In the Classical music, the term tutti can take on different directions according to whether this one is associated with a Orchestre or with a Orgue.
In French, the word “ tutti ” - though derived from a plural Italian meaning “all, all together” - with the singular is: “ a tutti ”. In the plural: “ of the tuttis ” or “ of the tutti ” (plural scientist).
In the symphonic Music, the term tutti indicates a passage where all the instrument S of the orchestra are requested and plays together, in opposition to other passages, more specifically intended for a limited number of instruments - one or some Soliste S, or, one or some Pupitre S.
For example, in the concerting Music, the “tuttis” is opposed to the “soli” instruments soloists.
In the French traditional organ, the tutti was not practiced because the association of certain plays did not produce a happy mixture. It was of rigor not to mix the plein-jeus with the third S or the horn S. the equivalent of the tutti was in fact the Big game (basic Jeux, sheers and horn).
The tutti appears especially with the romantic organ then symphonic in France and the organ orchestrates in Italy, at the XIXe century. It should be stressed that in spite of the definition of the tutti, all the plays do not appear in it necessarily. For example, one never puts the plays undulating in a tutti (Celestial Voix, Unda Maris). Certain plays of detail, in particular the short sheers, can also be excluded from the tutti (Human Voix and Régale) but that depends on their harmonization and the factor. A Levels powerful " with the espagnole" will be always included in the tutti, with stronger reason if it is in Chamade.
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