Prout | Chapter X | Figures
Brass Instruments:
The Cornet:
The Trombone:
The Tuba and other instruments:
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 213
Summary of Figure: An example showing the first 8 notes (except 7) of the harmonic series that forms the "natural scale" of most brass instruments except trumpet and horn.
Exemplification of: brass natural scale, harmonic series
Prout, 1899 (vol.I), p. 213 [Note: An example showing the first 8 notes (except 7) of the harmonic series that forms the "natural scale" of most brass instruments except trumpet and horn.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 215
Summary of Figure: An example showing the appearance of the cornet, or "cornet-à-pistons."
Exemplification of: cornet illustration
Prout, 1899 (vol.I), p. 215 [Note: An example showing the appearance of the cornet, or "cornet-à-pistons."]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 214
Summary of Figure: An example showing the first 8 notes (except 7) of the harmonic series based on the fundamental note Bb3. These notes form the "natural scale" of the cornet.
Exemplification of: cornet natural scale, harmonic series
Prout, 1899 (vol.I), p. 214 [Note: An example showing the first 8 notes (except 7) of the harmonic series based on the fundamental note Bb3. These notes form the "natural scale" of the cornet.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 214
Summary of Figure: The notes F#3 and C6, which are the limits of the cornet range.
Exemplification of: cornet range
Prout, 1899 (vol.I), p. 214 [Note: The notes F#3 and C6, which are the limits of the cornet range.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 216
Summary of Figure: An example from Meyerbeer's "Les Huguenots" demonstrating a solo cornet melody accompanied by other brass instruments of different tone qualities, and percussion. The four horns are "crooked" in three different keys, because this passage was originally intended for natural horns.
Exemplification of: cornet, horns, and trombones tone quality, horn keys
Composer and Work: Meyerbeer, Giacomo | Les Huguenots <1836>
Prout, 1899 (vol.I), p. 216 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a solo cornet melody accompanied by other brass instruments of different tone qualities, and percussion. The four horns are "crooked" in three different keys, because this passage was originally intended for natural horns.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 217
Summary of Figure: An example from the Kermesse Scene of Gounod's "Faust" demonstrating a solo cornet melody. It is accompanied by strings, horns, trombone and snare drum in such a way that is, according to Prout, "so clear as to need no comment
Exemplification of: cornet melody, brass, percussion and strings accompaniment
Composer and Work: Gounod, Charles | Faust <1852–1859>
Prout, 1899 (vol.I), p. 217 [Note: An example from the Kermesse Scene of Gounod's "Faust" demonstrating a solo cornet melody. It is accompanied by strings, horns, trombone and snare drum in such a way that is, according to Prout, "so clear as to need no comment.]
Chapter 10: Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 218
Summary of Figure: An example from Meyerbeer's "Les Huguenots" demonstrating a sustained cornet melody accompanied by low winds, brass, and strings.
Exemplification of: cornet sustained melody
Prout, 1899 (vol.I), p. 218 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a sustained cornet melody accompanied by low winds, brass, and strings.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 218
Summary of Figure: An example from Meyerbeer's "L'Africaine" demonstrating a full brass texture with the cornet in a melodic role.
Exemplification of: cornet melody, brass harmony texture
Composer and Work: Meyerbeer, Giacomo | Meyerbeer, Giacomo
Prout, 1899 (vol.I), p. 218 [Note: (1/2) An example from Meyerbeer's "L'Africaine" demonstrating a full brass texture with the cornet in a melodic role.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 219
Summary of Figure: An example from Meyerbeer's "L'Africaine" demonstrating a full brass texture with the cornet in a melodic role.
Exemplification of: cornet melody, brass harmony texture
Composer and Work: Meyerbeer, Giacomo | Meyerbeer, Giacomo
Prout, 1899 (vol.I), p. 219 [Note: (2/2) An example from Meyerbeer's "L'Africaine" demonstrating a full brass texture with the cornet in a melodic role.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 219
Summary of Figure: An example from Bach's motet/cantata "O Jesu Christ, meins Lebens Licht" (No. 118) demonstrating the use of the cornetto as a melodic instrument in combination with trombones and horns. The "litui" was an archaic Roman brass instrument that didn't exist in Bach's time, and those parts were likely intended for horns.
Exemplification of: cornetto melody, brass section texture
Composer and Work: Bach, Johann Sebastian | Cantata No.118 (O Jesu Christ, meins Lebens Licht ) <1737>
Prout, 1899 (vol.I), p. 219 [Note: (1/2) An example from Bach's motet/cantata "O Jesu Christ, meins Lebens Licht" (No. 118) demonstrating the use of the cornetto as a melodic instrument in combination with trombones and horns. The "litui" was an archaic Roman brass instrument that didn't exist in Bach's time, and those parts were likely intended for horns.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 220
Summary of Figure: An example from Bach's motet/cantata "O Jesu Christ, meins Lebens Licht" (No. 118) demonstrating the use of the cornetto as a melodic instrument in combination with trombones and horns. The "litui" was an archaic Roman brass instrument that didn't exist in Bach's time, and those parts were likely intended for horns.
Exemplification of: cornetto melody, brass section texture
Composer and Work: Bach, Johann Sebastian | Cantata No.118 (O Jesu Christ, meins Lebens Licht ) <1737>
Prout, 1899 (vol.I), p. 220 [Note: (2/2) An example from Bach's motet/cantata "O Jesu Christ, meins Lebens Licht" (No. 118) demonstrating the use of the cornetto as a melodic instrument in combination with trombones and horns. The "litui" was an archaic Roman brass instrument that didn't exist in Bach's time, and those parts were likely intended for horns.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 221
Summary of Figure: An example showing the appearance of the trombone
Exemplification of: trombone illustration
Prout, 1899 (vol.I), p. 221 [Note: An example showing the appearance of the trombone.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 221
Summary of Figure: An example showing the harmonic series of the tenor trombone when the slide is closed.
Exemplification of: tenor trombone slide positions, harmonic series
Prout, 1899 (vol.I), p. 221 [Note: An example showing the harmonic series of the tenor trombone when the slide is closed.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 222
Summary of Figure: An example showing the playable notes for each slide position on the tenor trombone, which follow the harmonic series.
Exemplification of: tenor trombone slide positions, harmonic series
Prout, 1899 (vol.I), p. 222 [Note: An example showing the playable notes for each slide position on the tenor trombone, which follow the harmonic series.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 223
Summary of Figure: An example demonstrating a figure that would be difficult at a fast tempo on the trombone. The numerals above the staff show the many changes of slide position. This same passage an octave above is much easier (next example).
Exemplification of: tenor trombone slide positions, registers, agility
Prout, 1899 (vol.I), p. 223 [Note: An example demonstrating a figure that would be difficult at a fast tempo on the trombone. The numerals above the staff show the many changes of slide position. This same passage an octave above is much easier (next example).]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 223
Summary of Figure: An example demonstrating a figure that would not be very difficult at a fast tempo on the trombone. The numerals above the staff show the few and close changes of slide position. This same passage an octave lower is much more difficult (previous example).
Exemplification of: tenor trombone slide positions, registers, agility
Prout, 1899 (vol.I), p. 223 [Note: An example demonstrating a figure that would not be very difficult at a fast tempo on the trombone. The numerals above the staff show the few and close changes of slide position. This same passage an octave lower is much more difficult (previous example).]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 223
Summary of Figure: An example demonstrating an arpeggiated figure that can be played at a fast tempo on the trombone using only one slide position. This is one of the few kinds of rapid figures that are idiomatic to the instrument.
Exemplification of: tenor trombone slide positions, registers, agility, arpeggios
Prout, 1899 (vol.I), p. 223 [Note: An example demonstrating an arpeggiated figure that can be played at a fast tempo on the trombone using only one slide position. This is one of the few kinds of rapid figures that are idiomatic to the instrument.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 223
Summary of Figure: The notes E2 and Bb4, which are the limits of the range within which all chromatic notes are possible on the tenor trombone.
Exemplification of: tenor trombone chromatic range
Prout, 1899 (vol.I), p. 223 [Note: The notes E2 and Bb4, which are the limits of the range within which all chromatic notes are possible on the tenor trombone.
Chapter 10: Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 224
Summary of Figure: The note A2, which is the lower limit of the alto trombone range.
Exemplification of: alto trombone range, lower limit
Prout, 1899 (vol.I), p. 224 [Note: The note A2, which is the lower limit of the alto trombone range.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 224
Summary of Figure: The note Eb5, which is the upper limit of the alto trombone range.
Exemplification of: alto trombone range, upper limit
Prout, 1899 (vol.I), p. 224 [Note: The note Eb5, which is the upper limit of the alto trombone range.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 224
Summary of Figure: The notes C#2 and G4, which are the limits of the range of the bass trombone in G.
Exemplification of: bass trombone range, transposing
Prout, 1899 (vol.I), p. 224 [Note: The notes C#2 and G4, which are the limits of the range of the bass trombone in G.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 224
Summary of Figure: The note B1, which is the lower limit of the range of the bass trombone in F.
Exemplification of: bass trombone range, lower limit, transposing
Prout, 1899 (vol.I), p. 224 [Note: The note B1, which is the lower limit of the range of the bass trombone in F.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 224
Summary of Figure: The note F4, which is the upper limit of the range of the bass trombone in F.
Exemplification of: bass trombone range, upper limit, transposing
Prout, 1899 (vol.I), p. 224 [Note: The note F4, which is the upper limit of the range of the bass trombone in F.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 224
Summary of Figure: The notes A1 and Eb4, which are the limits of the range of the bass trombone in Eb.
Exemplification of: bass trombone range, transposing
Prout, 1899 (vol.I), p. 224 [Note: The notes A1 and Eb4, which are the limits of the range of the bass trombone in Eb.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 225
Summary of Figure: The notes E3 and Bb5, which are the limits of the soprano trombone range.
Exemplification of: soprano trombone range
Prout, 1899 (vol.I), p. 225 [Note: The notes E3 and Bb5, which are the limits of the soprano trombone range.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 234
Summary of Figure: The note E1, which is the lowest note possible on the rare contrabass trombone.
Exemplification of: contrabass trombone range, lower limit
Prout, 1899 (vol.I), p. 234 [Note: The note E1, which is the lowest note possible on the rare contrabass trombone.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 226
Summary of Figure: An example from Rossini's "The Siege of Corinth" demonstrating a passage for three tenor trombones and ophicleide. This example shows close voicing of the three trombones and the use of a single staff in the score for all four instruments.
Exemplification of: trombone chord voicing, trombones and ophicleide on one staff
Composer and Work: Rossini, Gioachino | Le siège de Corinthe (The Siege of Corinth; L'assedio di Corinto) <182
Prout, 1899 (vol.I), p. 226 [Note: An example from Rossini's "The Siege of Corinth" demonstrating a passage for three tenor trombones and ophicleide. This example shows close voicing of the three trombones and the use of a single staff in the score for all four instruments.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 227
Summary of Figure: An example from Schubert's "Des Teufels Lustschloss" demonstrating a passage for three trombones without accompaniment.
Exemplification of: unaccompanied trombone section
Composer and Work: Schubert, Franz | Des Teufels Lustschloss, D.84 <1813-1814>
Prout, 1899 (vol.I), p. 227 [Note: An example from Schubert's "Des Teufels Lustschloss" demonstrating a passage for three trombones without accompaniment.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 227
Summary of Figure: An example from Spohr's "Jessonda" demonstrating the use of trombones in a full brass harmony texture to accompany a tenor chorus. Prout explains the effectiveness of this combination by saying that the "rich and sonoruous tone [of the trombones] blends admirably with that of the horns and trumpets."]
Exemplification of: brass harmony texture, brass and choir combination.
Composer and Work: Spohr, Ludwig (Louis) | Jessonda, WoO 53 <1822>
Prout, 1899 (vol.I), p. 227 [Note: (1/2) An example from Spohr's "Jessonda" demonstrating the use of trombones in a full brass harmony texture to accompany a tenor chorus. Prout explains the effectiveness of this combination by saying that the "rich and sonoruous tone [of the trombones] blends admirably with that of the horns and trumpets."]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 228
Summary of Figure: An example from Spohr's "Jessonda" demonstrating the use of trombones in a full brass harmony texture to accompany a tenor chorus. Prout explains the effectiveness of this combination by saying that the "rich and sonoruous tone [of the trombones] blends admirably with that of the horns and trumpets."
Exemplification of: brass harmony texture, brass and choir combination.
Composer and Work: Spohr, Ludwig (Louis) | Jessonda, WoO 53 <1822>
Prout, 1899 (vol.I), p. 228 [Note: (2/2) An example from Spohr's "Jessonda" demonstrating the use of trombones in a full brass harmony texture to accompany a tenor chorus. Prout explains the effectiveness of this combination by saying that the "rich and sonoruous tone [of the trombones] blends admirably with that of the horns and trumpets."]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 228
Summary of Figure: An example from the first Entr'acte of Schubert's "Rosamunde" demonstrating a sustained trombone accompaniment with dynamics ranging from pianissimo to forte. The violin melody is played in unison by both violin sections and doubled an octave below by violas and cellos.
Exemplification of: strings melody, octave doubling
Composer and Work: Schubert, Franz | Rosamunde, D.797 <1823>
Prout, 1899 (vol.I), p. 228 [Note: (1/2) An example from the first Entr'acte of Schubert's "Rosamunde" demonstrating a sustained trombone accompaniment with dynamics ranging from pianissimo to forte. The violin melody is played in unison by both violin sections and doubled an octave below by violas and cellos.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 229
Summary of Figure: An example from the first Entr'acte of Schubert's "Rosamunde" demonstrating a sustained trombone accompaniment with dynamics ranging from pianissimo to forte. The violin melody is played in unison by both violin sections and doubled an octave below by violas and cellos.
Exemplification of: strings melody, octave doubling
Composer and Work: Schubert, Franz | Rosamunde, D.797 <1823>
Prout, 1899 (vol.I), p. 229 [Note: (2/2) An example from the first Entr'acte of Schubert's "Rosamunde" demonstrating a sustained trombone accompaniment with dynamics ranging from pianissimo to forte. The violin melody is played in unison by both violin sections and doubled an octave below by violas and cellos.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 229
Summary of Figure: An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage in which the three trombones play in unison. The accompaniment features pizzicato imitation between first violins and double basses, and many "contrasts of colour" in the wind chords. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.
Exemplification of: three trombones unison doubling
Composer and Work: Schubert, Franz | Symphony No.9, D.944, C major (The Great C major) <1825–1828>
Prout, 1899 (vol.I), p. 229 [Note: (1/2) An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage in which the three trombones play in unison. The accompaniment features pizzicato imitation between first violins and double basses, and many "contrasts of colour" in the wind chords. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 230
Summary of Figure: An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage in which the three trombones play in unison. The accompaniment features pizzicato imitation between first violins and double basses, and many "contrasts of colour" in the wind chords. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.
Exemplification of: three trombones unison doubling
Composer and Work: Schubert, Franz | Symphony No.9, D.944, C major (The Great C major) <1825–1828>
Prout, 1899 (vol.I), p. 230 [Note: (2/2) An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage in which the three trombones play in unison. The accompaniment features pizzicato imitation between first violins and double basses, and many "contrasts of colour" in the wind chords. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 231
Summary of Figure: An example from Spontini's "La Vestale" demonstrating sustained pianissimo chords for three trombones in the context of a mezzo-soprano aria. This contributes to the character Prout describes as "mystery and terror."
Exemplification of: trombone dynamics, pianissimo
Composer and Work: Spontini, Gaspare | La Vestale <1807>
Prout, 1899 (vol.I), p. 231 [Note: An example from Spontini's "La Vestale" demonstrating sustained pianissimo chords for three trombones in the context of a mezzo-soprano aria. This contributes to the character Prout describes as "mystery and terror."]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 232
Summary of Figure: An example from Auber's "Gustave III" demonstrating staccato and pianissimo chords for three trombones in combination with string pizzicato chords. Sustained wind chords complete the accompaniment to solo vocal lines.
Exemplification of: trombone articulations, staccato, dynamics, pianissimo
Composer and Work: Auber, Daniel-François-Esprit | Gustave III, ou Le bal masqué <1833>
Prout, 1899 (vol.I), p. 232 [Note: An example from Auber's "Gustave III" demonstrating staccato and pianissimo chords for three trombones in combination with string pizzicato chords. Sustained wind chords complete the accompaniment to solo vocal lines.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 233
Summary of Figure: An example from Wagner's "Tristan und Isolde" demonstrating the use of sustained piano and pianissimo chords for three trombones to accompany a melody doubled in unison between english horn and bassoon.
Exemplification of: trombone dynamics, piano, pianissimo
Composer and Work: Wagner, Richard | Tristan und Isolde, WWV 90 <1857–1859>
Prout, 1899 (vol.I), p. 233 [Note: An example from Wagner's "Tristan und Isolde" demonstrating the use of sustained piano and pianissimo chords for three trombones to accompany a melody doubled in unison between english horn and bassoon.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 235
Summary of Figure: An example showing the appearance of the tuba.
Exemplification of: tuba illustration
Prout, 1899 (vol.I), p. 235 [Note: An example showing the appearance of the tuba.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 235
Summary of Figure: The notes Bb1 and F4, which are the limits of the typical orchestral range of the euphonium.
Exemplification of: euphonium range
Prout, 1899 (vol.I), p. 235 [Note: The notes Bb1 and F4, which are the limits of the typical orchestral range of the euphonium.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 235
Summary of Figure: The note D1, which is the lowest note used by Wagner on the contrabass tuba, or "bombardon in Bb."
Exemplification of: contrabass tuba range, lower limit
Prout, 1899 (vol.I), p. 235 [Note: The note D1, which is the lowest note used by Wagner on the contrabass tuba, or "bombardon in Bb."]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 240
Summary of Figure: The notes B1 and C5, which are the limits of the range of the ophicleide in C.
Exemplification of: ophicleide range
Prout, 1899 (vol.I), p. 240 [Note: The notes B1 and C5, which are the limits of the range of the ophicleide in C.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 242
Summary of Figure: The notes Bb1 and G4, which are the limits of the bass horn range.
Exemplification of: bass horn range
Prout, 1899 (vol.I), p. 242 [Note: The notes Bb1 and G4, which are the limits of the bass horn range.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 236
Summary of Figure: An example from Prout's "The Red Cross Knight" demonstrating octave doubling between bass trombone and tuba. They provide the bassline of the brass section texture that accompanies a solo baritone voice
Exemplification of: bass trombone-tuba octave doubling, tuba bassline, brass section texture
Composer and Work: Prout, Ebenezer | The Red Cross Knight, op.24 <1887>
Prout, 1899 (vol.I), p. 236 [Note: An example from Prout's "The Red Cross Knight" demonstrating octave doubling between bass trombone and tuba. They provide the bassline of the brass section texture that accompanies a solo baritone voice.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 237
Summary of Figure: An example from Dvořák's Symphony No. 6 demonstrating octave doubling between bass trombone and tuba. They provide a pedal bassline for the contrapuntal string texture. Editor: The treatise identifies this work as "1st Symphony," but it is now known as No. 6.
Exemplification of: bass trombone-tuba octave doubling
Compsoe and Work: Dvořák, Antonín | Symphony No.6, op.60, B.112, D major <1880>
Prout, 1899 (vol.I), p. 237 [Note: An example from Dvořák's Symphony No. 6 demonstrating octave doubling between bass trombone and tuba. They provide a pedal bassline for the contrapuntal string texture. Editor: The treatise identifies this work as "1st Symphony," but it is now known as No. 6.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 238
Summary of Figure: An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a passage in four-part harmony for trombones and tuba. This example also features the use of extremely soft dynamics, going as low as "ppppp."
Exemplification of: trombones and tuba four-part harmony
Composer and Work: Tchaikovsky, Piotr Ilyich | Symphony No.6, op.74, TH 30, B minor (Pathétique; Pateticheskaia) <1893>
Prout, 1899 (vol.I), p. 238 [Note: An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a passage in four-part harmony for trombones and tuba. This example also features the use of extremely soft dynamics, going as low as "ppppp."]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 238
Summary of Figure: An example from Schumann's "Der Königssohn" demonstrating the use of four-part harmony for trombones and tuba within the larger context of a brass and timpani texture.
Composer and Work: Schumann, Robert | Der Königssohn, op.116 (The King's Son) <1851>
Prout, 1899 (vol.I), p. 238 [Note: An example from Schumann's "Der Königssohn" demonstrating the use of four-part harmony for trombones and tuba within the larger context of a brass and timpani texture.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 240
Summary of Figure: An example from Mendelssohn's "Midsummer Night's Dream" Overture demonstrating the prominence of the ophicleide's tone quality in a loud orchestral tutti.
Exemplification of: ophicleide tone quality
Composer and Work: Mendelssohn, Felix | A Midsummer Night's Dream, op.21 & 61 (Ein Sommernachtstraum)
Prout, 1899 (vol.I), p. 240 [Note: (1/2) An example from Mendelssohn's "Midsummer Night's Dream" Overture demonstrating the prominence of the ophicleide's tone quality in a loud orchestral tutti.]
Chapter 10 : Brass Instruments: The Cornet, Trombone, Tuba, etc.
Citation: Prout, 1899 (vol.I), p. 241
Summary of Figure: An example from Mendelssohn's "Midsummer Night's Dream" Overture demonstrating the prominence of the ophicleide's tone quality in a loud orchestral tutti.
Exemplification of: ophicleide tone quality
Composer and Work: Mendelssohn, Felix | A Midsummer Night's Dream, op.21 & 61 (Ein Sommernachtstraum)
Prout, 1899 (vol.I), p. 241 [Note: (2/2) An example from Mendelssohn's "Midsummer Night's Dream" Overture demonstrating the prominence of the ophicleide's tone quality in a loud orchestral tutti.]
