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Now we we examine
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HaydnHaydn
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While this is, of course, a chamber music piece for four solo play-
ers, the principles it illustrates may easily be applied to the string
orchestra and, by extension, to the string choir in a symphony
orchestra.
A word about the double bass. As the cello took on a greater role
as the tenor voice of the strings, the double bass assumed even greater
significance, as we shall see in nineteenth- and twentieth-century
string writing. In Haydn, Mozart, Beethoven, and Schubert, it is usual
for the bass to double the cello in most passages, especially in the
tutti sections. When a lighter string texture is desired, the double
bass was eliminated. Independent double bass parts became increas-
ingly popular as the nineteenth century progressed, as we shall see
in some of the studies in this chapter. If Haydn had used a double
bass in the fourth variation, he probably would have doubled the
cello (an octave below) for the anacrusis plus the first three-and-a-
half measures. He would then have dropped it until the dominant
pedal in mm. 8-12, bringing it back once more at the cadence of mm.
5
15-16. Here is the way it would look: '
Scoring for Strings 115
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