V The Orchestral Score
The printed form of an orchestral composition, or one for voices and orchestra, is called a score. (German, Partitur.) In it are comprised the parts to be played by all the instruments. It is read across the page precisely as a piece of piano music is, with the important difference that while in a piano piece there are only two staves—one for the treble and one for the bass—in an orchestral score there are from sixteen to twenty-four, according to the number of the parts. The name of the instrument is printed at the beginning of its part and also the key in which it stands, if it is a transposing instrument. The customary order of the instruments from top to bottom of the page is as follows: Flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, tuba, tympani, and other instruments of percussion, harps, violins, violas, ’cellos, and double-basses. This order is sometimes changed for the sake of convenience. If there are voices, as in an opera or oratorio, they will be found in the older scores between the viola and ’cello parts. The more modern custom is to put them above the first violins, so that the parts of the string choir are not separated. In a concerto the solo instrument is similarly placed. The names of the instruments of the score are usually given in Italian, but sometimes in German. The following list gives the names of the instruments in English, Italian, German, and French, with the plurals where needed:
| Italian. | German. | French. | |
|---|---|---|---|
| Flute | Flautŏ(i) | Flöte(n) | Flute. |
| Oboe | Oboe(i) | Hoboe(n) | Hautbois. |
| English Horn | Cornŏ Inglese | Englische Horn | Cor Anglais. |
| Clarinet | Clarinettŏ(i) | Clarinette(n) | Clarinette. |
| Bassoon | Fagottŏ(i) | Fagott(e) | Basson. |
| Horn | Cornŏ(i) | Horn(er) | Cor. |
| Trumpet | Tromba(e) | Trompete(n) | Trompette. |
| Cornet | Cornettó(i) | Cornet(te) | Cornette à pistons. |
| Trombone | Trombonó(i) | Posaune(n) | Trombone. |
| Tuba | Tuba | Tuba | Tuba. |
| Bass Drum | Gran Cassa | Grosse Trommel | Grosse Caisse. |
| Cymbals | Piatti | Becken | Cymbales. |
| Kettle-drums | Timpani | Pauken | Timbales. |
| Harp | Arpa | Harfe | Harpe. |
| Violin | Violino | Geige | Violone. |
| Viola | Viola | Bratsche | Alto. |
| Violoncello | Violoncello | Violoncell | Violoncelle. |
| Bass | Basso | Bass | Contrebasse. |
In German scores the Italian names are often used. Sometimes each instrument has a separate staff, but more frequently a pair of instruments, as two flutes, or two oboes, is written on one staff. In such cases the tails of the notes for the upper instrument are turned up and of those for the lower down. If there are two sets of tails, one up and one down, to one set of notes, it indicates that two instruments are to play the same passage. In the case of four horns, two staves are used, the upper for the first and second and the lower for the third and fourth. In old scores the reader will find many different orders of placing the instruments on the page. That which I have given is the present method.
The reader will find many directions and abbreviations in scores not used in piano music. The meaning of any of these can be ascertained by consulting a dictionary of music. One or two may be explained here. The word “divisi” written over a part in double notes (or more) means that one instrument is to play the upper line and another the lower. First violins are thus sometimes subdivided, and so are other stringed instruments. The words “A due” are used as a direction for all to play together again. The letters A, B, C, etc., often seen at the tops and bottoms of pages, are for the convenience of conductors in rehearsing.
“If you please, gentlemen, let us go back to four bars before the letter G,” or something of that kind, is a familiar remark at orchestra rehearsals.
The reader will find that in many scores space is saved by omitting from some pages the staves of those instruments which have nothing on those pages. Usually when this is done the names of the instruments which are playing are indicated by abbreviations placed just above the staves, as “Fl., Cl., Fg.,” etc. The full names of the instruments employed in any movement are given only at the beginning, and the reader of scores should note how many staves are employed. Sometimes the flutes are written on two staves, sometimes on one. The same is true of the other wind-instruments. Usually the wood-choir staves are bound together by a continuous double bar at the beginning of each page, and sometimes the horns have one double bar. The score-reader will soon become familiar with the various arrangements. One who loves orchestral music and wishes to understand how its effects are produced should study scores. Study your score first at home and try to imagine how it ought to sound. Then follow the performance with it and note what combinations of instruments produce particular effects. After a time you will find that your understanding of the orchestra has greatly increased, and you will get new enjoyment from the performance of symphonies and overtures.