Excerpt from Instruments of the Orchestra by Sight and Sound: A Description of the Instruments and Their Use Illustrated by Special Charts in Color and by Victor Records on Which They May Be Heard
The four strings of the violin are G, D, A, E, tuned in fifths. The first, or E string, sometimes called chanterelle, is very often used on account of its beautiful singing tone. The D and A strings are not so penetrating, but are sweet and mellow. The fourth, or G string, is wire-wound, which accounts for its rich sonorous tone. The first three strings are usually of catgut obtained from sheep, although the E string is sometimes made of silk or steel. The compass of the violin is four 3m tones over three octaves, from G to C. Higher notes can be produced, but they grow weaker as they go higher, and are of no practical value.
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Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Excerpt from Instruments of the Orchestra by Sight and Sound: A Description of the Instruments and Their Use Illustrated by Special Charts in Color and by Victor Records on Which They May Be Heard
The four strings of the violin are G, D, A, E, tuned in fifths. The first, or E string, sometimes called chanterelle, is very often used on account of its beautiful singing tone. The D and A strings are not so penetrating, but are sweet and mellow. The fourth, or G string, is wire-wound, which accounts for its rich sonorous tone. The first three strings are usually of catgut obtained from sheep, although the E string is sometimes made of silk or steel. The compass of the violin is four 3m tones over three octaves, from G to C. Higher notes can be produced, but they grow weaker as they go higher, and are of no practical value.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Instruments of the Orchestra by Sight and Sound: A Description of the Instruments and Their Use Illustrated by Special Charts in Color and by Victor Records on Which They May Be Heard
The need of a trehle viol to support the high voices brought about the perfection of the violin about 1650. In this early development aery important part was taken bj the composer, Monteverde, who made the violin a regular member, and the strings the main body, of his orchestra. As instruments improved the tendency grew to write for the orchestra without voices. This led to the Suites or collections of dances for orchestra, a typical example of which is Bachs D-Major Suite (Records 35669, , 35656).The suite developed into the symphony of Haydn, who, more than a century and a half ago, perfected the symjihony orchestra with its four groups of instruments. Haydns orchestra consisted of a string choir of first and second violins, violas, cellos and double-))ass; these formed the backbone of the orchestra. The woodwind included not more than two flutes, t-o oboes and two bassoons. Tao natural horns and two natural trumpets furnished the brass. The percussion consisted of a pair of kettledrums, with the occasional use of the triangle and cymbals. Haydns method of writing for these instruments may be heard in the Surprise Symjjhony (Records 35243, 35 -244)and in the Military Symi)hony (Records 35311, 35520).Mozart, Haydns friend and pupil, added two clarinets to the woodwind; in his ojiera music he also used trombones. Mozarts fine instinct for orchestral coloring is shown in two of his greatest symphonies, the GMinor (Records 35482, 35489)and the Jupiter (Records 17707, 35430).But the symphony orchestra owes its greatest de elojment to Beethoven, who used every instrument more independently, bringing out its own individuality. In his great Symphony No.5 inC Minor (Records 18124, 35580, 18278, 35637), three trombones, a )iccolo and double-bassoon became established as regular members. Then came the Romantic composers who sought new instruments and tonal effects for emotional color. To this period belong Weber, founder of romantic opera, Mendelssohn, one of the first to achieve fame as a conductor, and Berlioz, the great master of instrumentation. At this time the invention of vahes for the brass instruments, and an impro ed system of keys for the woodwind, greatly increased their usefulness. The experiments and innovations of Berlioz had the greatest influence on the composition of the modern orchestra; his ideas were closely followed and developed by Wagner in his music-dramas. The harp was brought into the orchestra l)y these composers, as were also the English horn, the bass clarinet, and the bass tuba.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Librería: Forgotten Books, London, Reino Unido
Paperback. Condición: New. Print on Demand. This book provides a comprehensive guide to the instruments of the orchestra, tracing their history, technical details, and characteristic sounds. The author, a knowledgeable expert, explores the fascinating evolution of these instruments from their humble beginnings to their present-day sophistication. The book examines their roles in famous orchestral works, revealing how composers have harnessed their unique timbres to create captivating musical experiences. Whether you're a seasoned musician or simply curious about the instruments that produce the rich tapestry of orchestral sound, this book offers an engaging and enlightening journey into a world of musical artistry and craftsmanship. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. Nº de ref. del artículo: 9781330464205_0
Cantidad disponible: Más de 20 disponibles
Librería: PBShop.store US, Wood Dale, IL, Estados Unidos de America
PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000. Nº de ref. del artículo: LW-9781330464205
Cantidad disponible: 15 disponibles
Librería: PBShop.store UK, Fairford, GLOS, Reino Unido
PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000. Nº de ref. del artículo: LW-9781330464205
Cantidad disponible: 15 disponibles