Prout | Chapter XI | Figures
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 243
Summary of Figure: An example showing the appearance of the timpani, or "kettle-drums."
Exemplification of: timpani illustration
Prout, 1899 (vol.I), p. 243 [Note: An example showing the appearance of the timpani, or "kettle-drums."]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 244
Summary of Figure: The notes F2 and C3, which are the typical limits of the range of a large timpani.
Exemplification of: timpani size, range
Prout, 1899 (vol.I), p. 244 [Note: The notes F2 and C3, which are the typical limits of the range of a large timpani.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 244
Summary of Figure: The notes Bb2 and F3, which are the typical limits of the range of a small timpani.
Exemplification of: timpani size, range
Prout, 1899 (vol.I), p. 244 [Note: The notes Bb2 and F3, which are the typical limits of the range of a small timpani.
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 244
Summary of Figure: An example showing the range that would generally be chosen by timpani players in practice, even if the second example is technically possible.
Exemplification of: timpani size, range, octave choice
Prout, 1899 (vol.I), p. 244 [Note: An example showing the range that would generally be chosen by timpani players in practice, even if the second example is technically possible.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 244
Summary of Figure: An example showing an archaic method of notating the timpani as a transposing instrument. In this example, the notated C and G are played as D and A as indicated in the instrument name.
Exemplification of: timpani transposing notation
Prout, 1899 (vol.I), p. 244 [Note: An example showing an archaic method of notating the timpani as a transposing instrument. In this example, the notated C and G are played as D and A as indicated in the instrument name.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 244
Summary of Figure: An example showing the two ways a timpani player might choose to realize a timpani part written "in F, C" as a transposing instrument. This example demonstrates the ambiguity that became one of the shortcomings of this system of timpani notation.
Exemplification of: timpani transposing notation, octave choice
Prout, 1899 (vol.I), p. 244 [Note: An example showing the two ways a timpani player might choose to realize a timpani part written "in F, C" as a transposing instrument. This example demonstrates the ambiguity that became one of the shortcomings of this system of timpani notation.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 259
Summary of Figure: The notes C4 and D6, which are the approximate limits of the typical glockenspiel range. Sounding pitch is an octave above notated.
Exemplification of: glockenspiel range, transposing notation
Prout, 1899 (vol.I), p. 259 [Note: The notes C4 and D6, which are the approximate limits of the typical glockenspiel range. Sounding pitch is an octave above notated.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 245
Summary of Figure: An example from Mozart's "La clemenza di Tito" demonstrating a passage for two trumpets and timpani. The altered notes in the timpani part are indicated in the instrument name but not in the key signature or as accidentals. The timpani part provides a bassline for the trumpets using very idiomatic figures.
Exemplification of: timpani key signature, accidentals
Prout, 1899 (vol.I), p. 245 [Note: An example from Mozart's "La clemenza di Tito" demonstrating a passage for two trumpets and timpani. The altered notes in the timpani part are indicated in the instrument name but not in the key signature or as accidentals. The timpani part provides a bassline for the trumpets using very idiomatic figures.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 245
Summary of Figure: An example showing the notation of a roll, or tremolo, on the timpani using fast repeated notes.
Exemplification of: timpani roll, tremolo, notation
Prout, 1899 (vol.I), p. 245 [Note: An example showing the notation of a roll, or tremolo, on the timpani using fast repeated notes.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 246
Summary of Figure: An example showing the notation of a roll, or tremolo, on the timpani using the trill symbol.
Exemplification of: timpani roll, tremolo, notation
Prout, 1899 (vol.I), p. 246 [Note: An example showing the notation of a roll, or tremolo, on the timpani using the trill symbol.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 246
Summary of Figure: An example from the opening of Bach's "Christmas Oratorio" demonstrating the use of the timpani in a solo role.
Exemplification of: timpani roll, tremolo
Composer and Work: Bach, Johann Sebastian | WEIHNACHTSORATORIUM, BWV 248 (Christmas Oratorio) <1734>
Prout, 1899 (vol.I), p. 246 [Note: An example from the opening of Bach's "Christmas Oratorio" demonstrating the use of the timpani in a solo role.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 247
Summary of Figure: An example from the Scherzo of Beethoven's Symphony No. 9 demonstrating a short, unaccompanied motive for the timpani.
Exemplification of: timpani solo
Composer and Work: Beethoven, Ludwig van | Symphony No.9, op.125, D minor (Choral) <1822–1824>
Prout, 1899 (vol.I), p. 247 [Note: An example from the Scherzo of Beethoven's Symphony No. 9 demonstrating a short, unaccompanied motive for the timpani.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 247
Summary of Figure: An example from Bizet's "Carmen" demonstrating the addition of timpani to a horn and trombone texture.
Exemplification of: brass-timpani combination
Composer and Work: Bizet, Georges | Carmen <1873–1874>
Prout, 1899 (vol.I), p. 247 [Note: An example from Bizet's "Carmen" demonstrating the addition of timpani to a horn and trombone texture.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 248
Summary of Figure: An example from the Scherzo of Schubert's "Great C Major" Symphony (No. 9) demonstrating the use of the timpani as the bass voice in a wind and horn texture. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.
Exemplification of: timpani bassline, winds and horns texture
Composer and Work: Schubert, Franz | Symphony No.9, D.944, C major (The Great C major) <1825–1828>
Prout, 1899 (vol.I), p. 248 [Note: An example from the Scherzo of Schubert's "Great C Major" Symphony (No. 9) demonstrating the use of the timpani as the bass voice in a wind and horn texture. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 249
Summary of Figure: An example from Wagner's "Die Walküre" demonstrating a marcato and strongly rhythmic timpani passage on one note. It is interspersed with sections for five tubas (tenor, bass, and contrabass) and low strings.
Exemplification of: tuba section and low strings texture
Composer and Work: Wagner, Richard | Die Walküre, WWV 86b <1854–1856>
Prout, 1899 (vol.I), p. 249 [Note: An example from Wagner's "Die Walküre" demonstrating a marcato and strongly rhythmic timpani passage on one note. It is interspersed with sections for five tubas (tenor, bass, and contrabass) and low strings.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 251
Summary of Figure: An example from the Scherzo of Spohr's "Historical Symphony" (No. 6) demonstrating the use of three notes on the timpani. This example begins with unaccompanied timpani, and it is later doubled at the unison by pizzicato cellos.
Exemplification of: unaccompanied timpani, timpani-cello pizzicato unison doubling
Composer and Work: Spohr, Ludwig (Louis) | Symphony No.6, op.116, G major (Historische Symphonie; Historic Symphony) <1839>
Prout, 1899 (vol.I), p. 251 [Note: An example from the Scherzo of Spohr's "Historical Symphony" (No. 6) demonstrating the use of three notes on the timpani. This example begins with unaccompanied timpani, and it is later doubled at the unison by pizzicato cellos.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 263
Summary of Figure: An example from Auber's "Le cheval de bronze" demonstrating the use of the triangle in an orchestral tutti texture. The flute melody is doubled an octave below by one clarinet and first violins. The rest of the winds and strings accompany with long sustained notes and pizzicato arpeggiations.
Exemplification of: triangle in tutti texture, flute-clarinet-violin octave doubling
Composer and Work: Auber, Daniel-François-Esprit | Le cheval de bronze (The Bronze Horseman) <1835>
Prout, 1899 (vol.I), p. 263 [Note: (1/2) An example from Auber's "Le cheval de bronze" demonstrating the use of the triangle in an orchestral tutti texture. The flute melody is doubled an octave below by one clarinet and first violins. The rest of the winds and strings accompany with long sustained notes and pizzicato arpeggiations.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 251
Summary of Figure: An example from Prout's Symphony No. 3 demonstrating the use of three notes on the timpani. This example features unaccompanied fortissimo timpani interjections between sections for the orchestral tutti. Editor: This engraving is missing C sharps in the bottom staff of bars 1 and 2.
Exemplification of: unaccompanied timpani, tutti texture
Composer and Work: Prout, Ebenezer | Symphony No. 3, op.22 <1885>
Prout, 1899 (vol.I), p. 251 [Note: An example from Prout's Symphony No. 3 demonstrating the use of three notes on the timpani. This example features unaccompanied fortissimo timpani interjections between sections for the orchestral tutti. Editor: This engraving is missing C sharps in the bottom staff of bars 1 and 2.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 252
Summary of Figure: An example from Berlioz's "Symphonie Fantastique" demonstrating the use of two sets of timpani with two players on each set. This excerpt uses rolled timpani chords to represent distant thunder.
Exemplification of: three timpani notes, timpani dynamics, fortissimo
Composer and Work: Prout, Ebenezer | Symphony No. 3, op.22 <1885>
Prout, 1899 (vol.I), p. 252 [Note: An example from Berlioz's "Symphonie Fantastique" demonstrating the use of two sets of timpani with two players on each set. This excerpt uses rolled timpani chords to represent distant thunder.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 253
Summary of Figure: An example from Auber's "Marco Spada" demonstrating a method of notating bass drum parts on a five-line staff with a percussion clef.
Exemplification of: bass drum clefs, notation
Prout, 1899 (vol.I), p. 253 [Note: An example from Auber's "Marco Spada" demonstrating a method of notating bass drum parts on a five-line staff with a percussion clef.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 253
Summary of Figure: An example from Meyerbeer's "Les Huguenots" demonstrating a method of notating bass drum parts on a one-line staff. The original notation of this example is shown in Ex. 169.
Exemplification of: bass drum notation
Prout, 1899 (vol.I), p. 253 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a method of notating bass drum parts on a one-line staff. The original notation of this example is shown in Ex. 169.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 253
Summary of Figure: An example from Mozart's "Die Entführung aus dem Serail" demonstrating a method of writing for bass drum in which two different sizes of drumsticks are used. The down-stemmed notes indicate the use of the larger stick, and these notes are naturally accented.
Exemplification of: bass drum sticks, accents, notation
Composer and Work: Mozart, Wolfgang Amadeus | Die Entführung aus dem Serail, K.384 (The Abduction from the Seraglio
Prout, 1899 (vol.I), p. 253 [Note: An example from Mozart's "Die Entführung aus dem Serail" demonstrating a method of writing for bass drum in which two different sizes of drumsticks are used. The down-stemmed notes indicate the use of the larger stick, and these notes are naturally accented.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 258
Summary of Figure: An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" (previous example) showing the likely sounding pitch intended for the bells.Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.
Exemplification of: bells notation, octave choice
Prout, 1899 (vol.I), p. 258 [Note: (2/2)An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" (previous example) showing the likely sounding pitch intended for the bells.Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 265
Summary of Figure: An example showing a method of notating cymbal and bass drum parts on a single staff with different stem directions.
Exemplification of: cymbals and bass drum condensed notation
Prout, 1899 (vol.I), p. 265 [Note: An example showing a method of notating cymbal and bass drum parts on a single staff with different stem directions.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 264
Summary of Figure: An example from Auber's "Le cheval de bronze" demonstrating the use of the triangle in an orchestral tutti texture. The flute melody is doubled an octave below by one clarinet and first violins. The rest of the winds and strings accompany with long sustained notes and pizzicato arpeggiations.
Exemplification of: cymbals and bass drum condensed notation
Composer and Work: Auber, Daniel-François-Esprit | Le cheval de bronze (The Bronze Horseman) <1835>
Prout, 1899 (vol.I), p. 264 [Note: (2/2) An example from Auber's "Le cheval de bronze" demonstrating the use of the triangle in an orchestral tutti texture. The flute melody is doubled an octave below by one clarinet and first violins. The rest of the winds and strings accompany with long sustained notes and pizzicato arpeggiations.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 254
Summary of Figure: An example from Gluck's "Iphigénie en Aulide" demonstrating the use of the bass drum to accentuate the first beat of each bar. The rest of the orchestra and the choir have the same unison melody in different octaves.
Exemplification of: bass drum metric marking, ensemble unison and octave doubling
Composer and Work: Gluck, Christoph Willibald | Iphigénie en Aulide (Iphigenie in Aulis) <1774>
Prout, 1899 (vol.I), p. 254 [Note: An example from Gluck's "Iphigénie en Aulide" demonstrating the use of the bass drum to accentuate the first beat of each bar. The rest of the orchestra and the choir have the same unison melody in different octaves.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 255
Summary of Figure: An example from Mendelssohn's "Die erste Walpurgisnacht" demonstrating a pianissimo bass drum part that marks the first beat of each bar.
Exemplification of: bass drum pianissimo metric marking
Prout, 1899 (vol.I), p. 255 [Note: An example from Mendelssohn's "Die erste Walpurgisnacht" demonstrating a pianissimo bass drum part that marks the first beat of each bar.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 257
Summary of Figure: An example from Weber's "Preciosa" demonstrating the use of tambourine in conjunction with triangle and snare drum. These instruments form the percussion accompaniment to a texture of clarinets, bassoons, and horns.
Exemplification of: percussion, winds, and horn texture
Composer and Work: Weber, Carl Maria von | Preciosa, J.279 <1820>
Prout, 1899 (vol.I), p. 257 [Note: An example from Weber's "Preciosa" demonstrating the use of tambourine in conjunction with triangle and snare drum. These instruments form the percussion accompaniment to a texture of clarinets, bassoons, and horns.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 257
Summary of Figure: An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" demonstrating an early orchestral use of bells in the context of an alto aria with string accompaniment. The bells are tuned to the tonic and dominant of the key, and take the role of the bassline in the second half of this excerpt. Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.
Exemplification of: bells bassline
Composer and Work: Hoffmann, Georg Melchior (wrongly attributed to J.S. Bach) | Cantata No.53 (Schlage doch, gewünschte Stunde) <ca. 1730>
Prout, 1899 (vol.I), p. 257 [Note: (1/2)An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" demonstrating an early orchestral use of bells in the context of an alto aria with string accompaniment. The bells are tuned to the tonic and dominant of the key, and take the role of the bassline in the second half of this excerpt. Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 258
Summary of Figure: An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" demonstrating an early orchestral use of bells in the context of an alto aria with string accompaniment. The bells are tuned to the tonic and dominant of the key, and take the role of the bassline in the second half of this excerpt. Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.
Exemplification of: bells bassline
Composer and Work: Hoffmann, Georg Melchior (wrongly attributed to J.S. Bach) | Cantata No.53 (Schlage doch, gewünschte Stunde) <ca. 1730>
Prout, 1899 (vol.I), p. 258 [Note: (2/2)An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" demonstrating an early orchestral use of bells in the context of an alto aria with string accompaniment. The bells are tuned to the tonic and dominant of the key, and take the role of the bassline in the second half of this excerpt. Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 258
Summary of Figure: An example from Auber's "Le Philtre" demonstrating a passage for strings and bell in the context of a stage work. The bell begins unaccompanied and continues marking the first beat of each bar after the entrance of the pianissimo strings.
Exemplification of: bells solo, metric marking
Composer and Work: Auber, Daniel-François-Esprit | Le Philtre, S.20 <1831>
Prout, 1899 (vol.I), p. 258 [Note: (1/2) An example from Auber's "Le Philtre" demonstrating a passage for strings and bell in the context of a stage work. The bell begins unaccompanied and continues marking the first beat of each bar after the entrance of the pianissimo strings.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 259
Summary of Figure: An example from Auber's "Le Philtre" demonstrating a passage for strings and bell in the context of a stage work. The bell begins unaccompanied and continues marking the first beat of each bar after the entrance of the pianissimo strings.
Exemplification of: bells solo, metric marking
Composer and Work: Auber, Daniel-François-Esprit | Le Philtre, S.20 <1831>
Prout, 1899 (vol.I), p. 259 [Note: (2/2) An example from Auber's "Le Philtre" demonstrating a passage for strings and bell in the context of a stage work. The bell begins unaccompanied and continues marking the first beat of each bar after the entrance of the pianissimo strings.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 260
Summary of Figure: An example from Wagner's "Die Meistersinger" demonstrating unison doubling between piccolo and glockenspiel, and octave doubling between those instruments and oboe, and between oboe and clarinet. The string section chords on each beat are played "col legno," with the wooden part of the bow. The trumpet plays forte, marcato, and with a mute to imitate the sound of a toy trumpet.
Exemplification of: strings col lengo, trumpet mutes, forte marcato
Composer and Work: Wagner, Richard | Die Meistersinger, WWV 96 <1861–1862>
Prout, 1899 (vol.I), p. 260 [Note: (1/2) An example from Wagner's "Die Meistersinger" demonstrating unison doubling between piccolo and glockenspiel, and octave doubling between those instruments and oboe, and between oboe and clarinet. The string section chords on each beat are played "col legno," with the wooden part of the bow. The trumpet plays forte, marcato, and with a mute to imitate the sound of a toy trumpet.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 261
Summary of Figure: An example from Wagner's "Die Meistersinger" demonstrating unison doubling between piccolo and glockenspiel, and octave doubling between those instruments and oboe, and between oboe and clarinet. The string section chords on each beat are played "col legno," with the wooden part of the bow. The trumpet plays forte, marcato, and with a mute to imitate the sound of a toy trumpet.
Exemplification of: strings col lengo, trumpet mutes, forte marcato
Composer and Work: Wagner, Richard | Die Meistersinger, WWV 96 <1861–1862
Prout, 1899 (vol.I), p. 261 [Note: (2/2) An example from Wagner's "Die Meistersinger" demonstrating unison doubling between piccolo and glockenspiel, and octave doubling between those instruments and oboe, and between oboe and clarinet. The string section chords on each beat are played "col legno," with the wooden part of the bow. The trumpet plays forte, marcato, and with a mute to imitate the sound of a toy trumpet.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 262
Summary of Figure: triangle tremolo, notation
Exemplification of: An example showing the two ways of notating tremolo on the triangle - either as repeated notes or as a trill.
Prout, 1899 (vol.I), p. 262 [Note: An example showing the two ways of notating tremolo on the triangle - either as repeated notes or as a trill.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 262
Summary of Figure: An example from Liszt's Piano Concerto No. 1 demonstrating an unaccompanied triangle solo in dialogue with pizzicato strings.
Exemplification of: triangle solo
Composer and Work: Liszt, Franz | Concerto, Piano, No.1, S.124, E-flat major <1835–1856>
Prout, 1899 (vol.I), p. 262 [Note: An example from Liszt's Piano Concerto No. 1 demonstrating an unaccompanied triangle solo in dialogue with pizzicato strings.]
Chapter 11: Instruments of Percussion
Citation: Prout, 1899 (vol.I), p. 266
Summary of Figure: An example from Act 2 of Spontini's "Fernand Cortez" demonstrating the use of several percussion instruments in a fortissimo passage. The snare drum plays without the snare engaged, and the cymbals are dampend, or "étouffés.
Exemplification of: cymbals damping, snare drum snare off
Composer and Work: Spontini, Gaspare | Fernand Cortez, ou La conquête du Mexique <1809>
Prout, 1899 (vol.I), p. 266 [Note: An example from Act 2 of Spontini's "Fernand Cortez" demonstrating the use of several percussion instruments in a fortissimo passage. The snare drum plays without the snare engaged, and the cymbals are dampend, or "étouffés."]