divisi—strategies for dividing the violins (ch. 9.23 of the orchestral

4939 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Tables 11.4a and 11.5: solo passages for various positions • Wulfhorst 2013, Ch. 15: foreign terms and abbreviations • Del Mar 1983, 36–44

Some issues regarding the division of the violins in an orchestra concern primarily concertmasters, principals, and conductors. But all players should read this downloadable chapter in its entirety so that they understand the principles, know how to mark their parts, and can ask appropriate questions.

Section size • Note that it takes ten players to double the loudness of one ( Beament 1997, 154). The main benefit of a larger section is a smoother, more homogeneous sound quality; the main drawback, however, is the difficulty of achieving perfect rhythmic precision and clear articulation.

Today the the second-violin section is generally the same size as the first-violin section, minus one stand (or, more rarely, minus one player). In medium to large halls and opera houses, seating audiences between 800 and 2000, the common ratio between first and second violins is as follows:• 18/16 (18 firsts and 16 seconds) for Bruckner and Mahler• 16/14 for most symphonic repertoire of the 19th and 20th

centuries, as well as for the operas of Wagner and Strauss• 14/12 for 19th- and 20th-century concerto accompaniments,

for most 19th-century operas, and for oratorios with large choirs

• 12/10 or 10/8 for Classical symphonies, Classical concerto ac-companiments, Classical operas, bel canto operas, and orato-rios with small or medium-sized choirs.

Common chamber-orchestra ratios are: 8/7, 8/6, 7/6, 6/5, 5/4, 4/3 and 3/3.

Some repertoire requires non-standard section divisions:• For Baroque and Classical repertoire, some period-instrument

specialists have returned to the 18th- and 19th-century tra-dition of same-sized first- and second-violin sections. Some works by Berlioz, Wagner, Debussy, and Strauss explicitly re-quire this.

• Pieces in Viennese waltz style sound best if one moves one stand from the seconds to the firsts (16/10 instead of 14/12, or 14/8 instead of 12/10): in this music the seconds merely pro-vide the accompaniment, and the firsts often play the melody divisi in thirds or octaves.

• In Strauss’s, Aus Italien/iii, Zarathustra, or Salome, each of the two violin sections is subdivided into groups A (usually the four front stands) and B (the four back stands).

• In the Pifa from Handel’s Messiah, Wagner’s Siegfried I/3, Strauss’s Josephslegende and Elektra, Shostakovich’s Symphony 5/iii, and Britten’s Dream III the two violin sections are tem-porarily or permanently divided into three equal groups. Bar-tók’s Music has four violin parts.

• Fauré’s Requiem, Stravinsky’s Capriccio, Weill’s Mahagonny and Symphony 1, Schoeck’s Horn Concerto, and a few other pieces feature only a single violin part.

• Bach’s St. Matthew Passion, J. C. Bach’s Double Symphonies, and some works by Bantock, Martin, Tippett, and Vaughan Williams use two full string orchestras, situated against each other.

• In numerous 20th-century pieces, each stand or player per-forms from a separate part. Strauss’s Metamorphoses, for in-stance, require ten solo violins.

• There are even a few notorious pieces without any vio-lins: Brahms’s Serenade no. 2, Hindemith’s Schwanendreher, Stravinsky’s Symphony of Psalms, Honegger’s Roi David, Du-tilleux’s Timbres.

For any non-standard division, the principal players, together with the conductor, must develop strategies for the assignment of parts and, if necessary, for seating; these must be based on the way the individual groups are used in the score, the strengths of the players, and the acoustics of the hall (Ch. 8.12). For instance, for the works or passages with with three violin parts listed above, the parts should be assigned so that the musicians playing the same part are sitting closely together:• Group I comprises the outside stands of the first violins.• Group II comprises the first two stands of the second violins

and the remaining stands of the firsts.• Group III comprises the remaining stands of the seconds, with

one of the principals positioned strategically.Many operatic works include music played onstage or in the wings; these passages are usually printed in separate parts, though they may appear in the parts for the pit, too ( Table 11.5/D). The concertmaster or conductor should assign one or more soloists, as needed, and decide, in cooperation with the stage director, where they should sit or stand or whether the music needs to be taped.

Part 9

Decoding and Marking Orchestral Parts A Manual of Orchestral Notation and Performance Practice

9.23 “Which Part Should I Play?” • Strategies for Dividing the Violins

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)

494 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Solo, soli, tutti • In string parts, solos such as those listed in Tables 11.4a–11.5 are usually marked “solo” or “soli” (addition-

al labels are listed in Wulfhorst 2012/14). Accompanying parts for the remainder of the section are usually marked “gli altri,” “die übrigen” (the others), and so on. But be careful: the marking “soli” can sometimes signal a prominent, exposed, or difficult passage that should be played by the full ensemble:a • Even though this passage is marked “soli” by the composer

or editor, it should be played by the entire first-violin section. The term indicates an important, exposed thematic statement.

b • The term soli, added here by the players, indicates that the tricky passage is exposed and every note will be heard. The

label is especially helpful when an exposed passage follows a loud or “safer” texture, as it does here (and in many other examples in Parts 3–9).In concertos the term solo indicates passages where the soloist

dominates. (In Dvořák’s Cello Concerto/iii 11 and 14 , however, “solo” indicates a true solo for the concertmaster.) In solo passages of 18th-century concertos, some period-instrument specialists have revived the 18th-century practice of reducing the string section. Modern examples of the same practice are found in Walton’s con-certos: the passages marked with hooks ( ) should be played with a reduced violin section.

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The notation of divisi passagesc • Ideally, composers have marked the beginning and end of

a passage for divided violins with abbreviations such as “div.” and “unis.” or their German or French equivalents (here “geteilt” and “zusammen”). Check for omissions and misprints of such markings and add them if they are missing.

Composers may indicate section divisions in various manners, leaving sometimes more and sometimes less freedom to the con-ductor and players for the assignment of parts:d • (1) The composer specifies or implies the number of groups

into which the section should be split: div. a 2, prima metà, 2. Hälfte, etc. Players and conductor must decide whether here, for instance, “la motié” (half the section) refers to the outside players, the inside players, the front stands, or the back stands of the section.

e • (2) The composer specifies the number of stands or musicians playing a certain part: 2 stands, uno leggio, 4 Spieler, 6 violons, etc. You should assume that the stands or players are counted from the front: here “6 premiers violons soli” can be assumed to refer to the first three stands. Modify these directions if the section size is smaller than the one specified by the composer (cf. p. 502).

f – i • (3) The composer specifies which stands or players are playing the parts:f • “The first [= outside] players of all stands alone” is a

more precise way of saying “half the section.” Wagner and Mahler meant the same with the phrases “erster Spieler” (Parsifal I/m. 1) and “alle 1. Spieler” (Symphony 3/vi 4 ).

g • The third and fourth stands divide the two parts, either by player or by stand.

h • The numbering system is very precise. You will only need to decide from the context whether the numbers refer to stands or players, and then mark your part accordingly. Given that the section size in this piece is sixteen players, the numbers system surely refer to the stands.

i • Given that the stipulated section size is sixteen play-ers, the numbers must refer to the players. In Jeux De-bussy chose a clearer format: “2e, 3e pupitre,” etc., refers to stands, and numbers without attribute (“1.,” “2.,” etc.) refer to players.



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Marking divisi passages • The notational system in h —with numbers indicating the stands—is the most precise and practical way of marking the assignment of complex divisi passages with three and more parts. (See the model page from Debussy’s Jeux at http://www.orch.info/parts.) Where necessary add a Roman number designating the individual players to the number of the stand—for example, 3/I for the outside player of the third stand, and 3/II for the inside player. The alternative is to assign a number to each player. In simple divisions in three or in four, however, it will suffice to add div. by person or div. by stand.

When you mark divisi passages check them carefully for errors, misprints, oversights, and inconsistencies, which are among the most common mistakes in printed parts and scores.j • Berlioz notated mm. 1–17 as div. a 3 on three staves, but

in mm. 7 and 17 he composed only two parts, assigning the top notes to the top two staves and the bottom notes to the third. In this case, consider switching from div. a 3 to div. a 2, as composers of later generations would have required. (The E b in m. 6, which Berlioz seems to have avoided for technical reasons, has also been added for consistency.)

k • Because of differences in system breaks, often there is a dis-crepancy in the divisi indications of the parts and those of the full score. As a result, switches from one divisi system to another in the middle of a staff in the full score are indicated incorrectly in the parts, if at all. Because conductors normally do not check the parts, the player must notice and correct such mistakes. In the full score for this passage, all first-violin parts are printed on a single staff, and it is clear from the print that the switch from div. a 4 to div. a 2 occurs in m. 17.

l • But in the first-violin part, a new staff begins in m. 20, and the printing gives the wrong impression that the switch from div. a 4 to div. a 2 occurs here. If this is not corrected, some players might be forced to perform needless, awkward skips at the staff break. It is best to cross out the second and fourth staves in mm. 17–19 and to insert a div. a 2 marking at m. 17 and arrows for those players who need to switch staves (cf. Debussy, Jeux 38 +6). Another typical problem shown here is that dynamic signs are only printed between staves 1–2 and 3–4. If you are playing the second or fourth parts you might want to add the dynamics.

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m • In the full score the engraver used two staves for divisi schemes a 2 in m. 341, a 3 in m. 343, and a 4 in m. 345.

n • But in the part, the two lines in mm. 341–42 are distributed incorrectly over three staves. Correct this by reassigning each of the two lines in these measures to four stands, in the man-ner shown here (details below).

Add “driving directions” that will help you find your part easily and quickly:n • Add two short slashes, lines, or arrows to the left of the staff

to mark your part and that of your stand partner, as shown here for the third stand.

n /344–45 • Use arrows pointing up or down to show where you must switch staves, as shown here for the third stand.

n /352 • Use the standard symbol @ to separate a system of mul-tiple staves from a single staff with undivided parts, and/or mark the single staff with two slashes or arrows. Both meth-ods are shown here.

o • Use parentheses for passages that you do not play but are still notated on your staff. (Do this especially for solos of the principals or other players.)

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Double stops and chords: to divide or not to divide?p • When a composer wants strings to play double stops or

chords, he or she adds symbols such as

or , or writes non divisi, unis., zus., or Doppelgriff.

Most likely, during the Baroque and Classical periods orchestral players did not divide double stops and chords. 19th-Century string players continued this practice, though the stronger hair tension of the Tourte bow made it more difficult to play chords. Even Wagner and his contemporaries obviously still expected players to follow this tradition except where they explicitly in-dicated div. (Otherwise they would not have taken such care to avoid writing double stops and chords that a violinist could not play easily.)

Today we find a mixed practice, different from orchestra to orchestra and from conductor to conductor. If you are in doubt, ask. Dividing usually results in a more controlled sound quality and higher rhythmic precision, and it should be applied wherever a very smooth sound or a very clear attack are required. Not divid-ing generates a fuller sound and greater energy. The HIP move-ment has given new life to this older practice of not dividing ( Barschai 1996, Lamprecht 2000).

Unfortunately, 18th-century writers were silent on the issue of whether the unavoidable arpeggiation of non-divisi chords should begin on or before the beat and how the chords should be spread. Modern writers can do no more than provide rough guidelines: “In Baroque music, where harmonic considerations rule, the play-er’s priorities should be focused on the bass line, with the bottom note as the strongest point in the chord, usually played on the beat. The other notes of the chord may be spread in a variety of ways according to the context, speed of the music, or considera-tion of the other parts....There is no rule which notes should be sounded together” ( Tarling 2000, 149). In Classical and Ro-mantic orchestral music, by contrast, the focus shifted to the top note. This requires a very quick arpeggio that starts just before the beat and ends with the top note on the beat.q – t • We do not know whether players made any distinction

between the four notational forms found in 18th-century music and some 19th-century music, nor do we know how they performed them.

u – w • If you divide three-part chords, however, avoid dividing them in a manner so that both players double the middle part.

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come eco

πŒ œ

≤2œb œ- œ- œn œ-1.o Solo

(senza sordina

F dolce

‰ œ œb 1 œ œ- œ-poco accel.

cresc.

) ‰ œb ≤ œb 2 œb œb - œ-Tuttisenza sord.

fcon passione

IIrall.

& bbbb 42œœ ŒDvořák, Slavonic

Dance 3

Più animato [h = 80]K +17

p

ƒ

200 ˙˙

Uggggg & 42 Œ J

œœ ‰HaydnSymphony 103/ii

Andante più tosto Allegretto [q = 100]196

ƒ

q

Jœœ ‰

J

œœœ ‰ œœœ Œ

&# # 86 ..

œ2 œ œ œ œœ

HaydnSymphony 73/iv

Presto [h. = 72]174

f

rœ

‰..

œœœ

Z&

# # cw Žœœ

MozartOv. Figaro

Presto [w = 69]

12/29

ƒ

s .˙ œ œ

&# # C ~~~w

20

wMozartSymphony 35/i

Allegro con spirito [h = 80]

f

1t

vn. 1+2œ

œ˙0 . .œ Ž

rœ≤

' œ'

œÆ

9-23

&# # c J

œœ ‰J

œœœ

# ‰jœœœœ

Œ ‰Dividing double stopsand chords

Notation:u jœ ‰jœœ# ‰

jœœ Œ ‰Jœ ‰Jœœ ‰

Jœœ

Œ ‰

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div.

v w jœ ‰jœ# ‰


Jœœ

Œ ‰

Balanced division:

div.

&#

43 ~~~~∑.˙

ætrem.div. ∏

Moderato q = 76

xElgarEnigma Var./xiii

58 stands 1-4

stands 5-8

œn≤2

œb œ œ.˙

æœn œb œ œ

.˙æ

& c jœ#≤ ‰ Œ jœœ>

‰ ŒVerdiSimon I/6

All.o mod.o q = 8833 +32

π

- mune; è nostray

f

patria

œ œ œ œn>

Œ œ.1

œb œ œ œb . œ œ œGenova

All.o agitato q = 132

∏

D

metˆ sola dei primi violini (front half of the section)

UH

œ. œ œ œ0(

œ.2)

œ œn

1

œ3

œb . œ œn œ œ. œ œ œ

& b 22 ~~~~Ó Œ œ3

MahlerSymphony 3/I/i

Unmerklich etwas bewegter [q = 120]Die HŠlfte

255z

Immer wie aus weiter Fernesempre ∏

(last four stands)

œ.≈ œ. œ.

≤≈ œ. œ.

≈ œ. œ. ≈ œb .21

off

œ. ≈ œ.4

œ.≈ œ.

jœ.‰

& 42 ~~~œ#-

œ-

œœ# ŒBartókConcerto/v

Un poco meno mosso q = 122arco

pizz.div.

f

p

277aa

soli5 front stands

3 back stands

˙# Œ œ# ˙≤( )

Œ œ# œ ‰ œ3

œ#Œ œ# œ.3

jœ# œ.>

œ.

jœ œ.>

Œœ# œ

.jœ# œ

.>œ

.jœ œ

.>œ œn œ

>

œ# ‰œ#

&#

22 ∑Allegramente h = 1161

Ravel, PianoConcerto/i ÎÎ

bb1

Œœ

Œœœœ

œœ

N

p

div.pizz. ] Ó Œ

œœœ

N

& c ‰ ‰ Jœœœb4. ...

œœœb - œœœJœœœb. œœœb

bb - œœœœœœ

(12/8)

LŽger et fantasque q = 126

DebussyRondes

15 +7

cc

p

1er et 2e P.3e et 4e P.5e et 6e P.

cre _ _ _ _ _ _ _expressif

scen _ _ _ _ moltodo

2



Assigning two divisi parts • No matter how a division into two parts is marked, consider various options fo assigning lines:d /5 • Dividing between outside and inside players is the standard

method, assumed to apply unless you are instructed otherwise.x – z • Dividing between equal blocks of stands or players is

preferablex • if a melody and an accompaniment (or two melodies) are

juxtaposed (this system should be designed so that the stands who sit close to each other play the same part)y – z , d /1–4 • if only half the section plays:y • the front half plays in passages that require a tight en-

semble and close contact to the conductor, as in this tricky transitionz , d /1–4 • the back half plays passages where the sound

must be less direct or must explicitly come “from a distance.” Similarly, in passages with two parts, the part that needs less acoustic presence or less rhythmic definition should be as-

signed to the back stands—for instance, the tremolo in x or the pizzicato in Ex. 7.2s. In Berg’s Violin Concerto/ii/175, “1. Metà” should comprise the first three stands so that the gradu-al expansion and reduction of the volume has a spatial quality.

aa • Dividing between unequal blocks of stands is preferable if one of the two parts should dominate ( Woss 1983, 6).

bb • Dividing according to other systems: Here the chords sound best if the outside players take the middle, moving part and the inside players take the ostinato octaves as double stops.

Ex.: Debussy, Rondes 16 +3 • The marking “1 par pupitre” on both staves only makes sense if one follows Debussy’s ap-parent intention to have the two staves generally divided by stand. Here, only the outside players are playing. But having the first four stands divide the two parts between them by player instead makes for a tighter ensemble.

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œœ ‰J

œœœ

# ‰jœœœœ




Jœœ

Œ ‰


div.

v w jœ ‰jœ# ‰


Jœœ

Œ ‰

Balanced division:

div.

&#

43 ~~~~∑.˙

ætrem.div. ∏

Moderato q = 76


58 stands 1-4

stands 5-8

œn≤2

œb œ œ.˙

æœn œb œ œ

.˙æ



All.o mod.o q = 8833 +32

π

- mune; è nostray

f

patria

œ œ œ œn>

Œ œ.1



∏

D


UH

œ. œ œ œ0(

œ.2)

œ œn

1

œ3


& b 22 ~~~~Ó Œ œ3



255z


(last four stands)

œ.≈ œ. œ.

≤≈ œ. œ.

≈ œ. œ. ≈ œb .21

off

œ. ≈ œ.4

œ.≈ œ.

jœ.‰

& 42 ~~~œ#-

œ-



pizz.div.

f

p

277aa

soli5 front stands

3 back stands

˙# Œ œ# ˙≤( )

Œ œ# œ ‰ œ3

œ#Œ œ# œ.3

jœ# œ.>

œ.

jœ œ.>

Œœ# œ

.jœ# œ

.>œ

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.>œ œn œ

>

œ# ‰œ#

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bb1

Œœ

Œœœœ

œœ

N

p

div.pizz. ] Ó Œ

œœœ

N

& c ‰ ‰ Jœœœb4. ...


bb - œœœœœœ

(12/8)


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15 +7

cc

p




2

&# # c J

œœ ‰J

œœœ

# ‰jœœœœ




Jœœ

Œ ‰


div.

v w jœ ‰jœ# ‰


Jœœ

Œ ‰

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div.

&#

43 ~~~~∑.˙

ætrem.div. ∏

Moderato q = 76


58 stands 1-4

stands 5-8

œn≤2

œb œ œ.˙

æœn œb œ œ

.˙æ



All.o mod.o q = 8833 +32

π

- mune; è nostray

f

patria

œ œ œ œn>

Œ œ.1



∏

D


UH

œ. œ œ œ0(

œ.2)

œ œn

1

œ3


& b 22 ~~~~Ó Œ œ3



255z


(last four stands)

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≤≈ œ. œ.

≈ œ. œ. ≈ œb .21

off

œ. ≈ œ.4

œ.≈ œ.

jœ.‰

& 42 ~~~œ#-

œ-



pizz.div.

f

p

277aa

soli5 front stands

3 back stands

˙# Œ œ# ˙≤( )

Œ œ# œ ‰ œ3

œ#Œ œ# œ.3

jœ# œ.>

œ.

jœ œ.>

Œœ# œ

.jœ# œ

.>œ

.jœ œ

.>œ œn œ

>

œ# ‰œ#

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Œœ

Œœœœ

œœ

N

p

div.pizz. ] Ó Œ

œœœ

N

& c ‰ ‰ Jœœœb4. ...


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(12/8)


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15 +7

cc

p




2



Consider different methods for assigning three or more divisi parts:• division by player• division by stand• division by group of players/stands• division according to a more individual system.In order to decide how to design the system and how to assign parts, consider the following factors—some musical, some practical:cc • Timbre: Division by player is preferable in passages where

the combined parts are intended to create a dense, homoge-neous weave of sound. This applies especially to sustained chords and other homophonic passages. When such a timbre is intended, you should change the printed instructions to indicate a division by player ( h ). Perhaps the scheme in n should be changed into division by player too.

dd • Juxtaposition of material and ensemble playing: Division by stands or blocks of stands is preferable if the parts play very different material. Such a strategy will also make players feel more secure, because they will share their part with their stand partners. Here a special divisi arrangement moves a block of

stands that plays the more rhythmic material to the front of the section, closer to the conductor. (Dividing the two fast parts between stand partners instead of by stand will promote a compact sound quality.)

n • Avoiding awkward skips: In transitions between different di-visi arrangements, parts should be assigned in a manner that• avoids unwarranted audible breaks between the phrases,

which result from awkward voice leading• avoids switching staves unnecessarily.The plan shown here avoids tricky melodic jumps at mm. 342–43 and 344–45; at the same time, it allows as many players as possible to read from one staff ( l , Ravel, Bolero 18 +28).

ee • In passages with frequent switches between divisi a 2 and a 4, you should• divide two parts by stand (with the odd-numbered stands

taking the top line and the even-numbered stands taking the bottom line)

• divide four parts by player. This minimizes melodic and visual switches.

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œœ ‰J

œœœ

# ‰jœœœœ




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Œ ‰


div.

v w jœ ‰jœ# ‰


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Œ ‰

Balanced division:

div.

&#

43 ~~~~∑.˙

ætrem.div. ∏

Moderato q = 76


58 stands 1-4

stands 5-8

œn≤2

œb œ œ.˙

æœn œb œ œ

.˙æ



All.o mod.o q = 8833 +32

π

- mune; è nostray

f

patria

œ œ œ œn>

Œ œ.1



∏

D


UH

œ. œ œ œ0(

œ.2)

œ œn

1

œ3


& b 22 ~~~~Ó Œ œ3



255z


(last four stands)

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≤≈ œ. œ.

≈ œ. œ. ≈ œb .21

off

œ. ≈ œ.4

œ.≈ œ.

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& 42 ~~~œ#-

œ-



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f

p

277aa

soli5 front stands

3 back stands

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>

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N

p

div.pizz. ] Ó Œ

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& c ‰ ‰ Jœœœb4. ...


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15 +7

cc

p




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œ.3 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.3 œ. œ.1

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6

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VerdiFalstaff III/ii

Lo stesso movimento q = 631.a METË

stands 4-6

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armonici

π

p

35

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9.23dd Dec11, 110%



i • Section size: For a section of twelve first violins (instead of Debussy’s standard section size of sixteen), reduce the stipu-lated division of four groups of three violins to four groups of two violins so that acoustic proportion to the tutti is approxi-mately maintained.

Ex.: Verdi, Aida IV/10 U • Balance: With Verdi’s original divi-sion, only a single first violin of a twelve-piece section plays each of the arco parts on the three lower staves. To make these arco parts sound fuller, assign them to stands 4–6, and assign the pizzicato parts to the six second violins who sit closest to them. (The original second-violin part will not suffer from a reduced number of players.)

Ex.: Sibelius, Symphony 5/iv J and L • Avoidance of awkward page turns: Design the divisi plan so that one player at each stand can turn the pages easily without missing important notes.

Ex.: Zarathustra/end • Visual appearance and issues of leading: Though original divisi plans that involve one or more solo players and several tutti parts should usually be followed liter-ally, here it looks odd if the inside player at the first stand is the only one in his block of stands who is not playing. He or she should double the top of the tutti parts, as in all passages for one solo and two or more tutti parts (for instance, Debussy, La mer/ii 24 ).

j • Tradition of the orchestra: Some string sections have devised a “divisi policy” so that the concertmaster or principal needs to give instructions only in particularly complex passages. Such a policy might look like this:• For three parts, always divide by stand.• For all other divisions, always divide by person.

Task 9.23: Work out and mark the divisi schemes in tricky pieces such as Debussy’s Jeux or Lutoławski’s Concerto. Use the page at http://www.orch.info/parts as a model.

Reading and performing divisi passagesEx. 6.10a–b • In passages with octave divisi, read whichever part

is easiest to read and transpose the notes up or down an octave if necessary.

cc • Complex passages with two or three parts printed on a single staff, particularly those with parts crossing, are difficult to read. Especially if you are playing the second part you prob-ably will need to memorize your pitches.

All types of divisi discussed so far have entailed distributing two or more parts between players—including divisi strategies where only a portion of the section plays, while the others pause ( d /1–4). But there are two more types of divisi that entail es-sentially only a single part. Such plans, designed by the composer, the players, or the conductor, serve to facilitate difficult spots or strengthen certain effects. The following two terms have been coined for use here:• Alternating divisi: A single line of music is split “horizontally”

between two or more alternating sections or groups of players.• Complementary divisi: Two or more groups or sections simul-

taneously play slightly different versions of the same material.

Berlioz seems to have been the composer who invented the alter-nating-divisi plan (or at least the first major composer to apply it systematically):ff • In order to facilitate a single line of fast, tricky eighths,

Berlioz distributed the notes between two groups of first and second violins so that they play alternating or slightly over-lapping segments. He described this passage in his Treatise: “Sometimes the rapidity, complexity, or high position of the tones would make a piece too dangerous; or else the author may want to be sure of a secure and neat execution: in such cases the violins should be divided, some playing one part of the passage, the rest another. Thus the notes of each section are interspersed with short rests, not noticed by the listener, which allow, as it were, a breathing space to the players and afford them time to reach difficult positions securely and to strike the strings with the necessary vigor. ...if the parts are divided between the two players at each desk and each part is thus played on both sides of the orchestra [in the 19th-century seating arrangement with the violin sections on op-posite sides of the conductor, as shown in Figure 8.12/A], the fragments will connect smoothly and it will be impossible to notice the division of the passage” ( Berlioz 1844, 29–30, and 1948, 42–43).

A number of other composers followed suit, including Verdi ( kk ), Tchaikovsky (Overture Nutcracker/33), Bartók (Concerto/v/259). and Prokofiev (Kijé/iv 47 , 51 ).

Today players and conductors apply alternating-divisi patterns even where they are not notated—especially in order to make switches between different playing modes and registers easier, smoother, and less hectic:gg • The alternation between ricochet and pizzicato is nearly im-

possible to perform. Instead, the outside players should play the ricochet, the inside players should play the pizzicato.

hh • Divide arco and pizzicato within the section in order to minimize the physical motions in this extremely quiet and suspenseful passage. The only other option—left-hand pizzi-cato—will never produce the same sound quality.

ii • Distribute the notes at the “seam” between arco and piz-zicato, with players leaving out alternate notes: this prevents players from chopping off or accenting the last arco and from playing the first pizzicato note late or sloppily.

jj • Stagger this tricky string change in a similar manner. In other, similar passages, leave out an awkward note that is dou-bled by the seconds (Sibelius, Violin Concerto/i/ 12 +16) or assign it to the seconds (Schumann, Symphony 1/iv/181).

Alternating divisi also helps to facilitate pizzicato passages.kk • You may split extended, very fast, and loud pizzicato pas-

sages between outside and inside players: here the groups alternate on every quarter, as they may in Ex. 7.2g too. In Stravinsky’s Sacre/i 40 , they may alternate on every fourth dotted quarter.



&

&

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Allegro agitato e appassionato assai h = 132

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Allegro q = 120gg

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3

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BeethovenSymphony 3/i

380 div.hh

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Allegro [q. = 92Ð100]

103

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Allegro molto h = 76

BeethovenSymphony 3/iv

274

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9.23 [2-16m March 11 110%



In the late 19th century composers introduced complemen-tary-divisi plans to create new colors and effects that result from the simultaneous combination of different articulations or playing modes:ll • The first violins play arco with repetitions while the seconds

play the same pitches pizzicato.Players and conductors apply such divisi strategies too in order to achieve and strengthen special effects when no amount of practic-ing and rehearsing truly produces the desired result.Ex. 9.15u–x • The most common form of complementary divisi

are divisi, staggered, and free bowings: the players use differ-ent bowings for the same music in order to create the illusion of a long, seamless legato.

Ex.: Beethoven, Symphony 3/i/280 • Use staggered bowings also on bowed-out notes in order to create subtle effects: players should switch from “all down” to at different points in order to make the transition very gradual.

Complementary-divisi schemes open up a realm of infinite nu-ances, especially in Romantic and late-Romantic music:Ex. 5.4h/39 • Half the section plays détaché to prevent the legato

notes from sounding fuzzy or unarticulated.

mm • Many conductors and musicians apply a divisi plan of De Falla (Nights/i 23 ) to other passages with tremolo or fast rep-etitions: only half of the section plays tremolo or repetitions, while the other plays regular note values. This distribution lends heightened intensity to Bruckner’s climaxes and brings melodic clarity and luminousness to some of Schumann’s scrambling passages (Ex. 9.8ee).

Ex. 9.21h, Stravinsky, Sacre 176 +2, +4 • Half the section plays arco to make a loud col legno or pizzicato passage audible.

Ex. 6.2q • Players use different fingerings in order to avoid un-warranted sudden color changes.

Ex. 6.8c, 9.21bb • Only a part of the section performs a cer-tain notated or interpretive effect, preventing its exaggeration and guaranteeing a polished timbre. If here some of the first violins play across the strings, the passages will sound clearer, smoother, and probably, better tuned than if everybody fol-lows the instructions to play on the G string. Similarly, the passage in Ex. 5.11x will sound clearer if half the players leave out the grace notes.

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jœ œn

.

≤1

œ

arco

pizz.

arco

pizz.

arco

pizz.

arco

pizz.

jœ‹ Jœ≤.

3 arco

‰ œ. œ. Ó:||

pizz.

& bbb 43 ..Œ Œœ

Allegro con brio h. = - 60

BeethovenSymphony 3/i

380 div.hh

p

pizz.(inside)

decresc.

Œ Œœ

.˙b@

4arco(outside)

πpoint

.˙b@

1

Œ Œœpizz.

Œ Œœ

.˙@arco .˙

@repeat: π

2

.˙@

.˙@ hrn.

.@˙ œ

∏.@

˙ œ.

@f

unis. ..˙

@ƒ

œœœœŒ Œ

M

& bbb 86jœb . ‰ J

œ.2

Jœ.≤

‰ Jœn .≤

BrahmsSymphony 1/i

Allegro [q. = 92Ð100]

103

p

ii .œ œJœ

P div. (inside)

Jœ

‰ Jœ1

Jœn2

‰ ‰

p

(outside) ‰

‰P

jœn‰ Jœ# Jœn ‰ ‰

dim.

& bbb 42 ..˙ ˙n

Allegro molto h = 76

BeethovenSymphony 3/iv

274

π

jj

˙ ˙nr

œœ≤3 œ œ œ œ œ œ≈div.

π'≈ sautille

œ œ œ œ œ œ œ œ

&# c Œ

3

œ œ# œjœ

‰ œ œ œ#Œ

œ œ# œ# Jœ ‰VerdiOtello I

Allegro q = 120AA +4 pizz.

div.

F

kk jœ>

>

‰ Œ ÓJœ

&# # c ‰

œ..! œ

..! œ..! œ

..! œ..! œ

..! œ..!

œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈VerdiFalstaff I/i

+5Allegro q = 100

llvn. 1

vn. 2 p

11 leggero e molto stacc.arco

pizz.

&# # # # C

√

‰ œ1@œ

@œ

@ ‰ œ@œ

@œ

@BrucknerSymphony 7/iv

Bewegt, doch nicht schnell [h = 63]

330mm

ƒ

trem.II div. œ@

œ@

≤

œ@ œ@

≤œ1

@œ

@≤

œ#@

œ@≤Ï

trem.

9.23 [2-16m March 11 110%


divisi—strategies for dividing the violins (ch. 9.23 of the orchestral

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