occasionally _tacet_ for long periods, the percussion is seldom
employed, and practically never all together, but in single
instruments or in two's and three's. In national dances or music in
ballad style, percussion instruments may be used more freely.

After a long rest the re-entry of the horns, trombones and tuba should
coincide with some characteristic intensity of tone, either _pp_ or
_ff_; _piano_ and _forte_ re-entries are less successful, while
re-introducing these instruments _mezzo-forte_ or _mezzo-piano_
produces a colourless and common-place effect. This remark is capable
of wider application. For the same reasons it is not good to commence
or finish any piece of music either _mf_ or _mp_. The scope of the
musical examples in this work does not permit of illustrating by
quotation the use of economy in orchestral colour, nor the re-entry of
instruments thrown into prominence by prolonged rests. The reader must
examine these questions in full scores.

Chapter V.

COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA. THE STAGE BAND.

Orchestral accompaniment of solo voices.

General remarks.

In accompanying the voice orchestral scoring should be light enough
for the singer to make free use of all the dynamic shades of
expression without hardness of tone. In overflowing lyrical moments,
where full voice is required, the singer should be well supported by
the orchestra.

Opera singing may be divided into two general classes, lyric singing
and declamation or recitative. The full, round, _legato_ aria affords
greater facility for tone production than florid music or recitative,
and the more movement and rhythmic detail contained in the vocal part,
the greater freedom and liberty must there be given to the voice. In
such a case the latter should not be doubled by the orchestra, neither
should rhythmical figures be written for any instrument corresponding
with those in the vocal part. In accompanying the voice the composer
should bear these points in mind before turning his attention to the
choice of orchestral colour. A confused, heavy accompaniment will
overpower the singer; an accompaniment which is too simple in
character will lack interest, and one which is too weak will not
sustain the voice sufficiently.

In modern opera it is rare that orchestral writing is confined to
accompaniment pure and simple. It frequently happens that the
principal musical idea, often complex in character, is contained i