6

HISTOIRE DU SOLDAT
The Soldier's

Tale

Geschichte vom Soldaten

IGOR STRAVINSKT

edited bv John Carewe

Percussion part edited by James Blades

Bass

Percussion:
(see Editor's Note
on page l2)

Drum

Snare Drums

Field Drum

Tambourine

Triansle

Cymbal

III

(large) (small)

(edge) (centre)

Part I
MARCHtr DU SOLDAT
Bass Drum; Field Drum & Snare Drum I (bo th unsnared); Tambouri ne
(?)
L.H. mallet 1, R.H. mallet 2.
(1,
rL
F.D. & B.D. n
) =tt2
Cornel

poco
secco

('7\

44'..,

Bassoon

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.
H1

RE MATERiAL

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

Percussion

LR

64

,_,

a,

71

f
78

repeat ad lib.*

* Repeats

are made for staged perforrnances.

Musique de la
Premire Scne

PETITS AIRS AU BORD DU RUISSEAU ru Tacet

"Donnez-moi votre violon. . . . . Puis, de nouveau, c'est comme avant."
"Give me your volin . . , . . . . . Then eterything is as it was before."
"Gebt mb die Giege!.
. Es gibt die Zeit nicht mehr,"

Reprise: MARCHE DU SOLDAT (p.1)

Musique de la
Deuxime Scne

PASTORALE rv Tacet
Reprise: PASTORALE rv Tacet
s'tait mis lire.
"He took the book.
"Er liest im Buch.

"Il

. marchand d'abord, marchand d'objets."

. and became a pedlar, a seller ofwares."
. . handelt mit buntenwaren."

ROULEMENT DE TA{BOUR / DRUXT ROLL / TRON{MELWTRBEL

. . . satin duchesse,

prir d'avantguerre."

.i: .: . . .:: 'Jf,:',3ff::::, ii'':::"ii:i:;,:;isen!. . . ,,

ROULEMENT DE TAN4BOUR / DRUA,T ROLL / TROI,{,{ELWTRBEL
"N{archand d'abord.
"A pedlar first .
"Wfud Kaufmann erst. .

Reprise: PETITS AIRS .v Tacet

Musique de la

Troisime Scne

Reprise: PETITS AIRS ru Tacet

subito

Percussion

Part II
MARCHE DU SOLDAT
& Snare Drum I (both unsnared);Tambourine
L.H. mallet l, R.H. mallet 2.
Bass Drum; Field Drum

=2

Cornet

poco
secco

/t

yf

LR

L5\U

@,

"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 o bear,"
"Er weiB es es selber nicht. . . . . und etw'as Krimskrams drin."

+zOr

p subito

r
a prsent. . . . . o je vais? je vais chz le roi."
"Nov, he comes to another land .. . . Wltere am I going? To see the
"In einem anderen land. . . . . Zum Knie und zur Kniein!"

"Un autre pays

Kng!"

Percussion

MARCHE ROYALE
Bass Drum (mallet le, also struck edge and centre with mallet 2); Field Drum, snared;
Snare Drum I, unsnared; Cymbal, mounted upside down on edge of Bass Drum (struck
on the edge with shaft of mallet 2.)
L.H. mallet la, R.H. mallet. 2.

) =ll2
m1f

cym.
B.D.

B.D.
(edge & centre)

RR

())

FR

S.D.I

RRR

R R

sim.

poco

gf

fr
@
>

Percussion

To F.D. (snared): L.H. reverse mallet la to match mallet 2.

F.D. (snared)

Trombone

@'
v

To B.D.
L.H. reverse

mallet

:>

1a

(!@ s. D. I (unsnared)

R.-.RR

*@*

@R
nfr
@

"f

126@

"On a fait marcher la musique. . . , . Tu reprends ton bien.

. . ,Yo\N take bock your ou'n again."
"TheJ' gave the word,
"N{usik schon unterw'egs. . . . . . Jetzt gehrt sie wieder dir!

* The

fives should be played rapidly before the main beat

"

single strokes or a six-stroke roli.

>

Percussion

PETIT CONCERT
Bass Drum; Field Drum, unsnared
L.H. mallet l. R.H. mallet2.

=I2O

/,i
tq\t'7\

B.D.

(eg

& centre)

@R

Viol

Cornet

20

8e@

101

5
Y7

q,

B.D.-ff

tr

Damp

Prepare

\<;/

for

Tango

()a\

6t
<:t/

Percussion

TROIS DANSES
Bass Drum with Cymbal, attached as before; Snare Drums
Tambourine; Triangle.

I & II'

unsnared;

1. TANGO

J=c.80 R R

OR

LR

L.H. mallet I
R.H.

ntallet2 p

10

u mosso

=92-96

lasseXibrer
ToS.Ds. I&II

66@

2. VALSE

=Jlo
(8.D.)p

71@

q9

o))
\<2
Vio

Ragtirne
Prepare for Ragtirne; L.H. mallet 2, R.H. triangle beater (see Notes).

Percussion

3. RAGTIME

t_

.--!

rir- l n
6,r
YA
-

\\ f

5Ar
\<j7

Yr

To. B.D. and S.Ds I &

II (unsnared);L.H. mallet 4, R.H. mallet

2 (or dou ble e nded 4

6lt*

&2)

6)
\7

RL

R.H. to mallet 4

rf
70

Q)

,--r tf

e?

To mallets 3 (or 6)

" Triangle beater in

R.H. (see notes on mallets etc.).

DANSE DU DIABLE
Bass Drum: Field Drum and Snare Drums
LR
Allesro J =138
F.D. and S.D.l
Nfallets 3 (or

6)t

I & II (all three u nsnared).

(t

The original instructions were for the two clrums to be placed in a vertical position near to each other, and played
ensure a mechanical rhythm'.
thus: f}
It is norv =E'to
customary to retain the instruments in the normal position, a method accepted by the composer.
In certain editions: "bag. en baleine, tte en feutre dur." (see Notes).

Percussion

To mallets 2.

ToS.Ds.

I&II
L

Retc.(ad lb.)

To B.D. (edge & cent

@--

To B.D. & F.D, unsnared; L.H. to mallet

1.

PETIT CHORAL-'...,
COUPLETS DU DIABLE
Bass Drum; Field Drum, snared; Snare Drum

=120-126

Trombone

To F.D. (snared). mallets 5.

II,

unsnared.

F.D. (snared),

To B.D.

v"rc L.H. to mallet 1.

nf

(unsnared)

Fi.l). (snared),

29 Cornet
R.H. to mallet

To B.D. & S.D. II

To mallets

GRAND CHORAL-racet
"Si on allait, si on allaitl.. . . . Il l'appelle, il s'est retourn."
"Suppose, suppose we went there!. . . , lte tunts back, tlten changes his
'1Vennrvir hinreisten?...,. Er ruft. Er xinl:t -ein letzter Blick."

mnd"

Percussion

10

MARCHE TRIOMPHALE DU DIABLE

Bass Drum; struck edge and centre,x with Cymbal attached as before;
Field Drum and Snare Drums I & IL all three unsnared.

L.H. mallet 1b; R.H. mallet 6.

)

=tl}

@o
L.H.

L.H.
reverse

mallet

mallet

L.H.
reverse

o\

45\!./

L.H. reverse mallet to hard felt end.

* In the manuscripts and 1924 score

,--,mallet

tUt-o

"f

:>>

>

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.

l1

Percussion

L@R

@L

LRL

LRL

Isempre Pal

RL

fineJl

RRL

* 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.

NOTE BY THE EDITOR OF THE PERCUSSION PART

Note de L'Editeur
Anmerkunp des Redakteurs
pour la partie percussion
der Partie fii Schlaginstrumente
INSTRUMENTS
ORICINAL

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.

Un Triangle
Un Tambour de Basque
Deux Caisses Claires sans timbre, de taille differente

Un Tambour sans timbre

Un Tambour tirnbre

une Grosse Caisse-une Cymbale

. Field Drum
frxe la

Gr. C..

(or deep Snare Drum), with snare release.

Bass Drum with Cymbal attached to hoop (see nore iii below)

MALLETS
ORIGINAL

SUGGESTED EQUTVALENTS

.
l.

Mailloche

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-

Baguettes en jonc tte en capoc.

Baguettes en feutre.
Baguettes minces petites tres en ponge

hard heads for Ragtime.

5. Standard snare drum sticks.

6. Hard felt ends on stiff wood shafts. These could be used in

Baguettes en bois
Baguettes en baleine tte en feutre dur

Danse du

Diable where "bag. en baleine" were originally specified).

PERFORMANCE NOTES

i.

The percussion pan is set out on a single stave and each instrument is allotted its own line, in ascending order of pitch,
which remains constan throughout the work.
Bass

Drum

Field

+
(edge)

(centre)

Drum

Snare

Drums

Tambourine

Triangle

.r}

Cymbal

III

(large) (small)

Unless otherwise indicated the bass drum should be struck near the centre and, in general, should be slightly damped for

v.

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 sruck 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.
The provision of the various double-ended mallets as suggested u'ill contribute towards rapid and noiseless changes.

SUGGESTED LAYOUT

OF TNSTRUMENTS

Triangle

Tambourine

(mounted upside downl

\-

tnlSl^(::.::\"gupside down)

-'

-LJ

Bass Drum

987.