Prout | Chapter VIII | Figures
The Clarinet:
The Basset Horn:
The Bass Clarinet:
The Saxohpnone:
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 147
Summary of Figure: An example showing the appearance of the clarinet.
Exemplification of: clarinet illustration
Prout, 1899 (vol.I), p. 147 [Note: An example showing the appearance of the clarinet.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 148
Summary of Figure: An example showing the fundamental scale of the clarinet, which is G major starting on the pitch G3.
Exemplification of: clarinet fundamental notes, scalesa
Prout, 1899 (vol.I), p. 148 [Note: An example showing the fundamental scale of the clarinet, which is G major starting on the pitch G3.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 148
Summary of Figure: The note E3, which is the lowest note possible on the clarinet.
Exemplification of: clarinet range, lower limit
Prout, 1899 (vol.I), p. 148 [Note: The note E3, which is the lowest note possible on the clarinet.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 149
Summary of Figure: The notes E3 and Bb4, which are the limits of the full range of fundamental notes on the clarinet.
Exemplification of: clarinet fundamental notes, scales
Prout, 1899 (vol.I), p. 149 [Note: The notes E3 and Bb4, which are the limits of the full range of fundamental notes on the clarinet.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 149
Summary of Figure: The notes F6 and G6, which Prout suggests as two possible upper limits for the range of the clarinet in an orchestral context
Exemplification of: clarinet range, upper limit
Prout, 1899 (vol.I), p. 149 [Note: The notes F6 and G6, which Prout suggests as two possible upper limits for the range of the clarinet in an orchestral context.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 150
Summary of Figure: The notes F3 and E6, which are the limits of the range recommended by Prout for trills on the clarinet.
Exemplification of: clarinet trills, range
Prout, 1899 (vol.I), p. 150 [Note: The notes F3 and E6, which are the limits of the range recommended by Prout for trills on the clarinet.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 148
Summary of Figure: The note C4 (middle C), which is obtained on the oboe with a two-foot-long tube, but on the clarinet with only one foot of tube.
Exemplification of: oboe and clarinet acoustics, fingerings
Prout, 1899 (vol.I), p. 148 [Note: The note C4 (middle C), which is obtained on the oboe with a two-foot-long tube, but on the clarinet with only one foot of tube.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 148
Summary of Figure: The note B4, which is the 3rd partial of E3, the lowest fundamental note on the clarinet.
Exemplification of: clarinet acoustics, fingerings
Prout, 1899 (vol.I), p. 148 [Note: The note B4, which is the 3rd partial of E3, the lowest fundamental note on the clarinet.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 149
Summary of Figure: An example showing the first six notes of a G major scale starting on G3. On the clarinet, these notes have the same fingering, except for one key, as the series of notes a twelfth higher (next example).
Exemplification of: clarinet fingerings
Prout, 1899 (vol.I), p. 149 [Note: An example showing the first six notes of a G major scale starting on G3. On the clarinet, these notes have the same fingering, except for one key, as the series of notes a twelfth higher (next example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 149
Summary of Figure: An example showing the first six notes of a D major scale starting on D5. On the clarinet, these notes have the same fingering, except for one key, as the series of notes a twelfth lower (previous example).
Exemplification of: clarinet fingerings
Prout, 1899 (vol.I), p. 149 [Note: An example showing the first six notes of a D major scale starting on D5. On the clarinet, these notes have the same fingering, except for one key, as the series of notes a twelfth lower (previous example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 150
Summary of Figure: An example showing the specific trills on the clarinet that Prout suggests are "best to avoid" due to being "either difficult or altogether impossible."
Exemplification of: clarinet trills, fingerings
Prout, 1899 (vol.I), p. 150 [Note: An example showing the specific trills on the clarinet that Prout suggests are "best to avoid" due to being "either difficult or altogether impossible."]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 151
Summary of Figure: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating a passage that lies in the "break" of the clarinet. At a fast tempo, this distribution of notes makes the fingering of the passage very difficult
Exemplification of: clarinet break, fingerings
Composer and Work: Mendelssohn, Felix | A Midsummer Night's Dream, op.61 <1843>
Prout, 1899 (vol.I), p. 151 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating a passage that lies in the "break" of the clarinet. At a fast tempo, this distribution of notes makes the fingering of the passage very difficult.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 152
Summary of Figure: An example showing the sounding pitches when a written G major scale is played on a Bb clarinet. The transposition results in sounding pitches a whole tone lower than notated.
Exemplification of: clarinet transposing notation
Prout, 1899 (vol.I), p. 152 [Note: An example showing the sounding pitches when a written G major scale is played on a Bb clarinet. The transposition results in sounding pitches a whole tone lower than notated.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 152
Summary of Figure: An example showing the sounding pitches when a written G major scale is played on an A clarinet. The transposition results in sounding pitches a minor third lower than notated.
Exemplification of: clarinet transposing notation
Prout, 1899 (vol.I), p. 152 [Note: An example showing the sounding pitches when a written G major scale is played on an A clarinet. The transposition results in sounding pitches a minor third lower than notated.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 152
Summary of Figure: A table showing the correspondences of key signatures between clarinets in C, Bb, and A.
Exemplification of: clarinet keys, transposing notation
Prout, 1899 (vol.I), p. 152 [Note: A table showing the correspondences of key signatures between clarinets in C, Bb, and A.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 153
Summary of Figure: An example showing a figure that is very uncomfortable to play on the C clarinet (this example), slightly better on the Bb clarinet (next example), and much easier on the A clarinet (example after next).
Exemplification of: clarinet transposing notation, fingerings
Prout, 1899 (vol.I), p. 153 [Note: An example showing a figure that is very uncomfortable to play on the C clarinet (this example), slightly better on the Bb clarinet (next example), and much easier on the A clarinet (example after next).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 153
Summary of Figure: An example showing a figure that is very uncomfortable to play on the C clarinet (previous example), slightly better on the Bb clarinet (this example), and much easier on the A clarinet (next example).
Exemplification of: clarinet transposing notation, fingerings
Prout, 1899 (vol.I), p. 153 [Note: An example showing a figure that is very uncomfortable to play on the C clarinet (previous example), slightly better on the Bb clarinet (this example), and much easier on the A clarinet (next example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 153
Summary of Figure: An example showing a figure that is very uncomfortable to play on the C clarinet (example before previous), slightly better on the Bb clarinet (previous example), and much easier on the A clarinet (this example).
Exemplification of: clarinet transposing notation, fingerings
Prout, 1899 (vol.I), p. 153 [Note: An example showing a figure that is very uncomfortable to play on the C clarinet (example before previous), slightly better on the Bb clarinet (previous example), and much easier on the A clarinet (this example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 150
Summary of Figure: An example showing the division of the clarinet range into registers, labeled Grave, Medium, Acute, and Highest.]
Exemplification of: clarinet registers
Prout, 1899 (vol.I), p. 150 [Note: An example showing the division of the clarinet range into registers, labeled Grave, Medium, Acute, and Highest.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 155
Summary of Figure: An example from Mozart's "Così fan tutte" demonstrating several melodic and accompanimental roles possible on the clarinet. Parts of this example feature melodic doubling in thirds between two clarinets, and octave doubling of both parts by bassoons. In the middle of this excerpt, the second clarinet accompanies with arpeggios in the chalumeau, or low register
Exemplification of: clarinet chalumeau (low) register arpeggios
Composer and Work: Mozart, Wolfgang Amadeus | Così fan tutte, K.588 <1790>
Prout, 1899 (vol.I), p. 155 [Note: (1/2) An example from Mozart's "Così fan tutte" demonstrating several melodic and accompanimental roles possible on the clarinet. Parts of this example feature melodic doubling in thirds between two clarinets, and octave doubling of both parts by bassoons. In the middle of this excerpt, the second clarinet accompanies with arpeggios in the chalumeau, or low register.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 156
Summary of Figure: An example from Mozart's "Così fan tutte" demonstrating several melodic and accompanimental roles possible on the clarinet. Parts of this example feature melodic doubling in thirds between two clarinets, and octave doubling of both parts by bassoons. In the middle of this excerpt, the second clarinet accompanies with arpeggios in the chalumeau, or low register.
Exemplification of: clarinet chalumeau (low) register arpeggios
Composer and Work: Mozart, Wolfgang Amadeus | Così fan tutte, K.588 <1790>
Prout, 1899 (vol.I), p. 156 [Note: (2/2) An example from Mozart's "Così fan tutte" demonstrating several melodic and accompanimental roles possible on the clarinet. Parts of this example feature melodic doubling in thirds between two clarinets, and octave doubling of both parts by bassoons. In the middle of this excerpt, the second clarinet accompanies with arpeggios in the chalumeau, or low register.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 156
Summary of Figure: : An example from Mozart's "Così fan tutte" (previous example) showing a notational custom in which clarinet parts in the chalumeau, or low register are notated an octave higher with the indication "Chal." written above. Prout recommends against using this practice
Exemplification of: clarinet chalumeau (low) register notation
Composer and Work: Mozart, Wolfgang Amadeus | Così fan tutte, K.588 <1790>
Prout, 1899 (vol.I), p. 156 [Note: An example from Mozart's "Così fan tutte" (previous example) showing a notational custom in which clarinet parts in the chalumeau, or low register are notated an octave higher with the indication "Chal." written above. Prout recommends against using this practice.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 157
Summary of Figure: An example from Schubert's "Die Verschworenen" demonstrating a solo clarinet melody accompanied by tremolo and pizzicato strings.
Exemplification of: clarinet solo melody, strings tremolo and pizzicato accompaniment
Composer and Work: Schubert, Franz | Die Verschworenen (Der häusliche Krieg), D.787 <1822>
Prout, 1899 (vol.I), p. 157 [Note: An example from Schubert's "Die Verschworenen" demonstrating a solo clarinet melody accompanied by tremolo and pizzicato strings.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 158 [
Summary of Figure: An example from the "Sheperd's Melody" of Schubert's "Rosamunde" demonstrating a melody for two clarinets accompanied by an open fifth horn pedal and occasional harmonic support from the bassoons.
Exemplification of: clarinets melody, horn pedal
Prout, 1899 (vol.I), p. 158 [Note: An example from the "Sheperd's Melody" of Schubert's "Rosamunde" demonstrating a melody for two clarinets accompanied by an open fifth horn pedal and occasional harmonic support from the bassoons.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 158
Summary of Figure: An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.
Exemplification of: clarinet melody, sustained winds and solo viola arpeggiated accompaniment
Composer and Work: Weber, Carl Maria von | Euryanthe, J.291 <1822–1823>
Prout, 1899 (vol.I), p. 158 [Note: (1/3) An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 159
Summary of Figure: An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.]
Exemplification of: clarinet melody, sustained winds and solo viola arpeggiated accompaniment
Composer and Work: Weber, Carl Maria von | Euryanthe, J.291 <1822–1823>
Prout, 1899 (vol.I), p. 159 [Note: (2/3) An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 160
Summary of Figure: An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.
Exemplification of: clarinet melody, sustained winds and solo viola arpeggiated accompaniment
Composer and Work: Weber, Carl Maria von | Euryanthe, J.291 <1822–1823>
Prout, 1899 (vol.I), p. 160 [Note: (3/3) An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 160
Summary of Figure: An example from the Scherzo of Mendelssohn's "Scottish" Symphony (No. 3) demonstrating a "lively" solo clarinet melody. The strings, without cello or double bass, provide a pianissimo sixteenth-note tremolo accompaniment.
Exemplification of: clarinet lively melody, strings without cellos and double bass
Composer and Work: Mendelssohn, Felix | Symphony No.3, op.56, A minor (Scottish) <1829–1842; rev 1843>
Prout, 1899 (vol.I), p. 160 [Note: (1/2) An example from the Scherzo of Mendelssohn's "Scottish" Symphony (No. 3) demonstrating a "lively" solo clarinet melody. The strings, without cello or double bass, provide a pianissimo sixteenth-note tremolo accompaniment.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 161
Summary of Figure: An example from the Scherzo of Mendelssohn's "Scottish" Symphony (No. 3) demonstrating a "lively" solo clarinet melody. The strings, without cello or double bass, provide a pianissimo sixteenth-note tremolo accompaniment
Exemplification of: clarinet lively melody, strings without cellos and double bass
Composer and Work: Mendelssohn, Felix | Symphony No.3, op.56, A minor (Scottish) <1829–1842; rev 1843>
Prout, 1899 (vol.I), p. 161 [Note: (2/2) An example from the Scherzo of Mendelssohn's "Scottish" Symphony (No. 3) demonstrating a "lively" solo clarinet melody. The strings, without cello or double bass, provide a pianissimo sixteenth-note tremolo accompaniment.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 161
Summary of Figure: An example from Boieldieu's "Jean de Paris" demonstrating a solo clarinet melody that lies mostly in the middle and high registers. This example demonstrates the capacity of the clarinet to portray a character Prout describes as "graceful."
Exemplification of: clarinet melody
Composer and Work: Boieldieu, François | Jean de Paris <1812>
Prout, 1899 (vol.I), p. 161 [Note: (1/2) An example from Boieldieu's "Jean de Paris" demonstrating a solo clarinet melody that lies mostly in the middle and high registers. This example demonstrates the capacity of the clarinet to portray a character Prout describes as "graceful."]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 162
Summary of Figure: An example from Boieldieu's "Jean de Paris" demonstrating a solo clarinet melody that lies mostly in the middle and high registers. This example demonstrates the capacity of the clarinet to portray a character Prout describes as "graceful."
Exemplification of: clarinet melody
Composer and Work: Boieldieu, François | Jean de Paris <1812>
Prout, 1899 (vol.I), p. 162 [Note: (2/2) An example from Boieldieu's "Jean de Paris" demonstrating a solo clarinet melody that lies mostly in the middle and high registers. This example demonstrates the capacity of the clarinet to portray a character Prout describes as "graceful."]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 163
Summary of Figure: An example from Rossini's "Semiramide" demonstrating a "florid" and technically difficult solo clarinet melody, doubled at the octave below by bassoon then horn. The strings provide a piano pizzicato accompaniment.
Exemplification of: clarinet-bassoon and clarinet-horn octave doubling, strings pizzicato accompaniment
Composer and Work: Rossini, Gioachino | Semiramide <1823>
Prout, 1899 (vol.I), p. 163 [Note: An example from Rossini's "Semiramide" demonstrating a "florid" and technically difficult solo clarinet melody, doubled at the octave below by bassoon then horn. The strings provide a piano pizzicato accompaniment.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 163
Summary of Figure: An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a pianississimo solo clarinet melody. The accompaniment in other winds and horns features even softer dynamics, going as far as "pppp."
Exemplification of: clarinet dynamics, pianississimo
Composer and Work: Tchaikovsky, Piotr Ilyich |Symphony No.6, op.74, TH 30, B minor (Pathétique; Pateticheskaia) <1893>
Prout, 1899 (vol.I), p. 163 [Note: (1/2) An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a pianississimo solo clarinet melody. The accompaniment in other winds and horns features even softer dynamics, going as far as "pppp."]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 164
Summary of Figure: An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a pianississimo solo clarinet melody. The accompaniment in other winds and horns features even softer dynamics, going as far as "pppp.
Exemplification of: clarinet dynamics, pianississimo
Composer and Work: Tchaikovsky, Piotr Ilyich |Symphony No.6, op.74, TH 30, B minor (Pathétique; Pateticheskaia) <1893>
Prout, 1899 (vol.I), p. 164 [Note: (2/2) An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a pianississimo solo clarinet melody. The accompaniment in other winds and horns features even softer dynamics, going as far as "pppp."]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Clarinet
Citation: Prout, 1899 (vol.I), p. 164
Summary of Figure: An example from the end of Act 3 in Wagner's "Siegfried" demonstrating an unaccompanied passage for two clarinets in parallel thirds.
Exemplification of: clarinets thirds doubling, unaccompanied clarinets
Composer and Work: Wagner, Richard | Siegfried, WWV 86c <1857–1871>
Prout, 1899 (vol.I), p. 164 [Note: An example from the end of Act 3 in Wagner's "Siegfried" demonstrating an unaccompanied passage for two clarinets in parallel thirds.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 166
Summary of Figure: An example showing the appearance of the basset horn.
Exemplification of: basset horn illustration
Prout, 1899 (vol.I), p. 166 [Note: An example showing the appearance of the basset horn.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 166
Summary of Figure: The note C3, which is the lowest note possible on the basset horn. Sounding pitch is a fifth below notated
Exemplification of: basset horn range, lower limit
Prout, 1899 (vol.I), p. 166 [Note: The note C3, which is the lowest note possible on the basset horn. Sounding pitch is a fifth below notated.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 166
Summary of Figure: The notes C3 and G6, which are the limits of the basset horn range. Sounding pitch is a fifth below notated.
Exemplification of: basset horn range
Prout, 1899 (vol.I), p. 166 [Note: The notes C3 and G6, which are the limits of the basset horn range. Sounding pitch is a fifth below notated.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 166
Summary of Figure: The note C6. Several notes above this are possible on the basset horn but rarely used as they can be written for the clarinets instead. Sounding pitch is a fifth below notated.
Exemplification of: basset horn range, practical upper limit
Prout, 1899 (vol.I), p. 166 [Note: The note C6. Several notes above this are possible on the basset horn but rarely used as they can be written for the clarinets instead. Sounding pitch is a fifth below notated.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 169
Summary of Figure: The notes E3 and G6, which are the limits of the written bass clarinet range.
Exemplification of: bass clarinet range, transposing notation
Prout, 1899 (vol.I), p. 169 [Note: The notes E3 and G6, which are the limits of the written bass clarinet range.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 169
Summary of Figure: The notes E3 and G6, which are the limits of the written bass clarinet range.
Exemplification of: bass clarinet range, transposing, sounding pitch
Prout, 1899 (vol.I), p. 169 [Note: The notes E3 and G6, which are the limits of the written bass clarinet range.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 170
Summary of Figure: The notes C#2 and E5, which are the limits of the sounding range of the bass clarinet in A.
Exemplification of: bass clarinet range, transposing, sounding pitch
Prout, 1899 (vol.I), p. 170 [Note: The notes C#2 and E5, which are the limits of the sounding range of the bass clarinet in A.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 167
Summary of Figure: An example from Mozart's "La Clemenza di Tito" demonstrating the archaic custom of notating lower passages for the basset horn in bass clef, an octave below the intended pitch. As a result, such passages sound a fourth higher than written.
Exemplification of: basset horn clefs, transposing notation
Composer and Work: Mozart, Wolfgang Amadeus | La clemenza di Tito, K.621 <1791>
Prout, 1899 (vol.I), p. 167 [Note: An example from Mozart's "La Clemenza di Tito" demonstrating the archaic custom of notating lower passages for the basset horn in bass clef, an octave below the intended pitch. As a result, such passages sound a fourth higher than written.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 167
Summary of Figure: An example from Mozart's "La Clemenza di Tito" demonstrating the modern notational custom of writing basset horn parts entirely in treble clef, a fifth above sounding pitch. The original notation of this passage used bass clef for the lower notes (previous example).
Exemplification of: basset horn clefs, transposing notation
Composer and Work: Mozart, Wolfgang Amadeus | La clemenza di Tito, K.621 <1791>
Prout, 1899 (vol.I), p. 167 [Note: An example from Mozart's "La Clemenza di Tito" demonstrating the modern notational custom of writing basset horn parts entirely in treble clef, a fifth above sounding pitch. The original notation of this passage used bass clef for the lower notes (previous example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 167
Summary of Figure: An example from Mozart's "La Clemenza di Tito" showing the resulting sounding pitches on the basset horn. The original notation of this passage used bass clef for the lower notes (example before previous), and the modern notation uses treble clef written a fifth above sounding pitch (previous example).
Exemplification of: basset horn clefs, transposing notation
Composer and Work: Mozart, Wolfgang Amadeus | La clemenza di Tito, K.621 <1791>
Prout, 1899 (vol.I), p. 167 [Note: An example from Mozart's "La Clemenza di Tito" showing the resulting sounding pitches on the basset horn. The original notation of this passage used bass clef for the lower notes (example before previous), and the modern notation uses treble clef written a fifth above sounding pitch (previous example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 167
Summary of Figure: An example from Beethoven's "Prometheus" demonstrating the melodic and accompanimental capacities of the basset horn. When the basset horn accompanies the oboe melody with an arpeggiated figure, it is notated in bass clef, an octave below the intended notes.
Exemplification of: basset horn melody, basset horn arpeggiated accompaniment, oboe melody
Composer and Work: Beethoven, Ludwig van | Prometheus, op.43 (Die Geschöpfe des Prometheus) <1800–1801>
Prout, 1899 (vol.I), p. 167 [Note: (1/2) An example from Beethoven's "Prometheus" demonstrating the melodic and accompanimental capacities of the basset horn. When the basset horn accompanies the oboe melody with an arpeggiated figure, it is notated in bass clef, an octave below the intended notes.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 16
Summary of Figure: An example from Beethoven's "Prometheus" demonstrating the melodic and accompanimental capacities of the basset horn. When the basset horn accompanies the oboe melody with an arpeggiated figure, it is notated in bass clef, an octave below the intended notes.
Exemplification of: basset horn melody, basset horn arpeggiated accompaniment, oboe melody
Composer and Work: Beethoven, Ludwig van | Prometheus, op.43 (Die Geschöpfe des Prometheus) <1800–1801>
Prout, 1899 (vol.I), p. 168 [Note: (2/2) An example from Beethoven's "Prometheus" demonstrating the melodic and accompanimental capacities of the basset horn. When the basset horn accompanies the oboe melody with an arpeggiated figure, it is notated in bass clef, an octave below the intended notes.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Basset Horn
Citation: Prout, 1899 (vol.I), p. 169
Summary of Figure: An example from Mozart's "La Clemenza di Tito" demonstrating a passage for soprano voice accompanied only by the basset horn in the low register
Exemplification of: basset horn bassline, soprano voice melody
Composer and Work: Mozart, Wolfgang Amadeus | La clemenza di Tito, K.621 <1791>
Prout, 1899 (vol.I), p. 169 [Note: An example from Mozart's "La Clemenza di Tito" demonstrating a passage for soprano voice accompanied only by the basset horn in the low register.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 170
Summary of Figure: An example showing the appearance of the bass clarinet.
Exemplification of: bass clarinet illustration
Prout, 1899 (vol.I), p. 170 [Note: An example showing the appearance of the bass clarinet.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 170
Summary of Figure: An example from Liszt's "Dante" Symphony demonstrating an expressive unaccompanied bass clarinet solo that reaches the bottom of the low register.
Exemplification of: bass clarinet low register
Prout, 1899 (vol.I), p. 170 [Note: (1/2) An example from Liszt's "Dante" Symphony demonstrating an expressive unaccompanied bass clarinet solo that reaches the bottom of the low register.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 171
Summary of Figure: An example from Liszt's "Dante" Symphony demonstrating an expressive unaccompanied bass clarinet solo that reaches the bottom of the low register.
Exemplification of: bass clarinet low register
Prout, 1899 (vol.I), p. 171 [Note: (122) An example from Liszt's "Dante" Symphony demonstrating an expressive unaccompanied bass clarinet solo that reaches the bottom of the low register.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 171
Summary of Figure: An example from Wagner's "Die Walküre" demonstrating a bass clarinet melody accompanied by "legato tremolo" in the two violin sections. In this type of accompaniment, the two parts alternate rapidly between the same two notes but in reverse order, producing a different effect from a texture in which each part plays one note with a bowed tremolo. The bass clarinet is written an octave below the intended notes, an unconventional notation adopted by Wagner.
Exemplification of: bass clarinet transposing notation
Composer and Work: Wagner, Richard | Die Walküre, WWV 86b <1854–1856>
Prout, 1899 (vol.I), p. 171 [Note: (1/2) An example from Wagner's "Die Walküre" demonstrating a bass clarinet melody accompanied by "legato tremolo" in the two violin sections. In this type of accompaniment, the two parts alternate rapidly between the same two notes but in reverse order, producing a different effect from a texture in which each part plays one note with a bowed tremolo. The bass clarinet is written an octave below the intended notes, an unconventional notation adopted by Wagner.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 172
Summary of Figure: An example from Wagner's "Die Walküre" demonstrating a bass clarinet melody accompanied by "legato tremolo" in the two violin sections. In this type of accompaniment, the two parts alternate rapidly between the same two notes but in reverse order, producing a different effect from a texture in which each part plays one note with a bowed tremolo. The bass clarinet is written an octave below the intended notes, an unconventional notation adopted by Wagner.
Exemplification of: bass clarinet transposing notation
Composer and Work: Wagner, Richard | Die Walküre, WWV 86b <1854–1856>
Prout, 1899 (vol.I), p. 172 [Note: (2/2) An example from Wagner's "Die Walküre" demonstrating a bass clarinet melody accompanied by "legato tremolo" in the two violin sections. In this type of accompaniment, the two parts alternate rapidly between the same two notes but in reverse order, producing a different effect from a texture in which each part plays one note with a bowed tremolo. The bass clarinet is written an octave below the intended notes, an unconventional notation adopted by Wagner.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 172
Summary of Figure: An example from Wagner's "Die Walküre" showing the standard notation of a bass clarinet melody. The original notation was an octave lower, and in bass clef (previous example)
Exemplification of: bass clarinet transposing notation
Composer and Work: Wagner, Richard | Die Walküre, WWV 86b <1854–1856>
Prout, 1899 (vol.I), p. 172 [Note: An example from Wagner's "Die Walküre" showing the standard notation of a bass clarinet melody. The original notation was an octave lower, and in bass clef (previous example).
Chapter 8: Wind Instruments: Single-Reed Instruments: The Bass Clarinet
Citation: Prout, 1899 (vol.I), p. 172
Summary of Figure: An example from the last movement of Dvořák's Symphony No. 5 demonstrating a bass clarinet melody with two different types of accompaniment. It is first accompanied by very soft brass and timpani, then by pizzicato low strings. Editor: The treatise identifies this work as "3rd Symphony," but it is now known as No. 5.
Exemplification of: bass clarinet melody, brass and timpani accompaniment, low strings pizzicato accompaniment bass clarinet melody, brass and timpani accompaniment, low strings pizzicato accompaniment.
Composer and Work: Dvořák, Antonín | Symphony No.5, op.76, B. 54, F major <1875>
Prout, 1899 (vol.I), p. 172 [Note: An example from the last movement of Dvořák's Symphony No. 5 demonstrating a bass clarinet melody with two different types of accompaniment. It is first accompanied by very soft brass and timpani, then by pizzicato low strings. Editor: The treatise identifies this work as "3rd Symphony," but it is now known as No. 5.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Soprano Saxophone
Citation: Prout, 1899 (vol.I), p. 173
Summary of Figure: An example showing the appearance of the soprano saxophone.
Exemplification of: soprano saxophone illustration
Prout, 1899 (vol.I), p. 173[Note: An example showing the appearance of the soprano saxophone.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Alto Saxophone
Citation: Prout, 1899 (vol.I), p. 173
Summary of Figure: An example showing the appearance of the alto saxophone.
Exemplification of: alto saxophone illustration
Prout, 1899 (vol.I), p. 173 [Note: An example showing the appearance of the alto saxophone.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Alto Saxophone
Citation: Prout, 1899 (vol.I), p. 174
Summary of Figure: The notes B3 and Eb6, which are the limits of the range of most saxophones. Some are able to go slightly higher (next example).
Exemplification of: saxophone range
Prout, 1899 (vol.I), p. 174 [Note: The notes B3 and Eb6, which are the limits of the range of most saxophones. Some are able to go slightly higher (next example).]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Alto Saxophone
Citation: Prout, 1899 (vol.I), p. 174
Summary of Figure: The note F6, which is the upper limit of the range of some types of saxophones
Exemplification of: saxophone range, upper limit
Prout, 1899 (vol.I), p. 174 [Note: The note F6, which is the upper limit of the range of some types of saxophones.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Alto Saxophone
Citation: Prout, 1899 (vol.I), p. 174
Summary of Figure: A table showing the ranges of 12 different types of saxophones, both as notated and at sounding pitch.
Exemplification of: saxophone types, range, transposing notation
Prout, 1899 (vol.I), p. 174 [Note: A table showing the ranges of 12 different types of saxophones, both as notated and at sounding pitch.]
Chapter 8: Wind Instruments: Single-Reed Instruments: The Alto Saxophone
Citation: Prout, 1899 (vol.I), p. 175
Summary of Figure: A table showing the ranges of 12 different types of saxophones, both as notated and at sounding pitch
Exemplification of: alto saxophone melody
Composer and Work: Bizet, Georges | L'Arlésienne <1872>
Prout, 1899 (vol.I), p. 175 [Note: A table showing the ranges of 12 different types of saxophones, both as notated and at sounding pitch.]