# A Dictionary of Music and Musicians/Score

​SCORE (Lat. Partitio, Partitura, Partitura cancellata; Ital. Partitura, Partizione, Partitino, Sparta, Spartita; Fr. Partition; Germ. Partitur). A series of Staves, on which the Vocal or Instrumental Parts of a piece of concerted Music are written, one above another, in such order as may best enable the whole to be read at a glance.
The English word, Score, is derived from the practice of dividing the Music into bars, by lines, drawn—or scored—through the entire series of Staves, from top to bottom. The custom of writing each Part on a separate Stave sufficiently accounts for the derivation of the Latin Partitio, which forms the root of the modern Italian, German, and French terms—all equally applicable to a barred, or unbarred Score. But the term Partitura cancellata, applied to a barred Scoreonly, owes its origin to the appearance of ​lattice-work produced by the compartments, or Cancelli, into which the page is divided by its vertical scorings. In printed Music, each Stave is usually distinguished by its proper Clef and Signature, at the beginning of every page. In MS. Scores, these are frequently placed at the beginning of the first page only. In both, the Staves are united, at the beginning of every page, either by a Brace, or by a thick line, drawn, like a bar, across the whole, and called the Accolade. The continuity of this line, and of the bars themselves, is of great importance, as an aid to the eye, in tracing the contents of the page, from the lowest Stave to the highest: but the lines are frequently broken in Scores otherwise beautifully engraved.
Of the numerous forms of Score now in common use, two only can boast of any great antiquity. The most important varieties are, (I.) the Vocal Score; (II.) the Orchestral, or Full Score; (III.) the Supplementary Score, or Partitino; (IV.) the Organ, Harpsichord, or Pianoforte Score; (V.) the Compressed Score; and (VI.) the Short Score.
I. The Vocal Score is not only the oldest form, by far, with which we are acquainted; but is really very much older than most historians have supposed. It has long been believed that Mediæval Composers wrote—or, at least, transcribed—their Music in separate Part-Books, for some centuries before they thought of writing the Parts one above another. In a general sense, this proposition is true enough: but, it is subject to some very significant exceptions. If we admit, as we must, that a complete set of Parts, so arranged that the whole can be read at one view, is entitled to rank as a Score, even though it may not be written in any living system of Notation, then, we cannot deny to Hucbaldus the merit of having taught the Art of writing in Score, as early as the first half of the 10th century. In a MS. Tract, now generally attributed to Hucbaldus, though referred by some historians of credit to his friend and contemporary, Odo, we find the following specimen of Discant, for four Voices, which, rough as it is, shows that Composers understood even at that early period the value of a system which enabled them to present their Harmonies to the render, at a single coup d'œil.
Solution. In Modern Notation.
The Harmony of this Versicle is as primitive as the system of hieroglyphics in which it is written. Very different is that of our next example—the earliest known specimen of a regular Composition, presented, in Score, in the ordinary Longs, Breves, and Semibreves, still used in the Notation of Plain Chaunt. We had occasion, in a former article, to describe the famous 'Reading MS.,' in the British Museum, containing the now well-known Rota, 'Sumer is icumen in.' This volume also contains a Motet, 'Ave gloriosa Mater,' scored for three Voices in black square and lozenge-shaped notes, on a single Stave consisting of from 13 to 15 lines, and supplemented by a Quadruplum, or fourth Part, written, on a separate Stave, at the end—probably by some later Contrapuntist, in search of an opportunity for the exhibition of his skill. The Quadruplum, however, has no concern with our present purpose, which is to show, that, as early as the year 1226, or quite certainly not more than ten years subsequent to that date, a Vocal Composition was scored, in this country, by an English Ecclesiastic—in all probability John of Fornsete—in notes exactly like those now in daily use in hundreds of English Churches, and therefore perfectly intelligible to a modern Musician. See Fac-simile I, next page.
The Library of the British Museum contains also another record, of very little later date, and replete with interest to English Musicians, as showing that the Art of Scoring was not only known in this country before the middle of the 13th century, but was more generally recognised than we should have been justified in inferring from the evidence afforded by a single example only. A volume, formerly in the Library of the Royal Society, but now forming No. 248 of the Arundel MSS., and believed to be at least as old as the middle of the 13th century, contains, on folia 153a, 154b, 155a, 201a, Compositions regularly scored for two Voices, on Staves of eight and nine lines. In the last of these—now, unfortunately, nearly illegible—two Staves, each consisting of four black lines, are separated by a red line. In the other cases, the Stave consists of eight uniform and equidistant black lines. The upper part of the second woodcut is a fac-simile of the Hymn, Quen of euene for y$^e$ blisse, transcribed on fol. 155a. See next page.
On the same page of the MS.—fol. ​155a—and immediately below the 'Quen of euene,' is another Hymn—'Salue uirgo uirginũ"—scored for three Voices, on a Stave consisting of twelve equidistant black lines; and immediately below this is a French version of the words—'Reine pleine de ducur'—adapted to the same Three-part Composition, but with the addition of two more lines of Poetry in each of the three verses. The lower part of the second woodcut represents the Latin version of the Hymn.
Fac-simile I.
Fac-simile II and III.
The evidence afforded by this venerable document—which, in allusion to the copy it contains of the 'Angelus ad virginem' mentioned in 'The Milleres Tale,' we shall henceforth designate as the Chaucer MS.—is invaluable. It does not indeed prove, as the Reading MS. must be assumed to do until some earlier authority shall be discovered, that the Art of Scoring was first practised in England; but it does prove that the Monastery at Reading was not the only Religious House in this country in which the use of the Vocal Score was known as early as the middle of the 13th century. Each record is interesting enough in itself; but the united authority of the two MSS. entitles us to assert that Vocal Scores were well known in England, before we meet with the earliest trace of them elsewhere.
The Royal Library at Paris contains a Score, transcribed by Hieronymus de Moravia about the middle of the 13th century, on a system closely resembling that adopted by the transcribers of the Reading and Chaucer MSS.—that is to say, in black square notes, written on a Stave of sufficient extent to embrace the united compass of all the Voices employed—which may be accepted as very nearly coæval with the 'Salve virgo' we have just quoted.
Examples like these are, however, of very rare occurrence. Dr. Proske collected documents enough to lead to the belief that the Composers of the 16th century noted down their Music in Score, ​in the first instance: but it was always transcribed, for use, in separate Part-Books; and it was not until the 17th century was well advanced, that Vocal Scores became common, either in MS., or in print. When they did so, they were arranged very nearly as they are now, though with a different disposition of the Clefs, which were so combined as to indicate, within certain limits, the Mode in which the Composition was written; the presence or absence of a B♭, at the Signature, serving to distinguish the Chiavi naturali, or Modes at their natural pitch, from the Chiavette (or Chiavi trasportate), transposed a Fifth higher, or a Fourth lower.
Natural Modes.
Transposed Modes.
In the 18th century, the number of Clefs was more restricted; but, the C Clef was always retained for the Soprano, Alto, and Tenor Voices, except in the case of Songs intended for popular use.
At the present day, the Soprano Clef is seldom used, except in Full Scores of Vocal Music with Orchestral Accompaniments; though most Italian Singers are acquainted with it. In Scores for Voices alone, the Soprano, Alto, and Tenor Parts, are usually written in the G Clef, on the Second Line, with the understanding that the Tenor Part is to be sung an Octave lower than it is written. Sometimes, but less frequently, the same condition is attached to the Alto Part. Sometimes the Alto and Tenor Parts are written in their proper Clefs, and the Soprano in the G Clef; or the Soprano and Alto may both be written in the G Clef, and the Tenor in its proper Clef. All these methods are in constant use, both in England and on the Continent.
The doubled G Clef, in the third and fourth of the above examples, is used by the Bach Choir, to indicate that the part is to be sung in the Octave below.
II. The earliest examples of the Orchestral Score known to be still in existence are those of Baltazar de Beaujoyeaulx's 'Ballet comique de la Royne' (Paris, 1582); Peri's 'Euridice' (Florence, 1600; Venice, 1608); Emilio del Cavaliere's 'Rappresentazione dell' Anima e del Corpo' (Rome, 1600); and Monteverde's 'Orfeo' (Venice, 1609, 1613). A considerable portion of the Ballet is written, for Viols and other Instruments, in five Parts, and in the Treble, Soprano, Mezzo-Soprano, Alto, Tenor, and Bass Clefs. In Cavaliere's Oratorio, and Peri's Opera, the Voices are accompanied, for the most part, by a simple Thorough-bass, rarely relieved even by an Instrumental Ritornello. Monteverde's 'Orfeo' is more comprehensive; and presents us, in the Overture, with the first known example of an obbligato Trumpet Part.
As the taste for Instrumental Music became more widely diffused, the utility of the Orchestral Score grew daily more apparent; and, by degrees, Composers learned to arrange its Staves upon a regular principle. The disposition of the Stringed Baud, at the beginning of the 18th century, was ​exactly the same as that now in use. The two upper Staves were occupied by the Violin Parts; the third Stave by the Viola; and the lowest, by the Bass, figured for the Organ, or Harpsichord. With regard to the other Staves, less uniformity was observed. Seb. Bach wrote Real Parts for so many Solo Instruments (now often obsolete), that the reduction of his Scores to a fixed type was impossible. Handel, on the contrary, restricted himself, as a general rule, to the Instruments which formed the nucleus of the combination afterwards known as the Classical Orchestra. It was not often that he employed all these together, even in his grandest Choruses; but, with the exception of the Clarinets, unknown in his day, he used them all, at different times. In the disposition of his Scores, he adopted two distinct methods: either placing the Brass Instruments at the top of the page; below these, the Oboes and Bassoons; then the Violins and Violas; and below these, again, the Vocal Parts and the Instrumental Bass, figured for the Organ: or he headed the page with the Violins and Violas, and placed the Brass Instruments, the Wood Wind, the Vocal Parts, and the Bass, in order below them. Most of his Oratorios were arranged upon the former plan; and most of his Italian Operas, upon the latter. But, there are exceptions. In some parts of 'Israel in Ægypt,' the highest place is assigned to the Violins; and, in some parts of 'Ariadne' and 'Arminius,' to the Wind Instruments. In a few cases, separate Staves are allotted to the Stringed Bass, and the Organ. Sometimes, the direction, 'Tutti Bassi,' indicates that the same Stave serves for the Stringed Bass and the Bassoons. The Violoncello and Double Bass rarely occupy separate Staves, unless the former plays an obbligato Part. The following schemes will serve as examples of the general arrangement.
J. S. Bach. :
| Mass in B Minor, 'Gloria' | Mass in B Minor, 'Gloria' | Passion acc. to S. Matthew, Introduction $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$ | Passion acc. to S. Matthew, Introduction $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$ | Passion acc. to S. Matthew, Introduction $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$ | Passion acc. to S. Matthew, Introduction $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$ | Mass in D, 'Quoniam.' | Mass in F, Kyrie | Mass in F, Kyrie | Christmas Oratorio, Pastorale. |
| Tromba 1ma | | Coro 1mo | Coro 1mo | Coro 2ndo | Coro 2ndo | Corno di caccia | Flauti 1,2 | | Flauti 1,2 |
| Tromba 2nda | | Fl. 1,2 | | Fl. 1,2 | | Fagotto 1mo. | Oboi d'amore 1,2 | | Oboi d'amore 1,2 |
| Tromba 3za | | Ob. 1,2 | | Ob. 1,2 | | Fagotto 2ndo. | Fagotto | | Oboi da caccia 1,2 |
| Tympani | | Viol. 1 | | Viol. 1 | | Basso Solo | Violino 1mo | | Violino 1mo |
| Flauti 1,2 | | Viol. 2 | | Viol. 2 | | Continuo | Violino 2ndo | | Violino 2ndo |
| Oboi 1,2 | | Viola | | Viola | | | Viola | | Viola |
| Fagotti 1,2 | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | Soprano I. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Org. e continue |
| Violino 1mo. | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | Soprano II. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | |
| Violino 2ndo. | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | Alto | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | |
| Viola | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | Tenore | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | |
| Soprano I. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Org. e Basso | | Org. e Basso | | | Basso | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | |
| Soprano II. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | Continuo | | |
| Alto | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | | | |
| Tenore | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | | | |
| Basso | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | | | |
| Continuo | | | | | | | | | |
G. F. Handel. :
| 'Hallelujah.' Messiah. | 'Hallelujah.' Messiah. | 'How excellent,' Saul. | 'How excellent,' Saul. | 'Wise men flattering,' Judas Mach. | Occasional Overture. | Overture. Otho. | 'Lascia amor' Orlando. | Second Hautboy Concerto. | First Organ Concerto. |
| Tromba 1 | | Trombone 1 | | Corno 1mo | Tromba 1ma | Violino 1mo | Violino 1mo | Violino 1mo (concertino) | Oboe 1mo |
| Tromba 2 | | Trombone 2 | | Corno 2ndo | Tromba 2nda | Violino 2ndo | Violino 2ndo | Violino 2ndo (concertino) | Oboe 2ndo |
| Tympani | | Trombone 3 | | Flauto 1mo | Principale | Violino 3zo | Viola | Violino 1mo (ripieno) | Violino 1mo |
| Violino 1 | | Tromba 1 | | Flauto 2ndo | Tympani | Viola | Oboe 1mo | Violino 2ndo (ripieno) | Violino 2ndo |
| Violino 2 | | Tromba 2 | | Oboe 1mo | Oboe 1 | Oboe 1mo | Oboe 2ndo | Oboe 1mo | Viola |
| Viola | | Tympani | | Oboe 2ndo | Oboe 2 | Oboe 2ndo | Fagotti | Oboe 2ndo | Organ on 2 staves |
| Canto | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Oboe 1 | | Fagotti | Violino 1mo | Fagotti | Basso Solo | Viola | Basso |
| Alto | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Oboe 2 | | Violino 1mo | Violino 2ndo | Bassi | Tutti | Fagotto 1mo | |
| Tenore | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Fagotti | | Violino 2ndo | Viola | | | Fagotto 2ndo | |
| Basso | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Violino 1 | | Viola | Tutti Bassi | | | Bassi | |
| Bassi | | Violino 2 | | Soprano Solo | | | | | |
| | | Viola | | Bassi | | | | | |
| | | Canto | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | |
| | | Alto | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | |
| | | Tenore | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | |
| | | Basso | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | | | | | | |
| | | Bassi | | | | | | | |
When Orchestral Scores became more complicated, the process of reading them was greatly facilitated by careful methods of grouping. In Italy the Violins were usually placed at the top of the page; then the Wood Wind, arranged according to the pitch of its component Instruments; then the Brass Instruments; and in the lowest place, the Bass. In Germany the complete Stringed Band was generally placed at the bottom of the page; next above this the Wood Wind; and over this the Brass Instruments, with the Tympani in the highest place: or the Brass Instruments immediately over the Stringed Band, and the Wood Wind at the top of the page. Sometimes the Horns were placed between the Clarinets and Bassoons; and many other little peculiarities were affected by individual Composers: but the general plan was pretty closely observed. Mozart generally followed the Italian method, in his Italian Operas, but adhered to the German plan in 'Die Zauberflöte,' and the greater number of his Symphonies. Beethoven preferred ​the German system; and almost always allotted separate Staves to the Violoncello and ContraBasso—a plan which has been imitated by most later Masters. The following schemes exhibit the practice of the great Classical Composers generally.
| Haydn. | Haydn. | Haydn. | Mozart. | Mozart. | Mozart. | Mozart. | Mozart. | Mozart. | Mozart. |
| Creation, Introd. | Seasons, Overture. | Sinf. Reine de France. | Overture, Zauberflöte. | Overtures, Don Giovanni & La Clemenza. | Jupiter Symph. | First Mass. | First Mass. | Requiem Mass. Requiem æternam. | Requiem Mass. Requiem æternam. |
| Trombe 1,2 | Viol. 1 | Corni 1,2 | Fl. 1,2 | Viol. 1 | Tymp. | Viol. 1 | | Viol. 1 | |
| Tymp. | Viol. 2 | Oboi 1,2 | Ob. 1,2 | Viol. 2 | Trombe 1,2 | Viol. 2 | | Viol. 2 | |
| Trombone 1 | Viola | Flauto | Clar. 1,2 | Viola | Corni 1,2 | Oboi 1,2 | | Viola | |
| Trombone 2 | Fl. 1,2 | Fag. 1,2 | Fag. 1,2 | Fl. 1 | Ob. 1.2 | Clarini 1,2 | | Corni di bassetto 1,2 | |
| Trombone 3 | Ob. 1,2 | Viol. 1 | Corni. 1,2 | Fl. 2 | Flauto | Tymp. | | Fag. 1,2 | |
| Clar. 1,2 | Clar. 1,2 | Viol. 2 | Trombe 1,2 | Ob. 1,2 | Viol. 1 | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Trombe 1,2 | |
| Corni 1,2 | Fag. 1,2 | Viola | Tymp. | Clar. 1,2 | Viol. 2 | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Trombe 1,2 | |
| Oboi 1, 2 | Trombe 1, 2 | Basso | Trombone 1 | Fag. 1,2 | Viola | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Tymp. | |
| Flauti 1,2 | Tymp. | | Trombone 2 | Corni 1,2 | Fag. 1,2 | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| Fag. 1,2 | Trombone 1 | | Trombone 3 | Clarini 1,2 | Basso | Org. e Basso | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| Contra Fag. | Trombone 2 | | Viol. 1 | Tymp. | | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| Vno. 1 | Violoncello | | Viol. 2 | Bassi | | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| Vno. 2 | Basso | | Viola | | | | | Org. e Basso | |
| Viola | | | Basso | | | | | | |
| Basso | | | | | | | | | |
| Beethoven. | Beethoven. | Beethoven. | Beethoven. | Beethoven. | Beethoven. | Beethoven. | Schubert. | Weber. | Weber. |
| Sinf. in C minor. No. V. | Sinf. No. IX. 1st Movem. | Overture, Leonora. | Overture, Egmont. | PF. Concerto in E♭. | Mass in D, 'Gloria.' | Mass in D, 'Gloria.' | Sinf. in C. | Overtures, Der Freischütz & Euryanthe. | Concert Stück |
| Tymp. | Fl. 1,2 | Fl. 1,2 | Fl. 1 | Fl. 1,2 | Fl. 1,2 | | Viol. 1 | Fl. 1,2 | Fl. 1,2 |
| Clarini 1,2 | Ob. 1,2 | Ob. 1,2 | Fl. 2 | Ob. 1,2 | Ob. 1,2 | | Viol. 2 | Ob. 1,2 | Ob. 1,2 |
| Corni 1,2 | Clar. 1,2 | Clar. 1,2 | Fl. Picc. | Clar. 1,2 | Clar. 1,2 | | Viola | Clar. 1,2 | Clar. 1,2 |
| Fl. 1,2 | Fag. 1,2 | Fag. 1,2 | Ob. 1,2 | Fag. 1,2 | Fag. 1,2 | | Fl. 1,2 | Corni 1,2 | Corni 1,2 |
| Fl. Picc. | Corni 1,2 | Corni 1,2 | Clar. 1,2 | Corni 1,2 | Contra Fag. | | Ob. 1,2 | Corni 3,4 | Fag. 1,2 |
| Oboi 1,2 | Corni 3,4 | Corni 3,4 | Fag. 1 | Trombe 1,2 | Corni 1,2 | | Clar. in C 1,2 | Fag. 1,2 | Trombe 1,2 |
| Clar. 1,2 | Trombe 1,2 | Trombe 1,2 | Fag. 2 | Tymp. | Corni 3,4 | | Bassoons 1,2 | Trombe 1,2 | Tymp. |
| Fag. 1,2 | Tymp. | Tymp. | Corni 1,2 | PF. Solo | Trombe 1,2 | | Horns in C 1,2 | Tymp. | PF. Solo |
| Trombone 1 | Viol. 1 | Trombone 1 | Corni 3,4 | Viol. 1 | Tymp. | | Trumpets in C 1,2 | Trombone 1 | Viol. 1 |
| Trombone 2 | Viol. 2 | Trombone 2 | Clarini | Viol. 2 | Trombone 1 | | Trombones, Alto & Tenor | Trombone 2 | Viol. 2 |
| Trombone 3 | Viola | Viol. 1 | Tymp. | Viola | Trombone 2 | | Trombone, Bass | Trombone 3 | Viola |
| Viol. 1 | Violoncello | Viol. 2 | Viol. 1 | Violoncello | Trombone 3 | | Tympani | Viol. 1 | Violincello |
| Viol. 2 | Basso | Viola | Viol. 2 | Contr. Basso | Viol. 1 | | Violincello | Viol. 2 | Contr. Basso |
| Viola | | Violoncello | Viola | | Viol. 2 | | Basso | Viola | |
| Viola | | Violoncello | Viola | | Viol. 2 | | | Violincello | |
| Violoncello | | Contr. Basso | Violincello | | Viola | | | Contr. Basso | |
| Contr. Basso e Contr. Fag. | | | Contr. Basso | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli | | | |
| | | | | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli | | | |
| | | | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli | | | |
| | | | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli | | | |
| | | | | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Tutti | | | |
| | | | | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Tutti | | | |
| | | | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Tutti | | | |
| | | | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Tutti | | | |
| | | | | | Org. | | | | |
| | | | | | Violincello | | | | |
| | | | | | Basso | | | | |
| Cimarosa. | Rossini. | Rossini. | Rossini. | Rossini. | Rossini. | Donizetti. | Cherubini. | Cherubini. | Cherubini. | Cherubini. |
| Overture, Il Matrimonio Segreto. | Overture Guillaume Tell. | Moïse, Introduction. | Moïse, Introduction. | Stabat Mater. | Stabat Mater. | Overture. La Favorita. | Overture, Les deux Journées. | Overture, Anacreon. | Requiem in C Minor. Dies irae. | Requiem in C Minor. Dies irae. |
| Corni 1,2 | Fl. | Picc. | | Fl. 1,2 | | Viol. 1 | Fl. 1,2 | Fl. 1,2 | Ob. 1,2 | |
| Trombe 1,2 | Picc. | Fl. | | Ob. 1,2 | | Viol. 2 | Ob. 1,2 | Ob. 1,2 | Clar. 1,2 | |
| Clar. 1,2 | Ob. 1,2 | Ob. 1,2 | | Clar. 1,2 | | Viola | Clar. 1,2 | Clar. 1,2 | Fag. 1,2 | |
| Viol. 1 | Clar. 1,2 | Clar. 1,2 | | Corni 1,2 | | Picc. | Corni 1,2 | Corni 1,2 | Corni 1,2 | |
| Viol. 2 | Corni 1,2 | Corni 1,2 | | Trombe 1,2 | | Fl. | Corno 3 | Corni 3,4 | Trombe 1,2 | |
| Viola | Corni 3,4 | Corni 3,4 | | Fag. 1,2 | | Ob. 1,2 | Fag. 1,2 | Trombe 1,2 | Trombone 1 | |
| Fag. 1,2 | Trombe 1,2 | Trombe 1,2 | | Trombone 1 | | Clar. 1,2 | Trombe 1,2 | Trombone 1 | Trombone 2 | |
| Basso | Fag. 1,2 | Fag. 1,2 | | Trombone 2 | | Corni 1,2 | Tymp. | Trombone 2 | Trombone 3 | |
| | Trombone 1 | Trombone 1 | | Trombone 3 | | Corni 3,4 | Viol. 1 | Trombone 3 | Trombone 4 | |
| | Trombone 2 | Trombone 2 | | Tymp. | | Trombe con le Chiavi 1,2 | Viol. 2 | Tymp. | Tymp. | |
| | Trombone 3 | Trombone 3 | | Viol. 1 | | Fag. 1,2 | Viola | Viol. 1 | Viol. 1 | |
| | Tymp. | Ophicl. | | Viol. 2 | | Trombone 1 | Violoncello | Viol. 2 | Viol. 2 | |
| | Piatti | Tymp. | | Viola | | Trombone 2 | Basso. | Viola | Viola 1 | |
| | Triang. | Gran Cassa | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Soli | Trombone 3 | | Fag. 1,2 | Viola 2 | |
| | Gran Cassa | Piatti | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Soli | Ophicl. | | Violoncello | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| | Viol. 1 | Triang. | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Soli | Tymp. | | Basso | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| | Viol. 2 | Viol. 1 | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Soli | Gran Cassa | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| | Viola | Viol. 2 | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Coro | Triang. | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ |
| | Violone. 1 Solo | Viola | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Coro | Trombe 1,2 | | | Gran Tamburo | |
| | —— 2 — | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Coro | Violincello | | | Violoncello | |
| | —— 3 — | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$Coro | Basso | | | Basso | |
| | —— 4 — | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Violoncello | | | | | | |
| | —— 5 — | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ | Basso | | | | | | |
| | —— Rip. | Violoncello | | | | | | | | |
| | Basso | Basso | | | | | | | |
| Spontini. | Spohr. | Spohr. | Spohr. | Spohr. | Mendelssohn. | Mendelssohn. | Mendelssohn. | Mendelssohn. |
| Overture La Vestale. | Overtures Faust and Jessonda. | Overture Fall of Babylon. | Die Weihe der Töne 1st Mov. | Die Weihe der Töne, March. | Overture Mids. Night's Dream. | Overture Fingal's Höhle | Overture S. Paul. | Violin Concerto. |
| Viol. 1 | Fl. 1,2 | Fl. Picc. E♭ | Fl. terzo | Fl. Picc. | Fl. 1,2 | Fl. 1 | Fl. l,2 | Fl. 1,2 |
| Viol. 2 | Ob. 1,2 | Fl. 1 | Fl. | Fl. 1,2 | Ob. 1,2 | Fl. 2 | Ob. 1,2 | Ob. 1,2 |
| Fl. 1,2 | Clar. 1,2 | Fl. 2 | Ob. 1,2 | Clar. 1,2 | Clar. 1,2 | Ob. 1 | Clar. 1,2 | Clar. 1,2 |
| Ob. 1,2 | Fag. 1,2 | Ob. 1 | Clar. 1 | Corni 1,2 | Fag. 1,2 | Ob. 2 | Fag. 1,2 | Fag. 1,2 |
| Clar. 1,2 | Corni 1,2 | Clar. 1 | Clar. 2 | Corni 3,4 | Corni 1,2 | Clar. 1 | Serpente | Corni 1,2 |
| Corni 1,2 | Corni 3,4 | Clar. 2 | Corni 1,2 | Trombe 1,2 | Trombe 1,2 | Clar. 2 | Corni 1,2 | Trombe 1,2 |
| Corni 3,4 | Trombe 1,2 | Corni 1,2 | Corni 3,4 | Piatti | Ophicl. | Fag. 1 | Trombe 1,2 | Tymp. |
| Trombe 1,2 | Trombone 1 | Corni 3,4 | Fag. 1 | Triang. | Tymp. | Fag. 2 | Trombone 1 | Viol. Solo |
| Fag. 1,2 | Trombone 2 | Fag. 1 | Fag. 2 | Gran Tamb. | Viol. 1 | Corni 1,2 | Trombone 2 | Viol. 1 |
| Trombone 1 | Trombone 3 | Fag. 2 | Viol. 1 | Tamb. Milit. | Viol. 2 | Trombe 1,2 | Trombone 3 | Viol. 2 |
| Trombone 2 | Tymp. | Clarini 1,2 | Viol. 2 | Trombone 1,2 | Viola | Tymp. | Tymp. | Viola |
| Trombone 3 | Viol. 1 | Tamb. Milit. | Viola | Trombone 3 | Violoncello | Viol. 1 | Viol. 1 | Basso |
| Tymp. | Viol. 2 | Trombone 1 | Violoncello | Fag. 1,2 | Basso | Viol. 2 | Viol. 2 | |
| Viola | Viola | Trombone 2 | Basso | Viol. 1 | | Viola | Viola | |
| Violincello | Basso | Trombone 3 | | Viol. 2 | | Violincello | Organo | |
| Basso | | Viol. 1 | | Viola | | Basso | Violincello | |
| | | Viol. 2 | | Violincello | | | Basso | |
| | | Viola | | Basso | | | | |
| | | Violincello | | | | | | |
| | | Basso | | | | | | |
| Schumann. | Joachim. | Bruch. | Brahms. | Brahms. | Meyerbeer. | Meyerbeer. | Meyerbeer. | Meyerbeer. |
| Sinf. in E♭ and Overture Genoveva. | Notturno, Op. 12. | Romanza, Op. 42. | Triumphlied. | Triumphlied. | Overture Robert le Diable. | Robert toi que j'aime. | March in Le Prophète. $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$ Orchestra.On the Stage. | March in Le Prophète. $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$ Orchestra.On the Stage. |
| Tymp. | Fl. 1,2 | Fl. 1,2 | Fl. 1,2 | | Viol. 1 | Viol. 1 | Fl. Picc | Sax Cor. Sop. 1,2 |
| Trombe 1,2 | Ob. 1,2 | Ob. 1,2 | Ob. 1,2 | | Viol. 2 | Viol. 2 | Fl. 1,2 | Sax Cor. Contralt. 1,2 |
| Corni con le Chiavi 1,2 | Cl. 1,2 | Clar. 1,2 | Clar. 1,2 | | Viola | Viola | Ob. 1,2 | Sax Cor. Contralt. 3,4 |
| Corni 1,2 | Fag. 1,2 | Fag. 1,2 | Fag. 1,2 | | Fl. Pic. | Fl. 1,2 | Clar. 1,2 | Cornetti 1,2 |
| Fl. 1,2 | Corni 1,2 | Corni 1,2 | Contr. Fag. | | Fl. 1,2 | Ob. | Clar. Basso | Trombe con le Chiavi 1,2 |
| Ob. 1,2 | Viol. Solo | Corni 3,4 | Corni 1,2 | | Ob. 1,2 | Corno Inglese | Fag. 1,2 | Sax Cor. Alt. 1,2 |
| Clar. 1,2 | Viola | Trombe 1,2 | Corni 3,4 | | Clar. 1,2 | Clar. 1,2 | Corni 1,2 | Sax Cor. Alt. 3,4 |
| Fag. 1,2 | Violincello | Tymp. | Trombe 1,2,3 | | Fag. 1,2 | Fag. 1,2 | Corni 3,4 | Sax Cor. Bar. 1,2 |
| Trombone 1 | Basso | Viol. 1 Solo | Trombone 1 | | Corni 1,2 | Corni 1,2 | Trombone 1 | Sax Cor. Bar. 3,4 |
| Trombone 2 | | Viol. 2 Solo | Trombone 2 | | Corni 3,4 | Corni 3,4 | Trombone 2 | Sax Cor. Bass 1,2 |
| Trombone 3 | | Viol. 1 | Trombone 3 | | Trombe con le Chiavi 1,2 | Trombe 1,2 | Trombone 3 | Sax Cor. Bass 3,4 |
| Viol. 1 | | Viol. 2 | Tuba | | Trombone 1 | Trombone 1 | Ophicleide | Sax. Cor. Contr. Bass 1,2 |
| Viol. 2 | | Viola | Tymp. | | Trombone 2 | Trombone 2 | Trombe 1,2 | Tamb. Milit. 1,2 |
| Viola | | Violincello | Viol. 1 | | Trombone 3 | Trombone 3 | Trombe 3,4 | |
| Violincello | | Basso | Viol. 2 | | Ophicleide | Ophicleide | Tymp. 1,2,3 | |
| Basso | | | Viola | | Tymp. | Tymp. | Gran. Cassa | |
| | | | B. Solo | | Gran. Cassa | Arpe 1,2 | Piatti | |
| | | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | Piatti | S. Solo | Tamb. Milit. | |
| | | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | Violincello | T. Solo | Viol. 1 | |
| | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | Basso | Violincello | Viol. 2 | |
| | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | | Basso | Viola | |
| | | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | | | Violincello | |
| | | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | | | Basso | |
| | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | | | | |
| | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | | | | |
| | | | Violincello | | | | | |
| | | | Basso | | | | | |
The later Scores of Berlioz, Liszt, and Wagner, introduce a greater variety of Wind Instruments, and vary, very much, in their method of arrangement. The following schemes will show the system adopted in some of their best-known Compositions.
| Berlioz. | Berlioz. | Berlioz. | Berlioz. | Berlioz. | Berlioz. | Benoit. | Liszt. | Liszt. | Liszt. | Liszt. | Liszt. |
| Harold Sinf. | Les Francs Juge. | Symphonie Funebre. | Te Deum. | Te Deum. | Marche des Drapeaux. | Charlotte Corday. | Faust Symph. 1st Mov. | Faust Symph. And. mistico. | Faust Symph. And. mistico. | Missa Coron. Kyrie. | Missa Coron. Kyrie. |
| Fl. 1,2 | Fl. Picc. | Fl. Picc. D♭ | Fl. 1,2,3,4 | | Fl. 1,2,3,4 | Fl. 1,2 | Fl. Picc | Fl. 1,2 | | Fl. 1,2 | |
| Ob. 1,2 | Fl. 1,2 | Fl. Picc. E♭ | Ob. 1,2,3,4 | | Ob. 1,2,3,4 | Fl. Picc. | Fl. 1,2 | Ob. 1,2 | | Ob. 1,2 | |
| Clar. 1,2 | Ob. 1,2 | Clar. 1,2 E♭ | Clar. 1,2,3,4 | | Clar. 1,2,3,4 | Ob. 1,2 | Ob. 1,2 | Clar. 1,2 | | Clar. 1,2 | |
| Corni 1,2 | Clar. 1,2 | Clar. 3,4 B♭ | Corni 1,2 | | Fag. 1,2,3,4 | Corno Inglese | Clar. 1,2 | Fag. 1,2 | | Fag. 1,2 | |
| Corni 3,4 | Corni 1,2 | Ob. 1,2 | Corni 3,4 | | Corni 1,2 | Clar. 1,2 | Fag. 1,2 | Corni 1,2 | | Corni 1,2 | |
| Trombe 1,2 | Corni 3,4 | Corni 1,2 | Trombe 1,2 | | Corni 3,4 | Clar. Basso | Corni 1,2 | Corni 3,4 | | Corni 3,4 | |
| Cornetti 1,2 | Trombe 1,2 | Corni 3,4 | Cornetti 1,2 | | Sax Cor. in B♭ | Corni 1,2 | Corni 3,4 | Viol. 1 | | Trombe 1,2 | |
| Fag. 1,2,3,4 | Trombe con le Chiavi 1,2 | Corni 5,6 | Fag. 1,2 | | Trombe 1,2 | Corno 3 | Trombe 1,2 | Viol. 2 | | Tromboni 1,2 | |
| Trombone 1 | Trombone 1 | Trombe 1,2 | Fag. 3,4 | | Cornetti 1,2 | Trombe 1,2 | Trombone 1 | Viola | | Trombone 3 | |
| Trombone 2 | Trombone 2 | Trombe 3,4 | Tromboni 1,2 | | Trombone 1 | Tromba 3 | Trombone 2 | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$ Coro | Tuba | |
| Triang. | Trombone 3 | Cornetti 1,2 | Tromboni 3,4 | | Trombone 2 | Fag. 1,2 | Trombone 3 | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$ Coro | Viol. 1 | |
| Tymp. | Ophicl. 1,2 | Trombone 1 | Tromboni 5,6 | | Trombone 3 | Fag. 3 | Tuba | Organo | | Viol. 2 | |
| Arpa | Fag. 1,2 | Trombone 2 | Ophicleide | | Ophicleide | Trombon 1,2,3 | Tymp. | Violoncello | | Viola | |
| Viola Sola | Contr. Fag. | Trombone 3 | Tuba | | Tuba | Trombone 4 | Piatti | Basso | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli |
| Viol. 1 | Tymp. | Trombone 4 | Tymp. | | Arpe | Tuba | Viol. 1 | | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli |
| Viol. 2 | Gran. Cassa | Ophicl. 1,2 | Viol. 1 | | Tymp. | Tymp. | Viol. 2 | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli |
| Viola | Viol. 1 | Clar. Basso | Viol. 2 | | Tambur. | Tamb. Milit. | Viola | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Soli |
| Violoncello | Viol. 2 | Fag. 1,2 | Viola | | Viol. 1 | Gran Cassa | Violoncello | | | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro |
| Basso | Viola | Contr. Fag. | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | Viol. 2 | Viol. 1 | Basso | | | A. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro |
| | Violoncello | Violoncello | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | Viola | Viol. 2 | | | | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro |
| | Basso | Contr. Basso | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ Coro I | Violoncello | Viola | | | | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,$ Coro |
| | | Tymp. | S. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | Basso | Violoncello | | | | Organo | |
| | | Tamb. Milit. | T. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | Organo | Basso | | | | Violoncello | |
| | | Piatti | B. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ Coro II | | | | | | Basso | |
| | | Gran Cassa | S.A. Coro III | | | | | | | | |
| | | Piatti con sordini | Violoncello | | | | | | | | |
| | | Tam-Tam | Basso | | | | | | | | |
| | | | Organo | | | | | | | | |
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 ​Score of 'Il Don Giovanni,' the Trombone Parts of the last Finale are printed at the end of the volume, with the necessary direction, Tromboni se trovano al Fine.
IV. The Organ, Harpsichord, or Pianoforte Score, is a Vocal Score, with an Accompaniment for the Organ, Harpsichord, or Pianoforte, added, on one or two Staves beneath it. Among the earliest and most interesting examples of this kind of Score ever printed in England, are Harrison's editions of Handel's 'Messiah,' 'Dettingen Te Deum,' 'Ode for S. Cæcilia's Day,' 'Acis and Galatea,' and other like works, with Harpsichord Accompaniment. In these, and in the original editions of Boyce's Cathedral Music, Croft's Anthems, and other similar publications, the Organ or Harpsichord Part is given in the form of a Figured Bass only, and printed on a single Stave. In modern Organ and Pianoforte Scores, the Accompaniment is always printed on two Staves. In all cases, the Vocal Parts are arranged in one of the forms given on page 429.
V. The Compressed Score is an arrangement of Vocal Part-Music, on two Staves, one of which presents the Soprano and Alto Parts, written in the Treble clef, while the other exhibits the Tenor and Bass, in the Bass Clef. Instrumental Music may be, and sometimes is, compressed in the same way; especially in the case of Stringed Quartets: but it is indispensable that every note of the original Composition shall appear in its proper place, whether it can be played upon a Keyed Instrument or not; otherwise, the transcription degenerates into a mere 'arrangement.' A familiar example of the Compressed Score will be found in 'Hymns Ancient and Modern.'
[ W. S. R. ]
* ↑ For an explanation of Hucbald's system of Notation, see vol. ii p. 469.
* ↑ The Gros fa of French Musicians, and the 'Gregorian Note' of our own.
* ↑ Harl. MSS., no. 978. see pp. 268–270.
* ↑ It will be understood that we speak of John of Fornsete as the transcriber rather than the Composer of the Music, concerning the authorship of which we have no certain evidence. Another three-voice setting of the same words, contained in the Montpellier MS., is attributed by Coussemaker to Franco of Cologne: but this differs so much from our English version, that it is impossible to refer the two transcriptions to a common original.
* ↑ See an interesting article on this subject, by Mr. William Chappell, in the 'Musical Times' for February, 1882.
* ↑ Ambros speaks of this as one of the oldest Scores in existence. But it is not so old as the 'Ave gloriosa Mater' in the Reading MS.
* ↑ See vol. ii. p. 474.
* ↑ See vol. ii. p. 567b.
* ↑ Ib. pp. 534–535.
* ↑ Ib. p. 499a and b.
* ↑ Ib. pp. 500–501.