be one degree stronger than in the rest of the brass; if the trumpets and trombones play pp, the horns should be marked p. On the other hand, to obtain a proper balance in forte passages, two horns are needed to one trumpet or one trombone.
Brass instruments are so similar in range and timbre that the discussion of register is unnecessary. As a general rule quality becomes more brilliant as the higher register is approached, and vice versa, with a decrease in tone. Played pp the resonance is sweet; played ff the tone is hard and "crackling". Brass instruments possess a remarkable capacity for swelling from pianissimo to fortissimo, and reducing the tone inversely, the sf
The following remarks as to character and tone quality may be added:
a) 1. Trumpets (B♭-A). Clear and fairly penetrating in tone, stirring and rousing in forte passages; in piano phrases the high notes are full and silvery, the low notes troubled, as though threatening danger.
2. Alto trumpet (in F). An instrument of my own invention, first used by me in the opera-ballet Mlada. In the deep register (notes 2 to 3 in the trumpet scale) it possesses a fuller, clearer, and finer tone. Two ordinary trumpets with an alto trumpet produce greater smoothness and equality in resonance than three ordinary trumpets. Satisfied with the beauty and usefulness of the alto trumpet, I have consistently written for it in my later works, combined with wood-wind in three's.
Note. To obviate the difficulty of using the alto trumpet in ordinary theatres and some concert rooms, I have not brought into play the last four notes of its lowest register or their neighbouring chromatics; by this means the alto trumpet part may be played by an ordinary trumpet in B♭ or A.
3. Small trumpet (in E♭-D). Invented by me and used for the first time in Mlada to realise the very high trumpet notes without difficulty. In tonality and range the instrument is similar to the soprano cornet in a military band.
Note. The small trumpet, (B♭-A) sounding an octave higher than the ordinary trumpet has not yet appeared in musical literature.
b) Cornets (in B♭-A). Possessing a quality of tone similar to the trumpet, but softer and weaker. It is a beautiful instrument though rarely employed today in theatre or concert room. Expert players can imitate the cornet tone on the trumpet, and vice versa.
c) Horn (in F). The tone of this instrument is soft, poetical, and full of beauty. In the lower register it is dark and brilliant; round and full in the upper. The middle notes resemble those of the bassoon and the two instruments blend well together. The horn, therefore, serves as a link between the brass and wood-wind. In spite of valves the horn has but little mobility and would seem to produce its tone in a languid and lazy manner.
d) Trombone. Dark and threatening in the deepest register, brilliant and triumphant in the high compass. The piano is full but somewhat heavy, the forte powerful and sonorous. Valve trombones are more mobile than slide trombones, but the latter are certainly to be preferred as regards nobility and equality of sound, the more so from the fact that these instruments are rarely required to perform quick passages, owing to the special character of their tone.
e) Tuba. Thick and rough in quality, less characteristic than the trombone, but valuable for the strength and beauty of its low notes. Like the double bass and double bassoon, the tuba is eminently useful for doubling, an octave lower, the bass of the group to which it belongs. Thanks to its valves, the tuba is fairly flexible.
Table C. Brass group.
These instruments give all chromatic intervals.[A] [B]
Natural sounds are given in white notes. The upper lines indicate the scope of greatest expression.
The group of brass instruments, though uniform in resonance throughout its constituent parts, is not so well adapted to expressive playing (in the exact sense of the word) as the wood-wind group. Nevertheless, a scope of greatest expression may be distinguished in the middle registers. In company with the piccolo and double bassoon it is not given to the small trumpet (E♭-D) and tuba to play with any great amount of expression. The rapid and rhythmical repetition of a note by single tonguing is possible to all members of the brass, but double tonguing can only be done on instruments with a small mouth-piece, trumpets and cornets. These two instruments can execute rapid tremolando without difficulty. The remarks on breathing, in the section devoted to the wood-wind, apply with equal force to the brass.
The use of stopped notes and mutes alters the character of brass tone. Stopped notes can only be employed on trumpets, cornets and horns; the shape of trombones and tubas prevents the hand from being inserted into the bell. Though mutes are applied indiscriminately to all brass instruments in the orchestra, tubas rarely possess them. Stopped and muted notes are similar in quality. On the trumpet, muting a note produces a better tone than stopping it.
In the horn both methods are employed; single notes are stopped in short phrases, muted in longer ones. I do not propose to describe the difference between the two operations in detail, and will leave the reader to acquire the knowledge for himself, and to form an opinion as to its importance from his own personal observation. Sufficient to say that the tone is deadened by both methods, assuming a wild "crackling" character in forte passages, tender and dull in piano. Resonance is greatly reduced, the silvery tone of the instrument so lost and a timbre resembling that of the oboe and Eng. horn is approached. Stopped notes (con sordino) are marked + underneath the note, sometimes followed by
C. Instruments of little sustaining power.
Plucked strings.
When the usual orchestral string quartet (Vns I, Vns II, Violas, 'Cellos, D. basses) does not make use of the bow, but plucks the strings with the finger, it becomes to my mind a new and independent group with its own particular quality of tone. Associated with the harp, which produces sound in a similar manner, I consider it separately under the heading of plucked strings.
Note. In this group may be classed the guitar, zither, balalaïka; instruments plucked with a quill, such as the domra,[9] the mandoline etc., all of which may be used in an orchestra, but have no place in the scope of the present book.
Pizzicato.
Although capable of every degree of power from ff to pp, pizzicato playing has but small range of expression, and is used chiefly as a colour effect. On open strings it is resonant and heavy, on stopped strings shorter and duller; in the high positions it is rather dry and hard.
Table D on page 31 indicates the range in which pizzicato may be used on each stringed instrument.
In
