Kling | Modern Orchestration and Instrumentation
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Prof. H. KLING’S
MODERN ORCHESTRATION
AND INSTRUMENTATION
OR
THE ART OF INSTRUMENTATION
CONTAINING DETAILED DESCRIPTIONS OF THE CHARACTER AND PECULIARITIES OF ALL INSTRUMENTS AND THEIR PRACTICAL EMPLOYMENT, FOR EITHER SOLO, ORCHESTRA, OR MILITARY BAND PURPOSES. PROFUSELY ILLUSTRATED WITH EXAMPLES IN NOTES AND FULL SCORE EXTRACTS FROM THE WORKS OF THE GREATEST CLASSIC AND MODERN MASTERS, TOGETHER WITH PARTICULAR AND PRACTICAL INSTRUCTIONS REGARDING ARRANGEMENTS FOR MODERN MILITARY BANDS A
COMPLETE DIRECTIONS FOR CONDUCTING
REVISED AND ENLARGED BY THE AUTHOR
AND
Translated from the Original German Edition by
GUSTAV SAENGER
C. FISCHER, PUBLISHER COOPER SQUARE, NEW YORK, N. Y.
Copyright, 1902,
BY
C. FISCHER
Revised and Enlarged English Edition
Copyright, 1905,
BY
CARL FISCHER, New York
International Copyright Secured
PREFACE TO THE SECOND AMERICAN EDITION.
Carefully corrected and revised to even more modern requirements, the second edition of Prof. H. Kling’s “ Modern Orchestration and Instrumentation ” is herewith presented.
The excellence and practical usefulness of the work has been recognized at once, not only in the United States, but also in England, where it has lately been adopted by the Royal Naval School and other prominent institutions.
Aside from little general additions which were made, the Comparative Tables of the various Wood and Brass Wind Instruments have been enlarged in accordance to the latest improvements of the various instruments ; and the two newly added Indexes, one for the various chapters, and the other for the musical illustrations, will, it is hoped, prove a welcome addition, and add still more to its practical usefulness.
Encouraged by the kind reception accorded the first edition, I venture to hope that the second may be even more successful in gathering new friends on its own distinctive merits.
New York City, March, 1905.
GUSTAV SAENGER.
PREFACE TO THE AMERICAN EDITION.
The extraordinary popularity achieved in Germany, Italy, Switzerland, etc., by the present treatise on Modern Orchestration and Instrumentation, and the friendly reception accorded it by the musical profession at large, together with most flattering comments by European art critics in general, have prompted its publication in a specially prepared American edition.
Instrumentation, in its proper sense, is the ability to reproduce musical impressions and ideas in writing, and imparting to them an outwardly comprehensive and audible expression through the employment of one or more musical instruments. In proportion to the number of instruments employed, or their particular combinations, we find the different groupings desig nated as Solo, Duo, Trio, Quartett, Quintett, Sextett, or ultimately Orchestra. In a broader sense, and comparatively speaking, Instrumentation, and particularly Orchestration or Orchestral Instrumentation, might be interpreted as signifying that which the painter designates as color compilation or combination. As a fact, the idea of Tonal-color (as applied to painting) and
Vibratory or Sound-Color (as applied to music), although impossible in a strictly comparative sense, has become entirely en vogue, as through it the intervals or tones (either individually or collectively) of the various Stringed, Wood, Brass or Percussion Instruments can be best and most appropriately designated. It has even been claimed that certain tones correspond exactly with certain colors, in-so-far that both — one through agency of the organs of hearing, the other through the organs of sight —• combine and affect the brain in such a manner as to bring about the same impressions and feelings. Without desiring to investigate into the detailed and scientific foundation of these analogies at this point, it may be set down as an absolute certainty that for instance A flat or D flat will fittingly correspond to the idea of dark or sombre, and D or E rather to the idea of light or bright; and in the same way as the expressions of hard and soft, etc., are applied to individual or a combination of colors, and in turn to individual tones of an instrument or to entire tonal successions of different instruments.
From the foregoing may be gathered that instrumentation must be considered from both a technical and aesthetic stand-point and that both are inseparable. The former above all demands a thorough and complete knowledge of the individual instruments, their tonal-character and com pass, treatment, employment, capabilities and tonal-color in the various registers. To gain this knowledge and executive ability, continued application and absolute mastery of instrumental detail must form the foundation, which in turn can only be achieved through incessant and conscientious study. A different proposition presents itself when considering the (esthetic side, which embodies and treats of the beauty, effectiveness, and at the same time originality of the compilation of tonal-colors. This faculty is dependent upon natural or inborn capabilities, trace able only to innermost feeling and expressiveness, and which in general is designated as Talent, and, if possessed to a greater degree, as Genius. Naturally where inborn capabilities are pos sessed to such an unusual degree, rules and maxims, in fact teaching and learning in the accepted and ordinary sense, are out of the question, development and ultimate mastery being brought about in such a case solely through systematic absorbing of existing material, continual encouragement towards higher ideals, and through the careful and minute study and hearing of master-works by great composers, such as Haydn, Mozart, Beethoven, Mendelssohn, Brahms, Berlioz, Richard Wagner, etc., whose achievements in this particular field will assimilate with the endeavors of the new composer, we might say comingle with them to such an extent that their combination with the composer’s own ideal will bring about the formation of a new and original whole. Therefore instrumentation, from a technical stand-point demands Knowledge, and from aesthetic considerations Art, consequently belonging to both realms.
In conclusion, I will add a few excellent remarks and hints which Richard Wagner expressed in some of his letters addressed to the president of the Royal Music School at Naples, Italy (Duke of Bagnava), relative to the development of young composers and singers. While these hints were originally intended for dramatic music only, they may be used to equal advantage for music in general, and particularly for our present subject. His remarks in part were as follows:
“ According to my opinion students in vocal and dramatic composition can only be launched successfully upon the path you wish them to follow through the earnest, conscientious, and ceaseless study of a master-work, say like Mozart’s Marriage of Figaro. As a natural consequence, through such study, correct declamation, pure and truthful expression of melody, thorough knowledge of the means of instrumentation, and their appropriate methods of employments, would be imparted ; and if some day the Conservatory could bring about a perfect performance of the above-mentioned master-work, it would render a great and lasting service, not only to the operatic stage, but would fulfil its mission, which undoubtedly consists in guarding its students against the reigning slip-shod methods of present-day conditions, through encouraging the actual performances of great examples, making the students colaborators of our great masters, in a certain sense.
“ All the faulty and absurd habits acquired in such countless numbers in our operatic institutions, for instance* those of our singers, who make a point of forgetting or ignoring everything which passes upon the stage, in order to attract the attention of the audience and challenge its applause and admiration with a showy closing-cadenza more or less brilliantly executed; I feel justified in claiming that such habits would not be accepted or developed by students who have been trained, and who have acquainted themselves only with works of the rank and artistic impor tance of the above. As to the study of the tragic genre, I should recommend the two ‘ Iphigenien ’ by Gluck, and the ‘ Vestalin ’ by Spontini, to begin with.
“ Only after these operas have been thoroughly memorized, analyzed, rehearsed, and fully appreciated and under stood in accordance to their true worth, the students of the Conservatory should be allowed to attempt compositions of their own, as only then could we rest assured that they would not fall a victim to the exaggerations and faulty mannerisms so prevalent upon our present-day operatic stages, and in consequence of which it is only through hearsay that we know of those great singers who at one time established the fame of Italian Opera.
“ Just as in life, there is such a thing as good company in art; and it is the plain duty of parents and guardians to introduce their inexperienced children and pupils entrusted to them, only into this good company, till they themselves are competent and able to discriminate between the true and false in art, and to withstand the temptations of flimsy and shallow effects. If after this they feel inclined to associate with what I can only designate as musical vagrancy, is of secondary consideration; because if they have once acquired the capabilities of judging how the latter is produced, they will, through coming in contact with it, gather so much experience and consciousness as to enable them to discriminate between that which draws down the masses and that which is good.''
The difficult and most exacting task of translating this work into the English language was entrusted to the hands of Mr. Gustav Saenger, well-known throughout the United States as an accomplished composer and musical scholar ; and thanks to his energetic zeal and untiring efforts, as well as to the liberal and enterprising assistance of C. Fischer, the prominent New York Publisher, this latest and most modern Method on Instrumentation and Orchestration, based on strictly artistic, thorough, concise, and practical principles, is in readiness for the English-speaking world at large.
That this special American Edition, prepared with such infinite care by the author, translator and publisher, may be accorded an equally favorable reception, and install itself as lastingly in the good opinion of the English-speaking profession and musical public in general, as the original Herman edition, is the earnest and sincere wish of
H. KLING,
Professor at the Geneva Conservatory, Officier d'Académie.
Geneva, Switzerland,
Sept, 1, 1902.
INTRODUCTORY REMARKS ON INSTRUMENTATION.
Instrumentation consists of the art of combining the instruments in such a way that they will assist and enrich the melody, besides lending strength, volume, and tonal coloring to the harmony. It furthermore brings about a clear and systematic grouping of the various instruments, with par ticular attention that the different tonal-colors are most effectively contrasted and blended, in order that a composition will be transmitted to the ear in an equally clear, concise, and pleasing manner. This art requires great skill and experience, and even greater taste, on the part of the composer; it is a science, the methods of which are well-known and teachable, but which, above all, is prin cipally dependent upon the imaginative powers of the writer.
The score of an instrumental composition offers endless variety and diversity ; its contents may present themselves alternately in a terrible, tremendously-strong, soft, playful, clumsy and light, brilliant or dull, dramatic or romantic, impulsive or quiet, sad or frivolous way, exactly according to the idea the composer wishes to express.
Every instrument possesses its particular tonal-color, peculiar to itself ; sometimes more than one coloring can be obtained, according to the different registers employed.
If the instruments are grouped in different ways an endless variety of combinations can be obtained; but to begin with, it is highly necessary and of greatest importance to study the tonal- range and the different registers of every instrument in order to know exactly what will sound good or bad, whether this or that passage can be executed upon an instrument, in short, we must understand to write in such an appropriate manner, that the beautiful and particular characteristics of every individual instrument will appear to best advantage.
Only such instruments have been included in this work as are employed in our modern orches tras, and will be presented in the following five groups.
GROUP I. — Stringed Instruments.
A. Instruments Played with a Bow.—1, Violin; 2, Viola; 3, Viola alta; 4, Viola d’amoure; 5, Violoncello ; 6, Double-Bass. '
B. Instruments, the Strings of which are Plucked with the Fingers.—1, Harp; 2, Guitar; 3, Mandolin; 4, Zither; 5, Banjo.
C. Instruments, the Strings of which are Struck by Means of Keys, etc.— 1, Piano; 2, Dulcimer.
GROUP II. — Wind Instruments.
A. Wood Wind Instruments.—1, Piccolo; 2, Flute; 3, Flute d’Amour; 4, Flageolet; 5, Oboe; 6, Oboe d’Amore ; 7, Oboe di Caccia; 8, English Horn ; 9, Clarinet; 10, Bass Clarinet; 11, Basset-Horn ; 12, Bassoon; 13, Double-Bassoon.
B. Brass Instruments.—1, Horn ; 2, Trumpet; 3, Comet) 4, Trombone ; 5, Saxophone ; 6, Ophicleide ; 7, Bass-Tuba.
C. Instruments with Keys.—1, Organ; 2, Harmonium.
GROUP III.—Instruments of Percussion.
1, Tympani; 2, Small or Side Drum; 3, Bass Drum; 4, Cymbals; 5, Triangle ; 6, Tambourine; 7, Tamtam; 8, Glockenspiel; 9, Steel Xylophone; 10, Glocken-Accordion; 11, Large Bells; 12, Xylophone; 13, Castagnets.
GROUP IV.—Different Smaller Instruments.
As employed in Comic Scenes, Dance-Music, Potpourries, etc.: 1, Whip ; 2, Bells ; 3, Thunder ; 4, Railroad; 5, Waldteufel ; 6, Nightingale Whistle ; 7, Quail Whistle; 8, Shrill or Trill Whistle ; 9, Cuckoo Whistle ; 10, Railroad Whistle (Locomotive and Conductor Whistle); 11, Spurs; 12, Rattle; 13, Storm; 14, Fireman’s Horn; 15, Post Horn; 16, Hunting Horn; 17, Alpine Horn; 18, Czakan; 19, Anvil; 20, Wind-machine; 21, Rain-machine, etc.
GROUP V.—Instruments Employed in Military Bands.
1, Piccolo; 2, Flute; 3, Clarinet; 4, Oboe; 5, English Horn; 6, Bassoon; 7, Double Bassoon; 8, Horn; 9, Trumpet and Bass Trumpet; 10, Piccolo Cornet; 11, Cornet and Flugel- Horn ; 12, Alt Horn; 13, Tenor Horn; 14, Baritone (Euphonion); 15, Trombone; 16, Saxophone; 17, Sarusophone; 18, Ophicleide; 19, Bass Tuba; 20, Helicon ; 21, Instru ments of Percussion, etc.
Following these five groups special chapters have been added treating of
“The Human Voice,”
Girls’ voices, Women’s voices, Boys’ voices, Men’s voices, and Practical Directions for Conducting.
5. THE VIOLONCELLO.
(VIOLONCELL, VIOLONCELLO, VIOLONCELLE.)
Music for the Violoncello is usually written in the Bass and Tenor, and sometimes in the Violin or Treble-clef. Its strings are tuned in perfect fifths an octave below those of the Viola. Tonal Compass for Orchestral Playing | Tonal Compass for Solo Playing. The Bowings are identical with those used for the Violin, the following kinds presenting the greatest difficulty. [All figures]
Three and Four Stringed Arpeggios are used in various forms and bowings. The Trill can be executed upon every note of the entire tonal-compass. Double-trills are extremely difficult; they are rarely used in orchestral, and occur mostly in instructive works. Double-stops composed of 2, 3, and 4 notes. Broken Chords are applied in the same manner as upon the Violin. The Tremolo produces an excellent effect. [All figures]
Sometimes the notes of the higher positions are written in the Treble-clef, although in reality they sound an octave lower, as is illustrated by the following extract from a string-quartette by Mozart; but notation in accordance to the real sounds is gradually becoming the custom; it is certainly preferable and mistakes are avoided thereby: [see figure] Harmonics. Harmonics are produced and applied in the same manner as upon all stringed instruments. [All figures]
Artistic Harmonics can only be used to advantage upon the first (a) string, in [this] following manner. Pizzicato and Sordino are applied with equal success as in connection with the Violin. Violoncello parts may be sub-divided for interpretation by 2, 3, 4, and 5 different 'Cellos, as may suit the intentions of the composer. In the following example the introduction to the overture of a id="william-tell" href="#lightbox_treatises/figures/kling_#block-a69fb959eba4e17ea40a?group=klingfigures" >“William Tell” is shown, in which Rossini has made use of 5 Solo-Violoncellos. But this passage is so well known that it will probably be more interesting to give another and perhaps even finer example by the greatest master of instrumentation that ever lived, Richard Wagner. It will be seen that the melody is played by a Solo 'Cello, and each part of the accompaniment is doubled. All figures
Méhul in his overture to “Joseph,” and Cherubini in his operas and masses have sometimes made use of 4 Violoncellos; the works of Berlioz and R. Wagner also show numerous examples of this kind. The Violoncello is a beautiful Solo-instrument, especially well-adapted for pathetic scenes, as in the celebrated Duett of the 4th Act in “The Huguenots”, where it is used to answer the voices of the two lovers, in an echo-like manner. Melodies of a broad and sustained character are better adapted to the Cello than light and trifling ones; nevertheless the Violoncello possesses flexibility of expression to such an extent as to make it applicable to nearly any variety of musical composition. In Zerlina’s Aria “batti, batti, o bel Masetto” (“Don Juan”), Mozart has written a beautiful and expressive solo for the Violoncello. Sustained passages and melodies are sometimes executed together with the Violas, which adds volume and strength to the tonal quality of the Violoncellos. An excellent effect is produced by the graceful Cello-part in the “Air de Ballet” (“Scènes pittoresques” for orchestra) by the eminent French composer, Jules Massenet.
The following example presents a cadenza, kindly offered for use in this work by an excellent European Violoncellist (H. Holzmann). With its aid an idea may be formed as to the manner of writing an effective solo-part for this instrument.[Holzmann ex1ba] | [Holzmann ex1b]
The most Effective Keys, both for orchestral and solo use, are those with few sharps or flats, and where the open strings, which sound exceedingly full and brilliant, can be frequently used. The Violoncello as used in Dance-Music. Usually a part is written for it together with the Double-bass; but it is of frequent occurrence, that it assists in doubling the melody or some accompanying melody or prominent figure; for instance, pizzicato is assigned to it; the latter produces an excellent effect, especially in a waltz.
The special tonal-character or timbre of each string of the Violoncello may be described as follows: the 4th string serious, the 3rd of clearer quality, the 2nd responsive, vibrating, and the 1st very expressive, especially in the higher positions.