Prout | Chapter III | Figures

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Prout (1899), The Orchestra — Vol. I

Chapter III. — Stringed Instruments
The Violin and Viola

This page contains all the figures — with new captions explaining each one — from Chapter III of Prout’s 1899 treatise.

Violina and Viola Overview

Violin:

Range
Fingerings
High Register
Positions
Bowing
Double Stops
Chords
Leaps
Tremolos
Accidentals

Strings:

Legato Tremolo
Pizzicato
Bowing
Mutes
Harmonics
Tuning
Texture
Dynamics
Divisi

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 19

Summary of Figure: The note E1, the lowest on the double bass and in the string section.

Exemplification of: Double bass; double bass strings

Prout, 1899 (vol.I), p. 19 [Note: The note E1, the lowest on the double bass and in the string section.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 19

Summary of Figure: The note E7, the highest suggested by Prout for orchestral music on the violin.

Exemplification of: Violin range, upper limit

Prout, 1899 (vol.I), p. 19 [Note: The note E7, the highest suggested by Prout for orchestral music on the violin.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), 20

Summary of Figure: An illustration showing the appearance of the violin

Exemplification of: Violin illustration

Prout, 1899 (vol.I), p. 20 [Note: An illustration showing the appearance of the violin]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p.20

Summary of Figure: An example showing the tuning of each string on the violin.

Exemplification of: Violin clefs, String tuning

Prout, 1899 (vol.I), p. 20 [Note: An example showing the tuning of each string on the violin.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 21

Summary of Figure: An example showing the fingerings on each string of the violin in first position.

Exemplification of: Violin strings, Fingerings

Prout, 1899 (vol.I), p. 21 [Note: An example showing the fingerings on each string of the violin in first position.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 21

Summary of Figure: An example showing the fingerings on each string of the violin in seventh position.

Exemplification of: Violin positions, Fingerings

Prout, 1899 (vol.I), p. 21 [Note: An example showing the fingerings on each string of the violin in seventh position.]

Prout, 1899 (vol.I), p. 23 [Note: An example showing a fingering method for playing chromatic notes on the violin using the same finger as the nearest diatonic note, in first and third positions.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 23

Summary of Figure: An example showing a fingering method for playing chromatic notes on the violin using the same finger as the nearest diatonic note, in first and third positions.

Exemplification of: Violin chromatic fingerings

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 22

Summary of Figure: The note F6, which is accessible on the first string of the violin in fifth position. This was the upper limit usually used by Haydn and Mozart for orchestral violin parts.

Exemplification of: Violin positions, High register

Prout, 1899 (vol.I), p. 22 [Note: The note F6, which is accessible on the first string of the violin in fifth position. This was the upper limit usually used by Haydn and Mozart for orchestral violin parts.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 22

Summary of Figure: An example from Beethoven's violin concerto demonstrating the indication to play a passage on a specific string or strings. In this example, the passage must be played "Sul G e D," only on the G and D strings, forcing the violinist to play in the higher positions.

Exemplification of: Violin strings, Positions

Composer and Work: Beethoven, Ludwig van

Prout, 1899 (vol.I), p. 22 [Note: An example from Beethoven's violin concerto demonstrating the indication to play a passage on a specific string or strings. In this example, the passage must be played "Sul G e D," only on the G and D strings, forcing the violinist to play in the higher positions.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 22

Summary of Figure: An example from Wagner's "Lohengrin" demonstrating the indication to play a passage on a specific string. In this example, the passage must be played "Nur auf der G Saite," only on the G string, forcing the violinists to play in the higher positions.

Exemplification of: Violin strings, positions

Composer and Work: Wagner, Richard | Lohengrin, WWV 75 <1846–1847>

Prout, 1899 (vol.I), p. 22 [Note: An example from Wagner's "Lohengrin" demonstrating the indication to play a passage on a specific string. In this example, the passage must be played "Nur auf der G Saite," only on the G string, forcing the violinists to play in the higher positions.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 24

Summary of Figure: An example from Schubert's "Unfinished" Symphony showing a simple legato passage in the violins with many notes slurred.

Exemplification of: Violin bowings, Slurs, Legato

Composer and Work: Schubert, Franz | Symphony in B minor

Prout, 1899 (vol.I), p. 24 [Note: An example from Schubert's "Unfinished" Symphony showing a simple legato passage in the violins with many notes slurred.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 24

Summary of Figure: An example from Haydn's Symphony No. 104 demonstrating variety of slurring in the violin part for expressive purposes. In this example, the notes with sforzandos are not slurred with other notes in order to allow stronger accents.

Exemplification of: Violin bowings, Slurs

Composer and Work: Haydn, Franz Joseph | Sympbony in D

Prout, 1899 (vol.I), p. 24 [Note: An example from Haydn's Symphony No. 104 demonstrating variety of slurring in the violin part for expressive purposes. In this example, the notes with sforzandos are not slurred with other notes in order to allow stronger accents.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 24

Summary of Figure: An example from Beethoven's "Fidelio" demonstrating slurring by pairs of two notes in the violin part with the groupings on the beat.

Exemplification of: Violin bowings, Slurs

Composer and Work: Beethoven, Ludwig van | Fidelio

Prout, 1899 (vol.I), p. 24 [Note: An example from Beethoven's "Fidelio" demonstrating slurring by pairs of two notes in the violin part with the groupings on the beat.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 24

Summary of Figure: An example from Beethoven's Symphony No. 9 demonstrating slurring by pairs of two notes in the violin part. The grouping of slurs in this example fall on the weak half of each beat, producing a syncopated accentuation.

Exemplification of: Violin bowings, Slurs, Syncopation

Composer and Work: Beethoven, Ludwig van | 9th Symphony

Prout, 1899 (vol.I), p. 24 [Note: An example from Beethoven's Symphony No. 9 demonstrating slurring by pairs of two notes in the violin part. The grouping of slurs in this example fall on the weak half of each beat, producing a syncopated accentuation.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 24

Summary of Figure: An example from Beethoven's "Fidelio" demonstrating slurring by pairs of two notes in the violin part. The grouping of slurs in this example fall on the weak half of each beat, producing a syncopated accentuation.

Exemplification of: Violin bowings, Slurs, Syncopation

Composer and Work: Beethoven, Ludwig van | Fidelio

Prout, 1899 (vol.I), p. 24 [Note: An example from Beethoven's "Fidelio" demonstrating slurring by pairs of two notes in the violin part. The grouping of slurs in this example fall on the weak half of each beat, producing a syncopated accentuation.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 25

Summary of Figure: An example from Mendelssohn's "Elijah" demonstrating the combination of slurred and detached notes in the violin part. The detached notes are marked as staccato in the first measure to clarify the pattern

Exemplification of: violin bowings, slurs, staccato

Composer and Work: Mendelssohn, Felix | Elijah

Prout, 1899 (vol.I), p. 25 [Note: An example from Mendelssohn's "Elijah" demonstrating the combination of slurred and detached notes in the violin part. The detached notes are marked as staccato in the first measure to clarify the pattern.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 25

Summary of Figure: An example from Auber's "Le Philtre" demonstrating the combination of legato and staccato bowings in the violin part.

Exemplification of: violin bowings, slurs, legato, staccato

Composer and Work: Auber, Daniel-François-Esprit | Le Philtre, S.20 <1831>

Prout, 1899 (vol.I), p. 25 [Note: An example from Auber's "Le Philtre" demonstrating the combination of legato and staccato bowings in the violin part.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 25

Summary of Figure: An example showing double stops involving open strings that are possible on the violin, and several that are not (e).

Exemplification of: violin double stops, open strings

Prout, 1899 (vol.I), p. 25 [Note: An example showing double stops involving open strings that are possible on the violin, and several that are not (e).]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 26

Summary of Figure: An example from No. 4 of Mozart's "12 Minuets" demonstrating the use of violin double stops in an orchestral context. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.

Exemplification of: violin double stops, first position

Composer and Work: Mozart, Wolfgang Amadeus | 12 Minuets, K.568 <1788>

AProut, 1899 (vol.I), p. 26 [Note: n example from No. 4 of Mozart's "12 Minuets" demonstrating the use of violin double stops in an orchestral context. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.] — Prout, 1899 (vol.I), p. 26 [Note: An example from No. 4 of Mozart's "12 Minuets" demonstrating the use of violin double stops in an orchestral context. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 27

Summary of Figure: An example from No. 3 of Mozart's "6 Minuets" demonstrating the use of violin double stops in a legato passage. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.

Exemplification of: violin double stops, legato bowings, string section without viola

Composer and Work: Mozart, Wolfgang Amadeus | 6 Minuets, K.599 <1791>

Prout, 1899 (vol.I), p. 27 [Note: An example from No. 3 of Mozart's "6 Minuets" demonstrating the use of violin double stops in a legato passage. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 27

Summary of Figure: An example from Beethoven's G major "Romance for Violin" demonstrating a level of double stop complexity that is possible for a solo violin line but would not be advisable in the context of an orchestral section.

Exemplification of: violin double stops

Composer and Work: Beethoven, Ludwig van | Romance No.1, op.40, G major <1801–1802>

Prout, 1899 (vol.I), p. 27 [Note: An example from Beethoven's G major "Romance for Violin" demonstrating a level of double stop complexity that is possible for a solo violin line but would not be advisable in the context of an orchestral section.]

Prout, 1899 (vol.I), p. 41 [Note: An example from the Overture to Weber's "Euryanthe" demonstrating a passage for 4 separate violin lines, with 2 soli players on each one. This passage also displays the use of mutes and the careful distribution of double stops.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 41

Summary of Figure: An example from the Overture to Weber's "Euryanthe" demonstrating a passage for 4 separate violin lines, with 2 soli players on each one. This passage also displays the use of mutes and the careful distribution of double stops.

Exemplification of: violin double stops, mutes

Composer and Work: Weber, Carl Maria von | Euryanthe, J.291 <1822–1823>

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 27

Summary of Figure: An example of a three-note chord that is impossible to play on the violin due to fingering limitations and string placement.

Exemplification of: violin chords, triple stops

Prout, 1899 (vol.I), p. 27 [Note: An example of a three-note chord that is impossible to play on the violin due to fingering limitations and string placement.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 28

Summary of Figure: An example of a four-note chord that is impossible to play on the violin due to the same finger being required on two non-adjacent strings.

Exemplification of: violin chords, quadruple stops, fingerings

Prout, 1899 (vol.I), p. 28 [Note: An example of a four-note chord that is impossible to play on the violin due to the same finger being required on two non-adjacent strings.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 28

Summary of Figure: An example showing three- and four-note chords on the violin that contain at least one open string.

Exemplification of: violin chords, triple stops, quadruple stops, open strings

Prout, 1899 (vol.I), p. 28 [Note: An example showing three- and four-note chords on the violin that contain at least one open string.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 28

Summary of Figure: An example showing three-note chords on the violin containing no open strings, in which the distance between notes on adjacent strings is always a fifth, sixth, or seventh.

Exemplification of: violin chords, triple stops, fingerings

Prout, 1899 (vol.I), p. 28 [Note: An example showing three-note chords on the violin containing no open strings, in which the distance between notes on adjacent strings is always a fifth, sixth, or seventh.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 29

Summary of Figure: An example showing a pattern for four-note chords on the violin that don't contain any open strings. Prout suggests that this is the only form of such chords that is "expedient to write."

Exemplification of: violin chords, quadruple stops, fingerings

Prout, 1899 (vol.I), p. 29 [Note: An example showing a pattern for four-note chords on the violin that don't contain any open strings. Prout suggests that this is the only form of such chords that is "expedient to write."]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 29

Summary of Figure: An example showing a quadruple-stop chord on the violin notated with equal note values for each note. In practice, all four notes cannot be sustained for the full value, so Prout recommends against using this notation for chords of long duration.

Exemplification of: violin chords, quadruple stops

Prout, 1899 (vol.I), p. 29 [Note: An example showing a quadruple-stop chord on the violin notated with equal note values for each note. In practice, all four notes cannot be sustained for the full value, so Prout recommends against using this notation for chords of long duration.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 29

Summary of Figure: An example showing two quadruple stop chords on the violin notated with longer note values on respectively the top two and top notes. In practice, all four notes cannot be sustained for the full value, so Prout recommends using this notation for chords of long duration to specify which notes should be sustained.

Exemplification of: violin chords, quadruple stops

Prout, 1899 (vol.I), p. 29 [Note: An example showing two quadruple stop chords on the violin notated with longer note values on respectively the top two and top notes. In practice, all four notes cannot be sustained for the full value, so Prout recommends using this notation for chords of long duration to specify which notes should be sustained.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 29

Summary of Figure: An example from Beethoven's "Consecration of the House" Overture demonstrating the spacing of three- and four-note violin chords to give players time to change fingerings.

Exemplification of: violin chords

Composer and Work: Beethoven, Ludwig van | Die Weihe des Hauses, op.124 (Consecration of the House): Overture <1822>

Prout, 1899 (vol.I), p. 29 [Note: An example from Beethoven's "Consecration of the House" Overture demonstrating the spacing of three- and four-note violin chords to give players time to change fingerings.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 29

Summary of Figure: An example from Beethoven's "Prometheus" demonstrating the spacing of three- and four-note violin chords to give players time to change fingerings.

Exemplification of: violin chords

Composer and Work: Beethoven, Ludwig van | Prometheus, op.43 (Die Geschöpfe des Prometheus) <1800–1801>

Prout, 1899 (vol.I), p. 29 [Note: An example from Beethoven's "Prometheus" demonstrating the spacing of three- and four-note violin chords to give players time to change fingerings.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 29

Summary of Figure: An example showing a figure that is impossible to play on the violin at a fast tempo due to the quick alternation between non-adjacent strings.

Exemplification of: violin strings, bowings, leaps

Prout, 1899 (vol.I), p. 29 [Note: An example showing a figure that is impossible to play on the violin at a fast tempo due to the quick alternation between non-adjacent strings.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 30

Summary of Figure: An example showing a figure that is possible to play on the violin at a fast tempo despite the wide leaps and quick alternation between notes. The facility of this version (as opposed to the previous example) is due to the fact that it can be played on two adjacent strings, the lower of which is an open string.

Exemplification of: violin strings, bowings, leaps

Prout, 1899 (vol.I), p. 30 [Note: An example showing a figure that is possible to play on the violin at a fast tempo despite the wide leaps and quick alternation between notes. The facility of this version (as opposed to the previous example) is due to the fact that it can be played on two adjacent strings, the lower of which is an open string.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 30

Summary of Figure: An example showing the notation for tremolo bowing on the violin, or any string instrument.

Exemplification of: violin/string bowings, tremolo

Prout, 1899 (vol.I), p. 30 [Note: An example showing the notation for tremolo bowing on the violin, or any string instrument.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 30

Summary of Figure: An example from Schubert's "Fierrabras" Overture demonstrating the use of tremolo bowings in the strings with a range of dynamics, from pianissimo to fortissimo.

Exemplification of: violin/string bowings, tremolo, dynamics

Composer and Work: Schubert, Franz | Fierrabras, D.796 <1823>

Prout, 1899 (vol.I), p. 30 [Note: An example from Schubert's "Fierrabras" Overture demonstrating the use of tremolo bowings in the strings with a range of dynamics, from pianissimo to fortissimo.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 31

Summary of Figure: An example from Beethoven's Piano Concerto No. 5 demonstrating the notation of a violin passage with accidentals that are easier for performers to read despite not representing the "true" theoretical notes (next example).

Exemplification of: violin accidentals

Composer and Work: Beethoven, Ludwig van | Concerto, Piano, No.5, op.73, E-flat major (Emperor) <1809>

Prout, 1899 (vol.I), p. 31 [Note: An example from Beethoven's Piano Concerto No. 5 demonstrating the notation of a violin passage with accidentals that are easier for performers to read despite not representing the "true" theoretical notes (next example).]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 31

Summary of Figure: An example from Beethoven's Piano Concerto No. 5 demonstrating the "true" theoretical notes of a violin passage that Beethoven notated instead with accidentals that are easier for performers to read (previous example).

Exemplification of: violin accidentals

Composer and Work: Beethoven, Ludwig van | Concerto, Piano, No.5, op.73, E-flat major (Emperor) <1809>

Prout, 1899 (vol.I), p. 31 [Note: An example from Beethoven's Piano Concerto No. 5 demonstrating the "true" theoretical notes of a violin passage that Beethoven notated instead with accidentals that are easier for performers to read (previous example).]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 31

Summary of Figure: An example from Wagner's "Tristan und Isolde" demonstrating a string texture Prout calls the "legato tremolo." In this texture, pairs of parts (violins 1/2 and viola/cello) alternate rapidly between the same two notes but in reverse order. All the notes are therefore heard continuously, but the resulting effect is different from a texture in which each part plays one note with a bowed tremolo.

Exemplification of: strings legato tremolo

Composer and Work: Wagner, Richard | Tristan und Isolde, WWV 90 <1857–1859>

Prout, 1899 (vol.I), p. 31 [Note: (1/2) An example from Wagner's "Tristan und Isolde" demonstrating a string texture Prout calls the "legato tremolo." In this texture, pairs of parts (violins 1/2 and viola/cello) alternate rapidly between the same two notes but in reverse order. All the notes are therefore heard continuously, but the resulting effect is different from a texture in which each part plays one note with a bowed tremolo.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 32

Exemplification of: strings legato tremolo

Composer and Work: Wagner, Richard | Tristan und Isolde, WWV 90 <1857–1859>

Prout, 1899 (vol.I), p. 32 [Note: (2/2) An example from Wagner's "Tristan und Isolde" demonstrating a string texture Prout calls the "legato tremolo." In this texture, pairs of parts (violins 1/2 and viola/cello) alternate rapidly between the same two notes but in reverse order. All the notes are therefore heard continuously, but the resulting effect is different from a texture in which each part plays one note with a bowed tremolo.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 33

Summary of Figure: An example from Bennett's "The Naiades" Overture demonstrating an imitative passage in which the strings (without the double bass) all play pizzicato. This example features an instance of second violins crossing above first violins, as well as unison doubling between viola and cello.

Exemplification of: strings pizzicato

Composer and Work: Bennett, William Sterndale | The Naiades (Die Nejaden) Concert Overture, op.15 <1836>

Prout, 1899 (vol.I), p. 33 [Note: An example from Bennett's "The Naiades" Overture demonstrating an imitative passage in which the strings (without the double bass) all play pizzicato. This example features an instance of second violins crossing above first violins, as well as unison doubling between viola and cello.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 33

Summary of Figure: An example from Prout's "Alfred" demonstrating the use of pizzicato in the whole string section to imitate the sound of a harp

Exemplification of: strings pizzicato

Composer and Work: Prout, Ebenezer | Alfred, op.16 <1885>

Prout, 1899 (vol.I), p. 33 [Note: An example from Prout's "Alfred" demonstrating the use of pizzicato in the whole string section to imitate the sound of a harp.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 33

Summary of Figure: An example from Haydn's Symphony No. 60 demonstrating a solo violin melody accompanied by second violin arpeggios and pizzicato in the low strings. In this example, the viola section is divided into two parts.

Exemplification of: strings pizzicato, violin arpeggios

Composer and Work: Haydn, Franz Joseph | Symphony No.60, C major (Il distratto) <1774>

Prout, 1899 (vol.I), p. 33 [Note: An example from Haydn's Symphony No. 60 demonstrating a solo violin melody accompanied by second violin arpeggios and pizzicato in the low strings. In this example, the viola section is divided into two parts.]

Prout, 1899 (vol.I), p. 47 [Note: An example from Gluck's "Alceste" demonstrating a viola section melody and two-part divisi. The first viola line doubles the solo voice at the unison for most of this excerpt, and the violin sections (in unison), cellos, and basses accompany with pizzicato.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 47

Summary of Figure: An example from Gluck's "Alceste" demonstrating a viola section melody and two-part divisi. The first viola line doubles the solo voice at the unison for most of this excerpt, and the violin sections (in unison), cellos, and basses accompany with pizzicato.

Exemplification of: strings pizzicato

Composer and Work: Gluck, Christoph Willibald | Alceste <1767; rev 1776>

Prout, 1899 (vol.I), p. 41 [Note: (1/2) An example from Haydn's Symphony No. 75 demonstrating the addition of solo violin 1, 2, and cello lines to the usual string sections. In this example, the solo strings play arco while the accompanying section parts are pizzicato. The wavy line under the first solo violin in bar 5 indicates vibrato. Editor: The treatise identifies this work as "Symphony in D, No. 43" but it is now known as No. 75.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 41

Summary of Figure: An example from Haydn's Symphony No. 75 demonstrating the addition of solo violin 1, 2, and cello lines to the usual string sections. In this example, the solo strings play arco while the accompanying section parts are pizzicato. The wavy line under the first solo violin in bar 5 indicates vibrato. Editor: The treatise identifies this work as "Symphony in D, No. 43" but it is now known as No. 75.

Exemplification of: strings pizzicato, violin vibrato

Composer and Work: Haydn, Franz Joseph | Symphony No.75, D major <1781>

Prout, 1899 (vol.I), p. 42 [Note: (2/2) An example from Haydn's Symphony No. 75 demonstrating the addition of solo violin 1, 2, and cello lines to the usual string sections. In this example, the solo strings play arco while the accompanying section parts are pizzicato. The wavy line under the first solo violin in bar 5 indicates vibrato. Editor: The treatise identifies this work as "Symphony in D, No. 43" but it is now known as No. 75.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 42

Exemplification of: strings pizzicato, violin vibrato

Composer and Work: Haydn, Franz Joseph | Symphony No.75, D major <1781>

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 34

Summary of Figure: An example from Boieldieu's "Le Calife de Bagdad" demonstrating the use of "col legno" bowing in the whole string section.

Exemplification of: strings bowing, col legno, staccato

Composer and Work: Boieldieu, François | Le Calife de Bagdad (The Caliph of Bagdad) <1800>

Prout, 1899 (vol.I), p. 34 [Note: An example from Boieldieu's "Le Calife de Bagdad" demonstrating the use of "col legno" bowing in the whole string section.]

Prout, 1899 (vol.I), p. 46 [Note: An example from Mozart's "Litaniae de venerabili altaris sacramento" demonstrating the division of the viola section into two parts. In this example, the two violin sections play a figure in thirds with alternating legato and staccato bowings, then the divisi violas repeat the figure at the same pitch. At the end of this example, the violas double the violins an octave above, demonstrating an unusual distribution of parts for that pairing.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 46

Summary of Figure: An example from Mozart's "Litaniae de venerabili altaris sacramento" demonstrating the division of the viola section into two parts. In this example, the two violin sections play a figure in thirds with alternating legato and staccato bowings, then the divisi violas repeat the figure at the same pitch. At the end of this example, the violas double the violins an octave above, demonstrating an unusual distribution of parts for that pairing.

Exemplification of: strings bowings, legato, staccato

Composer and Work: Mozart, Wolfgang Amadeus | Litaniae de venerabili altaris sacramento, K.125, B-flat major <1772>

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 35

Summary of Figure: An example from Handel's "Alexander Balus" demonstrating a passage with muted (con sordino) violin and viola parts, and unmuted cellos.

Exemplification of: violin and viola mutes

Composer and Work: Handel, George Frideric | Alexander Balus, HWV 65 <1748>

Prout, 1899 (vol.I), p. 35 [Note: An example from Handel's "Alexander Balus" demonstrating a passage with muted (con sordino) violin and viola parts, and unmuted cellos.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 35

Summary of Figure: An example from Hérold's "Le Pré aux Clercs" demonstrating a pianissimo passage for muted strings without double bass.

Exemplification of: strings mutes

Composer and Work: Hérold, Louis Joseph F. | Le Pré aux clercs (The Field of Honor) <1832>

Prout, 1899 (vol.I), p. 35 [Note: An example from Hérold's "Le Pré aux Clercs" demonstrating a pianissimo passage for muted strings without double bass.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 36

Summary of Figure: An example showing the first six notes of the harmonic series, with the open G string of the violin as the fundamental.

Exemplification of: violin G string, harmonics

Prout, 1899 (vol.I), p. 36 [Note: An example showing the first six notes of the harmonic series, with the open G string of the violin as the fundamental.]

Prout, 1899 (vol.I), p. 40 [Note: (2/2) An example from the slow movement of Saint-Saëns' Violin Concerto No. 3 demonstrating an arpeggiated passage in harmonics played by the solo violin and doubled two octaves below by a clarinet. This is an example of a passage in harmonics that is possible in a solo violin part but would be inadvisable in the context of an orchestral section. The notation in this example indicates only the intended sounding notes; the specific method of execution is left to the discretion of the player.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 40

Summary of Figure: An example from the slow movement of Saint-Saëns' Violin Concerto No. 3 demonstrating an arpeggiated passage in harmonics played by the solo violin and doubled two octaves below by a clarinet. This is an example of a passage in harmonics that is possible in a solo violin part but would be inadvisable in the context of an orchestral section. The notation in this example indicates only the intended sounding notes; the specific method of execution is left to the discretion of the player.

Exemplification of: solo violin harmonics

Composer and Work: Saint-Saëns, Camille | Concerto, Violin, No.3, op.61, B minor <1880>

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 37

Summary of Figure: An example showing the notation for the first (octave) natural harmonic on each string of the violin.

Exemplification of: violin strings, natural harmonics

Prout, 1899 (vol.I), p. 37 [Note: An example showing the notation for the first (octave) natural harmonic on each string of the violin.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 37

Summary of Figure: An example showing Prout's recommended notation for all natural harmonics on each string of the violin. Because the first (octave) harmonic is touched and sounds at the same part of the string as the corresponding fully fingered note, it is indicated with a single regular notehead and a "o" above. The others involve indicating the string played (regular notehead), the note touched (diamond notehead), and the resulting sounding pitch (small note).

Exemplification of: violin strings, natural harmonics

Prout, 1899 (vol.I), p. 37 [Note: An example showing Prout's recommended notation for all natural harmonics on each string of the violin. Because the first (octave) harmonic is touched and sounds at the same part of the string as the corresponding fully fingered note, it is indicated with a single regular notehead and a "o" above. The others involve indicating the string played (regular notehead), the note touched (diamond notehead), and the resulting sounding pitch (small note).]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 37

Summary of Figure: A table outlining the relationship between touched and sounding notes for natural harmonics on the violin and other string instruments.

Exemplification of: strings natural harmonics

Prout, 1899 (vol.I), p. 37 [Note: A table outlining the relationship between touched and sounding notes for natural harmonics on the violin and other string instruments.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 38

Summary of Figure: An example from Raff's Symphony No. 3 demonstrating an unconventional notation of natural harmonics in the first violin part. In this example, the touched notes are solid noteheads and the sounding notes are diamond noteheads.

Exemplification of: violin natural harmonics

Prout, 1899 (vol.I), p. 38 [Note: An example from Raff's Symphony No. 3 demonstrating an unconventional notation of natural harmonics in the first violin part. In this example, the touched notes are solid noteheads and the sounding notes are diamond noteheads.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 38

Summary of Figure: An example demonstrating the possibility of playing a complete scale on the violin using artificial harmonics. The notation for artificial harmonics in this example is the same as the one suggested by Prout for most natural harmonics (Ex. 26)

Exemplification of: violin artificial harmonics, scales

Prout, 1899 (vol.I), p. 38 [Note: An example demonstrating the possibility of playing a complete scale on the violin using artificial harmonics. The notation for artificial harmonics in this example is the same as the one suggested by Prout for most natural harmonics (Ex. 26).

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 39

Summary of Figure: An example from the opening of Wagner's "Lohengrin" demonstrating an unconventional notation for harmonics in a passage for four solo violins. In this example, only the intended sounding notes are written, with the indication "Durch Flageolet hervorzubringen" ("to produce by harmonics"); the specific method of execution is left to the discretion of the players.

Exemplification of: violin harmonics

Composer and Work: Wagner, Richard | Lohengrin, WWV 75 <1846–1847>

Prout, 1899 (vol.I), p. 39 [Note: An example from the opening of Wagner's "Lohengrin" demonstrating an unconventional notation for harmonics in a passage for four solo violins. In this example, only the intended sounding notes are written, with the indication "Durch Flageolet hervorzubringen" ("to produce by harmonics"); the specific method of execution is left to the discretion of the players.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 39

Exemplification of: solo violin harmonics

Composer and Work: Saint-Saëns, Camille | Concerto, Violin, No.3, op.61, B minor <1880>

Prout, 1899 (vol.I), p. 39 [Note: An example from the slow movement of Saint-Saëns' Violin Concerto No. 3 demonstrating an arpeggiated passage in harmonics played by the solo violin and doubled two octaves below by a clarinet. This is an example of a passage in harmonics that is possible in a solo violin part but would be inadvisable in the context of an orchestral section. The notation in this example indicates only the intended sounding notes; the specific method of execution is left to the discretion of the player.]

Prout, 1899 (vol.I), p. 44 [Note: An example showing the first (octave) natural harmonic on each string of the viola.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 44

Summary of Figure: te: An example showing the first (octave) natural harmonic on each string of the viola.

Exemplification of: viola strings, natural harmonics

Prout, 1899 (vol.I), p. 44 [Note: The note A5. Prout suggests that notes above this are "far more effective, as well as easier, on the violin" than on the viola, making positions higher than the fifth rare in an orchestral viola context.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 44

Summary of Figure: The note A5. Prout suggests that notes above this are "far more effective, as well as easier, on the violin" than on the viola, making positions higher than the fifth rare in an orchestral viola context

Exemplification of: viola strings, natural harmonics

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 44

Summary of Figure: An example showing the tuning of each string on the viola in alto clef.

Exemplification of: viola clefs, string tuning

Prout, 1899 (vol.I), p. 44 [Note: An example showing the tuning of each string on the viola in alto clef.]

Prout, 1899 (vol.I), p. 50 [Note: An example showing the tuning of each of the seven strings on the viola d'amore.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 50

Summary of Figure: An example showing the tuning of each of the seven strings on the viola d'amore.

Exemplification of: viola d'amore strings, tuning

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 45

Summary of Figure: An example from Mendelssohn's "Elijah" demonstrating a passage in which the violas play above both first and second violins. In this example, the viola line doubles the solo voice melody an octave above.

Exemplification of: viola melody, voice-viola octave doubling

Composer and Work: Mendelssohn, Felix | Elijah, op.70 (Elias) <1846; rev 1847>

Prout, 1899 (vol.I), p. 45 [Note: An example from Mendelssohn's "Elijah" demonstrating a passage in which the violas play above both first and second violins. In this example, the viola line doubles the solo voice melody an octave above.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 48

Summary of Figure: An example from Handel's "Hide me from day's garish eye" in "L'Allegro" demonstrating a pianissimo string texture without cello or double bass. The role of the bassline is instead given to the violas.

Exemplification of: string dynamics, pianissimo

Composer and Work: Handel, George Frideric | L'Allegro, il penseroso ed il moderato, HWV 55 <1740>

Prout, 1899 (vol.I), p. 48 [Note: An example from Handel's "Hide me from day's garish eye" in "L'Allegro" demonstrating a pianissimo string texture without cello or double bass. The role of the bassline is instead given to the violas.]

Chapter: 3. Stringed Instruments: The Violin and Viola

Citation: Prout, 1899 (vol.I), p. 49

Summary of Figure: An example from Schubert's "Gesang der Geister über den Wassern" demonstrating a passage for strings without violins. Both the viola and cello sections are divided into two parts, and the double bass line is semi-independent from the cellos.

Exemplification of: viola divisi, cello divisi, string section without violin

Composer and Work: Schubert, Franz | Gesang der Geister über den Wassern, D.714, op.167 <1821>