MUSICAL COMPOSITION

COLOUR 107to them in this capacity for purposes of reinforcementand not vice versa. Do not forget that the singlenotes of each of the wind parts represent the soundgiven by one instrument only, but that the single notesgiven to each of string parts represent the sound ofseveral instruments; and, therefore, that the balancewhich the eye sees in reading the score has to beadjusted by the consideration that the five staves ofwind are played by 10 players and the five staves ofstrings by any number from 25 to (say) 46 or 60.Lastly, remember that additional power in the wind isgained rather by doubling at the first and secondoctaves than by doubling at the unison: the reinforcementof the overtones producing more resonance thanthat of the fundamental note. This law of sound canbe tested by any organist who compares the combinationof two eight-foot open diapasons with that of oneeight-foot diapagon and a four-foot principal.The E Flat Symphony omits a second flute and theoboes. The G Minor Symphony of which one versionomits the clarinets and the other includes them, andwhich also has parts for two horns in different crooks,is for these reasons a most valuable study.The student can first score it without clarinets andafterwards add them (excising some of the oboe partswhere the clarinets are more suitable), and comparehis addition and subtraction with Mozart's.The Finale of the C Major Symphony (usually calledthe "Jupiter" in this country) is an excellent lesson inthe orchestral treatment of fugue. The slow movementsof all three are most instructive in contrast andwhat hag been rightly termed the "conversation" ofthe instruments.