6 The Soldier's

HISTOIRE DU SOLDAT
Tale Geschichte vom Soldaten
IGOR STRAVINSKT
Percussion part edited by James Blades edited bv John Carewe

Triansle Cymbal
Bass Drum Field Drum Snare Drums Tambourine
Percussion:
(see Editor's Note e III
on page l2) (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, (?)
) =tt2 F.D. & B.D. n rL

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 All rights teserved

J. & W. Chester/Edition Wiihelm Hansen London Ltd. Printed in England
WARNING: The copying of the whole or any part of this NOT FOR SALE
H1 RE MATERiAL publication is iliegal and can lead to prosecution.
) Percussion

@ LR
64

p subito
,_,
71 a,

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
"Ils'tait mis 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 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
 Percussion

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

J =2 o L

Cornet poco yf
secco
/t
L5\U LR

@,

"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 R

p subito

"Un autre pays a prsent. . . . . o je vais? je vais chz le roi."

"Nov, he comes to another land .. . . Wltere am I going? To see the Kng!"
"In einem anderen land. . . . . Zum Knie und zur Kniein!"
 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

P
()) S.D.I
FR 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

@'
To B.D. v :>
L.H. reverse
mallet 1a

(!@ s. D. I (unsnared) -
1 R.-.RR R

>
p

*@*

@R

nfr
@
126@ "f

"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 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

tq\t'7\
/,i @

@ B.D. (eg & centre) @R

Viol

Cornet

8e@ 20

101 q, 5
Y7
\<;/
()a\ 6t
<:t/

B.D.-ff tr Damp Prepare for Tango

 Percussion

TROIS DANSES
Bass Drum with Cymbal, attached as before; Snare Drums I & II' unsnared;
Tambourine; Triangle.
1. TANGO
J=c.80 R R LR OR
L.H. mallet I
R.H. ntallet2 p
10

u mosso ) =92-96

lasseXibrer
ToS.Ds. I&II
66@

2. VALSE
=Jlo o @ @ q9 @
(8.D.)p
o))
\<2
71@ @ @ Vio

Ragtirne

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

3. RAGTIME
t_
.--! h
*
rir- l n
6,r
YA -

\\ f 5Ar
Yr \<j7

To. B.D. and S.Ds I & II (unsnared);L.H. mallet 4, R.H. mallet 2 (or dou ble e nded 4 &2)
@ 6)
\7

6lt* RL

R.H. to mallet 4

rf P
,--r tf
P
70 Q) @ 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 I & II (all three u nsnared).
Allesro J =138 LR (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} ensure a mechanical rhythm'.
It is norv =E'to
customary to retain the instruments in the normal position, a method accepted by the composer.
f 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

P
@-- @ @
To B.D. & F.D, unsnared; L.H. to mallet 1.

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

) =120-126 Trombone F.D. (snared),

E
L

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

v"rc L.H. to mallet 1. nf To B.D. & S.D. II
(unsnared)

29 Cornet Fi.l). (snared),

R.H. to mallet 2 To mallets 5

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 mnd"
'1Vennrvir hinreisten?...,. Er ruft. Er xinl:t -ein letzter Blick."
10 Percussion

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\!./
,--,mallet
tUt-o
:>> >
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

Isempre Pal fineJl

*
RL 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
Un Triangle . Triangle I
Un Tambour de Basque
. fmounted on a stand.
. t ambounneJ
Deux Caisses Claires sans timbre, de taille differente . Snare Drum II (shallow), with snare release.
Snare Drum I (medium depth), wirh snare release.
Un Tambour sans timbre . Field Drum (or deep Snare Drum), with snare release.
Un Tambour tirnbre J
une Grosse Caisse-une Cymbale frxe la Gr. C.. . Bass Drum with Cymbal attached to hoop (see nore iii below)

MALLETS
ORIGINAL . SUGGESTED EQUTVALENTS
Mailloche 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.
Baguettes en jonc tte en capoc. 2. Medium-hard vibraphone mallets with stiff cane or ideally wood
shafts for striking cymbal ("bois").
Baguettes en feutre. 3. Hard felt sticks with cane shafrs.
Baguettes minces petites tres en ponge 4. Timpani sticks wirh softish heads, preferably wirh reverse medium-
hard heads for Ragtime.
Baguettes en bois 5. Standard snare drum sticks.
Baguettes en baleine tte en feutre dur 6. Hard felt ends on stiff wood shafts. These could be used in 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.
Triangle
Bass Drum Field Drum Snare Drums Tambourine .r} Cymbal

+ III
(edge) (centre) (large) (small)
Unless otherwise indicated the bass drum should be struck near the centre and, in general, should be slightly damped for
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.
v. The provision of the various double-ended mallets as suggested u'ill contribute towards rapid and noiseless changes.

Triangle
SUGGESTED LAYOUT Tambourine
(mounted upside downl
OF TNSTRUMENTS \- -'
tnlSl^(::.::\"g-
upside down)
-LJ

Bass Drum

I 987.