| Wagner. | ||||||
| Overture Tannhäuser. |
Prelude Lohengrin. |
Overture Rheingold. |
Die Walküre. Act III. Scene I. |
Die Walküre Act III. Finale. |
Götterdämmerung Prelude. |
Götterdämmerung March. |
| Fl.1.2 | Fl. 1,2,3 | Fl. 1,2,3 | Fl. Picc. 1,2 | Fl. Picc. 1,2 | Fl. 1,2 | Clar. 1 |
| Ob. 1,2 | Ob. 1,2 | Ob. 1,2 | Fl. 1,2 | Fl. 1,2 | Fl. 3 | Clar. 2 |
| Clar. 1,2 | Corno Inglese | Corno Inglese | Ob. 1,2,3 | Ob. 1,2,3 | Ob. 1,2 | Clar. 3 |
| Corni con le Chiavi 1,2 | Clar. 1,2 | Clar. 1,2 | Corno Inglese | Corno Inglese | Ob. 3 | Clar. Basso |
| Corni 1,2 | Clar. Basso | Clar. Basso | Clar. 1,2,3 | Clar. 1,2 | Corno Inglese | Corni 1,2 |
| Fag. 1,2 | Fag. 1,2,3 | Fag. 1,2,3 | Clar. Basso | Clar. 3 | Clar. 1 | Corni 3,4 |
| Trombe 1,2 | Corni 1,2 | Trombe 1,2,3 | Corni 1,2 | Corni 1,2 | Clar. 2,3 | Fag. 1 |
| Trombone 1 | Corni 3,4 | Tromba Bassa | Corni 3,4 | Corni 3,4 | Clar. Basso | Fag. 2 |
| Trombone 2 | Trombe 1,2,3 | Corni 1,2 | Corni 5,6 | Fag. 1,2,3 | Corni 1,2 | Fag. 3 |
| Trombone 3 | Trombone 1 | Corni 3,4 | Corni 7,8 | Clar. Basso | Corni 3,4 | Tub. Ten. 1,2 |
| Tuba Bassa | Trombone 2 | Corni 5,6 | Fag. 1,2,3 | Arpe 1,2,3 | Fag. 1,2 | Tub. Bass. 1,2 |
| Tymp. | Trombone 3 | Corni 7,8 | Trombe 1,2 | Arpe 4,5,6 | Fag. 3 | Tub. Contrabass |
| Viol. 1 | Tuba Bassa | Trombone 1 | Trombe 3,4 | Carillion | Tub. Ten. 1,2 | Tromba Bassa |
| Viol. 2 | Tymp. | Trombone 2 | Tromba Bassa | Triang. | Tub. Bass. 1,2 | Tromboni 1,2 |
| Viola | Piatti | Trombone 3 | Trombone 1 | Piatti | Tub. Contrabass | Tromboni 3,4 |
| Violoncello | Viol. 1 Solo | Contrabass Tromba | Trombone 2 | Viol. 1 divisi | Tromba 1 | Tymp. |
| Basso | Viol. 2 {{{1}}}„ | Contrabass Tuba | Trombone 3 | Viol. 2 {{{1}}}„ | Trombe 2, 3 | Viol. 1 |
| Viol. 3 {{{1}}}„ | Viol. 1 | Trombone 4 | Viola {{{1}}}„ | Tromba Bassa | Viol. 2 | |
| Viol. 4 {{{1}}}„ | Viol. 2 | Tuba Contr. Bass. | Violoncello | Trombone 1 | Viola | |
| Viol. 1 divisi | Viola | Tymp. 1,2,3,4 | Basso | Tromboni 2, 3 | Violoncello | |
| Viol. 2 {{{1}}}„ | Violoncello | Piatti | Tromba. Contr. Bass. | Basso | ||
| Viola | Basso | Röhrtrommel | Viol. 1 | |||
| Violoncello | Viol. 1 | Viol. 2 | ||||
| Basso | Viol. 2 | Viola | ||||
| Viola | Violoncello | |||||
| S. Coro | Basso | |||||
| Arpe | ||||||
| Violoncello | ||||||
| Basso | ||||||
In all these Scores, the Parts for the so-called 'Transposing-Instruments' correspond with the separate 'Parts' used in the Orchestra. That is to say, the Parts for the Horns, and Trumpets, are always written in the Key of C, whatever may be the Key of the piece in which they are played. The Parts for the B♭ Clarinets are always written a Major Second higher than they are intended to sound; and those for the A Clarinets, a Minor Third higher: so that, should the piece be in the Key of E♭, the Parts for the B♭ Clarinets will be written in F; should it be in C♯ Minor, the Parts for the A Clarinets will be written in E minor. The parts for the Corno Inglese and Corno di Bassetto, are written a Perfect Fifth higher than they are intended to sound. Those for Sax Horn, Tuba, Baryton, Euphonium, and other Brass Instruments of the transposing order, follow the same rule, and give rise to complications extremely puzzling to the uninitiated. These Instruments, however, appear by right in Military Music only.
Though the constitution of the Military Band bears but little resemblance to that of the ordinary Classical Orchestra, its Scores are really arranged upon a very similar principle. The office ordinarily performed by the Stringed Instruments is, as a general rule, confided, in Military Music, to a body of Clarinets and Bassoons, strong enough to sustain, if not the whole weight of the Harmony, at least the greater part of it, except in such cases as that of a powerful tutti, needing the support of the heavier Brass Instruments. The importance of this section of the Band demands for it a prominent place in the Score, where it can at once catch the reader's eye. In Brass Bands, this position is usually given to the Cornets, which, as a general rule, supply the place of the Violins. But the Military Band also finds employment for countless novelties, both in Wood and Brass, the number of which is perpetually increasing. The arrangement of Military Scores is therefore subject to modifications of detail which preclude the possibility of a persistent formula, though the following schemes give a fair idea of their general features.
| Small Military Band. |
Large Military Band. |
Military Brass Band. |
| Flauti Clarinetti in E♭ Clarinetti in B♭ Fagotti Cornetti Trombe Corni Tromboni Tenori Tromboni Bassi Baritoni Euphonion Bombardoni Tamburo Piccolo Gran Cassa Piatti |
Flauti Oboi Clarinetti in E♭ Clarinetti in B♭ Clarinetti Tenori Clarinetti Bassi Fagotti Cornetti Trombe Corni 1,2 Corni 3,4 Tromboni Tenori Tromboni Bassi Corni Tenori Baritoni Euphonion Bombardoni in E♭ Bombardoni in B♭ Tamburo piccolo Gran Cassa Piatti Tympani |
Cornetti soprani Cornetti Trombe Corni Tenori Tromboni Tenori Tromboni Bassi Baritoni Euphonion Bombardoni in E♭ Bombardoni in B♭ Tamburo piccolo Gran Cassa Piatti |
III. The Partitino, or Supplementary Score, is a species of appendix, used only when the number of Parts employed is so great that it is impossible to transcribe them all upon a single page. The oldest known examples of the Vocal Partitino are those furnished by the Pes of the Round 'Sumer is icumen in,' shown in facsimile on page 269, and the Quadruplum at the end of the 'Ave gloriosa Mater' described on pane 427b. In Orchestral Music, the Parts for the Instruments of percussion, or even for the Trombones, are frequently added, in a small Score, at the end. For instance, in Breitkopf & Härtel's fine oblong
