Introduction to Playing From Score
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In our eReader you can find the full English version of the book. Read Introduction to Playing From Score Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Introduction to Playing From Score
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In any case we have learned how to proceed, when the production of the entire thematic web was impossible, and how to omit what can be dis- pensed with in any way. The student of score-playing is, then, earnestly recommended not to content himself with playing through this one quartet, but also to study others as they come under his notice. Once he has learned to manage quartets, he has mastered the most difficult part of the art. Our succeeding remarks are scarcely more educational, but they a...re certainly more interesting, and, therefore, entice us only too easily and too soon from the playing of quartets.
SUBSTITUTES FOR ORCHESTRAL EFFECTS. «y III.
SUBSTITUTES FOR ORCHESTRAL EFFECTS.
The writing for a greater ensemble, an orchestra, is as a rule less involved than that for a string quartet. Not- withstanding the frequent combination of pairs of instru- ments (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trum- pets, 2 horns, 2 or 3 trombones) on one staff, the number of staves to be read simultaneously is, indeed, usually greater than four- since, however, many parts are only octave or unison doublings (simplified or exact) of others, the large number of apparent parts is reduced to a small number of real parts, which often does not even reach four, and but seldom is more than four.
What to read after Introduction to Playing From Score?
You can find similar books in the "Read Also" column, or choose other free books by Riemann, Hugo, 1849-1919 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
In any case we have learned how to proceed, when the production of the entire thematic web was impossible, and how to omit what can be dis- pensed with in any way. The student of score-playing is, then, earnestly recommended not to content himself with playing through this one quartet, but also to study others as they come under his notice. Once he has learned to manage quartets, he has mastered the most difficult part of the art. Our succeeding remarks are scarcely more educational, but they a...re certainly more interesting, and, therefore, entice us only too easily and too soon from the playing of quartets.
SUBSTITUTES FOR ORCHESTRAL EFFECTS. «y III.
SUBSTITUTES FOR ORCHESTRAL EFFECTS.
The writing for a greater ensemble, an orchestra, is as a rule less involved than that for a string quartet. Not- withstanding the frequent combination of pairs of instru- ments (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trum- pets, 2 horns, 2 or 3 trombones) on one staff, the number of staves to be read simultaneously is, indeed, usually greater than four- since, however, many parts are only octave or unison doublings (simplified or exact) of others, the large number of apparent parts is reduced to a small number of real parts, which often does not even reach four, and but seldom is more than four.
What to read after Introduction to Playing From Score?
You can find similar books in the "Read Also" column, or choose other free books by Riemann, Hugo, 1849-1919 to read onlineMoreLess
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