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The orchestra and orchestral music

Chapter 41: INDEX
By W. J. Henderson
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About This Book

This work serves as a practical guide for music lovers, surveying the modern orchestra by describing each instrument family—strings, woodwind, brass, and percussion—their tonal characters, typical parts, and solo versus ensemble roles. It explains scoring and orchestration principles, illustrates instruments and quoted passages to aid identification, and examines the conductor's emergence, responsibilities, and techniques. It also discusses requisites of good orchestral playing and traces the orchestra's historical development and the growth of orchestral repertoire from early Baroque through the Romantic era. Chapters balance technical description with accessible historical and practical commentary.

INDEX

  • Abbreviations in scores, 47
  • Aria da capo, suggestion to orchestral composers, 220
  • Bach’s orchestra, 195
  • Balance of tone, 65;
  • how obtained, 115
  • Bass clarinet, compass and character, 28;
  • introduction of, 209
  • Bass drum, 111
  • Bassoon, compass and character, 24
  • Baton, use of, 148 et seq.;
  • need of, 154
  • “Battery,” 108 et seq.
  • Beethoven’s symphonies, 226 et seq.
  • Bells, 111
  • Berlioz, 67, 68;
  • his orchestra, 208
  • Boston Symphony Orchestra, 50, 212
  • Bowing, 9;
  • marks for, 138
  • Brass, 4;
  • methods of using, 97 et seq.;
  • Bach’s and Handel’s plans, 98;
  • Haydn’s, 99;
  • Mozart’s, 100;
  • employed unsupported, 105;
  • Wagner learns from Gluck and Mozart, 107
  • Carillon, 112
  • Castanets, 111
  • Clarinet, compass and character, 26;
  • how to read its music, 52;
  • methods of using, 86 et seq.
  • Classic music, character of, 222
  • Classicists, modern, 231
  • Clefs, 55 et seq.
  • Colorists, 231
  • Conductor, development of, 147 et seq.;
  • interpreting, 156;
  • Wagner’s influence on, 161;
  • functions of, 164;
  • in detail, 167;
  • choice of tempo, 169;
  • work besides choice of tempo, 174
  • Conductors, famous, 158 et seq.
  • Contra-bass clarinet, 96
  • Contra-bassoon, 95
  • Contrast, 65;
  • how obtained, 119
  • Cornet, 23
  • Cyclic forms, 220
  • Cymbals, 111
  • Directions, composers’, to be obeyed, 139
  • Double bass, compass and character, 17
  • Drum, bass, 111;
  • snare, 111
  • English Horn, compass and character, 23
  • Flexibility in orchestral playing, 134
  • Flute, compass and character, 19;
  • uses of, 81 et seq.;
  • introduction of, 190
  • Forms, development of musical, 220;
  • Beethoven’s innovations, 227;
  • Schumann’s, 228
  • Glissando, 41
  • Gong, 111
  • Gossec, developer of orchestral technics, 158
  • Habeneck, interpreting conductor, 160
  • Handel’s orchestra, 196
  • Harmonics, 7, 8
  • Harmony, dispersal of, 64
  • Harp, 39;
  • pedals, 40;
  • methods of using, 39 et seq.
  • Harpsichord, used in conducting, 149 et seq.;
  • method of use, 150;
  • used in symphonic conducting, 155
  • Haydn’s orchestra, 200
  • Horn, compass and character, 30;
  • how to read its music, 54;
  • methods of using, 97 et seq.;
  • stopped tones, 100;
  • valves, 100;
  • Rossini’s horn style, 100;
  • in “Eroica” symphony, 101;
  • four horns, how used, 101, 102
  • Horn, English, 23;
  • introduction into orchestra, 208
  • Instrumentation, models, 68
  • Instruments, list of, in orchestra, 4;
  • names in four languages, 46
  • Leader of orchestra, 154
  • Legno, col, 10
  • Legrenzi’s orchestra, 192
  • Liszt, inventor of symphonic poem, 230
  • Lully’s orchestra, 192
  • Mendelssohn, model for string writing, 76
  • Metronome, 172
  • Meyerbeer, 39, 40, 41
  • Middle voices, 135
  • Monteverde, Claudio, founder of modern orchestra, 186
  • Mozart, tone-coloring, and string plan, 75, 76;
  • his orchestra, 204
  • Music, orchestral, development of, 217 et seq.;
  • polyphonic, 218;
  • classic, 220;
  • character of, 222 et seq.;
  • what to expect in classic, 224;
  • Beethoven’s, 226 et seq.;
  • romantic, 228
  • Nicode, divided strings in “Das Meer,” 77
  • Oboe, compass and character, 20;
  • uses of, 81 et seq.
  • Ophicleide, 210
  • Orchestra, defined, 3;
  • Beethoven’s, 4, 206;
  • instruments in, 4;
  • how used, 61;
  • compass, 61;
  • dynamic range, 62;
  • constitution of, 142;
  • development of, 181 et seq.;
  • in Middle Ages, 183;
  • Peri’s and Cavaliere’s, 185, 186;
  • Monteverde’s, 186;
  • Scarlatti’s, 190;
  • Lully’s, 192;
  • Legrenzi’s, 192;
  • Bach’s, 195;
  • Handel’s, 196;
  • in early part of eighteenth century, 193, 198;
  • Gossec’s, 200;
  • Haydn’s, 200;
  • Dresden court orchestra, 203;
  • Mozart’s, 204;
  • Berlioz’s, 208;
  • Wagner’s, 210, 211;
  • Boston Symphony’s number, 212;
  • festival, 213
  • Orchestral music, development of, 217 et seq.
  • Orchestras, famous, 140 et seq., 202
  • Orchestration, general principles of, 61;
  • requirements of, 63;
  • models in, 67, 68;
  • Bach’s polyphonic, 82;
  • qualities of good, 113 et seq.;
  • pianists’ mistakes, 115;
  • Bach’s, 120;
  • effect of clarinet in, 120;
  • Handel’s, 121;
  • romantic, 122;
  • innovations of Monteverde, 188;
  • Corelli’s contributions to, 193
  • Overture, classic form, 200
  • Percussive instruments, parts for, 112
  • Performance, qualities of orchestral, 124 et seq.;
  • requisites of, 125
  • Phrasing, 137
  • Piccolo, 95
  • Precision, 131, 132
  • Quality of tone, 125
  • Quartette, string, establishment of, 189, 190
  • Romantic music, 228 et seq.
  • Saltato, 10
  • Score, described, 43 et seq.;
  • abbreviations in, 47
  • Seating plan of orchestra, 49, 50, 203
  • Shading in orchestral playing, 134 et seq.
  • Solidity, 64, 114;
  • how obtained, 115;
  • in performance, 126
  • Sonata, development of, 220
  • Sordines, 10
  • Stamitz, developer of orchestral technics, 158
  • Strauss, R., leader of orchestral colorists, 232
  • Strings, 5;
  • methods of using, 66 et seq.;
  • test of methods, 72;
  • Beethoven’s plan, 72, 76;
  • innovations in use of, by romanticists, 72;
  • effects of different registers, 73;
  • Haydn’s plan, 75;
  • Mozart’s plan, 76;
  • Mendelssohn’s plan, 76;
  • introduction of various effects, 80;
  • proper proportion of, 127
  • Symphonic poem, 230
  • Symphony, form and development, 220 et seq.
  • Tambourine, 111
  • Tempo, importance of, 169 et seq.
  • Tone, balance of, 65, 126;
  • how obtained, 115;
  • qualities of, in orchestral performance, 125 et seq.;
  • necessity of fine, 130
  • Transposing instruments, 51 et seq.
  • Tremolo, 9;
  • invention of, 188
  • Trombone, kinds, compass and character, 34;
  • how used, 102;
  • introduction in symphony, 103;
  • Berlioz’s use of, 106;
  • Mozart’s and Gluck’s use of, 107
  • Trumpet, compass and character, 32;
  • how to read its music, 54;
  • methods of using, 98 et seq.
  • Tuba, kinds and character, 35;
  • how used, 103;
  • introduction of, 210
  • Tympani, compass and character, 37;
  • how used, 108;
  • Beethoven’s innovations in use of, 109
  • Unanimity, 131, 132, 133
  • Variety, 65;
  • how obtained, 119
  • Viola, compass and character of, 13 et seq.;
  • how used, 67 et seq.
  • Violin, compass, bowing, etc., 6 et seq.;
  • entrance into orchestra, 187
  • Violins, first and second, 5;
  • second, 11
  • Violoncello, compass and character, 16;
  • how used, 71
  • Wagner’s orchestra, 210
  • Wood-wind, enumerated, 4;
  • in detail, 19;
  • methods of using, 81 et seq.;
  • Bach’s plan, 82;
  • Handel’s, 84;
  • Haydn’s, 85;
  • Mozart’s, 87;
  • Beethoven’s, 88;
  • Brahms’s, 89;
  • Beethoven’s innovations, 90;
  • Wagner’s, 91
  • Xylophone, 112