l'histoire du soldat

7/23/2019 l'Histoire Du Soldat

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The

Soldier's

Tale

Geschichte

vom

Soldaten

HISTOIRE

DU

SOLDAT

edited

by

James

Blades

Bass

Drum

Field Drum

Snare

Drums

IGOR

STRAVINSKT

edited

bv

John

Carewe

Percussion

part

Tambourine

Triansle

Cymbal

Percussion:

(see

Editor's Note

on

page

l2)

e

(edge)

(centre)

III

(large)

(small)

(bo

(1,r

L

Cornel

poco

{

secco

('7\

44'..,

50@

*

The original

indicates

that

the

right

hand

mallet

serves

to

strike

the tambourine and the snare drum.

O

Copyright

for

all

Countries

1987

J.

&

W.

Chester/Edition Wiihelm

Hansen

London

Ltd.

Part

I

th

unsnared);

Tambouri

ne

(?)

WARNING:

The copying

of

the

whole or

any

part

of

this

publication

is

iliegal

and

can lead

to

prosecution.

All

rights

teserved

Printed

in

England

NOT FOR

SALE

MARCHtr

DU

SOLDAT

Bass

Drum;

Field

Drum

&

Snare

Drum

I

L.H.

mallet

1,

R.H.

mallet

2.

)

=tt2

F.D.

&

B.D.

n

Bassoon

H1

RE MATERiAL



)

@

64

Percussion

PETITS AIRS

AU BORD

DU

RUISSEAU

ru

Tacet

"Donnez-moi

votre

violon.

. .

.

. Puis, de nouveau,

c'est comme

avant."

"Give

me

your

víolin

. .

,

.

. .

. .

Then

eterything

is as it

was

before."

"Gebt

mb

die Giege .

.

Es

gibt

die

Zeit

nicht mehr,"

Reprise:

MARCHE

DU

SOLDAT

(p.1)

PASTORALE

rv

Tacet

Reprise:

PASTORALE

rv

Tacet

"Il

s'était

mis

à lire.

. marchand

d'abord,

marchand

d'objets."

"He

took

the book.

.

and

became

a

pedlar,

a seller

ofwares."

"Er

liest

im

Buch.

.

.

handelt

mit buntenwaren."

ROULEMENT

DE

TAÀ{BOUR

/

DRUXT

ROLL

/

TRON{MELWTRBEL

.

.

.

satin

duchesse,

prir

d'avantguerre."

.i:

.:

.

.

.::

'Jf,:',3ffí::::,

ii'':::"ii:íi:;,:;isen .

.

.

,,

ROULEMENT

DE TAN4BOUR

/

DRUA,T

ROLL

/

TROI,{À,{ELWTRBEL

"N{archand d'abord.

"A

pedlar

first

.

"Wfud Kaufmann erst.

.

.

Reprise:

PETITS

AIRS

.v

Tacet

Reprise:

PETITS

AIRS

ru

Tacet

LR

Musique

de la

Première Scène

Musique

de

la

Deuxième Scène

Musique de la

Troisième

Scène

ì,_,

a,

f

@

p

subito

71

78

repeat

ad lib.*

*

Repeats

are

made for staged

perforrnances.



Percussion

Part

II

MARCHE

DU

SOLDAT

Field

Drum

& Snare

Drum

I

(both

unsnared);Tambourine

l,

R.H.

mallet 2.

o

Cornet

LR

poco

yf

secco

Bass

Drum;

L.H.

mallet

J

=ú2

/ît

L5\U

+zOr

R

@,

"Il

ne sait

pas

liu-mdme. . . , . avec

le

sac en moins

et les choses

dedals."

"He

doesn't know himself.

. .

. .

except

of

course he

has

no

pack

îo bear,"

"Er

weiB

es es selber

nicht.

. . .

.

und etw'as

Krimskrams

drin."

p

subito

r

"Un

autre

pays

a

présent.

.

. .

.

où

je

vais?

je

vais chèz

le

roi."

"Nov,

he

comes to

another

land

.. . .

Wltere am I

going?

To see

the

Kíng "

"In

einem

anderen

land.

.

.

. .

Zum Kónie und

zur

Kóniein "



Percussion

MARCHE

ROYALE

Bass

Drum

(mallet

le,

also struck

edge

and

Snare Drum

I,

unsnared;

Cymbal,

mounted

on

the

edge

with

shaft of mallet

2.)

L.H.

mallet la,

R.H.

mallet.

2.

centre

with

mallet 2);

upside

down

on edge

Field

Drum,

snared;

of

Bass Drum

(struck

)

=ll2

m1f

cym.

B.D.

î

S.D.I

RRR

P

B.D.

(edge

&

centre)

RR

())

FR

P

R

R

sim.

@

poco

gf

fr

>

@



To F.D.

(snared):

nfr

Trombone

To B.D.

L.H.

reverse

mallet

1a

( @

s.

D.

I

(unsnared)

1 R.-.RR

R

@'

Percussion

@R

:>

-

v

>

p

*@*

126@

@

"f

L.H. reverse

mallet

la

to

match

mallet

2.

F.D.

(snared)

"On

a

fait

marcher

la

musique.

.

.

,

.

Tu reprends ton

bien.

"TheJ'

gave

the

word,

. .

,Yo\N

take bock

your

ou'n

again."

"N{usik schon

unterw'egs.

.

.

.

.

.

Jetzt

gehórt

sie

wieder

dir

"

*

The

fives

should

be

played

rapidly

before

the main

beat

-

single strokes

or

a

six-stroke

roli.



PETIT

CONCERT

Field

Drum,

unsnared

l. R.H. mallet2.

Percussion

t'7\

tq\

/,i

8e@

101

q,

Bass

Drum;

L.H.

mallet

)

=I2O

Cornet

@

@

B.D.

(eg

&

centre)

@

R

Viol

@

20

5

7

óì

<;/

()a\

6t

:t/

B.D.-ff

Í tr

Damp

Prepare

for

Tango



Percussion

TROIS

DANSES

as

before;

Snare

Drums

I &

II'

unsnared;

ass

Drum

with Cymbal,

attached

Tambourine;

Triangle.

1.

TANGO

J=c.80

R

R

LR

OR

L.H.

R.H.

10

mallet

I

ntallet2

p

u mosso

laísseXibrer

ToS.Ds.

I&II

66@

2.

VALSE

=JlÒo

o

q9

@

@

@

o))

<2

Vio

)

=92-96

71@

@

@

(8.D.)p

Ragtirne

Prepare

for

Ragtirne; L.H. mallet

2,

R.H.

triangle

beater

(see

Notes).



5Ar

<j7

\\

f

Yr

3. RAGTIME

t_ h

.--

*

6ì,r

rir-

l

n

YA

À

-

70

Q)

Bass

Drum:

Field

Allesro

J

=138

Percussion

To. B.D.

and

S.Ds

I & II

(unsnared);L.H.

mallet 4, R.H.

mallet

2

(or

dou

nded

4

6lt*

RL

rf

,--r

tf

e?

DANSE

DU

DIABLE

&2)

6)

7

ble

e

@

P

@

Drum

and Snare

Drums I

& II

(all

three u

LR

P

@

nsnared).

(t

F.D. and

S.D.l

*

f

Nfallets

3

(or

6)t

*

The

original

instructions were

for

the

two clrums

to

be

placed

in

a

vertical

position

near

to each

other, and

played

thus:

f}

=E'to

ensure

a

mechanical rhythm'.

It

is

norv customary

to

retain the instruments

in

the

normal position,

a

method accepted

by the

composer.

f

In

certain editions:

"bag.

en

baleine,

tète

en

feutre

dur."

(see

Notes).

R.H. to

mallet 4

To

mallets

3

(or

6)

"

Triangle

beater

in

R.H.

(see

notes on mallets

etc.).



Percussion

To mallets

2.

ToS.Ds.

I&II

L Retc.(ad

líb.)

To

B.D.

(edge

&

@--

cent

@

P

@

To

B.D. &

F.D, unsnared;

L.H.

to

mallet

1.

Bass

Drum; Field

)

=120-126

PETIT

CHORAL-'...,

COUPLETS

DU

DIABLE

Drum,

snared;

Snare

Trombone

úú

Drum

II, unsnared.

F.D.

(snared),

E

L

To

F.D.

(snared).

mallets

5.

"rc

To

B.D.

v

L.H.

to mallet

1.

nf

To

B.D.

&

S.D.

II

(unsnared)

Fi.l).

(snared),

9

Cornet

R.H. to

mallet

2

To

mallets 5

GRAND

CHORAL-racet

"Si on allait,

si on allaitl.. . . .

Il

l'appelle,

il s'est

retourné."

"Suppose,

suppose

we

went there . .

. ,

lte tunts back,

tlten

changes

his

mínd"

'1Vennrvir

hinreisten?...,.

Er

ruft.

Er

xinl:t

-ein

letzter

Blick."



10

Percussion

with

Cymbal

attached

as

before;

all three

unsnared.

MARCHE

TRIOMPHALE

DU

DIABLE

Bass

Drum; struck edge

and centre,x

Field Drum and Snare Drums I &

IL

L.H.

mallet

1b;

R.H.

mallet

6.

)

=tl}

@o

L.H.

mallet

L.H.

reverse

mallet

^Í

L.H.

reverse

,--,mallet

tUt-o

:>>

>

î

o\

45\ ./

L.H.

reverse mallet

to hard

felt end.

"f

*

In the

manuscripts and 1924

score and

part

there is

confusion

as

to

which

bass

drum

notes should

be

struck

on

the

edge

and which

in the centre.

The

Editor

believes that the

composer

intended

the same

effect

as in

trlarche Royale,

where the bass

drum

struck

centrally coincides

with

the

cymbal,

and

the

part

has

been

emended

accordingly.



Percussion

l1

L@R

@L

LRL

LRL

*

The

'double

rights'

follow

the original

'tails

up

(R)

and

tails down

(L)'.

They

should

be

strictly

observed

to maintain the bass

drum

struck

rvith left

hand.

i

The

concluding

bars remain

P

.

The

present

editor of the

percussion

part

playecl

on

occasions

under

tire

composer

and can confirm

that

this

is

what

he

preferred.

*

R

L

RRL

Isempre

Pal

fineJl



NOTE BY

THE EDITOR

OF

THE

PERCUSSION

PART

Note

de

L'Editeur

Anmerkunp

des Redakteurs

pour

la

partie percussion

der Partie

fìii

Schlaginstrumente

Un

Triangle

Un Tambour

de

Basque

Deux Caisses

Claires

sans

timbre,

de

taille

differente

Un

Tambour

sans

timbre

ì

Un

Tambour

à tirnbre

J

une

Grosse

Caisse-une

Cymbale

frxée

à

la

Gr.

C..

ORIGINAL

Mailloche

Baguettes

en

jonc

à

tète en capoc.

Baguettes en

feutre.

Baguettes

minces à

petites

tères

en

éponge

Baguettes

en

bois

Baguettes

en baleine tète en feutre dur

i. The

percussion pan

is

which

remains

constanî

Bass

Drum

INSTRUMENTS

SUGGESTED

EQUTVALENTS

. Triangle I.

fmounted

on

a stand.

.

t

ambounneJ

.

Snare

Drum

II

(shallow),

with

snare release.

Snare

Drum

I

(medium

depth),

wirh

snare

release.

. Field

Drum

(or

deep

Snare

Drum),

with snare

release.

.

Bass

Drum

with Cymbal

attached

to hoop (see

nore

iii

below)

MALLETS

ORICINAL

PERFORMANCE

NOTES

set

out on a single

stave

and

each

instrument

is allotted

its own line,

in

throughout

the work.

Field Drum Snare

Drums

Tambourine

.

SUGGESTED

EQUTVALENTS

l. Bass

Drumsticks:

(a) one

with reverse

ends of wound

fibre

or

wool

to

march

mallets

2,

for use in

Marche

Roltale.

(b)

one

with

reverse

end

of

hard

felt, for

use

in

Marche

Triomphale.

2.

Medium-hard vibraphone

mallets

with stiff

cane

or

ideally

wood

shafts

for

striking

cymbal

("bois").

3.

Hard felt

sticks

with

cane

shafrs.

4.

Timpani

sticks

wirh

softish heads, preferably

wirh reverse

medium-

hard

heads

for

Ragtime.

5. Standard

snare

drum

sticks.

6.

Hard

felt

ends

on stiff

wood

shafts.

These

could be used

in

Danse du

Diable where

"bag.

en

baleine" were

originally specified).

ascending

order of

pitch,

Cymbal

riangle

.r}

+

(edge)

Unless otherwise

clarity.

The

cymbal

attached

to

-the

hoop

of

the

bas.s

drum should

be

mounted

upside

down

and

struck

on

rhe

edge

with

the

shaft

of the drumstick to

produce

as

near

as

possible

the soun-d__of a p_air-of_c1'mbals

played

"military

band

fashion".

According

to

the eminent American

composer

a-nd

percussionist,

William

Kraft,

Stravinsky,

on

a specific'occasion,

approved

of the

'

use

of the modern

hi-hat foot

cvmbals.

The

suspension

of the

tambourine and

triangle should

present

no problem

to rhe enthusiasr.

If the

tambourine

is mounted

upside

down

and

sîruck on the

rim

with

the

shaft

of the drumstick

as suggested,

a narrow

srrip of felr

glued

ro

rhe

rim

will

lessen

the

click

from

the

shaft

of

the drumstick

and

at the

same

time strengthen

the

sound

of

the

jingles

(see

Marche

du

Soldat).

ln Ragtime, when the tambourine

and

triangle

are

plal'ed

together) a

triangle

beater

will

serve

ro

strike both

instruments,

retaining the

correct sound

from each.

v.

The

provision

of

the

various double-ended

mallets

as suggested

u'ill

contribute

towards

rapid

and

noiseless changes.

Tambourine

Triangle

SUGGESTED

LAYOUT

OF TNSTRUMENTS

upside

down)

III

(centre)

(large)

(small)

indicated

the bass drum

should

be struck

near

the centre

and,

in

general,

should

be

slightly

damped

for

(mounted

upside downl

\-

€-€'

tnlSl^(::.::\"g- -LJ

Bass Drum

I

987.

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