Académique Documents
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493
Part 9
Decoding and Marking Orchestral Parts
A Manual of Orchestral Notation and Performance Practice
9.23 Which Part Should I Play? Strategies for Dividing the Violins
Tables 11.4a and 11.5: solo passages for various positions
Wulfhorst 2013, Ch. 15: foreign terms and abbreviations
Del Mar 1983, 3644
Some issues regarding the division of the violins in an orchestra
concern primarily concertmasters, principals, and conductors.
But all players should read this downloadable chapter in its entirety
so that they understand the principles, know how to mark their
parts, and can ask appropriate questions.
Section size Note that it takes ten players to double the
loudness of one ( Beament 1997, 154). The main benefit of a
larger section is a smoother, more homogeneous sound quality;
the main drawback, however, is the difficulty of achieving perfect
rhythmic precision and clear articulation.
Today the the second-violin section is generally the same size
as the first-violin section, minus one stand (or, more rarely, minus
one player). In medium to large halls and opera houses, seating
audiences between 800 and 2000, the common ratio between first
and second violins is as follows:
18/16 (18 firsts and 16 seconds) for Bruckner and Mahler
16/14 for most symphonic repertoire of the 19th and 20th
centuries, as well as for the operas of Wagner and Strauss
14/12 for 19th- and 20th-century concerto accompaniments,
for most 19th-century operas, and for oratorios with large
choirs
12/10 or 10/8 for Classical symphonies, Classical concerto accompaniments, Classical operas, bel canto operas, and oratorios with small or medium-sized choirs.
Common chamber-orchestra ratios are: 8/7, 8/6, 7/6, 6/5, 5/4,
4/3 and 3/3.
Some repertoire requires non-standard section divisions:
For Baroque and Classical repertoire, some period-instrument
specialists have returned to the 18th- and 19th-century tradition of same-sized first- and second-violin sections. Some
works by Berlioz, Wagner, Debussy, and Strauss explicitly require this.
Pieces in Viennese waltz style sound best if one moves one
stand from the seconds to the firsts (16/10 instead of 14/12, or
14/8 instead of 12/10): in this music the seconds merely provide the accompaniment, and the firsts often play the melody
divisi in thirds or octaves.
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
494
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
label is especially helpful when an exposed passage follows a
loud or safer texture, as it does here (and in many other
examples in Parts 39).
In concertos the term solo indicates passages where the soloist
dominates. (In Dvoks Cello Concerto/iii 11 and 14 , however,
solo indicates a true solo for the concertmaster.) In solo passages
of 18th-century concertos, some period-instrument specialists
have revived the 18th-century practice of reducing the string section.
Modern examples of the same practice are found in Waltons concertos: the passages marked with hooks (
) should be played
with a reduced violin section.
Verdi
Ballo I/Prel.
# # # # c1
& #
strings, ww.
(strings: fugato)
2
n b j
w
bb b C ww
w
& bb @
@
a tempo
. .
( )
- . - - - - - .
- - .
F
bb b 2 w
& bb2
..
j ~~~
n
p
3
44
soli (to be doubled by the 2nd violins)
a tempo
Etwas ruhiger [q = 96]
4
Rit.
150
get.
zus.
The notation of divisib passages
Mahler
b 3have marked the beginning and end of
c Ideally, composers
Symphony 5/II/3 & 4
a passage for divided
violins with abbreviations
pizz.
arco such as div.
zart
and unis. or their German or French equivalents
(here
geteilt and zusammen). Check for omissions and misprints
of such markings and Rveusement
add them if theylent
are qmissing.
= 50
d
Composers may
indicate
section
divisions
in
various manners,
La moiti
1
leaving sometimes more
sometimes less freedom to the conb b b and
Debussy
cassignment
& bforb bthe
ductor and players
of parts:
Rhapsodie
vn. 2 specifies or implies the number of groups
d (1) The composer
Sourdine
into which the section should be split: div. a 2, prima met, 2.
Hlfte, etc. Players and conductor must decide whether here,
for instance, la moti
(half the
Rubato
[q =section)
ca. 100] refers to the outside
e
sur la touche
players, the inside
players,
the front stands, or the back stands
1
59 -2
3
of the section.
2
3
e
(2)
The
composer
specifies
the
number
of
stands
or
musicians
Debussy
& c part: 2 stands, uno leggio, 4 Spieler, 6 violons,
playing a certain
Ibria/iii
etc. You should assume that the stands or players are counted
from the front:
here
6 Soli
premiers violons soli can be assumed
6 1ers
Vons
expressif et un peu moqueur (= somewhat mocking)
to refer to the first three stands. Modify these directions if the
Plus
et trs expressif
[h = 54]
section size is smaller than
thecalme
one specified
by the composer
54 +5
f
(cf. p. 502).
c
Debussy
La mer/iii
. 1
n . . n . . # . . . . n . . ~~~
.. . .. . .
offassai piano
e stacc.
(Soli) 4
b
Verdi
Traviata II/7
4ta corda
n.
n.
-
- . - - .
j
. . . . . .
..
21x
Martin Wulfhorst,
Companion, 2012 (To order the book visit www.orch.info)
pizz.Orchestral
. # Violinists
# The
Debussy
Jeux
Scherzando q. = 72
#
& # 38
1 +8
3e et 4e Pup.
b b C ww
b
& bb @
Verdi
Traviata II/7
n b j
w
w
@
3
a tempo
44
9 Decoding and Marking Orchestral
9.23
Divisi:
Which Part Should I Play?
soliParts
(to be doubled
by the
2nd violins)
b
& b 43
pizz.
150
Mahler
Symphony 5/II/3
Debussy
Rhapsodie
get.
arco
bbbc
b
& bb w
La moiti
vn. 2
Sourdine
. .
J
zart
Rveusement lent q = 50
d
1
zus.
a tempo
4
( 1 ) 2
3
- . - & c - - - - - . .
F
ers ons
Rubato [q = ca. 100]
sur la touche
59 -2
Debussy
Ibria/iii
61
Soli
expressif et un peu moqueur
bb b 2 w
& bb2
f
Debussy
La mer/iii
54 +5
(= somewhat mocking)
..
j ~~~
n
p
495
TOUS div. n .
n.
w
a Tempo = 112
2
4 59
- . - - .
j
. . . . . .
..
21x
Debussy
Jeux
# .
Scherzando q. = 72
# # # 3 pizz. # .
& 8
1 +8
3e et 4e Pup.
DIV.
Ex. 9.23i
b b n
3 1.2.3.
Ravel, Piano
b
4.5.6.
&
4
[7.8. b
Concerto/ii
stands
h
Adagio assai e = 76
4 +3
div. en 3
## #
r
& # # # 42 .
1.2.3.
4.5.6.
players p
# # # # # 2 . r
& # 4 7.8.9.
En serrant [e = 92+]
Debussy
Ibria/ii
45 +3
10.11.12.
p
UNIS.
..
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
496
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
k Because of differences in system breaks, often there is a discrepancy in the divisi indications of the parts and those of
the full score. As a result, switches from one divisi system to
another in the middle of a staff in the full score are indicated
incorrectly in the parts, if at all. Because conductors normally
do not check the parts, the player must notice and correct
such mistakes. In the full score for this passage, all first-violin
parts are printed on a single staff, and it is clear from the print
that the switch from div. a 4 to div. a 2 occurs in m. 17.
l But in the first-violin part, a new staff begins in m. 20, and
the printing gives the wrong impression that the switch from
div. a 4 to div. a 2 occurs here. If this is not corrected, some
players might be forced to perform needless, awkward skips
at the staff break. It is best to cross out the second and fourth
staves in mm. 1719 and to insert a div. a 2 marking at m.
17 and arrows for those players who need to switch staves (cf.
Debussy, Jeux 38 +6). Another typical problem shown here is
that dynamic signs are only printed between staves 12 and
34. If you are playing the second or fourth parts you might
want to add the dynamics.
b b 3 b pizz.
J
& c ~~~~
6
6
f
3
b b 4 3
# n pizz.
~~~~
c
&
J
6
6
f
3
2
# n 3 b n pizz.
& c ~~~
J
6
6
f
j
Berlioz, Symphonie
fantastique/v
divisi a 3
con sord
Larghetto q = 63
3
b
b
f
f
div. a 2
S p
arco
S p
arco
arco
S p
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
- - - k
@
16
b b b n b @ n n
4
& 4 @ b@
p cresc.
DIV. 4
- -
prs du chevalet
@
@
b n b b b .. n b
@ @
Sf
- 16
@
& 44
p cresc.
trem.
b - 4
@
&4
p
b - b 4
@
&4
p cresc.
trem.
- @ @
Modrment anim q = 96
Debussy
Rondes,
full score
497
En retenant
b @ 20 arco b @ pizz.
b b
p
b .
b .
p
3
9.23 l Deb. Rondes 110 %: Bitte unbedingt den Umbruch behalten: SEHR WICHTIG
l
Debussy
Rondes,
violin part
DIV. 4
4
&4
p
&
20
DIV. 2
&
p
arco
b
b
p
arco
b - @
Modrment anim q = 96
n - n
@
- @ @
- n @
b - @ @
- b - @ @
- @ @
@
@
b.
prs du chevalet
b prs. du chevalet
b prs
. du chevalet
b prs
. du chevalet
Sf
b
Sf
n
En retenant
sur la touche
uh
sur la touche
sur la touche
b
p
sur la touche
pizz.
pizz.
b .
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
@
@
pizz.
pizz.
pizz.
b .
pizz.
b .
498
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
m In the full score the engraver used two staves for divisi
n /34445 Use arrows pointing up or down to show where you
schemes a 2 in m. 341, a 3 in m. 343, and a 4 in m. 345.
must switch staves, as shown here for the third stand.
n But in the part, the two lines in mm. 34142 are distributed
n /352 Use the standard symbol @ to separate a system of mulincorrectly over three staves. Correct this by reassigning each
tiple staves from a single staff with undivided parts, and/or
of the two lines in these measures to four stands, in the manmark the single staff with two slashes or arrows. Both methner shown here (details below).
ods are shown here.
o Use parentheses for passages that you do not play but are
Add driving directions that will help you find your part easily
still notated on your staff. (Do this especially for solos of the
and quickly:
n Add two short slashes, lines, or arrows to the left of the staff
principals or other players.)
to mark your part and that of your9.23
stand
shown div. Zem dec 09: 110%
l partner,
[2-16masApr.07
here for the third stand.
Sehr gedehnt
& b 43
3
&b 4
341
Zemlinsky
Mermaid/ii,
full score
24
m. Dpf.
.
#
6
#
8
n.
n .
# n .
get.
68
9.23n Dec.
2011
24
341 1.5.6.
div. a 3
m. Dpf.
1 in 6
2 3
Nb.: The slashes and arrow show the markings for the 7th stand.
9-23
&
pizz. + hp.
352 4 Pulte
Puccini
Butterfly II/ii
~~~
con sordina
J .
..
6
8
div. a 4
68
4.8.
n.
J .
J .
n 3 .
3.7.
68
2 senza sordina
poco accel.
1
b
( F dolce
cresc.
b 2 b b b
f
II
senza sord. rall.
Tutti
con passione
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
Pi animato [h = 80]
2.6.
68
Frheres
Zeitma, nur miger [q. = 72]
3
1.5.
o And.te sostenuto q = 56
14
1.o Solo
3 come eco
&c
.
.
#
1.5.6. # # #
3
&b 4
3 4
stand 6:
div. a 2!!
m. Dpf. div. a 3
2.
4.8.
# # #
3
b
& 4
2.3.7.
3.4.7.8. m. Dpf.
n .
1 #
3
&b 4
Zemlinsky
Mermaid/ii,
violin part
m. Dpf.
4
4
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
499
&b
&c
bb b 2
& b 4
200 K +17
Haydn
Symphony 73/iv
Mozart
Symphony 35/i
ggg
gg
##
& C ww
vn. 1+2
2
Dividing double stops
and chords
#
& # c J
J
b b b b
Haydn
Symphony 103/ii
s
Mozart
Ov. Figaro
&
Presto [w = 69]
## c
12/29
r
~~~
'
'
..
j
j
j
J
di .
J
v
2
&4
J
J
J
196
.
174
## 6 . .
& 8
.
f
Z
r
n
( F
Pi animato [h = 80]
Dvok, Slavonic
Dance 3
~~~
[q = 100]
j
j
j
J
di .
J
n . b n . b
5
.
#
Elgar
~~~~
&The43 Orchestral
Martin
Wulfhorst,
Violinists Companion, 2012 (To order the book visit www.orch.info)
Enigma Var./xiii
.
di .
oderato q = 76 2
500
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
#
& # ## c
& c
J
J
# 53 .
& # 43 .
&di 4.
di .
Elgar
Enigma
Elgar Var./xiii
Enigma Var./xiii
j
j
j
# j
#
# Jj # j
J J J
J
J
b n b
n
. b n . b
.
.
j j
# j >j
f
#
>
&c
&c
Genova
33 +32
&b 2
b2
&mmer
255
Mahler
Symphony
3/I/i
Mahler
Symphony 3/I/i
ie aus
mmer ie aus
Concerto/v
Ravel, Piano
Concerto/i
Ravel, Piano
Concerto/i
# #
# #
( )
( )#
#
pizz.
p
p
Allegramente h = 116 di .
1 h = 116 pizz.
Allegramente
di .
#2
1& 2
#2
& 2
1
b b .
. b b .
. met sola dei primi
eiter erne
.
sempre
eiter erne
sempre
farco
# 277 2 f
& 42 #
& dipizz.
4 . #p
di .
pizz. p
aa
277
aa
Genova
All.o agitato q = 1
1 o agitato q = 1
All.
1
255
Bartk
Concerto/v
Bartk
n >
n >
Simon I/6
All.o mod.o q = 88
33 +32
o mod.o q = 88
All.
Verdi
Simon
Verdi I/6
j
j
J
J
.
.
. . . .
.
. . .
. .
. # j .
# # j
# # #
3
3
3
3
N
N
j
j
j
j j j
J #
J
J
J
J
J
~~~~
~~~~
( 0 2) 1 3
. (0 .2) n 1 3 b . n .
. . n b . n .
h
h
iolini
iolini
4
4
. b . . j ~~~~
. b . . . . . .j ~~~~
. . . .
. . . .
j
j
# . j . .# j .
# #
. . >>
j
n . j . # ## ~~~
n # ~~~
N
N
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
ger et antasque q = 126
4 q = 126
15ger
+7 et antasque
1er et 2e P.
>
f
>
met
22
Mahler
. theb .more. rhythmic
that. plays
jtothe~~~~
material
& b for
stands
Consider different
methods
assigning three ormore divisiparts:
front of
Symphony
3/I/i
.
.
.
.
.
.
.
division by player
the section, closer to the conductor. (Dividing the two fast
.
mmer ie aus eiter erne
division by stand
parts between stand partners instead of by stand will promote
sempre
ie
# unnecessarily.
# avoids
switching
staves
The plan shown here avoids tricky melodic jumps at mm.
34243 and 34445; at the same time, it allows as many players
as possible to read from one staff ( l , Ravel, Bolero 18 +28).
ee In passages with frequent switches between divisi a 2 and a 4,
you should
divide two parts by stand (with the odd-numbered stands
taking the top line and the even-numbered stands taking
the bottom line)
divide four parts by player. This minimizes melodic and
visual switches.
f- 2 #
& 4 #
#2
& 2
cc
Debussy
Rondes
9.23dd
stands 4-6
stands 1-3
outside
. . . . . . . . >
# # # n # # ~~~
( )
#
b . b - ..
.
J
p e crepressi
1er et 2e P.
3e et 4e P.
5e et 6e P.
&c
. b b b b
J
scen
do molto
O
~~~
O
O
(con sord.)
3
.
.
.
.
.
.
.
.
. . 3. . 1. . 2. . . . . . . . n . . . . . . . . 1. .
DIV. . .
. .
### 3
~~~
& 4
6
p stacc. e leggeriss.
2. MET 3
. .
. . . . . . . . . . . . . . 2. . 1. . 2
### 3
# n . . # . . . . . . . . . . . . . . ~~~
& 4
9.23dd Dec11, 110%
p stacc.6e leggeriss.
Lo stesso movimento q = 63
### 3
& 4
dd
Verdi
Falsta III/ii
# #
35
armonici
stands 1-3
inside
ee
b
& b b b b 68
44
Debussy
La Mer/i
501
b
& b b b b 68
DIV.
pizz.
DIV.
pizz.
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
502
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
Berlioz seems to have been the composer who invented the alternating-divisi plan (or at least the first major composer to apply
it systematically):
ff In order to facilitate a single line of fast, tricky eighths,
Berlioz distributed the notes between two groups of first and
second violins so that they play alternating or slightly overlapping segments. He described this passage in his Treatise:
Sometimes the rapidity, complexity, or high position of the
tones would make a piece too dangerous; or else the author
may want to be sure of a secure and neat execution: in such
cases the violins should be divided, some playing one part of
the passage, the rest another. Thus the notes of each section
are interspersed with short rests, not noticed by the listener,
which allow, as it were, a breathing space to the players and
afford them time to reach difficult positions securely and to
strike the strings with the necessary vigor. ...if the parts are
divided between the two players at each desk and each part
is thus played on both sides of the orchestra [in the 19thcentury seating arrangement with the violin sections on opposite sides of the conductor, as shown in Figure 8.12/A], the
fragments will connect smoothly and it will be impossible to
notice the division of the passage ( Berlioz 1844, 2930,
and 1948, 4243).
A number of other composers followed suit, including Verdi ( kk ),
Tchaikovsky (Overture Nutcracker/33), Bartk (Concerto/v/259).
and Prokofiev (Kij/iv 47 , 51 ).
Today players and conductors apply alternating-divisi patterns
even where they are not notatedespecially in order to make
switches between different playing modes and registers easier,
smoother, and less hectic:
gg The alternation between ricochet and pizzicato is nearly impossible to perform. Instead, the outside players should play
the ricochet, the inside players should play the pizzicato.
hh Divide arco and pizzicato within the section in order to
minimize the physical motions in this extremely quiet and
suspenseful passage. The only other optionleft-hand pizzicatowill never produce the same sound quality.
ii Distribute the notes at the seam between arco and pizzicato, with players leaving out alternate notes: this prevents
players from chopping off or accenting the last arco and from
playing the first pizzicato note late or sloppily.
jj Stagger this tricky string change in a similar manner. In
other, similar passages, leave out an awkward note that is doubled by the seconds (Sibelius, Violin Concerto/i/ 12 +16) or
assign it to the seconds (Schumann, Symphony 1/iv/181).
Alternating divisi also helps to facilitate pizzicato passages.
kk You may split extended, very fast, and loud pizzicato passages between outside and inside players: here the groups
alternate on every quarter, as they may in Ex. 7.2g too. In
Stravinskys Sacre/i 40 , they may alternate on every fourth
dotted quarter.
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)
9.23
9 Decoding and Marking Orchestral Parts 9.23 Divisi: Which Part Should I Play?
n 3
2
# # n
J
#
J
&C
3
3
div. vn. 1/I+2/I
unis.
n 3
1
1
3
1
4
4
J
# n
#
J
J
&C
3
1
9.23 [2-16m March 11 110%
vn. 1/II+2/II
ff
412
Berlioz, Symphonie
fantastique/i
gg
.
# # # # . . . 4 . .
& c
3
3
div. uniti
pizz.
p leggero
(inside)
Allegro q = 120
(outside)
arco ||:4
AA +9
Verdi
Otello I
hh
Beethoven
Symphony 3/i
arco
b
& b b 43
380
503
2 arco
j
#
pizz.
arco
j n arco
1 arco
j
n
# j n
pizz.
pizz.
pizz.
:||
J .
.
.
pizz.
3 j arco
pizz.
unis. .
@
@
b
.
. . . . . . . . . @ . .
@
@ @ hrn. f @
@ point @
@ repeat:
p decresc.
pizz.
arco
. n . . (outside)
1 2
103
J J n j # n
Brahms
b b b 68 b j J J J
Symphony 1/i &
J J
.
J
J
n
div.
p
P
(inside) P
dim.
p
ii
2
Beethoven
..
bb4
r
Symphony 3/iv &
n n
sautille'
jj
274
Allegro molto h = 76
kk
Verdi
Otello I
&
div.
>j
3
j # #
# # J J
>
Allegro q = 120
# cAA+4
pizz.
div.
Allegro q = 100
Verdi
Falsta I/i
## c
11 +5
vn. 1
pizz.
Symphony 3/i
&
@ @
p decresc. point
repeat:
hrn.
. . n . .
j
J J n j # n
b . J J J
J J
JJ
n
p
P
p P
@ @
f
The
most
common
Symphony 3/iv
warranted sudden color changes.
are divisi, staggered, and free bowings: the players use differsautille'
Ex. 6.8c, 9.21bb Only a part of the section performs a cerent bowings for the same music in order to create the illusion
tain notated or interpretive effect, preventing its exaggeration
of a long, seamless legato.
and guaranteeing a polished timbre. If here some of the first
Ex.: Beethoven, Symphony 3/i/280 Use staggered bowings also
violins play across the strings, the passages will sound clearer,
on bowed-out notes
in order
to create subtle effects: players
Allegro
q = 120
kk from
pizz.
at
different
points
in
smoother, and probably, better tuned than if everybody folshould switch
all
down
to
AA +4 div.
3
#
order
to
make
the
transition
very
gradual.
lows the instructions to play on the G string. Similarly, the
Verdi
c
&
Complementary-divisi
schemes
open
up
a
realm
of
infinite
nupassage in Ex. 5.11x will sound clearer if half the players leave
Otello I
ances, especially in Romantic and late-Romantic music:
out the grace notes.
Ex. 5.4h/39 Half the section plays dtach to prevent the legato
notes from sounding fuzzy or unarticulated.
504
r
n
j # #
# # J
ll
Verdi
Falsta I/i
&
>j
J
>
Allegro q = 100
## c
vn. 2 p
11 +5
vn. 1
pizz.
II
trem.
1 #
div.
#
#
Bruckner
# #C
Symphony 7/iv &
@ @ @ @ @ @ @ @ @ @ @ @ @ @
mm
330
trem.1
Martin Wulfhorst, The Orchestral Violinists Companion, 2012 (To order the book visit www.orch.info)