master's picture, because that represents an intrinsic
value, yet would not lay out 50f. to render feasible,
once a year, some solemnity worthy of a nation like
ours, and fitted to display the very numerous musical
capability of making- them of use.
It would nevertheless be curious to try for once,
in a composition written ad hoc, the simultaneous
employment of all the musical forces which might
be gathered together in Paris. Supposing that a
master had these at his disposal, in a vast space adapt-
ed for the purpose by an architect who should be wel}
versed in acoustics and a good musician, he ought,
before writing, to determine with precision tlie plan
and arrangement of his immense orchestra, and then
to keoj) them always present to his mind while
writing. It is obvious that it would be of the
highest importance, in the employment of so enor-
Dious a musical mass, to take account of the distance
or the nearness of the different groups which com-
pose it. This condition is one of the most essen-
tia] to deriving the utmost advantage from it, and in
calculating with certainty the scope of its effects
Until now, at the Festivals, merely the ordinary
orchestra and chorus have been heard, quadrupled or
quintupled in their several parts, according to the
greater or less number of the performers but in the ;
case proposed it would be quite another affair and ;
the composer who should attempt exhibiting all the
prodigious and innumerable resources of such an
instriiment, would assuredly have to achieve an en
tirely new task.
Here, then, is how
with time, care, and the ne-
cessary outlay could be effected in Paris.
it The
disposal of tlie groups would remain at the will, and
subject to the particular intentions, of the composer,
the instruments of percussion, which exercise ac
irresistible influence on the rhythm, and which alwayi?
at once- lag when they are far from the conductor, should
be placed sufficiently near him to be able instan-
taneously and strictly to obey the slightest variations
of movement and measure :
120 Violins, divided into two, or three, and four
parts.
40 Violas, divided or not into firsts and seconds
and of which ten at least should be readv
to play, when needed, the Viole d'amour.
45 Violoncellos, divided or not into firsts and
seconds.
18 Double-Basses with 3 strings, tuned in fifth.'*
(G, D, A).
15 other Double-Basses with 4 strings, tuned in
fourths (E, A, r>, G).
 MODERN INSTRUMENTATION AND ORCHESTRATION. 24

4- Oclo-l'asscs. From the division of the 1:^) violins into piglit or

6 Lars^e Flutes. ten aided by the 50 violas, in their bigb
parts,
4 Tliird- Flutes (in ]p), improperly called in /'. notes, the angelic aerial accent, and the piam^nvnr
2 Octave Pic<'olo Flutes. tint.

2 Piccolo Flutes (in Z^b). improperly called From the division of the violoncellos and doubie-
in U\p. basses below in slow movementa, the melancholy
6 Hautboys. religious accent,and the mezzo Jorte tint.
6 Corni Inglesi. From the union, in a small band, of the very low
5 Saxophones. notes of the clarinet family, the gloomy accent, and
4 Bassons-quinte. the forte and mezzo forte tints.
12 Bassoons. From the union, in a small hand, of the low notes
4 Small Clarinets (in JE'?). of the hautboys, corni inglesi, and bassons-quinte,
8 Clariiiet.s (in C. or in J^p, or in A). mingled with the low notes of the large flutes, the
3 Bass-Clarinets (in Bb)- religiously mournful accent, and the piano tint.
6 Horns (of which six should be with pistons). From the union, in a small band, of the low notes
8 Trumpets. of the ophicieides, bass-tuba, and horns, mingled
6 Cornets a Pistons. with the pedals of the tenor-trombones, with the
4 Alto-Trombones. lowest notes of the bass-trombones, and of the 1*1 feet
6 Tenor-Trombones. stop (open flute) of the organ, profoundly grave,
2 Great Bass-Trombones. religious, and cilm accents, and the piano tint.
1 Ophicleide in C. From the union, in a small bund, of the highest
2 Ophicieides in Bp. notes of the small clarinets, flutes, and piccolo flutes^
2 Bass-Tubas. the shrill accent, and the forte tint.
30 Harps. From the union, in a small band, of the horns,
30 Pianofortes. trumpets, cornets, trombones, and ophicieides, a
1 very low Organ, j)r()vided witli stops of at pom[)0)is and brilliant accent, and i\\Q forte tint.
least It) feet. From the union, in a large band, of the 30 harps
8 Pairs of Kettle-Drums (10 Drummers). with the entire mass of bowed instruments })laying
6 Drums. pizzicato, and thus forming together another gigantic
3 Long Drums. harp with nine hundred and thirty-four strings,
4 Pairs of Cymbals. graceful, brilliant, and voluptuous accents, in all tints
6 Triangles. and gradations.
6 Sets of Bells. From the union of the 30 pianofortes with the six
12 Pairs of Ancient Cymbalb (in different keys). sets of bells, the twelve pairs of ancient cymbals,,
2 very low Great Bells. the six triangles (which might be tuned, like the
2 Gongs. ancient cymbals, in different keys), and the four
4 Pavilions Chinois. pavilions chinois, constituting a metallic orchestra of
percussion, joyous and brilliant accents, and tlie-
467 Instrumentalists. mezzo forte tint.

From the imion of the eight pairs of kettle-drums

40 Children Sopranos (firsts and seconds).
100 Women Sopranos (firsts and seconds).
100 Tenors (firsts and seconds).
120 Basses (firsts and seconds).
360 Chorus-singers.
It will be perceived that in this aggregate of 827
performers the chorus-sinsiers do not predominate
and even thus, there would be much difficulty in
collecting in Paris three hundred and sixty voices of
any excellence,
so little is the study of singing at
with the six drums, and the three long drums,
forming a small orchestra of percussion, and almost
exclusively rhythmical, the menacing accent, in all
tints.
From the mixture of the two gongs, the two.
bells, and the three large cymbals, \\\i\\ certain
chords of trombones, the lugubrious and sinister
accent, in the mezzo forte tint.
; How can I enumerate all the harmonic aspects
under which each of these different groups, asso-
ciated wth other groups either sympathetic or anti-
jjathetic with them, would appear !

present cultivated or advanced. There might be grand duets between the band
It would evidently be necessary to adopt a style of of wind instruments and the stringed band be- ;

extraordinary breadth, each time the entire mass tween one of these two bands ami the chorus or ;

is put in action reserving the delicate effects,

;
between the chorus and the harps and pianofortes
the light and rapid movements, for small bands only.
which the author could easily arrange, and make A trio between the chorus in unison and in
grand
them discourse together in the midst of this musical octave, thewind instruments in unison and in octave,
multitude. and the violins, violas, and violoncellos also in miison
Beside the radiant colours which this myriad of and in octave.
different tone-qualities would give out at every mo- This trio might be accompanied by a rhythmical
ment, nnhenrd-oi' k>n-Tnonic rjU'ccts wo\\](\ be deduced fonn designed by all the instruments of percussioi*
from them. the double-basses, the harps, and the pianofortes.
 ,
;

24i BERLIOZ' TREATISE UPON

A simple chorus^ donble or triple, witliout Tthly. The wooden wind instruments alone
accoaipaiiiment. Stilly. The brass wind instruments alone.
An air for violins, violas, and violoncellos together, ythly. All the wind instruments together.
or for woollen wind instruments together, or for brass lOtlily.The instruments of percussion alone
instruments together, accompanied by a vocal band. particularly teaching the kettle-drummers to tuna
An air for sopranos, or tenors, or basses, or all the their kettle-drums well.
voices in octave, accompanied by an instrumental llthly. The instruments of percussion joined with
band. the wind instruments.
A small choir singing, accompanied by the large 12thly. Lastly, the whole vocal and instrumental
choir, and by some instruments. mass united, under the direction of the conductor
A small hand playing, accompanied by tiie large himself.
orchestra, and by some voices. This method of proceeding will have the result of
A grand deep melody, executed by all the bowed securing, an excellence of execution that never
first,

basses and accompanied above by the violins

; could be obtained under the old system of collective
<iivided, and the harps and pianofortes. study ; and next, of requiring from each performer
A grand deep melody, executed by all the wind but four rehearsals at most. It should not be for-
basses and the organ and accompanied above by the
;
gotten to have a profusion of tuning-forks of the
flutes, hautboys, clarinets, and the violins divided. exact pitch among the members of the orchestra
Etcetera, etcetera, etcetera. it is the sole means by which the accurate tuning of

The system of rehearsals requisite for this colossal this crowd of instruments of such various nature and
orchestra cannot be doubtful it is that which
; temperament can be ensured.
must be adopted whenever there is an intention Vulgar prejudice stigmatizes large orchestras as
to get up a work of grand dimensions, the plan of noisy : but if they be well constituted, well prac-
which is complex, and certain parts or the whole tised, and well conducted if they perform sterling
;

of which ofter difficulties in performance it is the ;

music, they should be called po7verJnl ; and cer-
system of partial rehearsals. This is how the con- tainly, nothing is more dissimilar than these two
ductor will have to proceed in his analytical expressions. A
trumpery little vaudeville orchestra
operation. may be noisy, wdien a large body of musicians pro-
I take for granted that he knows thoroughly, and perly employed shall be of extreme softness and ;

in its minutest details, the score which he is about siiall produce

even in their loudest effects sounds
to have performed. He will first appoint two sub- the most beautiful. Three ill-placed trombones will
conductors, who should
marking the beats of tiie seem noisy, insufferable and the instant after, in the
;

bar ill the general rehearsals

keep their eyes conti- same room, twelve trombones will strike the public
nually upon him, in order to communicate tlie move- by their noble Bm\ powerful harmony.
ment to the masses too far removed from the centre. Moreover, unisons acquire real value only when
He will then select rehearsers for each of the vocal multiplied beyond a certain number. Thus, four
and instrumental groups. violins of first-rate skill playing together the same
He will make them rehearse themselves, that
first part will produce but a very poor nay, perhaps,
they may be well instructed in the way in which they even detestable effect while fifteen violii.o of ordi-
;

will have to direct the portion of study allotted to nary talent shall be excellent. This is why small
them. orchestras
whatever the merit of the performers
The rehearser will rehearse separately the first
first who compose them have so little eft'ect, and
sopranos, tlien the seconds, and then the firsts and consequently so little value.
seconds together. But in the thousand combinations practicable with
The second rehearser will practise in the same the vast orchestra we have just described would
way the first and second tenors. dwell a wealtii of harmony, a variety of tone quali-
The third rehearser will do the same by the basses. ties, a succession of contrasts, which can be com-
After which, three choirs, each conijiosed of a tliird pared to nothing hitherto achieved in Art and ;

of the total mass, will be formed and then lastly,

; above all, an incalculalile melodic, expressive, and
the whole chorus will be practised together. rhythmical power, a penetrating force of unparalleled
As an accompaniment to these choral studies, either strength, a ])rodigioiis sensitiveness for gradations in
an organ, or a pianoforte may be used assisted by ;
aggregate and in detail. Its repose would be ma-
a few wind instruments, violins and basses. jestic as the sUunber of ocean its agitations would
;

The sub-conductors and the orchestral rehearsers recall the tempest of the tropics its explosions, the
;

will practise separately in the same way : outbursts of volcanos therein would be heard the
;

Istly. The first and second violins sepai-ately ;

plaints, the murmurs, the mysterious sounds of
then the violins together.
all primeval forests the clamours, the prayers, the
;

2ndly. The violas, violoncellos, and double-basses songs of triumph or of mourning of a people with
separately then all together.
; expansive soul, ardent heart, and fiery jiassions its ;

3rdly. The entire mass of bowed instruments. silence would inspire awe by its solemnity and ;

4thly. Tiie harps alone. organizations the most rebellious would shudder to
fithly. The pianofortes alone. behold its crescendo spread roaringly, like a stupen-
^thly. The iiarj'a and pianofortes together. dous conflagration I


MODERN INSTRUMENTATION AND ORCHESTRATION 24/

The Orchestral Coxduc-ior.

the bad conductor
presence of the public who
in
ft'ould pitilessly vuml accident of a good
hiss a
Theory of his Art. singer
reigns, with all the calm of a bad con-
]\Iusic appears to be the most exacting of all the science, in his baseness and inefficiency. Fortu-
Art?, tlio most difficult to cultivate, and that of nately, I here attack au exception for the malevolent ;

whicli productions are most rarely presented in

tiie orchestral ionductor
whether capable or not is
a condition wliich permits an appreciation of tiieir very rare. '^
real value, a clear view of their physiognomy, or dis- The orchestral conductor full of goodwill, but
cernment of their real meaning and true character. incapable, is, on the contrary, very common.
Of producing artists, the cimiposer is almost the Without speaking of innumerable mediocrities di-
only one, in fact, who depends upon a multitude of recting artists who, frequently, are much their
intermediate agents between the public and himself; superiors, an author, for example, can scarcely be
intermediate agents, either intelligent or stupid, de- accused of conspiring against his own works. Yet
voted or hostile, active or inert, capable from how many
are there who, fancying they are able
first to last
of contributing to the brilliancy of histo conduct, innocently injure their best scores I

work, or of disfiguring it, misrepresenting it, and Beethoven, it is said, more than ouce ruined the
even destroying it completely. performance of his symphonies which he would ;

Singers have often been accused of forming conduct, even at the time when his deafness had
the most dangerous of these intermediate agents become almost complete. The musicians, in order
;

but, in my opinion, without justice. The most for- to keep together, agreed at length to follow the
midable, to my thinking, is the conductor of the slight indications of time which the concertmeister
orchestra. A
bad singer can spoil only his own (first violin-player) gave them and not to attend to ;

part while an incapable or malevolent conductor

; Beethoven's conducting-stick. Moreover, it should
ruins all. Happy, also, may that composer esteem be observed, that conducting a symphony, an over-
himself when the conductor into whose hands he ture, or any other composition whose movements
has fallen is not at once incapable and inimical. -"'^^laiu continuous, vary little, and contain few nice
For nothing can resist the pernicious influence of gradations, is child's play in comparison with con-
'his person. The most admirable orchestra is then ducting an opera, or like work, where there are
paralysed, the most excellent singers are perplexed recitatives, airs, and numerous orchestral designs
and rendered dull there is no longer any vigour or
; preceded by pauses of irregular length.
unity ; under such direction the noblest daring of The example of Beethoven, which I have just
the author appears extravagance, enthusiasm beholds cited, leads me at once to say that if the direction
its soaring flight checked, inspiration is violently of an orchestra appear to me very difficult for a blind
brought down to earth, the angel's wings are man, it is indisputably impossible to a deaf one,
broken, the man of genius passes for a madman or whatever may have been his technical talent before
an idiot, the divine statue is precipitated from its losing his sense of hearing.
pedestal and dragged in the mud. And, what is The orchestral conductor should see and hear ; he
worse, the public, and even auditors endowed with should be active, and vigorous, should know the
the highest nmsical intelligence, are reduced to the composition and the nature and compass of the
impossibility (if a new work be in question, and they instruments, should be able to rend the score, and
are bearing it for the first time) of recognising the possess
besides the especial talent of which we
ravages perpetrated by the orchestral conductor shall presently endeavour to explain the constituent
of discovering the follies, faults, and crimes he com- qualities
other almost indefinable gifts, without
mits. they clearly perceive certain defects of
If which an invisible link cannot establish itself be-
execution, not he, but his victims, are in such cases tween him and those he directs the faculty of ;

made responsible. If he have caused the chorus- transmitting to them his feeling is denied him, and
singers to fail in taking up a point in a finale, if he thence power, empire, and guiding influence com-
have allowed a discordant wavering to take place pletely fail him. He is then no longer a conductor, a
between the choir and the orchestra, or between the director, but a simple beater of the time, supposing
extreme sides of the instrumental body, if he have he knows how to beat it, and divide it, regularly.
absurdly hurried a movement, if he have allowed it The performers should feel that he feels, compre-
to linger unduly, if he have interrupted a singer hends, and is moved then his emotion communi-
:

before the end of a phrase, they exclaim " The : cates itself to those whom he directs, his inward fire
singers are detestable The orchestra has no firm-
I warms them, his electric glow animates them, his
ness ; the violins have disfigured the principal de- force of impulse excites them he throws around ;

irign; everybody has been wanting in vigour and him the vital irradiations of musical art. If he be
animation the tenor was quite out, he did not know
; inert and frozen, on the contrary, he paralyses all
his part the harmony is confused
; the author is no
; about him, like those floating masses of the polar
accompanist the voices are
;
" &c., &c., (tc. seas the approach of which is j)erceived through the
Except in listening to great works already known sudden cooling of the atmosphere.
and esteemed, intelligent hearers can hardly dis- His task is a complicated one. He has not only
tinguish the true culprit, and allot to him his due to conduct, in the spirit of the author's intentions, u
share of blame but the number of the.se is still so
; work with which the )ierformers have already become
limited that their judgment has little weight and ; acf|uainted, but iic has aJ.'io to give them this ac-


^46 BERLIOZ* TREATISE UPON

quaiiitaiice when
the work in question is new to discover the precise meaning of the Italian terma
tlieni. He
has to criticise the errors and defects used as indications of the time to be taken. Of
of each during the rehearsals, and to organise the course no one can be at a loss to distinguish a Largo
resources at his disposal in such a way as to make from a Presto. If the Presto be two in a bar, a
the best use he can of them with the utmost promp- tolerably sagacious conductor, from inspection of tiie
titude. For, m
the majority of European cities passages and melodic designs contained in the piece,
nowadays, musical artizanship is so ill distributed, will be able to discern the degree of quickness in-
performers so ill paid, and the necessity of study bo tended by the author. But if the Largo be four iu
little understood, that economy of timii should be a bar, of simple melodic structure, and containing but
reckoned among the most imperative requisites of few notes in each bar, what means has the hapless
the orchestral conductor's art. conductor of discovering the true time ? And in
Let us now see what constitutes the mechanical how many ways might he not be deceived? The
part of this art. different degrees of slowness that might be assigned
Tiie power of beating the time, without demand- to the performance of such a Largo are very nume-
ing very high musical attainments, is nevertheless rous; the individual feeling of the orchestral con-
Bufficiently difficult to secure, and very few persons ductor must then become the sole authority ; and,
really possess it. The
that the conductor
signs after all, the author's feehng, not his, which
it is

should make although

generally very simple is in question. Composers therefore ought not to
nevertheless become complicated, under certain cir- neglect placing metronome indications in tlieir
cumstances, by the division and even the subdivision works and orchestral conductors are bound to study
;

of the time of the bar. \ them closely. The neglect of this study on the part
The conductor is, above all, bound to possess a \of the latter, is an act of dishonesty.
clear idea of the principal points and character of the M I will now suppose the conductor to be perfectly
work of which about to superintend the per-
lie is well acquainted with the times of the different
formance or study in order that he may, without
;
movements in the work of which he is about to
hesitation or mistake, at once determine the time of conduct the performance or rehearsals he wishes to ;

each movement desired by the composer. If he have impart to the musicians acting under his orders the
not had the opportunity of receiving his instructions rhythmical feeling within him, to decide the duration
directly from the composer or if the iivies have not of each bar, and to cause the uniform observance of
been transmitted to him by tradition, he must have this duration by all the performers. Now, this pre-

recourse to the indications of the metronome, and cision and this uniformity can only be established in
^tudy them well the majority of composers, nowa-
;
the more or less numerous assemblage of band and
lays, taking the precaution to write them at the head, chorus by means of certain signs made by theii
And in the course of, their pieces. I do not mean to conductor.
say by this that it is necessary to imitate the mathe- These signs indicate the principal divisions, the
matical regularity of the metronome; all music bo accents of the bar, and, in many cases, the subdivi-
sions, and the half-accents. I need hardly here ex-
performed would become of freezing stiffness, and I
plain what is meant by the accents' (accented and '

even doubt whether it would be possible to observe

so flat a uniformity during a certain number of bars.
unaccented parts of a bar) I am pre-supposing that
;

But the metronome is none the less excellent to I address musicians.

consult in order to know the original time, and its The orchestral conductor generally uses a smal
light stick, of about a foot in length, and rathei
chief alterations.
If the conductor possess neither the author's whitish than of a dark colour (it is seen better),
instructions, tradition, nor metronome indications, which he holds in his right hand, to make clearly

which frequently happens in the ancient master- distinct his mode of marking the commencement,
pieces, written at a period when the metronome was the interior division, and the close of each bar. The
not invented,
he has no other guide than the vague bow, employed by some violinist-conductors (leaders),
somewhat
terms employed to designate the time to be taken, is less suitable than the stick. It is

and his own instinct, his feeling more or less dis- flexible, and this want of rigidity, together with the
tinguishing,
more or less just of the author's style. slight resistance it offers to the air, on account

We are compelled to admit that these guides are too of its appendage of hair, renders its indications lesa
often insufficient and delusive. Of this we have precise.

proof in seeing how old operas are given in towns The simplest of all times two in a bar is beaten
where the traditional mode of performance no longer simply.
.\i8t. In ten different kinds of time, there will The arm and the stick of the conductor being
jlways be at least four taken wrongly. I once heard raised, so that his hand is on a level with his
a cliorns of Ipldgenia in Tauride performed in a head, he marks the first beat, by dropping 2
Uernuin theatre allegro assai, two in the bar, instead the point of his stick perpendicularly
if allegro non troppo, four in the bar that is to ; {bending his wrist as much as ])ossible ;

Bay, exactly twice too fast. Examples might be and not lowering the whole arm), and
multiplied of such disasters, occasioned eitlier by the second beat by raising the stick by
yr
the ignorance or the carelessness of conductors of a contrary gesture.
orchestras or else by the real difficulty which exists
;

The time one in a bar being in reality, 1
for even the best-gifted and most careful men tD and particularly for the conductor, but the time of ar


.MODERN INSTKUMENTATION AND ORCHESTRATION. 2*1

extroiiie.y rapid two in a bar, slioulil be beaten like visible to all eyes. When the conductor faces the
the preceding. As the conductor is obliged to raise players, it is immaterial whether he mark the second
the point of his stick, after having lowered it, he beat to the right, or to the left.

necessarily divides this into two portions. However that may be, the third beat of the time,
always marked like the last of the
In the time four in a bar the first gesture,
^ three in a bar, is
movemem
or down beat, is universally adoptedmark- for T time, four in a bar ; by an oblique
the commencement J^ upwards.
ing the first accented part,
of the bar. 3 3
J

The second movement made by the condncting-

stick, from right to left, rising, "^^'^-^ indicates

he second beat (first unaccented part). A third,

transversely, from left to right, ^^ indicates

1 1
the third beat (second accented part) and a fourth, ;
The times, and seven in a bar, would be
five
obliquely, from down to up, indicates the fourth more comprehensible for the performers, if, instead
beat (second unaccented part). The combination of of indicating them by a particular series of gestures,
these four gestures mav be figured thus they were treated as though the one were composed
of three and two in a bar, and the other compose i
ft is of importance
of four and three.
that the conductor, in
thus delivering his dif-
ferent directions, should
not move his arm much ;

and not
conseijucntly,
allow his stick to pass Then, these time* vovJ/3
over much space for ;
be beaten thus i
each of these gestures
should operate nearly in-
stantaneously ; or at least, take but so slight a move-
ment as to be imperceptible. If the movement
become percejitible, on the contrary, and multiplied
by the numb^-r of times tb.at the gesture is repeated, Exaiaple of scvviu >n a bar ;

it ends by throwiuL; the conductor Ixdiind in the

time he is beating, and l)y giving to his conducting
a tardines;! that proves injurious. This defect, more-
over, has the result of needlessly fatiguing the con-
ductor, and of producing exaggerated evolutions,
verging on the ridiculous, which attract the spec-
tators' attention, and become very disagreeable to
witness.
In the time, tliree in a bar, the first gesture made,
fi'om up to down, is likewise univer-
sally adopted for marking the first
beat but there are two ways of
:

marking the second. The

majority of
^
^ These different times, in order to be divided in thia

orchestral conductors indicate it by
a gesture from left to right thus ; :
Some German Kapel-meisters do
and carry the stick from right to left
This way has the dis^idvantage
when the cimductor turns his back
to the orchestra, as in theatres
of permitting only a small number
of nmsicians to perceive the very
"^^ way, are assumed to belong to movements of mode-
j ^p''
rate measure. The advice would not hold good, if
their measure were either very quick or very slow.
the contrary ; lijraHie time, two in a bar, 1 have already signified,
; thus :
ii^imoi he beaten otherwise than as we have before
seen whatever its degree of rapidity. But if, as an
exception, it should be very slow, the conductor
ought to subdivide it.
A very rajiid four in a bar, on the contrary,
should be beaten two in a bar the four accustomed ;

important indication of the second gestures of a moderate movement becoming then so

beat the body of the conductor then hiding the
; hurried as to present nothing decided to the eye,
movement of his arm. The other method of pro- and serving only to confuse the performer instead of
ceeding is jtreferable since the conductor stretches
;
giving him confidence. Moreover, and thi."* is of
his arm outwards, withdrawing it from his chest;
much more consequence, the conductor, by uselet-sly
and his stick, which he takes care to raise slightly making these four gestures in a quick movement,
above the level of his shoulder, remains perfectly renders the pace of the rhythm awkward, and loses
 :

248 BERLIOZ" TREATISE UPON

the freedom of gesture which a simple division of other, are accustomed to play together, and know
the time into its half, would leave him. almost by heart the work they are executing.
Generally speaking, composers are wrong to write, Even then, the inattention of a single player may
in such a case, the indication of the time as four in occasion an accident. Why
incur ils possibility ?
a bar. When the movement is very brisk, they I know that certain artists feel their self-love hurt
should never write any other than the sign and
not that of (2 which might lead the conductor
^ , when thus kept in leading-strings (like cliildren,
they say) but with a conductor wlio has no other
;

mto error. view than the excellence of the ultimate residt, this
3 consideration can have no weight. Even in a
exactly the same for the time, three
It is

in a bar, fast ^, or '^. Then the con- 1 quartet, it is seldom that the individual feeling of
the players can be left entirely free to follow its own
ductor must omit the gesture of the second dictates. In a symphony, that of the conductor
beat, and, by remaininij the period of a beat must rule.The art of comprehending it, and
longer on the first, only raise the stick at with unanimity, constitutes the perfection
fulfilling it
the third. 1&2 of execution and individual wills which can
;
It would be absurd
attempt to beat the three in
to never agree one with another should never be
a bar of one of Beethoven's scherzos. permitted to manifest themselves.
In slow movements the rule for these two times This being fully understood, it will be seen that
is like that for two in a bar. If the movement be subdivision is still more essential for very slow times;
very slow, each time must be divided and con- ; as those of 2, , g, ^^, Sec.
sequently eight gestures must be made for the time, But these times where the triple rhythm plays so
four in a bar, and six for the time, three in a bar, important a part may be divided in various ways.
repeating (and shortening) each of the principal If the movement be brisk or moderate, it is rarely
gestures we have before instanced. well to indicate other than the simple beats of these
times, according to the procedure adopted for the
analogous simple times.
The times of allegretto, and of 2 allegro,
therefore, are to be beaten like those of two in a bar
Example of four (J ^
or 2 or | =
the time, g allegro, shoidd
;

ftiabar, very slow: be beaten like that of three in a bar

or like that of andantino
| moderato,
and the time, ^^ mo-

;

derato or allegro, like the time, simple four in a bar.

But if the movement be adagio, largo assai, or
andante maestoso, either all the quavers, or a
crotchet followed by a quaver, should be beaten,
according to the form of the melody, or the pre-
dominant design.

Larghetio Grazioso.

Example of three
very glow:
in a bar, ^^^m^^^^m^^
is unnecessary, in this three in a bar, to
It mark
all the quavers the rhythm of a crotchet followed
;

by a quaver in each beat suffices.

As to the subdivision, the little supplementary
gesture for simple times should be made this sub- ;

The arm should take no part in the little sup- division will however separate each beat into two un-
plementary gesture indicating the subdivision of the equal portions, since it is requisite to indicate visibly
bar merely the wrist causing the stick to move.
; the value of the crotchet, and that of the quaver.
This division of the different times is intended If the movement be still slower, there can be no
to pi-event the rhythmical divergences which might hesitation the only way to ensure unity of execution
;

easily take place among the performers during is to beat all the quavers,
whatever be the nature o^
the interval which separates one beat from the the written bar.
other. The conductor not indicating anything [dagio. .^
Adagio. -- ^ "^
during this period (rendered somewhat consider-
able by the extreme slowness of the movement),
the players are then entirely left to themselves,
mthoui conductor; and as the rhythmical feeling
18 not the same with all, it follows that some
hurry, while others slacken, and unity is soon
^i^^Ep^
destroyed. The only exception possible to this 1 N I

mle is that of a first-rate orchestra, composed of

performers who are well acquainted with each
 -

MODERN INSTRUMENTATION AND ORCHESTRATION 249

Taking the
three measures 11 other instruments j)laying in dual rhythm may not
ehovvu above in order, the observe the change, which would quite put them
conductor must beat three kA/ out. From this compromise it results that the new
quavers down, and three up,
'or the time of S :

m m
rliythm of three-time, being marked furtively by
the conductor, is executed with steadiness
the two-time rhythm, already firmly established,
while

continues without difficulty, althougii no longer

indicated by the conductor. On the otlier hand,
;

nothing, in my opinion, can be more blamahle, or

more contrary to musical good sense, than the ap-
plication of this procedure to passages where two
Three down, tliree to the
rhythms of opposite nature do not co-exist, and
right, and tlirce up, for tlie
time of g ;
where merely syncopations are introduced. The con-
ductor, dividing the bar by the nunibir of accents
he finds contained in it, then destroys (for all the
auditors who see him) the effect of syncopation and ;

TTT substitutes a mere change of time for a play of

rhythm of the most bewitching interest. If the
accents be marked, instead of the beats, in the fol-
lowing passage from Beethoven's Pastoral Sym-
phony, we have the subjoined

Three down, throe to tlie

left,three to the riglit, and
three up, for the time of
12 _ whereas the four previously maintained display the
syncopation and make it better felt :

^'\
A dilemma sometimes presents itself when certain This voluntary submission to a rliythmical form
parts for the are given a triple
sake of contrast which the author intended to he tliwarted is one of
rhythm, while otiiers preserve the dual rhythm. the gravest faults in style that a beater of the time
can commit.
Andante, There is another dilemma, extremely troublesome
3?" for a conductor, and demanding all his presence of
Wind
Instruments fMS5 mind. It is that presented by the super-addition of
different bars. It is easy to conduct a bar in dual
time placed above or beneath another bar in triple
Violin.
time, if both have the same kind of movement.
Their chief divisions are then equal in duration, and
there needs only to divide them in half, marking the
If the wind-instrument parts in the above example two principal beats :

be confided to players who are good musicians, there Alio. ^"^

^ -- u
will be no need to change the manner of marking
the bar, and the conductor may contintie to sub-
divide it by .six, or to divide it simply by two. The
majority of players, however, seeming to hesitate >''
at the moment when, by employing the syncopated T
rt=:^M
form, the triple rhythm clashes with the dual
rhythm, require assurance, wiiich can be given by
cggE^g^E^^SI
easy means. The uncertainty occasioned them by
the sudden appearance of the unexpected rhythm, ut if, in tlie middle of a piece slow in movement,

contradicted by the rest of the orchestra, always lere be introduced a new form brisk in movement,
leads the performers to cast an instinctive glance and if the composer (either for the sake of facilitat-
towards the conductor, as if seeking his assistance. ing the execution of the quick movement, or because
He should look at them, turning somewhat towards it was impossible to write otherwise) have adopted

them, and marking the triple rhythm by very for thi.s new movement the short bar which corres-
slight gestures, as if the time were really three ponds with it, there may then occur two, or even
in a bar, but in such a way that the violins and three short bars super-added to a slow bar :


260 BERLIOZ' TREATISE UPON

^_
^Ei^l;^M^S^^\^^^^^^^g
Alttgro.

Sempre Andante.
Efz g
No.
g^^^ggg^g^
3.

%^ t^ H^
i^No. 2.

^^^i^^fe-i^^Ei-^E ill E^E

^^^^^^^^^^f^.
m^^W^pii Three bars to one.
No. 3.

The conductor's task is to guide and keep together

these different bars of unequal number and dissimilar
movement. He attains this by dividing the beats m-
=4r
-- -m-
^s^m Ej^
in the andante bar No. 1, which precedes the
entrance of the allegro in , and by continuing to Here, thethree bars allegro - assai preceding
divide them but taking care to mark the division
; the allegrettoare beaten in simple two-time,
more decidedly. The players of the allegro in as usual. At the moment when the allegretto
then comprehend that the two gestures of the con- begins, the bar of which is double that of the
ductor represent the two beats of their short bar,
while the players of the andante take these same
preceding, and of the one main-
tained by the violas, the conductor
^
gestures merely for a divided beat of their long bar. marks two divided beats for the /\
long bar, by two equal gestures
down, and two others up :

The twolarge gestures divide the long bar in lialf,

Bar No. 1.
Bars Nos.
It will be seen that this is really quite simple
because the division of the short bar, and the sub-
divisions of the long one, mutually correspond. The
following example, where a slow bar is super-added
to the short ones, without this correspondence
existing, is more awkward
'Z
and explain its value to the hautboys, without per-
plexing the violas, who maintain the brisk move-
ment, on account of the little gesture which also
divides in half their short bar.
From bar No. 3, the conductor ceases to divide
thus the long bar by four, on account of the triple
rhythm of the melody in , which this gesture
interferes with. He then confines himself to marking
the two beats of the longbar; while theviolas, already
launched in their rapid rhythm, continue it without
difficulty, comprehending exactly that each stroke of
2, 3, and so on. the conductor's stick marks merel}' the commencement
of their short bar.
This last observation shows with what care divid-
ing the beats of a bar should be avoided when a
portion of the instruments or voices has to execute
tripletsupon these beats. The division, by cutting
in half the second note of the triplet, renders its
:

execution uncertain. It is even necessary to abstain

Hautboy, js JS js js from this division of the beats
of a bar just before
the moment when the rhythmical or melodic design
iii=i=g
Alio, assat.
is divided by three, in order not to give to the

players the impression of a rhythm contrary to that

\ iolas.
which they are about to hear :

^^^^W^f^^^^=
Allegretto. Doub ly slow.

No. 1. No. 2. Adagio No. 1 No. 2.

Maintain in the same movement.

 :

MODERN INSTRUMENTATION AND ORCHESTRATION. 25)

to the eye, from the two of the bar witli tw: equal
beats, and do not affect tiie movement of those
parts of the orchestra which contain uo tripIetH.
No. 4.
Alio Assai.

-==^
gg:5:g:?'S:g;fe|^^--^^'^'fe^"=|l^

In this example, the subdivi-

sion of the bar into six, or the
division of the beats into two, is

useful ; and offers no inconveni-

ence diirinc/ bar No. 1, when
the following aresture is made
But from the beginning of bar
No. 2 it is necessary to make only
the simple gestures
:
We will now speak of the conductor's method of
beating in recitatives. Here, as the singer or the
instrumentalist is reciting, and no longer subject to
the regular division of the bar, it is requisite, while
following him attentively, to make the orchestra
strike, simultaneously and with precision, the chords
or instrumental passages with which the recitative
is intermingled and to make the harmony change
;

at the proper instant, when the recitative is accom-

panied either by holding-notes or by a tremolo in
on account of the triplet on the third beat, and on
several parts, of which the least apparent, occasion-
account of the one following it, which the double
ally,'is that which the conductor must most regard,
gesture would much interfere with.
since upon its motion depends the change of chord
In the famous ball-scene of Mozart's Don Gio-
Example, not kept time to.
vnnni, the difficulty of keeping together the tliree
orchestras, written in three different measures, is less
Violins. :^i?-e X2''~^ \ ''P -HM
than might be thought. It is sufficient to mark y^
downwards each beat of the tempo t/i minuetto : *^
I 2
~ 1 1

5: Basses. Mr-&- f* 1 * ^i

In this example, the conductor, while following

the reciting part, not kept time to, has especially to
attend to the viola part, and to make it move, at
Once entered upon the combination, the little the proper moment, from the F to the E, at the
allegro in g, of which a whol6 bar represents one commencement of the second bar because other- ;

third, or one beat of that of ihe minuetto, and tlie wise, as this part is executed by several instru-

other allegro in '\, of which a whole bar represents mentalists playing in unison, some of them would
two thirds, or two lieats, correspond with each hold the F longer than the rest, and a transiem
other and with the principal theme while the ;
discord would be produced.
whole proceeds without the slightest confusion. All Many conductors have the habit, when directing
that is requisite is to make them come in properly. the orchestra in recitatives, of paying no heed to the
A gross
fault that I have seen committed consists written division of the bar, and of marking an up
in enlarging the time of a piece in common-time, beat before that whereon a brief orchestral chord
when the author has introduced into it triplets of occurs, even when this chord comes on an unaccented
part of the bar :

In sucli a case,
^
the third
^^
-t
minim adds nothing to
Recitative.
^^ Par - - - lez !

the duration of the bar, as some conductors seem to

imagine. They may, if they please, and if the
movement be slow or moderate, make these passages
i -3E Ei

by beating the bar with three beats, but the duration
of the whole bar should remain precisely the same.
In a case where these trijilets occur in a very
quick liar in common-time (allegro-assai), the tliree
gestures then cause confusion, and it is absolutely
In a passage such as this, they raise the arm ai
the rest which commences the bar, and lower it a;
the time of the chord.
I cannot approve such a method, which nothing
justifies, and which may frequently occasion accidents

neceisary to make only two,

one beat upon the first in the execution. Neither do I see why, in reci-

minim, and one up upon the third, /^hese gestures, tatives,the bar should not be divided regularly,
owing to the quickness of the movement, differ little. ind the real beats be marked in their phice, as in
25'I BERLIOZ' TREATISE
music beaten in time. I therefore advise for
the precedini^ exa\nple
tliat the first beat should be
made down, as usual, and the stick carried to the
left for striking the chord upon the second beat
and so on
analogous cases
for always dividing
; number of performers is large and occupies much
the bar regularly. It is very important, moreover,
to divide it according to the time previously indicated
by the author, and not to forget, if this time be
allegro or maestoso, and if the reciting part have
been some time reciting unaccompanied, to give to
all the beats, when
the orchestra comes in again, the
value of those of an allegro or of a maestoso. For
when the orchestra plays alone, it does so generally
in time plays without measured time only when
; it
it accompanies a voice or instrument in recitative.
In the excef)tional case where the recitative is
written for the orchestra itself, or for the chorus, or
for a portion of either orchestra or chorus, it being
then requisite to keep together, whether in unison
or in harmony, but without regular time, a certain
number of performers, the conductor himself becomes
the real reciter, and gives to each beat of the bar
the duration he judges fit. According to the form
of the phrase, he divides and subdivides the beats,
now marks the accents, now the semiquavers, if
there be any, and, in short, indicates with his stick
the melodic form of the recitative.
It is an understood thing that the performers,
knowing their parts almost by heart, keep their eye
constantly upon him, otherwise, neither security
nor unity can be obtained.
In general, even for timed music, the conductor
should require the players he directs to look towards
him as often as possible.
Anorchestra which does not watch tlie conduct-
ing -stick has no conductor. Often, after a pedal-
point for instance, the conductor is obliged to refrain
from marking the decisive gesture which is to de-
termine the coming in of the orchestra until he sees
the eyes of all the performers fixed upon him. It is
the duty of the conductor, during rehearsal, to ac-
custom them to look towards him simultaneously at
the important moment.
^^ _m. -Sit.
5'
A llcgrelto.
were not observed in
If the rule just indicated
the above bar, of which the first beat, marking a
pedal-point, may be prolonged indefinitely, the
could not be uttered with firmness and unity the
players, not watching the conductor's stick, could
not know when he decides the second beat and
resumes the movement suspended by the pedal-point.
The obligation upon the performers to look at their
conductor necessarily implies an equal obligation on
his part to let himself be well seen by them. He
should,
whatever may be the disposal of the
orchestra, whether on rows of steps, or on a hori-
UPON
zontal plane, place himself so as to foi-ni the centre
of all surrounding eyes.
To place him well in sight, a conductor requires
;
an especial platform, elevated in proportion as the
space. His desk should not be so high as that the
portion sustaining the score shall hide his face. For
the expression of his countenance has much to do
with the influence he exercises, and if there be no
conductor for an orchestra that does not and will
not watch him, neither is there any if he cannot be
well seen.
As to the employment of noises of any kind
whatever, produced by the stick of the conductor
upon his desk, or by his foot upon the platform,
they call for no other than unreserved reprehension.
It is worse than a bad method it is a bai'barism.
;
In a theatre, however, when the stage evolutions
prevent the chorus -singers from seeing the conduct-
ing-stick, the conductor is compelled
to ensure,
after a pause, the taking up a point by the chorus
to indicate this point by marking the beat which
precedes it by a slight tap of his stick upon the
desk. This exceptional circumstance is the only
one which can warrant the employment of an indi-
cating noise, and even then it is to be regretted
that recourse must be had to it.
While speaking of chorus-singers, and of their
operations in theatres, it may here be observed that
chorus-masters often allow themselves to beat time
at the side -scenes, without seeing the conductor's
stick, frequently even without hearing the orchestra.
The result is that this time, beaten more or less ill,
and not corresponding with that of the conductor,
inevitably induces a rhythmical discordance between
the choral and instrumental bodies, and subverts alj
unity instead of tending to maintain it.
Another traditional barbarism lies within the
province of an intelligent and active conductor to
abolish. If a choral or instrumental piece be per-
formed behind the scenes, without accompaniment
from the principal orchestra, another conductor is
absolutely essential. If the orchestra accompany
this portion, the first conductor, who
distant music, is then bound to let himself
strictly
hears the
be guided by the second, and to follow his time
by ear. But if as frequently happens in modem
music the sound of the chief orchestra hinders
tlie conductor from hearing that which is being
performed at a distance from him, the intervention
of a special conducting mechanism becomes indis-
pensable, in order to establish instantaneous cons
munication between him and the distant performers.
Many attempts, more or less ingenious, have been
made of this kind, the result of which has not
;
everywhere answered expectations. That of Covent
Garden Theatre, in London, moved by the con-
ductors foot, acts tolerably well. But the electric
metronome, set up by Mr. Van Bruge in the
Brussels Theatre, leaves nothing to be desired. It
consists of an apparatus of copper ribbons, leading
from a Voltaic battery placed beneath the stage,
attached to the conductor's desk, and terminating in
a movable stick fastened at one end on a pivot before

MODERN INSTRUMENTATIOX AND ORCHESTllATION.
a board at a certain distance from the orchestral
conductor. To this hitter's deslc is affixed a key of
copper, 8()ir>.->tlung like the ivory key of a pianoforte
;
and provided on the interior side witii a
it is elastic,
protuberance of about a quarter of an inch long.
Immetliately beneatii this protuberance is a little
cup, also of copper, filled with quicksilver. At the
instant when the orchestral conductor, desiring to
mark any particular beat of a bar, presses ihe copper
key with the forefinger of his left hand (his right
being occupied in holding, as usual, the
conducting-
etick) this key is lowered, the protuberance passes
into the cup filled with quicksilver, a slight electric
spark is emitted, and the stick placed at the other
extremity of the copper ribbon makes an oscillation
before its board. The connnunication of the fluid
and the movement are quite simultaneous, whatever
be the distance traversed.
The performers being grouped behind the scenes,
their eyes fi.xed upon the stick of the electric metro-
nome, are thus directly subject to the conductor,
who could, were it needful, conduct, from the middle
of the Opera orchestra in Paris, a piece of music
performed at Versailles.
It is merely requisite to agree beforehand with
the chorus-singers, or with their conductor (if, as an
additional precaution, they have one), the way in
which the orciiestral conductor beats the time
whether he mark all the principal beats, or only the
first of the bar since the oscillations of the stick,
moved by electricity, being always from right to left,
iiidicate nothing precise in this respect.
When I first used, at Brussels, the vahudile
instrument I have just endeavoured to describe, its
action presented one objection. Ivich time that the
co{)per key of my desk underwent the pressure of
my left forefinger, it struck, underneath, another
plate of copper, and, uotwitlistanding the delicacv
of the contact, j)roduced a little sharp noise, which,
during the pauses of the orchestra, attracted the
attention of the audience, to the detriment of the
musical effect.
I pointed out the Auilt to Mr. Van Bruge, who
substituted for the lower plate of copper the little
cup filled with quicksilver, previously mentioned.
Into this the protuberance so entered as to establish
the electric current witiiout causing the slightest
noise.
Nothings remains now, as regards the use of
this mechanism, but the crackling of the spark at
the moment of its emission. This, however, is too
slight to be heard by the public.
The metronome is not expensive to put up it
costs 1(5 at the most. Large lyric theatres,
;
churches, and concert-rooms should long ago have
been provided with one. Yet, save at the Brussels
Theatre, it is nowhere to be found. This would
appear incredible, were it not that the carelessness
of the majority of directors of institutions where
music forms a feature is well known; as are their
instinctive aversion from whatever disturbs old-
established customs, their indifference to the inte-
rests of art, their parsimony wherever an outlay for
music is needed, and the utter ignorance of the
53
I
principles of our art among those m
whose handa
rests the
ordering of its destiny.
I have not yet said all on the subject of those
dangerous auxiliaries named chorus-masters. Verv
few of them are sufficiently versed in the art to
conduct a musical performance, or so that the or-
chestral conductor can depend upon them. He
cannot therefore watch them too closely when com-
pelled to submit to their coadjutorship.
The most to be dreaded are those whom age has
deprived of activity and energy. The maintenance
of vivacious times is an impossibility to them.
Whatever may be the degree of quickness indi-
cated at the head of a piece confided to their con-
ducting, little by little they slacken its pace, until
the rhythm is reduced to a certain medium slowness,
that seems to harmonize with the speed at which
their blood flows, and the general feebleness of their
organization.
It must in truth be added, that old men are not
the only ones with whom composers run this risk.
Tiiere are men in the prime of life, of a lymphatic
te:iiperament, whose blood seems to circulate mode-
rato. If they have
conduct an allegro assai, they
to
gradually slacken it to moderato ; if, on the contrary,
it be a largo or an andante sostenuto, provided the
piece be prolonged, they will, by dint of progressive
animation, attain a t/ioderato long before the end.
The mvderato is their natural pace, and they
recur to it as infallibly as would a pendulum after
having been a moment hurried or slackened in its
oscillations.
'J'hesepeople are the born enemies of all charac-
teristicmusic, and the greatest destroyers of style.
May Fate preserve the orchestral conductor at any
cost from their co-operation.
Once, in a large town (which I will not name),
there was to be performed behind the scenes a very
simple chorus, written in Jj, allegretto. The aid of
the chorus-master became necessary. He was an
old man.
Tiie time in which this chorus was to lie taken
having heen first agreed upon by the orchestra, our
Nestor followed it pretty decently during the first
few bars but, soon after, the slackening became such
;
that there was no continuing without rendering the
piece perfectly ridiculous. It was reconmienced
twice, thrice, four times a full half-hour was occu-
;
pied in ever-increasingly vexatious eftbrts, but
always with the same result. The preservation of
allegretto time was absolutely impossible to the
worthy man. At last the orchestral conductor, out
of all patience, came aiul begged him not to conduct
at all ;he had hit upon an expedient He causei/
:
the chorus-singers to simulate a march-movement,
raising each foot alternately, without moving on.
This movement, being in exactly the same time as
the dual rhythm of the g in a bar, allegretto, the
chorus-singers, who were no longer hindered by their
director, at once performed the piece as though tliey
had sung marching with no less unity than
;
regularity, and without slackening the time.
I acknowledge, however, that many chorus-mas-
ters, or sub-conductors of orchestras, are sometimes
254
of ren". utility, and even indispensable f'lr the
maintenance of unity among very large masses of
performers. When these masses are obliged to be
so disposed as that one portion of the players or
chonis-siiigers turn their back on the conductor, he
needs a certain number of sub-beaters of the time,
placed before those of the performers who cannot
see him, and charged with repeating all his signals.
In order that this repetition shall be precise, the
gub-cond'actors must be careful never to take their
eyes off chief conductor's stick for single
the
instant. order to look at their score, they
If, in
cease to watch him for only three bars, a discrepancy
arises immediately between their time and his, and
all is lost.
In a festival where 1200 performers were assembled
under my direction, at Paris, I had
chorus-masters, stationed at the four corners of the
vocal mass, and two sub-conductors, one of whom
directed the wind-instruments, and the other the
instruments of percussion. I had earnestly besought
them to look towards me incessantly they did not
omit to do so, and our eight sticks, rising and falling
without the sliglitest discrepancy of rhythm, estab-
lished amidst our 1200 performers the most perfect
unity ever witnessed.
With one or more electric metronomes, it seems
no longer necessary to have recourse to this
means. One might, in fact, thus easily conduct
chorus-singers who turn their back towards
the chief conductor but attentive and intelligent
;
sub- conductor are always preferable to a machine.
They have not only to beat the time, like the
metronomic but they have also to speak
staff,
10 the groups around them, to call their attention
to nice shades of execution, and, after bar-rests, to
remind them when the moment of their re-entry
comes.
In a space arranged as a semicircular
theatre, the conductor may
orchestral
considerable number of performers alone, all eyes
then being able to look towards him. Neverthless,
the employment of a certain number of sub-con-
ductors appears to me preferable to individual direc-
tion, on account of the great distance between the
chief conductor and the extreme points of the vocal
and instrumental body.
The more distant the orchestral conductor is from
tlie performers he directs, the more his influence over
them is diminished.
The best way would be to have several sub-con-
ductors, with several electric metronomes beating
before their eyes the principal beats of the bar.
And now, shoidd the orchestral conductor give
the time standing or sitting down ?
If, in theatres where they perform scores
immense be very difficult to endure the
lengtli, it
fatigue of remaining on foot the whole evening, it is
none the less true that the orchestral conductor, when
seated, loses a portion of his power, and cannot give
free course to his animation, if he possess any.
Then, should he conduct reading from a full score,
or from a first violin part (leader's copy), as is cus-
tomary ^n some theatres ? It is evident that he
BERLIOZ" TREATISE UPON
should have before him a full score. Conducting
by means of a part containing only the principal
instrumental cues, the bass and the melody, demands
a needless effort of memory from a conductor; and
moreover, if he happen to tell one of the performers,
whose part he cannot examine, that he is wrong,
exposes him to the chance of the reply: " How do
you know ?"
The disposal and grouping of the players and
chorus-singers come also within the province of the
orchestral conductor; particularly for concerts. It
is impossible to indicate arbitrarily the best method
of grouping the performers in a theatre or concert-
room the shape and arrangement of the interior of
;
these places necessarily influence the course to be
taken in such a case. Let us add, that it depends,
to employ four moreover, upon the number of performers requiring
to be grouped and, on some occasions, upon the
;
style of composition adopted by the author whose
work to be performed.
is
In general, for concerts, the following disposal
; of the orchestra seems best
An amphitheatre
:
of eight, or at least, five rows is indispensable.
The semicircular form is the best for the amphi-
theatre. If it be large enough to contain the
whole orchestra, the entire mass of instrumentalists
will be disposed of along these rows the first violins
;
in front on the right, facing the public the second
;
violins in front on the left the violas, in the middle,
;
between the two groups of violins the flutes, haut-
;
boys, clarinets, horns, and bassoons behind the first
violins a double rank of violoncellos and double-
;
basses behind the second violins the trumpets, cor-
;
nets, trombones, and tubas beliind the violas the ;
rest of the violoncellos and doubhvbasses behind the
wooden wind instruments tlie harps in tlie fore-
;
ground, close to the orchestral conductor the kettle- ;
drums, and other instruments of percussion behind
amphi- or in the centre of tlie brass instruments the :
conduct a orchestral conductor, turning his back to the public,
at the base of the orchestra, and near to the foremost
desks of the first and second violins.
There should be a horizontal flooring, or stage,
more or less wide, extending in front of the first rows
of the amphitlieatre. On this flooring the cliorus-
singers sliould be placed, in form of a fan turned
three-quarters towards the public, so that all shall be
able easily to see the motions of the orchestral con-
ductor. The grouping of the cliorus-singcrs, in
consonance with their respective order of voice, wilJ
differ according as the author has written in three,
four, or six ]iarts. At any rate, the wfjmen sopranos
and contraltos should be in front, seated; the tenors
standing behind the c.ntraltos; and the basses
standing behind the sopranos.
of
The solo-singers should occupy the centre, and
foremost, part of the front stage, and should always
place themselves in such a way as to be able, by
slightly turning the head, to see the conducting-stick.
For the rest, I repeat, these indications can be
but approximate they may be, for many reasons,
;
modified in various ways.
At the Conservatoire, in Paris, where the amphi-

; ;

MODERN INSTRUMENTATION AND ORCHESTRATION. 25b

theatre composed of only four or five rows, not

\e

and cannot therefore contain the whole

circular,
orchestra, the violins and violas are on the stage ^^i.^^ -r=r^r^^^^^^^
Allegro.
while the basses and wind instruments alone occupy
the rows
The trumpet-player, instead of taking lireath
the chorus is seated on the front of the
;

before the of these three bars, takes breath ai

first
stage, facing the public, and the women, sopranos and
contraltos, turning their backs directly upon the
their commencement, during the quaver-rest, ;
A
and, not counting for anything the short time it has
orchestral conductor, are utterly unable to see his
taken him to breathe, gives its whole value to the
motions. The arrangement is very inconvenient
quaver-rest, which thus becomes superadded tc the
for tills portion of the chorus.
value of the first bar. The result of this is the
It is everywhere of the gi-eatest consequence that
following :

the chorus-singers placed on the front of the stage

shall occupy a plane somewhat lower than that of
the violins otherwise they would considerably
;

deaden the sound of these instruments.

an efiect all the worse because the
wMm
final accent, struck
For the same reason, if there are not other rows
for the choir in front of the orchestra, it is absolutely at the commencement the third bar by the rest of
ot

needful that the women should be seated, and the the orchestra, comes a third of the time too slow in
men remain standing up in order that the voices the trumpets, and destroys unity in the striking o/
;

of the tenors and basses, proceeding from a more the last chord.
elevated point than those of the sopranos and con- To obviate this, the conductor must first previously
traltos, may come forth freely, and be neither stifled warn the players against such inexactness, into which
nor intercepted. they almost all are led to fall unawares and then, ;

Wiien the presence of the chorus-siiiger.s in front while conducting, must cast a glance towards them
of the orchestra is not necessary, tlie conductor will at the decisive moment, and anticipate a little, by

take care to send them away ; since this large num- beating the first beat of the bar where they come in.
ber of human bodies injures the sonority of the It is incredible how difficult it is to prevent trumpet-

instruments. A
symphony, performed by an orches-
tra tlius more or less stifled, loses much of its effect.
There are yet other precautions, relative especially
to the orchestra, which the conductor may also take,
to avoid certain defects in performance.
ments of percussion, placed, as I have indicated, upon
one of the last rows of the orchestra, have a tendency
to modify the rhythm, and slacken the time. A an insensible onward rate.
series of strokes on the long drum stTuck at regular
intervals in a quick movement, like the following
AUpgru.
4 S
will sometimes lead to the complete destruction of
a tine rhythmical progression, by checking the on-
ward bound of the rest of the orchestra, and de-
stroying the unity. Almost always, the long drum
player, through not observing the original time
players from doubling the value of a quaver-rest
thus placed.
When a long accelerando, little by little, is
indicated by the composer, for passing from an
The instru- allegro moderato to a presto, the majority of
orchestral conductors hurry the time by jerks,
instead of quickening it equally throughout, by
This should be care-
fully avoided.
:
The same remark applies to the converse proposi-
tion. It is even more difficult to slacken a (juick time
smoothly, and without checks, so as to transform it
little by little into a slow time. Often, from a desire
6 7
to testify zeal, or from defect of delivery in his mu-
sical feeling, a conductor demands from his players
an exaggeration of nice gradations. He compre-
hends neither the character nor the style of the
piece. The gradations then become so many ble-
mishes the accents, yells
; the intentions of the
;

given by the conductor, is somewhat behindhand in poor composer are totally disfigured and perverted
striking his first stroke. This retardment, multiplied while those of the orchestral conductor however
by the number of strokes which follow the first one, politely meant they may be
are none the less inju-

soon produces as may be imagined a rhythmical rious : like the caresses of the Ass in the fable, who
discrepancy of the most fatal effect. The conductor, crushed his master while fondling him.
all whose efforts to re-establish unanimity are then And now let us instance many deplorable abuses
m vain
has only one thing left to do which is, to ; that have obtained in almost all the orchestras of
insist that the long drum player shall count before-
Europe ai)nses which reduce composers to despair,
hand the number of strokes to be given in the and which it is the duty of conductors to abolish as
passage in question, and that, knowing his part, he soon as possible.
shall no longer look at his cojiy, but keep his eyes Performers playing stringed instruments will
constantly fixed upon the conducting-stick by which ; rarely give themi-elves the trouble to \i\a\ ixtrenwlo,
means he will fallow the time without the slightest they substitute for this very characteristic effect, a
want of ])recision. tamo repetition of the note, half, and sometinii's
Another retardment, arisiig from a different cause, three-quarters slower than the one whence resultfi
freijucntly takes place in the trumpet-parts it is ; the tremolo instead of demiseniiijuaveis. thev malce
:

ivhen they coi^ain a quick flosv of passages such as triple or double ones and in lieu of producing
;

ihis : sixty-four notes in a bar in four-time (adagio), the*


-

256 BERLIOZ' TREATISE UPON

prodr.ce only tliirty-tvvo, or even sixteen. Tlie action is to be inferred from the impertinent noise it make
of tlie arm necessary for producing a true tremolo, during the periods of quiet at an Opera or Concert,
demands from them too great an effort. This It is also imperative for a conductor not to allow
idleness is intolerable. clarinet-players to use always the same instrument
3Iany double-bass players permit themselves (the clarinet in JBp), without regard to the author'3
from idleness, also, or from a dread of being unable indications just as if the different clarinets those
to achieve certain difficulties to simplify their part. in D and
;

in A, particularly had not a special cha-

This race of simpliHers, be it said, has existed for racter of their own, of which the intelligent com-
lorty years but it cannot endure any longei".
; In poser knows the exact value and as if tiie clarinet
;

ancient works, the double-bass parts were extremely in A

had not moreover a low semitone more than
simple therefore there can be no reason to impo-
; the clarinet in i?b, the Cj, of excellent effect,
verish them still more those in modern scores are
:

rather more difficult, it is true but, with very few

;

exceptions, tliere is nothing in them impossible of

produced by the E, ^ U wliich E gives
execution composers, masters of their art, write
;
only the D, on the clarinet in i?b-
them with care, and as they ought to be executed.
'

If it be from idleness that the simplifiers pervert

them, the energetic orchestral conductor is armed A
habit as vidous, and still more baneful, has
with the necessary authority to compel the fulfilment crept into many orchestras since the introduction of
of their duty. If it be from incapacity, let him horns with cylinders and pistons: it is that of play-
dismiss them. It is his best interest to rid himself ing in open sounds, by means of the new mechanism
of instrumentalists who cannot play their instrument. adapted to the instrument, those notes intended by
the composer to be produced in closed sounds, by
Flute-players, accustomed to be above the other
wind instruments, and not admitting that their part means of the right hand within the bell. Moreover,
the horn-players nowadays, on account of the facility
can be written below that of clarinets or hautboys,
afforded by the pistons or cylinders for putting
frequently transpose entire passages an octave higher.
their instrument into different keys, uue only the
The conductor, if he do not carefully peruse his
horn in F, whatever may be the key indicated by
Bcore, if he be not thoroughly acquainted with the
the author. This custom gives rise to a host of in-
work he is conducting, or if his ear lack keenness,
conveniences, from which the conductor should use all
will not perceive the strange liberty thus taken.
his efforts to preserve the works of composers who
Nevertheless, multitudes of such instances occur,
and care should be taken to banish them entirely. know how to write. As to those of others, it must be
confessed, the disaster is of much less consequence.
happens everywhere (I do not say in some
It
orchestras only)
it happens everywhere, I repeat,
He should also set his face against the economical
fashion adopted by certain theatres called lyric of
that violinists, who have, as is well known, to play
ten, fifteen, twenty of them
the same part in unison,
causing tlie cymbals and the long drum to be playeu
by the same performer. The sound of the cymbals
do not count their bars' rest; each, always from idle-
ness, relying on the others doing it. Whence it when attached to the long drum as they must be
follows that scarcely the half of them come in again
to render this economy feasible is an ignoble noise,
fit bands at tea-gardens. This custom,
only for
at the right moment while the rest still hold their
;

moreover, leads mediocre composers into the habit

instrument under their left arm, and look about
of never employing one of these instruments without
them. Thus the point is greatly weakened, if not
the other, and of considering their use as solely con-
entirely missed. I invoke the attention and rigour
fined to forciblymarking the accented parts of the
of orchestral conductors to this insufferalde habit.
bar. This is an idea fruitful in noisy platitudes
It is, however, so rooted that they will only ensure ;

and one that has brought upon us the ridiculous ex-

its extirpation by making a large number of violinists
cesses beneath which, if a stop be not put to them,
amenable for the fault of a single player; by inflicting
dramatic music will sooner or later sink.
3, fine, for example, upon a whole row, if one of them

misses coming in. Even were this fine no more
than half-a-crown, I will answer for it that each of
the violinists would count his rests, and keep watch
that his neighbours did the same, since it might be
inflicted five or six times upon the same individuals
in the course of one performance.
I conclude by expressing sincere regret at be-
holding choral and orchestral studies still so badly
organized. Everywhere, for grand choral and
instrumental compositions, the system of rehearsal.",
in the mass is maintained. They make all the
chorus-singers study at once, on the one hand ; and

An orchestra, the instruments of which are not in
tune individually, and with each other, is a monstro-
sity the conductor, therefore, should take the
;
greatest care that the musicians tune accurately. But
this oj)eration should not be performed in presence of
the public; and, moreover, every instrumental noise-
every kind of preluding between the acts consti-
tutes a real offence to all civilized auditors.
training of an orchestra, and its musical mediocrity
all the instrumentalists at once, on the other. De-
plorable errors, iimumerable mistakes, are thus
committed particularly in the intermediate parts
errors which the chorus-master and the conductor do
not perceive. Once established, these errors dege-
nerate into habits, and become part and parcel of
the execution.
The bad The hapless chorus-singers, moreover, are by far
the worst treated of all the performers during their
 MODERN INSTRUMENTATION AND ORCHESTRATION.
fitudiea, such as they are. Instead of giving them a
good conductor, knowing the times of" the different
movements accurately, and proficient in tiie art of
singing, to beat tlie time, and make critical obser-
vations ; n (jood pitimst, playing from a ivcll-
arraiufed piunojorte score, upon a good piavo; and
u violinist, to play in iniison or in octave with the
voices as each part is learned alone instead of
these three indispensable artists, they commit them
(in two-thirds of the lyric theatres of Europe) to the
superintendence of a single man, who has no more
idea of the art of conducting than of that of singing,
who is generally a poor musician, selected from
among the worst pianists to be found, or who cannot
play the pianoforte at all some old superannuated
individual, who, seated before a battered out-of-
tune instrument, tries to decipher a dislocated score
which he does not know, strikes false chords, major
when they are minor, or vice-versa, and, under the
pretext of conducting and of accompanying by him-
self, employs his right hand in setting the chorus-
singers wrong in their time, and his left hand in
them wrong in their tune.
setting
One might believe oneself in the Dark Ages, on
witnessing such an exhibition of Gothish economy.
A faithful, well-coloured, clever interpretation of
a modern work, even when confided to artists of a
higher order, cau only be obtained, 1 firmly believe,
THE END
257
by partial rehearsals. Each part of a chorus should
be studied singly until it be thorougidy known, be-
fore combining it with the others. Tiie same step
should be taken with regard to the orcliestra, for a
symphony at all complicated. The violins should
first be practised alone ;the violas and basses bj
themselves the wooden wind instruments (with a
;
small band of stringed instruments, to fill in the
rests, and accustom the wind instruments to the
points of re-entrance) and the brass instruments the
same ; and very often it is necessary to practise the
instruments of percussion alone ; and lastly, tnfe
harps, if they be numerous. The studies in com-
bination are then far more profitable, and more
rapid ; and there is then good hope of attaining
fitielity of interpretation, now, alas, but too rare.
The performances obtained by the old method of
study are merely approaches to achievement; be-
neath which so very many masterpieces have suc-
cumbed. The superintending conductor, after the
butchering of a master, none the less serenely lays
down his stick with a satisfied smile ; and if some
few misgivings remain with him as to the mode in.
which he has fulfilled his task, should no one venture
at the close to dispute its accomplishment, he
murmurs aside "Bah vaevicus!"
: I
Hector Blhlioz


CONTE>J TS.
Page
INTRODUCTION . .3 Brass Instruments with Mouth-piece* ( conlinue
Pof

CHAP. I. . . . 4 The Bass Trombone 15?

CHAP.
The
CHAP.
II.

Violin

III.
...
Instruments played with

The Viola .
a bow :

4
25
The Alto Trombone with
The Bugle, or Clarion

The Keyed Bugle

pistons 173
173
174
CHAP. IV. The Vide d' Amour . 29 The Bugle with pistons . 174
CHAP. V. The Violoncello . 31 The Bass Ophicleide 174
CHAP. VI. Double-Basses . 40 The Alto Ophicleide 175
Stringed Instruments played with the hand: The Double-bass Ophicleide 176
The Harp . 61 The Bombardon 176
The Guitar . 66 The Bass-Tuba 176
The Mandolin . . 70 Instruments with a Mouth-piece, and of Wood :-

Stringed Instruments with Keys: The Serpent 17ff

The Pianoforte . . . .71 The Russian Bassoon , . 177

Wind Instruments . . 79 Voices 177
Tab^u of Transposing and Non-Transposino Instruments of Percussion :
Instruments . 79 Kettle-Drums 198
'Reed Instruments :
Bells 219
The Hautboy . 81 Sets of Bells 223
The Corno Ingiese ^ . 96 The Glockenspiel . ,, . 223
The Bassoon , 101 The Keyed Harmonica 225
The Basson-quinte 104 Ancient Cymbals

....
. 225
The Double-Bassoon . 105 The Long Drum , 225
Clarinets , 105 Cymbals 226
The Alto Clarinet . H4 The Gong 229
The Bass Clarinet , .114 The Tambour Basque (or Tambourine) 25 C
The Corno di Bassetto . 11.5 The Drum 231
Improvements in Clarinets . . 115 The Side-drum. 231
Wind Instruments without Reeds :
file Triangle 231
The Flute . 116 The Pavilion Chinois . 233
The Piccolo Flute . . 121 New Instruments 233
Wind Instruments with Key-boards: Saxophones 233
The Organ .126 Sax-Horns

....
. . 234
Brass Instruments with Moutii-pieces : Saxotrombas 235
rile Horn 129 Sax-Tubas 235
The Horn with three pistons ; and the Horn with The Concertina 285
valves 141 The Melodium Organ
. . .
238
''he Trumpet . . . 142 Pianos and Melodiums wun prolonged sound 239
The Cornet with three pistons; and with cylinders 146 The Octo-Bass 24U
Trombones . .151
.
The Orchestra 240
The Alto Trombone 152 The Orchestral CoNDUcroR:
Ti>e Tenui- Trombone . 152 Theory of iiis Art '2A6
 " "" " ""

ILLUSTRATIONS.

faye Nj
"
1 From Ghick's "Alceste s 34 From Berlioz' "Moncdrame" . ill
"
2 Berlioz' " Ronico and Juliet 14 35 ,, Meyerbeer's " Huguenots '
. .114
3 ,, Ditto ditto 17 36 ,, Gluck's " Orfeo ". . . 117
4 ., Gluck's "Alceste 18 37 ,, Gluck's "Alceste" . . 119
5 Beethoven's Syiii])hony in B 1> 19 38 Beethoven's Pastoral Symphony 121
6 ,, ,, in C minor 23 39 Gluck's "Iphigenia in Tauride , 124
"
7 ,, Gluck's " Iphigenia in Taiiride 26 40 ,, Beethoven's Sinfonia Eroica . 132
8 ,, Beethoven's Symphony in C minor 28 41 ,, Beethoven's Symphony in A . 136
"
9 ,. Meyerbeer's " Huguenots 30 42 Mehul's "Phrosine etM61idore . 138
"
10 ,, Berlioz' " Requiem 33 43 ,, Gluck's " Iphigenia in Tauride . 144
"
11 Weber's " Der Freyschiitz 35 h4 Beethoven's Symphony in A 145
" "
12 ,. Weber's " Oberon i'7 15 ,, Meyerbeer's " Robert le Diable . 150
13 ,, Berlioz' '' Romeo and Juliet 19 46 ,, Berlioz' " Requiem " . . 155
14 Gluck's "Orfeo" 42 47 Gluck's "Alceste " . . . 157
15 ,, Beethoven's Pastoral Symphony 44 48 Gluck's " Iphigenia in Tauride , 163
"
16 Beethoven's " Fidelio 46 t9 ,,
Berlioz' Syniplionie Fundbre , . 166
"
17 Berlioz' "Fifth of May 55 50 ,, Mozart's " Zauberflote " . . 169
18 Mozart's " Don Giovanni " 70 51 ., Spontini's " Vestale" . 171

19 Beethoven's Concerto in Eb 73 52 ,, Mozart's " Ave varum " . 180

20 Berlioz' " Fantaisie sin- la Tempite

'

76 .'3
Gluck's "Armida" . . .183
" "
21 ,, Gluck's " Iphigenia in Aulide 82 54 ,, Rossini's '' Guillaume Tell . 189

22 Gluck's "Armide" 85 5.-1

,,
Spontini's " Vestale " . . 191
"
23 ,,
Beethoven's Pastoral Symphony M 56 ,, Rossini's "Guillaume Tell 194
"
24 ,, Beethoven's Symphony in A 90 57 ,. Gluck's " Iphigenia in Tauride . 195

25 ,, Beethoven's Eroica Symphony 91 58 Ditto ditto . . 196

"
26 ,, Beethoven's " Fidelio 93 59 Berlioz' " Requiem " . . . 200
"
27 ,, Halevy's " Jewess 96 60 ,, Beethoven's Symphony in h b . 214

28 ,, Berlioz' Fantastic Symphony 98 61 ,, Beethoven's Symphony in C miEor . 216

29 Meyerbeer's " Huguenots d9 62 ,, Meyerbeer's " Huguenots " . . 22*1

30 ,, Beethoven's Symphony in C minor 101 63 Mozart's " Magic Flute " . . 223
"
31 Meyerbeer's " Robert le Diable 102 64 (Jluck's " Iphigenia in Tauride . J26
"
32 , Meyerbeer's " Huguenots " . 108 65 ,, Meyerbeer's " Robert le Diable 230
Weber's " Der Frevschut7 " Gluck's " Iphigenia in Tauride
'

!J3 ,, 108 i
66 ifll
 < .

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3 1197
00162

DATE DUE

DEMCO 38-297