Part 5 — INDEX
Reading edition
Abbreviations in scores, 47
Aria da capo, suggestion to orchestral composers, 220
Bach’s orchestra, 195
Balance of tone, 65;
how obtained, 115
Bass clarinet, compass and character, 28;
introduction of, 209
Bass drum, 111
Bassoon, compass and character, 24
Baton, use of, 148 et seq.;
need of, 154
“Battery,” 108 et seq.
Beethoven’s symphonies, 226 et seq.
Bells, 111
Berlioz, 67, 68;
his orchestra, 208
Boston Symphony Orchestra, 50, 212
Bowing, 9;
marks for, 138
Brass, 4;
methods of using, 97 et seq.;
Bach’s and Handel’s plans, 98;
Haydn’s, 99;
Mozart’s, 100;
employed unsupported, 105;
Wagner learns from Gluck and Mozart, 107
Carillon, 112
Castanets, 111
Clarinet, compass and character, 26;
how to read its music, 52;
methods of using, 86 et seq.
Classic music, character of, 222
Classicists, modern, 231
Clefs, 55 et seq.
Colorists, 231
Conductor, development of, 147 et seq.;
interpreting, 156;
Wagner’s influence on, 161;
functions of, 164;
in detail, 167;
choice of tempo, 169;
work besides choice of tempo, 174
Conductors, famous, 158 et seq.
Contra-bass clarinet, 96
Contra-bassoon, 95
Contrast, 65;
how obtained, 119
Cornet, 23
Cyclic forms, 220
Cymbals, 111
Directions, composers’, to be obeyed, 139
Double bass, compass and character, 17
Drum, bass, 111;
snare, 111
English Horn, compass and character, 23
Flexibility in orchestral playing, 134
Flute, compass and character, 19;
uses of, 81 et seq.;
introduction of, 190
Forms, development of musical, 220;
Beethoven’s innovations, 227;
Schumann’s, 228
Glissando, 41
Gong, 111
Gossec, developer of orchestral technics, 158
Habeneck, interpreting conductor, 160
Handel’s orchestra, 196
Harmonics, 7, 8
Harmony, dispersal of, 64
Harp, 39;
pedals, 40;
methods of using, 39 et seq.
Harpsichord, used in conducting, 149 et seq.;
method of use, 150;
used in symphonic conducting, 155
Haydn’s orchestra, 200
Horn, compass and character, 30;
how to read its music, 54;
methods of using, 97 et seq.;
stopped tones, 100;
valves, 100;
Rossini’s horn style, 100;
in “Eroica” symphony, 101;
four horns, how used, 101, 102
Horn, English, 23;
introduction into orchestra, 208
Instrumentation, models, 68
Instruments, list of, in orchestra, 4;
names in four languages, 46
Leader of orchestra, 154
Legno, col, 10
Legrenzi’s orchestra, 192
Liszt, inventor of symphonic poem, 230
Lully’s orchestra, 192
Mendelssohn, model for string writing, 76
Metronome, 172
Meyerbeer, 39, 40, 41
Middle voices, 135
Monteverde, Claudio, founder of modern orchestra, 186
Mozart, tone-coloring, and string plan, 75, 76;
his orchestra, 204
Music, orchestral, development of, 217 et seq.;
polyphonic, 218;
classic, 220;
character of, 222 et seq.;
what to expect in classic, 224;
Beethoven’s, 226 et seq.;
romantic, 228
Nicode, divided strings in “Das Meer,” 77
Oboe, compass and character, 20;
uses of, 81 et seq.
Ophicleide, 210
Orchestra, defined, 3;
Beethoven’s, 4, 206;
instruments in, 4;
how used, 61;
compass, 61;
dynamic range, 62;
constitution of, 142;
development of, 181 et seq.;
in Middle Ages, 183;
Peri’s and Cavaliere’s, 185, 186;
Monteverde’s, 186;
Scarlatti’s, 190;
Lully’s, 192;
Legrenzi’s, 192;
Bach’s, 195;
Handel’s, 196;
in early part of eighteenth century, 193, 198;
Gossec’s, 200;
Haydn’s, 200;
Dresden court orchestra, 203;
Mozart’s, 204;
Berlioz’s, 208;
Wagner’s, 210, 211;
Boston Symphony’s number, 212;
festival, 213
Orchestral music, development of, 217 et seq.
Orchestras, famous, 140 et seq., 202
Orchestration, general principles of, 61;
requirements of, 63;
models in, 67, 68;
Bach’s polyphonic, 82;
qualities of good, 113 et seq.;
pianists’ mistakes, 115;
Bach’s, 120;
effect of clarinet in, 120;
Handel’s, 121;
romantic, 122;
innovations of Monteverde, 188;
Corelli’s contributions to, 193
Overture, classic form, 200
Percussive instruments, parts for, 112
Performance, qualities of orchestral, 124 et seq.;
requisites of, 125
Phrasing, 137
Piccolo, 95
Precision, 131, 132
Quality of tone, 125
Quartette, string, establishment of, 189, 190
Romantic music, 228 et seq.
Saltato, 10
Score, described, 43 et seq.;
abbreviations in, 47
Seating plan of orchestra, 49, 50, 203
Shading in orchestral playing, 134 et seq.
Solidity, 64, 114;
how obtained, 115;
in performance, 126
Sonata, development of, 220
Sordines, 10
Stamitz, developer of orchestral technics, 158
Strauss, R., leader of orchestral colorists, 232
Strings, 5;
methods of using, 66 et seq.;
test of methods, 72;
Beethoven’s plan, 72, 76;
innovations in use of, by romanticists, 72;
effects of different registers, 73;
Haydn’s plan, 75;
Mozart’s plan, 76;
Mendelssohn’s plan, 76;
introduction of various effects, 80;
proper proportion of, 127
Symphonic poem, 230
Symphony, form and development, 220 et seq.
Tambourine, 111
Tempo, importance of, 169 et seq.
Tone, balance of, 65, 126;
how obtained, 115;
qualities of, in orchestral performance, 125 et seq.;
necessity of fine, 130
Transposing instruments, 51 et seq.
Tremolo, 9;
invention of, 188
Trombone, kinds, compass and character, 34;
how used, 102;
introduction in symphony, 103;
Berlioz’s use of, 106;
Mozart’s and Gluck’s use of, 107
Trumpet, compass and character, 32;
how to read its music, 54;
methods of using, 98 et seq.
Tuba, kinds and character, 35;
how used, 103;
introduction of, 210
Tympani, compass and character, 37;
how used, 108;
Beethoven’s innovations in use of, 109
Unanimity, 131, 132, 133
Variety, 65;
how obtained, 119
Viola, compass and character of, 13 et seq.;
how used, 67 et seq.
Violin, compass, bowing, etc., 6 et seq.;
entrance into orchestra, 187
Violins, first and second, 5;
second, 11
Violoncello, compass and character, 16;
how used, 71
Wagner’s orchestra, 210
Wood-wind, enumerated, 4;
in detail, 19;
methods of using, 81 et seq.;
Bach’s plan, 82;
Handel’s, 84;
Haydn’s, 85;
Mozart’s, 87;
Beethoven’s, 88;
Brahms’s, 89;
Beethoven’s innovations, 90;
Wagner’s, 91
Xylophone, 112