Introduction to Playing From Score

Cover 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.


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