Scan 317
The American history and encyclopedia of music .., 1908
4 lines. Read by computer on 8 September 2026. Printed page 273. See the scan on archive.org.
1In our present-day orchestra even the big bass drum is so handled as to give effective results. It cannot be manipulated as are the kettledrums because it has no pitch, but it is used effectively with one large stick or the smaller ones of the kettledrum in heavy parts of compositions where the entire orchestra is employed or, in the language of the musician, in "tutti" passages.
3One cannot hope the first time he listens, say to a symphony played by a large orchestra, to hear all the voices of the instruments at once and recognize an instrument by its voice. The pleasure one derives from an ability to follow the various instruments and to discover just what place each one fills in the interpretation of a composition is worth the oft-repeated effort and close attention it requires. Every one who wishes to gain much from good music should acquire the habit of ear analysis. One should have at least a fair knowledge of the form or design of a composition before he hears it played by an orchestra. For instance, if it is a symphony he knows first by its name that it is a sounding together, an employment of all the resources of instrumental sound, and further that it expresses a kind of modulation through three or four different moods of one dominant feeling or musical idea. There is usually a close relation between most of the compositions heard at a classical concert. The study of form has shown the reader that the sonata form really lies at the bottom of symphonies, symphonic poems, overtures, concertos for solo instruments and orchestra as well as smaller forms, such as trios, quartets and quintets for strings. If a composition then follow, not exactly but in its general structure, a scheme such as is found in the sonata form and is one composed of a number of parts or movements, it is according to the treatment of parts a symphony, concerto, or sonata. If written for a solo instrument, we have the sonata, if the accompaniment is written for an orchestra, a concerto, and if the entire score is for orchestra then we have the symphony.
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