La#Retta#Maniera#di#Scrivere# peril# Clarinetto#1" " Francesco"Antolini" "...
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Francesco Antolini
La Retta Maniera di Scrivere
per il
Clarinetto (The Right Way to Write for the Clarinet)
Milan (1813)
Translated by Sion M. Honea
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Translator’s Preface
Antolini’s book is an interesting precursor to what would become the standard approach to the treatment of orchestration in the form of the treatises by Georg Kastner, Traité Général d’Instrumentation (1837) and Hector Berlioz Grand Traité d’Instrumentation et d’Orchestration (1843). What makes it interesting is not that it is nearly exclusively devoted to the issues of only one instrument, which was more nearly the earlier norm, but that it represents a time when the evolution of instruments of all types was happening so rapidly and with so many innovations, even so, in regard to physical development of the clarinet Antolini is conservative, advocating the five-‐key instrument and viewing even the six-‐key one skeptically. Rather, what makes Antolini’s book particularly interesting is that it is so revealing of a liminal period in which writing for these rapidly developing instruments was still for most composers so mysterious a practice and when the demand for expanded harmonic potential was accelerating.
The author does give practical information about range and particular difficulties, especially those associated with different keys for an instrument only just emerging from its diatonic forebears, and for which he finds it only natural to give parallel but separate “diatonic” and “chromatic” fingering charts. The bulk of his treatment, however, centers on the mere technique of writing for the clarinet, of how to figure out the pitch level and key for the written parts of the transposing instrument, a term to which Antolini objects; indeed, it is only this preoccupation with transposition that justifies the inclusion of a section in the appendix on the horn and trumpet. A modern student trained in intervallic thinking for these instruments cannot help but find Antolini’s clef method strangely cumbersome.
It is difficult for readers today to project themselves back into a time and mindset in which transposed parts were so inexplicable and difficult to produce correctly. This may in part be due to the fact that the author uses, and so apparently assumes the same for his reader, the Guidonian hexachord syllables in order to identify the basic keys of instruments. This more “geocentric” approach to pitch, identifying and fixing it within a narrow range of key relationships, must surely have been part of the problem. Another aspect of the books seems strange as well, Antolini’s failure to relate the natural pitches producible on brass instruments to the harmonic series, strange, that is, until remembering that Antolini published in 1813 and Fourier did not identify the phenomenon until 1822! Guidonian solmization and lack of knowledge of the harmonic series go far to explain the conditions of practice in which Antolini’s contemporaries worked. A word on the process of translation is appropriate as the condition of the prose always affects the ultimate result. Antolini writes at a time still prior to the formulation of modern prose style in Italian. It is far more nearly speech-‐like than would be a book written today. Sentences often go on and on of nearly or actual paragraph length. The use of numerous elliptical participial and infinitival clauses is characteristic, a process that strips subordinate clauses of clear relationships. While Antolini’s prose is in general clearer than that of the norm 200 years earlier, it nonetheless still presents difficulties. Beyond the difficulty of the prose in general, it is hard to avoid drawing the conclusion that Antolini has become rather tired of his subject after he finishes with the clarinet, a weariness expressed in the increasing tenuousness of his syntax. My notes have attempted not only to address these linguistic issues but also to provide explanations of Antolini’s concepts where necessary and possible. I have also
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compiled a glossary of terms that might prove problematic for the reader or that given insight into historical context. Antolini’s text alludes continually to his six tables of examples. Whenever the lack of these visually presents a significant difficulty I have attempted to explain. The tables are so visually complex and multifarious that I do not see how they could be recreated adequately by any current music writing program without immense labor, and probably not at all, especially the fingering charts. Their complexity and size, twice a normal page and in oblong format, would render them largely illegible as independent scans. The best expedient, then, seems to be to call to the attention of the reader the fact that the book is available for purchase from online vendors as an ebook for a very modest price. Unfortunately the OCLC WorldCat catalog does not list any holding libraries, though there is a copy in the Rare Books collection of the Sibley Music Library of The Eastman School of Music, which retrospective conversion cataloging had not yet reported at the time of this writing.
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Contents
Translator’s Preface 2 Prerace 5 § I. Preliminary Understanding of the Clarinet 8 § II. Causes that Contribute to Make the Greatest Difficulties for the Clarinet 11 § III. In which Key ought the Clarinet to be Written 13 § IV. On the Manner of Writing for the Clarinet 17 § V. Concerning the Scales of the Clarinet 19 Appendix § I. On the Basset Horn and Clarone 21 § II. Other Clarinets 21 § III. On the English Horn and Vox Humana 22 § IV. On the Various Types of Flutes 22 § V. On the Horn and Trumpet 23 Glossary 27
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Preface
[5]1 Foreseeing that the title of this my little work may at first sight raise surprise among those performing on the clarinet, or offend the sensitivity of composers of music, to whom it is especially directed, the first perhaps persuaded that I pretend either to create a new method or to censure the many that there already are, and the second as to what way I presume to make precepts for them, I see myself in [6] indispensable need of premising this disquisition to the purpose of persuading both these and those to the contrary as to how much the above title can have cause of surprise and offense for them, and in order to make manifest at the same time and as to what may be the purpose that has persuaded and animated me to compile and make public this my little labor. Therefore, in order to persuade the first, I will say that there is no doubt that there are many celebrated clarinet methods by capable French virtuosos, among whom are particularly distinguished those of the illustrious signori Lefevre, Vanderhagen and Blasius, without counting many others who remain unnamed for the sake of brevity. Moreover, whoever should want to take the trouble of examining all attentively will not be able not to conclude at once and not agree that these are uniquely designed to prepare performers rather [7] than composers and, at the most, what is discerned in them relative to composition is directed to the one who already deals with it or to the one who desires to deal with the clarinet and not to those composers who neither deal with it nor have any desire to deal with it. For persuading the second, now, I will say that they should not believe, indeed, that I intend here to speak of all indiscriminately. Everyone knows that in every skill or art whatever there are some who, possessing it to perfection, do not need the counsel of others, as on the other hand there are some of those who, possessing it to a moderate degree, have need of it. Not to the first but rather to the second is my explanation directed; and only, so that I may be able to succeed in having caused some one of them to acquire a single understanding that he did not have previously, will I be fully satisfied and content. So much, I hope will be sufficient [8] to calm the spirits of both these and those so as to cause them to change their minds of that sinister opinion that they formed in anticipation both of me and of my work. I will add further that by this advice which seems to me able to serve the second class of composers, one should not believe, indeed, that these are concerned completely with their art:2 no, but reflecting that this [art] requires of its composers two qualities intimately essential and joined between them, that is, the science of composition and the understanding of the instruments of which they want to make display in their compositions. By separating the one from the other, may they permit me to say with modesty and sincerity together, that if I recognize them as composers, they do not, then, make themselves recognized in their works as skilled or understanding of all the instruments and especially of the wind instruments. [9] In fact, there are no few of them who, though they know only the solo cembalo, write for all the other instruments as if those passages convenient for the cembalo had to be such as well for the other instruments.
1 Translator’s note: So that the reader may compare this translation with the original, the number in brackets indicates the original page number. 2 Translator’s note: That is, they do not make a thorough study of it because they omit the study of orchestration.
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Understanding that it would be too long and annoying if, in addition to the not slight time that the difficult art of composition occupies, they would then have to spend quite as much again, if it were sufficient, in the perfect understanding of all the instruments that are nowadays in use in the large orchestras. If, however, this could be obtained, what reward would not redound thus for the composer, what for the performers and for the public! Anyone, even of mediocre intelligence, recognizes without difficulty the inestimable advantage of it, an advantage that is recognized especially by the performers in the performance of the music by those composers who possess [10] or understand musical instruments to perfection. But, disgracefully, the number is very meager of those who want to set about testing their endurance by subjecting themselves to such labor. The practice that I have made with the clarinet for so many years, in the performance of music both sacred and theatrical, convinces me of this truth to the point that does not allow me the shadow of a doubt of asserting so much, that is, that the fewest of our composers understand the wind instruments through practice, and especially the clarinet. Hence it is that this my labor is directed to no other purpose than to bring about, if possible to do, a no slight advantage to those composers who, because they have no practical knowledge of these instruments, find themselves most of the time embarrassed and perplexed, contemplating whether or not some passage or motive is executable and effective [11] which they have conceived mentally, or that without any trial they write directly whatever comes to their mind and pen, leaving, therefore, to the performer all the burden of sometimes unperformable and frequently difficult execution. This it is that does not seem to me a sufficiently clear demonstration in the methods that we have for the clarinet, as anyone can with only comparison easily clarify, persuade and convince himself on his own. The honorable and flattering testimony of pleasure and the persuasion demonstrated to me by various composers, to whom either verbally or in writing I have briefly on frequent occasions communicated, all of which are to be presented in this little work, make me hope that it will not be less now that I have resolved to bring it to the public and at greater length with this printing. [12] For this reason, then, the present work may prove of some usefulness, beyond for composers, even for those practicing the clarinet I believe it provides something agreeable to the latter, presenting here the two scales of this instrument, which, in being different from the usual ones because more clear and more complete in notes with accidentals, I hope they will succeed to their greater satisfaction and pleasure. Since my principle purpose is actually to demonstrate the correspondence and analogy that the various types of clarinets have among them, for this reason after I have presented as much as seems to me necessary on the subject of the clarinets of the orchestra, which is my principal object, I think it good to do a similar thing agreeable to the composers, passing on by means of an appendix to give some idea or understanding of the basset horn, clarone, and the other smaller clarinets, which are used in military music, commonly called a band. [13] Then there will be added a glance at the English horn and the vox humana,3 which are in perfect analogy with the oboe, as well as on the various types of flutes, and in conclusion there will be some remarks also on the horn and trumpet, all areas of knowledge that can only aid greatly in addition to the composers, also those who are in the duty of heads of military music, flattering myself—considering the practice made by me for
3 Translator’s note: The vox humana is a kind of tenor oboe.
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numerous years in this kind of music—that I am able not without foundation, to explain the other instruments indicated also, although I do not perform on them myself. In a similar way I flatter myself that I can produce something agreeable at the same time for those practicing the clarinet, and especially for composers in general, who will discover reliable rules in a tiny little work, both clear and infallible, by which to write adequately for the greater part of [14] wind instruments, and if they will be pleased to examine impartially and without prejudice this, whatever it may be, my work, I want to hope that they will not find themselves deluded neither in as much as I promise nor in as much as they expect.
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[15] § I. Preliminary Understanding of the Clarinet
Before entering upon a discussion and treatment of the rules and precepts, I think it is necessary, indeed indispensable, to preface it with an idea of the construction of the clarinet, which will elucidate better and be able more easily suited to understand what I will say hereafter. The clarinet has, as does each wind instrument, a characteristic tone quality [voce], range [estensione] and technique [maneggio].4 This latter, moreover, that is the technique, is in many pitches similar to the oboe and the flute, for which reason these three instruments are in the same category, it being possible with any one of them whatever—although only up to a certain point—to execute the music that is written for the other. The clarinet has further beyond them this advantage, i.e., that in addition to having a high range just like the oboe and the flute, it has a much more extended low range, with which it can even emulate the bassoon. Everything that forms the difficulty and, if I am permitted the expression, the mystery of the [16] clarinet, exists in its physical construction. As to the rest, it is perfectly similar to the two instruments mentioned above, the oboe and the flute. In regard to its diatonic and chromatic gradation, it can be and is actually played in all keys [tuoni] equal to the other two aforementioned instruments. In fact, the clarinet in C, which is constructed in the same pitch as the oboe and flute, just like these also could execute any music written in any key—if the technical difficulty were no obstacle for it—except for the tone quality. Setting aside that this latter possibility and the technical faculty of the clarinet is limited to only tempos of largo, andante and moderato, in keys that are inconvenient also for the oboe and flute, which would be A, E A-‐flat, E-‐flat, etc., such keys on the clarinet in addition to being produced with difficulty produce a certain quality of tone that by its nature is harsh and unpleasant when not produced by an experienced hand.5 [17] It results, then, from what has been said up to this point that on the clarinet in C (thus named because it is constructed in this key and because on it the position of C really produces the key of
4 Translator’s note: “technique” is not an entirely satisfactory translation of the Italian. See the glossary. 5 So that the technical difficulty of the clarinet can be all the more observed as to how it is greater than that of the oboe and flute, and from what cause this difficulty proceeds, demonstrating it by means of a comparison among them will not be unuseful, and this is that both alike of these two instruments, when they have performed their scale in the lower octave, by means of the skill of the embouchure, with just the same position they execute the other octave, so that having learned how to form the first it is like getting the second as a gift, it being possible in both to combine not a few steps executable with the same position as to the octave above and below. In proof of this it is sufficient to observe that these two instruments, and especially the flute, are able to execute octave leaps comfortably with the two pitches, low and high, either detached or slurred. (The same thing happens on the bassoon.) On the clarinet there is no such advantage. This, in addition to requiring the effort of the embouchure in passing from low to high, requires further for each note an indistinguishably distinct position and, when on the aforementioned two instruments you slur the prime portamento, you return to the same position on the same notes an octave above. On the clarinet, when you execute the prime portamento you return in the same position to a twelfth above. (See the example 1 on Table I.) this is the reason that on this instrument the leaps of an octave are very difficult to be executed both staccato and slurred. [Translator’s note: Antolini is referring here to the fact that the flute and oboe overblow at the octave, whereas the clarinet overblows at the twelfth. A brief but lucid description of this can be found in Anthony Baines, Woodwind Instruments and their History, pp. 37-‐38. This interval of overblowing seems to be what he means by portamento.]
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C), is only able to execute with ease and with good effect, that music written in the key of C, and in consequence in analogous keys at the fourth and fifth, that is F and G. In order to remedy, therefore, the two aforementioned inconveniences, so as to render, that is, the clarinet [18] conveniently playable in all keys, and consistently graduated in all pitches, thus it is proposed to substitute for the clarinet in C—which should be considered as the one that, being the true tuning pitch [corista],6 has given rise to the others—another clarinet of a lower key (tuono)7 than the aforesaid, in such a way that its [the new one’s] C comes to correspond perfectly to the B-‐flat of the one in C. In consequence, this other clarinet has its same three keys conveniently playable, that is [written] C, F and G corresponding then to [concert pitch] B-‐flat, E-‐flat and F. Up to this point between both clarinets we have, then, five keys that can be played conveniently: C, F, G, B-‐flat and E-‐flat. Since these do not suffice to fill out the series of keys that are most used, therefore it is proposed to substitute a changeable joint, to both one and the other, so that each of those is half a step lower than its respective clarinet. With this changeable joint, then, for the clarinet in C, the C comes to correspond exactly to the tuning pitch (corista) of the clarinet in B,8 and indeed three other convenient keys [19]—and always the same [written] C, F and G—corresponding to
6 Translator’s note: Antolini is here possibly making a word play on the term “corista,” which can mean among other things, a chorister, tuning pitch, or chorus leader. 7 Translator’s note: Here tuono comes perilously close to ambiguity between “key” and “pitch level.” 8 It is to be observed that each piece composing the clarinet is customary to be marked by the maker with the initial letter of the key in which it is constructed. The one in Csolfaut bears the letter C because the position of Csolfaut actually produces Csolfaut. The one in befa bears the letter B because the position C produces befa {B-‐flat]. The piece in Alamire bears the letter A because the position C produces A. From this method, then, it arises that it has become the practice to name the clarinet by its principal position C. Only the piece in bemi [B-‐natural] is named, instead of the position C, which produces the bemi designation, by the position of faut, which produces elami, and by all makers it is marked in this way =E#=. I believe there is no other reason that can explain this designation than from the fact that ambiguity resulting from marking this piece with a B could cause confusion with the clarinet in befa [B-‐flat]. This ambiguity, moreover, would be easily removed provided that the clarinet in befa could be marked not with the letter B, which strictly speaking means bemi [B-‐natural] not befa [B-‐flat], but with a bemolle together, =B!= and at the same time marking the piece in bemi with only B, which by rule of regularity belongs to it, would be regular and consistent with the other clarinets, nor would there be in it any cause for doubt.
[Translator’s note: Antolini is referring to the use of the symbols from the Guidonian hexachord system, which by this time was utterly obsolete and unnecessary but had continued solely by stolid conservative tradition. The terms used here, e.g. Csolfaut result from the letter name within the gamut plus the combination of hexachord syllables that placed that particular pitch within the gamut of repeating octaves. Bemi means B is in the position of mi as in the succession of whole-‐step to half-‐step, A-‐B-‐C, whereas befa means that B is actually B-‐flat because it occupies the succession of halfstep to whole-‐step, so A B-‐flat C and so is in the position of fa. It also possesses information relevant to the function of that C in various modal contexts. Albert Rice, Clarinet in the Classical Period (page 21) notes Antolini’s reference to the use of E# but says it is unverified by a surviving instrument. Since the faut postion of Csolfaut is an F, this can only be represented in the key of B as an E#. The Guidonian system was cumbersome centuries before Antolini, though it continued to be used through the eighteenth century. Ramis de Pareia had proposed rejection of the system, unsuccessfully, as early as the late fifteenth century. Exactly one century prior to the publication of Antolini’s book Johann Mattheson in Das Neu-‐Eröffnete Orchestre (1713) tried again, also unsuccessfully, to advocate the use of a seven-‐syllable, octave-‐based system. Although his idea was supported by the likes of Handel, Telemann and Kuhnau, he received vigorous opposition from the venerable J. J. Fux as well as from many lesser composers and theorists, whose arguments all amounted to “that’s not the way we’ve always done it!]
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[actual pitch] B, E and F# in the clarinet [in B] pitch. With the changeable joint [added to] the clarinet in B-‐flat, the position of [written] C corresponds to [actual pitch] A in the clarinet [in A] pitch, and we have also with this one another three convenient keys, always the same, that is [written] C, F and G corresponding to [actual] A, D and E. [20] Now then, to the five previously named keys another five of them, that is B, E, F#, A and D are added, which are more than sufficient for the performance of any music in whatever key it may be written. From what has been said up to this point the conclusion is: First, that the three clarinets in B, B-‐flat and A are only auxiliary or supplementary to the clarinet in C. Second, that the only three positions of C, F and G produce, by virtue of the change of instrument, twelve keys, from which are subtracted the duplication of F and E, there remain ten from these, as has been demonstrated. Finally, that excepting the clarinet in C, among the others it is not the performer who plays in any key, but rather it is the instrument that produces the key, without the performer taking part in it [author’s own italics]. One will be able to play successively one after the other a given piece of music, e.g., one written in C, in four different keys, that is C, B, B-‐flat and A without ever finding oneself constrained to change either a fingering or a note, see Table I, example 2. The same is understood for the other two positions, F and G. If, then, to these three positions one wanted to add the position D, which is not of any great difficulty, one would have for every clarinet [21] four convenient keys, and the clarinet in C will have additionally the key of D, that in B the key of C#, that in B-‐flat the key of C, and that in A the key of B and all four with only the position of D. Toward the purpose that the goal here explained may achieve, that of greater understanding, Table I, example 3 should be consulted, in which is discerned at a glance the diatonic correspondence and the analogy that among them the aforementioned four clarinets have with the violin and its clef, which is basic, and the succession of the others.9 Let this example be consulted with [22] attention and
9 The following reflection may be made upon this example, i.e., that the four clarinets are comprised in it without distinction. Moreover, when they are tuned perfectly, each playing, all at the same time its proper part all are discerned to be in perfect unison with the violin. [Translator’s note: The only way that this can happen is if all play the pitches indicated vertically below the violin pitch. Thus, the purpose of this example seems to be to illustrate the four clarinets’ written pitches and keys and what pitches and keys they sound.] Can one then say that any of them is transposed, or that it is played in a clef different from the others? Not at all—each is played in the one and only clef of the violin; nor does the diversity of keys proceed from another cause than from the nature of the instruments, one being higher or lower than the other [owing to the key it is constructed in]. [Translator’s note: I have reluctantly altered the Italian translation slightly so as to distinguish the point that I believe Antolini is making, which is consistent with his later discussion, namely, that the clarinet need play in one clef only, that of the violin (treble clef) no matter what the key of the instrument or the key of the music.] Similarly, it should be noted that the two low elami [= E-‐flat], marked by an asterisk and are black, are not executable because of the flat. [Translator’s note: E is both la and mi in the Guidonian system when the mode has the final G, thus no f-‐sharp. Antolini’s point in example 3 seems to be to illustrate the written pitches of the four clarinets that are necessary to produce the same sounding pitch and that the difference in written pitch does not constitute a true transposition to a different pitch level.] Supposing then that this example, which is clear and intelligible by those who understand and practice the clarinet, is not equally for composers who neither practice nor understand it, and that the accidentals placed in the clef (chiave, i.e., the key signature)—which serve for nothing but to show the diatonic correspondence at the unison of the four clarinets with the violin [Translator’s note: i.e., the key signatures necessary to produce pitches that correspond to the violin’s written, actual key.] [22]—could result in their [such composers’] confusion and
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one will easily and clearly both see in the understanding of the playing of this instrument and at the same time one will discern its not slight technical difficulty and the not indifferent commitment—not recognized by the greatest part of composers and listeners—of the performers who play it, if—in order to be played with facility in all keys [as written]—not one only as the other instruments but rather four of them are necessary for it.
§ II. Causes that Contribute to Make the Greatest Difficulties for the Clarinet
Now that an idea of the construction of the clarinet has been presented, consistency demands that one pass on to investigating and explaining the causes that contribute to produce such difficulties in this instrument by means of which are rendered indispensably [23] necessary, in distinction from other instruments, not one but indeed four clarinets, so as to be able to execute all the [written] keys comfortably. These, as already said above, are all executable on the clarinet in C in slow and moderate tempos. They become completely unexecutable in fast and lively tempos, especially the most chromatic keys [i.e., those with the most accidentals]. All the difficulty of this instrument comes not so much from the number of simple finger holes, which are eight, as from the five [mechanical] keys (chiavi),10
embarrassment, it is believed better to reduce it as is seen in Table I, example 4, in which the same scale is discerned very clearly as performed by the four clarinets, one after the other in the written key corresponding to the violin. [Translator’s note: This example shows the written scales to be played by the violin in order to correspond with the C scale as played on each of the four clarinets in turn, e.g., for the written C scale on the clarinet the violin plays a C scale; for the written C scale played on the B clarinet the violin must play the written B scale, etc. For modern readers who understandably find Antolini’s preoccupation with the issue slightly overwrought, it should be remembered that we view the issue after nearly two centuries of familiarity with established practice in dealing with “transposing” (a term to which Antonlini objects) instruments, whereas in the time of Antolini they were still relatively unusual. It should also be noted that composers today can still become confused when dealing with the various transpositions necessary.] 10 The excellent signor Lefevre [sic] in his celebrated method gives us a sixth key. [Translator’s note: Antolini refers to the late eighteenth-‐century method of L. Xavier Lefevre, whose name is also spelled Lefebvre.] The purpose for which he created and designed it is without doubt laudable and useful, the G#/A-‐flat being thus rendered perfectly in tune by it, as well as the low C#/D-‐flat. I therefore, at the same time in which I admire and praise him for his wise invention, would profess a greater obligation to him if reducing them [Translator’s note: i.e., reducing the number of keys], since, as I believe, the inconveniences that derive from this new key, or can derive, are quite greater than the usefulness. In truth, if five necessary and indispensable keys make for more work and more often, six ought to make for even more, and even more so, then, this nine-‐key [clarinet], not generally used except by a very few, owing to their delicate construction, it being secured by a little brass bridge. How at a moment’s notice can one bend it back and straighten it in case of some [24] sudden and unforeseen accident? On the other hand, the exact same effect that this nine key instrument presents, one obtains by means of the double hole, like the oboe has, a remedy that in addition to rendering the two aforementioned pitches in tune, equally as does the sixth key, has the inestimable advantage of never causing the least inconvenience. Further, whenever one wants to permit a sixth key, it would be much more necessary to add a new one of them near to the one for A, on the right, the hole for which would be more narrow than the one for A, which would produce in this way a perfectly clear and in-‐tune A-‐flat or G# in the middle range—a pitch that is ordinarily little precise and always very obscure—it would be, just like the other keys, solid and convenient to repair and would help greatly, especially the one who plays second clarinet.
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rendered [24] indispensable to its perfection, as much from the placement of these same keys,11 which cause many passages, where it is necessary for them to pass along successively one after another, to be either very difficult or even unexecutable, as may be seen in Table II, example 5, which shows all the intermediate notes with the keys.12 From this simple example the composer will note that these notes are either six or ten. These, then, do not all present an equal difficulty, even if it were necessary to have to play more than one successively. It is convenient, [25] then, to divide them into two groups. In the first group are A, B-‐flat and B-‐natural, which can be performed successively because the finger that is necessary for each of these keys is not required for the subsequent ones, see Table II, example 6, the fourth measure of which demonstrates that the passage can be executed from B-‐flat to C# also. The second group is B, C# and D#, which are not executable successively, since B and C#, [for] which latter the D# being executed with the same fingers, in addition to the difficulty, is not possible except by the removal of fingers imperceptibly so as not to make heard also the C-‐natural between the other two [between the B and C#] and between the second two also the D-‐natural [between C# and D#], see Table II, example 7. Passages of this type ought, then, to be proscribed on this instrument absolutely when they cannot be taken up by a different clarinet, as long as it does not please the composer that his music produces a bad effect and that the performer spoils it.13 [26] Note, moreover, that here, by unexecutable passages are not understood those previous ones that are produced inconveniently on one clarinet but can be executed and succeed conveniently on another as already explained, but rather that kind of passages that are unexecuatable on any of the four clarinets whatever and, to be sure, the two alternatives [i.e., keys producible on two clarinets of different key]. Let the examples of Table II, examples 9 and 10 in E-‐flat and A be consulted, in fast tempos written in the violin’s clef for the clarinet in C. These are quite difficult if they must be executed on the clarinet in C, but succeed thus conveniently and executable when the first is on B-‐flat clarinet and the second on that in A, since the former is transposed to a second higher and is played on F and the other is transposed similarly by a third and played on C. But, if the said passages must be executed on the clarinet in B-‐flat and in A precisely as written [author’s own italics], those are absolutely unexecutable whether by the complication of the fingerings or by the combination of the keys.14 For this reason it is most important that the composer should know first of all which clarinet the performer will have to make use of for that key in which he writes, and he should always keep in mind those notes that are inconvenient in their keys in case what he writes is in a fast or lively tempo.
11 Translator’s note: To the problematic term chiave Antolini now has no choice but to add an additional sense, that of a mechanical key on the instrument. 12 The lower ones are left out and the higher ones, as not much used in orchestral music. 13 Likewise, the leap from C-‐natural to E-‐flat ought to be avoided, see Table II, example 8, since although the C-‐natural is not executed with a key like the E-‐flat, because both are executed with the same finger, it is not possible except by making the D in the middle heard as well. Neither is it possible to have recourse quickly and with good success to the expedient that signore Lefevre suggests in a similar case, when one has not made for it a particular study and exercise, see his method on page 5 and page 157. [26] 14 Translator’s note: Antolini is distinguishing between the passages as resulting from the pitch that the clarinet would actually produce from its written pitches and the difficulties resulting if the passage is the written pitch, e.g., the passage as written in the key of F but sounds in the key of E-‐flat, or the passage as written in E-‐flat and sounding in D-‐flat, the latter of which he says is unexecutable.
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[27] § III. In which Clef ought the Clarinet to be Written
The first question that a composer ordinarily is accustomed to make when he is about to write a piece of music, either vocal or instrumental, in which he wants to include the clarinet, is this: In what clef (chiave) must I write for the specific key (tuono)?15 Ordinarily the performers answer, if guided either by their understanding, sometimes quite sparse, or by current overuse, or they answer him (as will be said quietly) from the uselessness of arguing, I say, [they tell the composer] either in the clef of the violin or the tenor clef or the soprano clef, according to the need, as the occasion and the [written] key demands. The composers behind [i.e., led by] such guides and luminaries write in the clef either of the violin or the tenor or the soprano, and this prejudice, this absurdity, has so taken root among them, that they believe steadfastly that the performers now play in one clef and now in another, but they are in manifest error. It is very true that performers must most times play now in one clef and now in another, but this happens for two [28] reasons entirely extraneous to the nature and property of the instrument, and to the precise necessity of having to write and play in several clefs, these are either by being constrained in it by the erroneous manner with which the music has been written or by his own personal preference, talent and will.16 The first instance of transposition is when a piece of music with a solo obbligato is written in the violin’s clef, as are the two examples already cited in Table II, examples 9 and 10.17 In that case, the first example certainly, as has been said, [instead of played on the C clarinet] ought to be transposed up a second [and played on the B-‐flat clarinet], and similarly up a third [and played on the A clarinet] for the second example. Here it occurs to me to say discreetly that if a performer on the clarinet should not be perfectly in possession and confident on a moment’s notice of all the transpositions, he will often be found (because of errors and ever-‐varied manner of writing used by composers) exposed to make himself look bad, excusable only by the one who deals with and understands this instrument. Nor ought he only to possess those transpositions prescribed by the system of seven clefs (setticlavio) but those even not included in it.18
15 Translator’s Note: At this point Antolini resumes the use of the term chiave with the sense of clef. His violin clef is the familiar treble clef, the tenor also is familiar as that C clef on the fourth line, the soprano clef is also a C clef but on the first line of the staff. 16 Translator’s note: Antolini is saying that there is no inherent reason for the clarinet to play in different clefs, the treble clef is the only one needed. The two reasons for using different clefs are either that the part is erroneously written that way or that the performer prefers to use different clefs, for such reasons as he goes on to describe. 17 Translator’s note: Antolini now refers to the use of clefs to achieve transpositions, which also requires displacement by octave in some instances. Today a transposition by interval is probably the more common approach. His sudden use of transposition is abrupt, but the subsequent passage explains it. 18 Perhaps this will seem an exaggerated statement, but it is more than true. Everyone knows that the transposition of the seven clefs always proceeds descending relative to the violin’s clef, as can be seen in a glance at Table IV, example 25, in which very quickly one may see C in the middle of the violin clef at that corresponding note, or that note appearing in the other clefs. Thus, if a performer is obliged to transpose ascending, as already said in Table II, examples 9 & 10, it is very clear and sufficiently proven that a performer on the clarinet ought to know the transpositions upward on the seven clefs, it being necessary for two keys. B-‐flat and E-‐flat, transposing them to a second above, to play in the contralto clef at an octave higher and in the two keys of A and D, transposing them up a third to play in the bass clef similarly an octave higher, having transposed, as anyone sees, what the seven clefs does not prescribe.
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[29] The second instance of transposition happens for two reasons. The first is whenever, although the music is written regularly as are examples in Table II, examples 11 and 12, the first for B-‐flat clarinet and the second for one in A, notwithstanding, in order for this to be in an andante tempo and easy and thus convenient to be played also by the clarinet in C, the performer at his discretion can execute them with this clarinet, and then it is a true and regular transposition, since he really plays the first in tenor clef and the second in the soprano clef. The second reason is whenever a solo, e.g., in B-‐flat or in D as are Table II, examples 13 and 14 [30] written in the violin’s clef and are convenient to be played on the clarinet in C without being transposed, if the performer wants to play the first on the B-‐flat clarinet and the second on the A clarinet, transposing them, as was said above, solely for the purpose of making them heard in a better and more grateful tone-‐quality and a sweeter, than can be heard on the C clarinet. Although—since in all cases, not excepting the strange and erroneous, one ought always to suppose also an origin that is also reasonable for the occasion—I wouldn’t think it good, otherwise, to repeat that nonsense of the three clefs for violin, tenor and soprano, except for the embarrassment in which some of the foremost performers on the clarinet have found themselves by not being able to succeed in making some composers understand this kind of paradox—as has happened to me very often—that is, that when they write the clarinet part in C, they must write the part in C; and then when they want to write in B or B-‐flat they must equally write the clarinet part in C, and finally when they want to write in A, they must similarly write the clarinet part in C, which to tell the truth causes so much astonishment and embarrassment and a kind of [31] anxiety in the one who doesn’t understand the playing.19 The mechanism,20 then, for avoiding disputes and useless questions that are impossible to convince because they are incomprehensible—the aforementioned performer may use the expedient of speaking of the key of C, or writing in the violin’s clef, in the tenor clef for the B or B-‐flat clarinet and for the clarinet in A in the soprano clef—so that the composer, tricked by this artifice, against his will and intention, thus [by the aforesaid mechanism] comes to write in C for all four of the aforementioned keys, since the performer pays no attention to the useless tenor and soprano clefs, nor to the accidentals placed on the clefs, and instead wisely, in its place, converts the flats to naturals and the latter into sharps and vice versa the sharps into naturals and these into flats, comes in this way to have his part written in the key (tuono) of C as is necessary for him, and—with reservation of the accidentals—in the violin’s clef.21 The same may be understood for the other two keys (tuoni) F and G, 19 Translator’s note: Antolini is here almost incomprehensible because he does not clarify whether he is talking about the key of the music or the key of the clarinet. In light of the rest of his argument, I interpret that he is saying that when a composer wants to write for the clarinet in the key of C, then he writes the part in C. Then when he wants to write the key of B, he also writes in the key of C, but Antolini does not then clarify that this will be played by the Clarinet in B and so the key of B will result, etc. I believe that he has intentionally, or unintentionally, exaggerated what he calls “this kind of paradox” for the dramatic effect. There is one small hint that he is talking about four different questions in his use of “questi” masculine plural, which has nothing else in the paragraph that it can reasonably refer to except an understood “clarinets.” I re-‐emphasize that this is my interpretation of a very elliptical and confusing passage, but it is at least consistent with his following argument and explanation. 20 Translator’s note: Here it is very important to note that Antolini is being ironical, stating the confusing method that people follow. He is stating not what people ought to do, but the confusing thing that they actually do. 21 Translator’s note: It is not of purely historically linguistic interest to note that this is the first period since the beginning of the paragraph. Thus Antolini has created one immensely long sentence thirty-‐eight lines long and replete with effective parenthetical statements and explanatory intrusions constantly interrupting the syntactic
15
in the first of which one writes and plays in F, E, E-‐flat and D and in the second in G, F#, F and E [by means of the changeable joints] as was demonstrated in Table I, example 2. It has, then, in the progress of time, by the variety and disparity of so many opinions, as well as by the inexperience and caprice of the performers and composers [32] become an abuse and confusion thus beyond the subject of clefs, which confusedly and without knowing how to assign any reason for it, one sees the tenor clef sometimes used for the keys of A and D and vice versa, the soprano clef for those of B-‐flat and E-‐flat and other curious manners, all of which exhibit the performer increasingly in serious embarrassment and produce by the fault of the composer, as has been said, some unhappy figures.22 But, departing once more from the proposed reasons up to now, I will propose now two of them that will better [33] persuade and convince even the most incredulous and obstinate to the point that they will not be able to help surrendering and understanding the force of my demonstration. Let us examine a little not only each instrument but even each pitch (voce) and we will discern that neither the former nor the latter is obliged by knowledge and understanding, each by itself in particular, what the proper and unique clef assigned to them is, except the cembalo and organ, which considering their nature and construction are capable of performing many various parts at the same time.23 Now, why must one pretend that the clarinet in preference to all other instruments should have three of them, and that the performer should have [34] to have his head embarrassed and oppressed every moment by so many transpositions?
flow, making for a translator’s nightmare. It is a sentence as confusing as the process that Antolini’s unwise performer pursues in regard to clefs and keys. The issue at question here can be put much more simply from the advantage of the modern perspective. Antolini is describing the state of affairs in which composers do not understand that the clarinets in B, B-‐flat and A are what today we call “transposing” instruments and so must be written for as such. The passage describes “the expedient” used, given the fact that composers don’t understand the issue of transposing instruments. They tell the composer to write using three different clefs according to the key of the clarinet and to write in the proper key of the music. The performer then ignores the clef and sees only treble clef, changing the key signature as required. Performers, thus, “trick” the composers because they have no hope of the composers really understanding, which trick is the process described. Antolini objects to this trick and subsequently describes a better procedure. Today’s composer, understanding the nature of transposing instruments—a term that Antolini dislikes and rejects, as will be seen—merely executes the appropriate transposition in the clarinet part for the written concert pitch. As a reminder, the violin clef is the ordinary g-‐treble clef, the tenor clef is the familiar one, and the soprano clef is the C-‐clef placed on the bottom line of the staff. 22 To increase the embarrassment and the obligation of performers of the clarinet, there concur more often inexperience or negligence, or the inattention of the music copyists. These, in extracting the clarinet part from the score, either in B-‐flat, the tenor clef, or in A, the soprano clef, so long as they find it in its proper lines they copy exactly, following, moreover, what they find, as is not possible in the least not to happen, and quite often. Because the composer has written this in the clarinet’s line “with the oboe” the copyist leaps quickly to the oboe’s line and copies whatever he finds, thus making a mixture of violin and tenor clefs or violin and soprano clefs. A brief reflection: what performer is there who is so embarrassed by his own instrument as is a clarinet performer of his clarinet—always uncertain and hesitant about the exactness of his own part and with his head oppressed by continual and diverse transpositions? 23 Someone could object that the violoncello, the bassoon, as well as the horn are constrained to play in one clef. I answer that this is true, but it is not indeed by the intrinsic nature of these instruments because sometimes one writes for them in other clefs in addition to the proper clef, but solely for the convenience of the composer, the performer and further for the music itself, so that it may remain in the center of the line in those passages than widely either lower or higher than the same, since so many notes either low or high with their numerous ledger lines, improperly but commonly called tagli, would produce an illegible confusion and embarrassment.
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The true and only clef, then, for the clarinet is that of the violin, always and in all keys and for any clarinet whatever and whatever use is required of it. To the proposed reason another is added of no minor significance and importance in order to confute and refute the opinion of those who are persuaded that clarinet parts in B-‐flat and A, when written regularly as the former in the tenor clef and the latter in the soprano clef, may be transposed by the performer, that is played really in such clefs. If one demanded of them “what is transposition, that is, playing in the tenor clef and the soprano clef” what would they answer? They would not be able to respond otherwise except that “it is playing a note lower” in relation to the first clef and in relation to the second “it is playing a third lower similarly,” relative to the violin clef. Now then if the aforementioned parts of the B-‐flat and A clarinets, written regularly in the tenor clef and soprano clef will be executed on the C clarinet, in that case there occurs and by necessity the transposition of the two aforementioned clefs, [35] but if one plays, as was the intention of the composer, and as one ought, the first with the clarinet in B-‐flat and the other with that in A, the transposition no longer occurs nor is executed, since the performer will play the exact same notes as if it were the violin clef, with the reservation, as has been said, of the conversion of the accidentals, according to what the situation requires, since they are neither the notes nor the performer who form such a key but the construction and the dimensions of the instrument, higher or lower.24
So let us recapitulate the purpose here stated. The clarinet has three favorite and convenient keys, these are C, F and G25 and the tenor clef is adopted for these, as well as for [36] their relative keys of A, D and E minor. B, E and F#* correspond on its changeable joint, and for these one imagines26 the tenor clef, as well as for their relative minors of G#, C# and D#. On the B-‐flat clarinet they [the major keys] correspond to B-‐flat, E-‐flat and F*, and for these one imagines the tenor clef as well as for their relative minors of G, C and D. On its changeable joint [for the A clarinet] they correspond to A, D and E* and for these one imagines the soprano clef as well as for their relative minors of F#, B and C#, paying attention that where it concerns demanding and very technical music the key of E when marked with an asterisk on the A clarinet is executed much more conveniently on the B clarinet; the key of F marked
24 If two instruments of either the same or different kind, for example two violins or a violin and flute, were between them tuned to a key one higher than the other and they had to execute a duet expressly composed, of which one part were written in B-‐flat for the higher instrument and the other in C for the lower, would it ever be possible to say that the performers who would perform it had played or transposed in another clef? Not at all, they would play only in the violin clef and the same notes as were written. [Translator’s note: To simplify Antolini’s long argument about transposition in the simplest current terms, he is saying that the use of the term “transposing instrument” e.g., the B-‐flat clarinet or E-‐flat saxophone, is a misnomer because it is not actually transposing but playing the notes intended by the composer in its given range as determined by the instrument’s construction. Transposition he distinguishes from this as playing notes at an actual pitch level other than that of the original pitch. His present note states this the most clearly that he has yet done. The most interesting thing about this issue is the apparent great confusion that existed in Antolini’s time as it reveals the state of affairs at the beginning of the nineteenth century’s explosive development of instruments and especially the mechanical improvement of the woodwinds.] 25 It may be observed in Table I, example 4 that on the clarinet’s [36] line these three notes are formed square, so that they may more easily be remarked as more convenient keys to be compared with that key to which they correspond on the violin’s line. 26 Translator’s note: Antolini indicates that the clarinet parts are standardly written in C and that when a key is used that is more easily playable on a different joint, then the player changes the joint and transposes accordingly.
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similarly with an asterisk on the B-‐flat clarinet is executed also more conveniently on the C clarinet and finally the key of F# marked also with an asterisk is not in use, at least at present, except when it pleases some [37] innovators, who love peculiarity and eccentricity, to call for it.27
Either the composer, then, has understood and grasped the manner of playing on the clarinet, as I have explained it up to this point, and in that case submits himself to the suggested rules, always writing in the violin clef while imagining instead the clef corresponding to the key he has selected, which is indispensable, but that, moreover, the accidentals all correspond to the violin clef, and no other notice must be given than to put at the beginning of the music the initial letter of the clarinet for which he has written it, e.g., “in C,” or “in B,” “in B-‐flat,” “in A,” since this very simple indication is entirely sufficient to alert the performer as to which clarinet must be used.28
Or the composer has neither understood nor grasped [38] the aforesaid manner of playing, and in that case, by exceeding every requirement, difficulty or problem, he writes the clarinet part directly all and always in whatever key in the violin clef, just like the oboe and flute, since the performer will think it makes use of that clarinet which is the more convenient and necessary for it to succeed, since as was said above, he ought to be perfectly instructed in every manner of transposition both lower and higher, since he doesn’t like to be found unexpectedly embarrassed, mortified and confused.
In sum, it must be noted that, although the composer may have understood and knows perfectly the clarinet’s manner of playing, it is not at all for him to imagine the tenor or soprano clef for those pieces of music that are only simply accompanied or even only of little importance, these being executable conveniently on the clarinet in C. On the other hand, when imagining the said clefs for difficult solos, beyond that it will make discernable that he knows the instrument, the performer will at the same time simplify the burden of transposition and will greatly facilitate execution for him.
[39] § IV. On the Manner of Writing for the Clarinet
The clarinet, as has been said in § I, is that instrument by its range of pitch exceeds the oboe and
the flute, progressing diatonically and chromatically29 from E basso to the highest C, and more than that still according to the ability and embouchure of the performer. It is in addition very accommodating for anyone up to high E and even to F and G. Yet, notwithstanding a range so considerable, it is customary for our composer to have heard only half, more or less, of its pitches, namely the middle part and the high, excluding completely the low notes, alternating which with the high notes contribute to form the most beautiful and amazing effect of this instrument, which in its size—not very large considering its range—includes so prodigious a quantity of pitches.
27 This has been said in deference to some modern composers who in order to depart from the common and be distinguished, scrawl down mercilessly for the wind instruments in keys more inconvenient than elami [E] bemi [B] alafa [A] and delafa [D] and similar. 28 Table II, examples 15 and 16 may be consulted for a greater understanding, which are written in the tenor and soprano clef on the upper line, but as they ought really to be written as to the accidentals and the clef on the line below. 29 Translator’s note: The reader may note as a peculiarity Antolini’s continued instance on both diatonic and chromatic, but he writes at a time not so very far distant from that when woodwind instruments could not always be assumed to be chromatic instruments, a fact further emphasized by his detailed description of the difficulties of playing in keys too far remote from an instrument’s basic key.
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This very limited manner of writing cannot derive from any other cause than from the composer’s not [40] knowing this instrument’s particular character, either theoretically or practically, the cause for which is that either they are limited to usually writing only brief solos of little effect, if they are hesitant and perplexed by the capability of performance, or unexecutable and of no effect if they want to write what fantasy dictates and suggests.
If one wanted here to put me to the necessity of indicating all the passages executable by this instrument, in addition to attempting the impossible, it would be a departure from my principal undertaking of including, as far as possible, many useful precepts in a small space. Therefore, I see no other or more certain means whereby the composer may acquire a moderate understanding of writing conveniently for the clarinet without practicing it than to exhort him to study and examine with attention and diligence the innumerable and celebrated works that are by renowned author-‐performers, such as would be those by the excellent signori Michel, Lefevre, Vanderhagen, Gebauer, Devienne and many others, of whom it would take too long to report the names of them. By attentive examination and diligent study, which a composer will make on such works, he will not be able to help [41] arriving at the acquisition of a sufficient understanding, in order to compose for himself some passages of great effect, convenient and in the entire range of the clarinet.
So as not to leave off completely, however, from giving here some light on it, I will say that all the passages that can be executed on it by both diatonic and chromatic movement, common to other instruments, on the clarinet they can be intertwined harmonically and combined, of passages mixed as to high and low pitches so as to produce not only the best effect but even so as to make them appear of the highest difficulty when, on the contrary, they are very easy and all, as is the custom to say, “under the hand.” Some samples may be observed in Table III, example 21, and a clever composer will be able to draw a selection of them either in order to adapt them where he will turn them to better account, or in order to combine some with others of his own conception, provided, however, that he considers—in regard to the difficulty and tempo when this is lively—that there is a difference in writing a concerto, which always is studied at one’s convenience before being performed, to writing music for the church or theater, which often requires that it must be performed at sight.30
[42] Last, he will take heed that the greatest necessity that the composer recognizes, even in the first place, is the quality of the sound of each clarinet, which is not the same in all, it always coming forth more sweetly and agreeable in the degree that the clarinet descends in key, so that the clarinet in C, as the highest of all, is for this reason the most strident. Less than it is the changeable joint in B, still less than both is the clarinet in B-‐flat, and less finally than all three is that of the changeable joint in A. It being desirable, then, to take the middle road between the clarinet in C, which is the most strident, and that in A, which is the lowest; they will be for preference those in B and B-‐flat. Of these, moreover, the former is a little less used because it renders only chromatic keys. The second is to a much greater extent, for which it is generally customary to write because of its sweet and agreeable tone quality for solos, concertos and other of greater difficulty. In the second place, the composer ought to know, which is of quite great importance, the strength of the clarinet tone, which is not consistently equal from low
30 Translator’s note: This is a very interesting observation in regard to rehearsal and performance at the time, and consistent with other contemporary indications that a single rehearsal before a performance was commonplace, if not a luxury.
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to high, seeming from low E to middle A to be like a different register from that from middle B [43] upward.31 The pitches of this second register are all much more clear, strong and perceptible, which those of the first are not. For this reason one ought to take care that if solos or orchestration, especially for the second clarinet, are formed by the tone of the first register, being those ordinarily obscure and weak, in full orchestra they are totally imperceptible, nor can, then, any use be made of them with any effect, except where the clarinets play either totally alone or pianissimo, since [even] a simple piano and a light orchestral accompaniment would not be sufficient to make those very weak and obscure tones heard, above all in a place quite large.32
§ V. Concerning the Scales of the Clarinet
Although the main purpose of this work is directed primarily to provide some understanding to
composers as to the manner of writing [44] correctly for the clarinet rather than to instruct the one who desires to apply himself to the practice of this instrument, nonetheless, in order to give it even more interest and some particular usefulness to these latter as well, it seems to me not to be unsuitable to the principal object if one devotes this section to those practicing the clarinet, which section deals with the scales of the said instrument, that is the diatonic scale, or natural, and the chromatic, or accidental.
Perhaps it will seem strange to someone to offer the scales here, which can without fail be found in all the more compendious methods and of which all those who are in the practice of instructing or being instructed are not without, but when they have learned the reason for which I present them here, instead of being amazed they will be grateful to me for having prepared them [the scales] for them [the performers].
There are two purposes that have persuaded and induced me to present them to them. The first because I flatter myself that they will be found more clear and more quickly intelligible than those that are in use in the current methods, which, in order to be understood require indispensably some drawing of the instrument, and even so are no little inconvenient, since when one is wanting to find the position of a note that may be distant from the said [45] drawing, it is necessary to pay close attention to it, slowly running the eye and finger over the horizontal lines that run across from the notes to the drawing of the instrument. On the contrary, in these [i.e., those Antolini presents] there is no need of such close attention. In each category the eager inquirer finds immediately the position of the note that he looks for, as well as the portamento,33both the clearest drawing of the finger-‐holes and the keys of the instrument [that are employed]. The second objective actually is in order to portray them more perfectly than those already noted, since in these, in addition to learning each position in them more quickly, there one will find the complete number of all seven notes as altered both by the sharp and the flat, and further, the position of the enharmonic sharp [i.e., the double-‐sharp], which the common scales
31 See what is said in note 5, as well as the corresponding example. 32 Translator’s note: This is stated somewhat obscurely. Antolini means that even when the clarinets play only piano, not even pianissimo, and with only light accompaniment they would not be heard in this range when under the stated conditions. 33 Translator’s note: Antolini’s previous use of the term portamento, in note 5, has meant the register of the instrument, as related to overblowing at the twelfth. His reference here seems to indicate that he also shows the use of register key.
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completely lack, and because of which lack of them I have many times experienced difficulties, even though the occasion of needing them may not be so frequent.34 Let a comparison be made of the common [46] scales with these that are presented here and the greater value and use of the present ones will be discerned. Finally, so that there is nothing lacking here, there is the sign of the trill for each note. These two scales can be seen in Tables V and VI, for which here is the explanation. 1. The black points indicate the finger-‐holes and keys when shut, and the white ones the finger-‐holes
and keys when open. The higher keys and finger-‐holes at the left of each figure correspond to those on the back of the clarinet and the other keys and finger-‐holes correspond to those on the front.
2. So as not to replicate the same positions more times, which would render these scales much longer, more notes are combined together in various figures. Moreover, so that the regular progression of the notes in the [47] two scales may not be left confused, those are left distinct that constitute the said progression from those that reverse it, the former being in large-‐case and white and the others in small-‐case and black [i.e., the note-‐heads].
3. The asterisk that is found below the notes denotes those that are not in the common scales. 4. The sign “tr” denotes the finger-‐hole or the key by which the trill is made. 5. Since in order to play the trill on middle A and on high D there is a need for a position different from
the one for the given notes than is given, for this reason both of the two are notated separately at the end of the diatonic scale, and in the same place is notated at the end of the chromatic the position of the trill on middle B-‐flat, in order to play which one observes that it is necessary to hold only half-‐closed the third [sic] finger-‐hole on the back.35
6. The last figure of the chromatic scale shows a different position, with which it is possible to execute the high D more easily, especially whenever it is preceded, and followed, by the nearby C, as in the nearby example.
In completion of these scales, there would be necessary the position of the notes altered [48] with a double-‐flat, but this is omitted because not used on wind instruments, and it will suffice only to say that the double-‐flat produces the effect contrary to the double-‐sharp, it lowers the note on which it is placed by a half-‐step more than the simple flat that it already bears, which is the same as saying that it lowers it by a whole-‐step, when considered without the simple flat, becoming and being then the same as the preceding nearest note.
34 The double-‐sharp, as is known, raises the note to which it is applied by a half-‐step more than does the simple sharp that it already bears, which is the same as saying that it raises it by a whole-‐step, considered without the simple sharp. So it is going to become and be the same as the next following note, as can be seen in Table IV, example 23, in which the upper line [46] shows the notes with the double-‐sharp, and the lower line shows the correspondence with the aforementioned note. Moreover, although in it can be discerned all seven notes with double-‐sharps, there are only two that can—although seldom even these—be encountered, and these are F and C on the pitches of E and B, as is seen in Table IV, example 24, since the others would derive from very unusual pitches, that are used differently, as example 23 already cited clearly shows. [Translator’s note: Antolini’s painstaking explanation of the double-‐sharp provides an insight into the theoretical training presumably typical of the professional musician of the time.] 35 Translator’s note: On his fingering chart, the finger-‐hole that Antolini shows half-‐closed is the middle one of the three shown.
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[49] Appendix
Now because it has been possible for me to elucidate in a better way the manner of correctly writing for the clarinet that is used in the orchestra, I believe I have brought about no slight advantage and pass on to elucidate also the correct manner of writing for other wind instruments that have a close analogy among them. These are the basset horn or clarone36 and other smaller clarinets that are in use in military music—that have an analogy with the clarinet, which has just now been discussed—the English horn and the vox humana, which have an analogy with the oboe, various kinds of flute and finally the horn and trumpet.
§ I. On the Basset Horn and Clarone
Leaving aside the presentation of a description, as foreign to my determination, of the various and capricious constructions of the basset horn I will say only that this (as well as the clarone), [50] is customarily constructed in three different pitches in such a way that its principal position of C, as has been said of the clarinet, corresponds to either middle E-‐flat, or F, or G. The most used, however, is that in F. As much as has been said about the clarinet, regarding keys that are convenient or inconvenient, as well as on the clefs in which it ought to be written, in § III, applies equally to the basset horn, for which reason it is useless to repeat it here. From Table II, example 17 it is possible for the correspondence and analogy that this has with the violin to be learned.37 The clarone differs little or nothing in tone quality from the basset horn, differs only in construction and range, having two notes less than the basset horn in the low range, as can be learned from the already cited example 17. The composer, however, finds one thing most important to anticipate every time that he wants to write for one of these instruments, and that is to ask the performer in anticipation as to what key his instrument is constructed in, [51] whether the basset horn or the clarone, since it is possible to have it in a key different from that which the composer imagined.
§ II. Other Clarinets
Beyond the types of clarinets already indicated, there are three more of them in use, smaller than all those already named, and in consequence more strident. The first is in F, the second in E-‐flat and the third in D, of which, that is, their middle C corresponds to each of those named keys. The first two in F and E-‐flat are in use in military music, the first for those that have the main clarinet section in C and the other for those where it is in B-‐flat. The third [D], then, notwithstanding that it could be most convenient for the orchestra, so as to sound D, G and A, since it would sound those in its three primary keys of C, F and G, because it is so strident, either it is held in no regard, or it is very 36 Translator’s note: the term clarone can refer to either the basset horn or to the bass clarinet. It appears that here Antolini equates the two, but it soon becomes clear that he does distinguish them. 37 In regard to the three square notes on the basset horn’s and clarone’s line, the same reason attributed in note 25 serves.
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seldom used. It could be, however, precisely for that reason, also good for forming the clarinet section in military bands, but since the modern custom of these is [52] that the principal [i.e., the highest] clarinet is at a fourth above the body of the rest of the instruments, as it is for those in C the quartino clarinet in F and for the B-‐flat the quartino in E-‐flat, thus if the D clarinets were to form the main body of clarinets in a military band, there would have to be a quartino in G, which would result in a very tiny and inconvenient one. On the other hand, if the clarinet in D had to serve in the quartino, the body of clarinets would have to be in A, and in that case, because these clarinets are very low, the music would lack the principal effect, which is that of being vigorous, strident and noisy so as to be more audible at a distance. As far as can be shown for the clarinet in regard to convenient keys and by the manner of writing, that in § III is also applicable to these little clarinets. Table II, example 18 may be constulted for the correspondence that they have with the violin.38
[53] § III. On the English Horn and Vox Humana
The English horn, in contrast to the tone quality, has the same range as the oboe and is analogous to it, as the viola is to the violin, this means that it is actually a fifth lower than the oboe. For this reason, as was said of the clarinet in § III, it is customary to say that it is written and plays in the mezzo soprano clef, but it is equally false. Actually it is played only in the violin’s clef and the mezzo soprano clef ought to be imagined solely by the composer for his own convenience in writing, taking care, however, that the accidentals correspond to the violin’s clef. When what can be played on the oboe is executed on this instrument, the manner of writing is in consequence the same already noted. The vox humana differs from the English horn only in construction; moreover, its tone quality is very similar to it, and as much as has been said about the English horn is equally understood for the vox humana. Table III, example 19 may be consulted for the [54] relationship that these instrument have with the oboe.
§ IV. On the Various Types of Flutes
The common flute, called transverse or traversiere, in distinction from the flute called à bec, now no longer in use, has also produced various other types of flutes of diverse measure, and as consequence in tone, each different from the other. The ones more common and used, I believe, can be reduced to nine in number, and these are the following:
1. The common flute in D, which is the principal tuning. 2. The flute called d’amore, at the fifth below the previous one. 3. The flute in E-‐flat at a [minor] second above the previous one [i.e., in D]
38 Here also the same note 25 serves.
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4. Another in F at the third above. 5. Another in G at the fourth above. 6. Another in C at the seventh above. 7. Another in D at the octave above. 8. Another in E-‐flat at the ninth above. [55] 9. Another in F at the tenth above.
The last four are incorrectly all called ottavini. The last two are in use in military music, that in E-‐flat, that is, by those that have the main body of clarinets in B-‐flat, and that in F by those that have it in C. The one in D, then, is much in use presently, and with great effect, in theatrical music and dancing and, improperly, even in sacred music.39 The others, with the exception of the main flute [i.e., the one in D], which is used universally and the flute d’amore, which stands in relation to the main flute [in D] as does the English horn to the oboe, are either only occasional, either as an expedient or for the purpose of facilitating the execution in keys inconvenient for the main flute [in D].40
The manner of writing for the flute is for all the same already noted, all having the same range and sounding in the violin’s clef.41
[56] § V. On the Horn and Trumpet
It has already been demonstrated (§ III) in what embarrassment the clarinetist often finds himself, considering the erroneous way in which this instrument is written for by some composers, for which reason he is forced to have his head burdened by continuous and various transpositions, to be always uncertain as to the accuracy of his own part, and to making some mistakes, then, without any fault of his own. To these same inconveniences are often also exposed performers on the horn, since this instrument is by its own nature susceptible (without the aid of skill) to be played only in one sole key, and is required to resort, in order to render it playable in all keys, to the expedient of all registers
39 Translator’s note: Antolini does not explain this judgment, which seems quite strange today. 40 Translator’s note: Throughout Antolini’s discussion of the flute it should be noted that he is using the old terminology for the keys of the flute family, which referred to them as a step higher than is customary presently. Thus, the D flute is today’s C flute. As his chart shows, the D-‐flute is concert pitch in C. Note that the E-‐flat piccolo is actually D-‐flat in modern terminology, just as the F is E-‐flat. This placement of the piccolos at three flats distant from the main body of the clarinets seems odd, but Baine’s chart (page 60) seems to confirm Antolini. For a full explanation see Baines, Woodwind Instruments, pages 46, 59-‐62. The examples in Griffiths, The Military Band (ca 1896) also confirms the relationship of D-‐flat piccolo to B-‐flat clarinet. 41 The only flutes in use in the orchestra are the main or common flute [in D] and that in its upper octave [D piccolo], [Translator’s note: Fortunately Italian’s use of plural participles and relatives makes clear that Antolini is speaking of two instruments.] which is the true ottavino, for [both] of which one knows both that one ought to write in the violin’s clef and that everything playable on the former can equally be played on the latter, nor for [56] any of the other flutes written for—by the performers who play and know it perfectly or to me—is it known that any other different clef is ever assigned for any type of flute whatever, the one and only instrument that can serve splendidly to such advantage among all the instruments treated in this little work. [Translator’s note: Antolini’s syntax becomes even more tenuous than usual in this note. In one continuous sentence of eleven lines he includes no fewer than nine subordinate clauses, all introduced by the multi-‐purpose relative pronoun/adverbial conjunction “che,” which even the Italians find highly ambiguous. This translation is proposed only as a “best guess.”
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[57] (commonly called crooks (ritorti)), as many as are the most used keys, with which one comes to form, as it were, as many other instruments, whence it comes about that also for this instrument, by the same reason as has been said for the clarinet, one has begun to say to composers, for example, to write for the key of D in the contralto clef, for that in A in the soprano clef, for that in E in the bass clef, etc., by which miscellany and confusion of so many clefs some composers are so burdened, the burden of the composer happens, because often it seems a caprice and without any reason that one clef is substituted for another (and, which is more ridiculous, with the accidentals in the clef as required for the key) then to fall back onto the shoulders—and to a greater burden—onto the performer.42 But surely can’t it be granted that similar difficulties would never befall the one who is—what is not quickly discerned—what—if this chimerical illusion of so many clefs were true—is pretended by the composer, nothing less than that the horn player is absolutely and strictly obliged to know perfectly the transpositions of all seven clefs? Without here demonstrating once again the uselessness, rather the insupportability of such a ridiculous pretension [58] by supporting the refutation with the same arguments adopted for the clarinet in § III, I believe it is sufficient to say that the horn plays always in one key, which is C,43 and always in one clef, which is the violin’s clef and by certain infallible, constant and general rule, it will be repeated that a clef ought to be imagined by the composer, necessarily, for each key, for the convenience of writing them only, observing the following rules.
For the key of A he will imagine the soprano clef. For that of B he will imagine the tenor clef. For that of C he will adopt the violin clef. For that of D he will imagine that of the contralto. For that of E he will imagine that of the bass. For that of F he will imagine the mezzo soprano clef. For that of G he will imagine the baritone clef.
He will not need to have any other warning than that [59] of putting the initial letter of the key at the head of the piece of music, e.g., “in D,” “in F,” “in B-‐flat,” “in E-‐flat,” etc., and only should one make the smallest reflection on this rule, it cannot help but be noticed immediately in the first place that for no other purpose is it recommended, as it was said to imagine all the seven clefs except to trick the composer,44 so that without intending it he may write each key in C and in the violin’s clef, and in second place that the change of key is produced by the crooks [ritorti] and not by the player, who can play that given piece of music in whatever key pleases him without changing a single note in it. 42 Translator’s note: Once again Antolini’s serpentine syntax results in a continuous sentence of twenty-‐four lines replete with ambiguous, elliptical participial and infinitival phrases that require a great deal of supplementary guesswork to translate. The state of Antolini’s prose at the end of the book makes it difficult to resist the impression that, after completing the material on the clarinet, he lost interest in and energy for the remaining subject matter. 43 This is designated and selected in preference to the other keys, each of which would have been without preference and would have produced the same effect, because it [C] doesn’t require accidentals of any kind on the clef. 44 Translator’s note: above pages 14-‐15.
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As much as has been said about the horn applies equally to the trumpet with the only difference that on it the keys G and A are not executable because of the nature of the instrument, since they would either result excessively low by means of the crooks and deprived of good effect, or should it be expedient that the trumpet be constructed in A, that [pitch] together with G, because being excessively high, would for that reason be unexcutable. There remains, then, no other means for the said two keys that will turn out for the best than to put it either at the fourth or the fifth [60] of the key of the composition.45 See Table IV, example 22 for the correspondence that these two instruments have between them and with the violin in all the keys and one will grasp at the same time both what pitches are playable on them and that the trumpet corresponds to the upper octave of the horn. In order finally to say something on the manner of writing for these instruments (in full orchestra), one will say that, as already said, without the aid of skill they are susceptible to be played only in one key. Whenever one writes only for two horns the composer must limit himself to that key only in which he writes, and if it happens, moreover, that it is necessary for him to go into a different key for a modulation in the course of the composition, he must allow a sufficient number of measures of rest so as to be able to change the key and similar to return to the main key. If there are two trumpets, these can be placed at the fifth of the key, so that in such a way they will compensate what is unexcutable at the said fifth by the two horns. If then, there are four horns, two of these will be placed in the main key, the other two in the fifth of that key, and [61] the trumpets in the main key, which will augment greatly the reserves. Nevertheless, this rule is not proposed as unalterable but depends on the understanding and necessity in which the composer finds himself, the placement of the said instruments in those keys that will be more useful for him and according to the effect that will demand it of his composition. Pay attention, further, that as much as is found presented in the cited Table IV, example 22 about the horn is understood as uniquely limited to the manner of writing and playing in orchestra, since when it is a matter of writing and playing solo, can also progress—in regard to the high as the low according to the ability and embouchure of the player—consequently both higher and lower [than] those notes shown in the example cited. It is also possible with the aid of skill to execute those intermediate notes that are lacking in forming a complete diatonic and chromatic scale, and which are obtained by use called “by the hand” (della mano) within the padiglione or bell. [62] Of which use, moreover, the trumpet is not susceptible because of not being convenient for practice on it and because of its construction, both the way it is held when playing it and because of the smallness and restriction of its bell. One should note likewise, that when it is necessary to write for a simple orchestral accompaniment, as for the horn so for the trumpet, one progresses ordinarily in the low notes up to G
45 Translator’s note: Antolini’s argument seems to be that, assuming the basic pitch of the trumpet to be C, crooks long enough to result in A or G would be two low, whereas conversely if the basic pitch of the trumpet were raised to A, then that key and G would be impractically high, this A and G being the sixth and fifth above the C instrument. As a result the harmonic series would have fewer notes available in the playable range and where more notes were available they would be extremely high and very difficult to produce. Presumably his objection relates to the harmonic series and where the playable range lies within it, but he does not explain. This seems to be the implication of his further comments regarding playing in a pitch at the fourth or fifth of the key of the composition.
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[6th harmonic] and to the second octave of this in the high notes [12th harmonic], namely the fifth.46 The trumpet, moreover, in the keys of E-‐flat and F, as very high and inconvenient, when it is possible, [one should] be content to make it ascend up to the E, that is on the third and not further above. Finally, one is advised to avoid as much as possible making leaps on both of these instruments [that involve] the fourth and sixth, that is the F and the A, these being notes not very secure, at least when not a solo, in which the two pitches proceed stepwise, preceded that is at least by either the third [to the fourth] or the fifth [to the sixth].47
46 Translator’s note: Antolini here uses an idiosyncratic numbering system of the pitches of the harmonic series as given in his Table IV. For both the horn and the trumpet the top octave of the harmonic series (8-‐16, omitting 14), represented in C, are renumbered 1 – 8. Thus the fifth that he refers to is the 12th harmonic, and his “third” is the 10th. 47 Translator’s note: Antolini is referring to the precarious, out-‐of-‐tune 11th and 13th harmonics, his number four and six, and says that they should not be used in leaps, which is good advice, and really only in solo work, but even then only in a stepwise context.
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Glossary
As is so often the case with earlier texts, even those not so very much earlier, the vexed issue is that of ambiguous terminology resulting either from (a) inherent ambiguity in usage of terms, or (b) the author’s own lack of precision, this is the case also with Antolini, whose ambiguities often drastically impact translation. Chiave This is the most confusing of all the terms in Antolini and seems to possess at least two most important and quite different meanings.
1. Clef 2. Key, as in the mechanical apparatus 3. It is also possible that he uses it to refer to a key signature.
Corista 1. This seems mostly to mean “pitch level” or “tuning pitch” as on page 16 in reference to the
similar pitch levels of C for the clarinet, flute and oboe. 2. On page 18 the use of “vero corista” is possibly a play on the ambiguity of corista, which also has
the sense of “chorus leader.” Here it seems to refer to the instrument whose “pitch level” is predominant among those in its family.
Estensione The extent of the instrument’s range. Maneggio This appears to relate to the way the instrument is playable, but as a passive quality rather than as an active playing technique applied to the instrument. Passo, passaggio (the latter one time only) Both seem to refer to a musical passage of greater or lesser length. Pezzo di cambio This is a changeable joint for the purpose of changing the instrument’s basic pitch, such as still exist. Portamento This appears to refer to the register of the woodwind instruments including the clarinet, or to the change of register at the twelfth as it results from overblowing or use of the register key. See note 4. Tuono
1. This seems most often to be used in the sense of “key” as in tonal center. Page 16 gives a specific reference to the keys of A, E, A-‐flat and E-‐flat.
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2. At times it appears to come close to the sense of “pitch level” when in reference to the physical instrument, as on page 18 “altro clarinetto d’un tuono più basso.” On page 17 he does relate the two, saying that the clarinet in C is so named because it produces the key (tuono) of C.
Voce
1. One sense of this term seems to be that of tone quality, as on page 16 in describing the instruments voce as harsh.
2. On page 24 it has the significance of pitch, where the plural voci can only mean “pitches,” as it refers to single pitches of G# and C#