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We have in our possession a thick note book of some 200 +pages in fine hand writing, dating from the years 1873-1874, +containing a monograph on the question of acoustics, a classification +of wind instruments and a detailed description of the construction and +fingering of the different kinds of flute, the oboe, clarinet and +horn.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> + +<p>In his "Memoirs of my musical life" (1<span class="super">st</span> edition, p. 120) the +following passage occurs: "I had planned to devote all my energies to +the compilation of a full treatise on orchestration. To this end I +made several rough copies, jotting down explanatory notes detailing +the technique of different instruments. What I intended to present to +the world on this subject, was to include <i>everything</i>. The writing of +this treatise, or, to be more exact, the sketch for it took up most of +my time in the years 1873 and 1874. After reading the works of Tyndall +and Helmholtz, I framed an introduction to my work, in which I +endeavoured to expound the laws of acoustics as applied to the +principles governing the construction of musical instruments. My +manual was to begin with a detailed list of instruments, classified in +groups and tabulated, including a description of the various systems +in use at the present day. I had not yet thought of the second part of +the book which was to be devoted to instruments in combination. But I +soon realised that I had gone too far. With wind instruments in +particular, the different systems were innumerable, and each +manufacturer favoured his own pet theory. By the addition of a certain +key the maker endowed his instrument with the possibility of a new +trill, and<span class="pagenum"><a name="Page_viii" id="Page_viii">-VIII-</a></span> made some difficult passages more playable than on an +instrument of another kind.</p> + +<p>"There was no end to such complications. In the brass, I found +instruments with three, four, and five valves, the mechanism varying +according to the make. Obviously, I could not hope to cover so large a +field; besides, of what value would such a treatise be to the student? +Such a mass of detailed description of the various systems, their +advantages and drawbacks, could not but fail to confuse the reader +only too eager to learn. Naturally he would wish to know what +instrument to employ, the extent of its capabilities etc., and getting +no satisfactory information he would throw my massive work aside. For +these reasons my interest in the book gradually waned, and finally I +gave up the task."</p> + +<p>In 1891 Rimsky-Korsakov, now an artist of standing, the composer of +<i>Snegourotchka</i>, <i>Mlada</i>, and <i>Shéhérazade</i>, a master of the +orchestral technique he had been teaching for twenty years, returned +to his handbook on instrumentation. He would seem to have made notes +at different times from 1891 to 1893, during which period, after the +first performance of <i>Mlada</i>, he gave up composition for a while. +These notes, occasionally referred to in his <i>Memoirs</i>, are in three +volumes of manuscript-paper. They contain the unfinished <a href="#Extract_from_the_Authors_Preface_1891">preface of +1891</a>, a paragraph full of clear, thoughtful writing, and reprinted in +this book.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> + +<p>As the author tells us in his <i>Memoirs</i> (p. 297), the progress of his +work was hampered by certain troublesome events which were happening +at the time. Dissatisfied with his rough draft, he destroyed the +greater part of it, and once more abandoned his task.</p> + +<p>In 1894 he composed <i>The Christmas Night</i>; this was the beginning of +his most fertile period. He became entirely engrossed in composition, +making plans for a fresh opera as soon as the one in hand was +completed. It was not until 1905 that his thoughts returned to the +treatise on orchestration, his musical output remaining in abeyance +through no fault of his own. Since 1891 the plan of the work had been +entirely remodelled, as proved by the rough drafts still extant. The +author had given up the idea of describing different instruments from +their technical<span class="pagenum"><a name="Page_ix" id="Page_ix">-IX-</a></span> standpoint, and was more anxious to dwell upon the +value of tone qualities and their various combinations.</p> + +<p>Among the author's papers several forms of the book have been found, +each widely differing in detail from the other. At last, in the summer +of 1905 Rimsky-Korsakov brought his plans to a head, and outlined the +six chapters which form the foundation of the present volume. But the +work suffered a further interruption, and the sketches were once more +laid aside. In his <i>Memoirs</i>, Rimsky-Korsakov explains the fact by +lack of interest in the work and a general feeling of weariness: "The +treatise remained in abeyance. To start with, the form of the book was +not a success, and I awaited the production of <i>Kitesh</i>, in order to +give some examples from that work" (p. 360).</p> + +<p>Then came the autumn of 1906. The composer experienced another rush of +creative energy; his opera, <i>The Golden Cockerel</i> made rapid strides, +and kept him busy all that winter and the following summer. When it +was finished, in the autumn of 1907, his thoughts reverted to the +treatise on orchestration. But the work made little progress. The +author had his doubts as to the adequacy of the plan he had adopted, +and, in spite of the entreaties of his pupils and friends, he could +not bring himself to broach the latter part of the book. Towards the +end of 1907 Rimsky-Korsakov was constantly ailing in health, and this +materially affected his energy. He spent the greater part of his time +reading old notes and classifying examples. About the 20<span class="super">th</span> of May +he set out for his summer residence in Lioubensk, and having just +recovered from a third severe attack of inflammation of the lungs, +began to work on the <a href="#Chapter_I">first chapter</a> of the treatise in its present, +final form. This chapter was finished on June 7/20, about 4 o'clock in +the afternoon; the same night, the composer was seized with a fourth +attack which proved fatal.</p> + +<p>The honour fell on me to prepare this last work of Rimsky-Korsakov for +publication. Now that <i>Principles of Orchestration</i> has appeared in +print I think it necessary to devote a few words to the essential +features of the book, and to the labour imposed upon me in my capacity +as editor.</p> + +<p>On the first point I will say but little. The reader will observe from +the <a href="rimsky_toc.html#CONTENTS">Contents</a> that the work differs from others, not merely by<span class="pagenum"><a name="Page_x" id="Page_x">-X-</a></span> reason +of its musical examples, but more especially in the systematic +arrangement of material, not according to orchestral division in +groups (the method adopted by Gevaert for instance), but according to +<i>each constituent of the musical whole, considered separately</i>. The +orchestration of melodic and harmonic elements (Chapters <a href="#Chapter_II">II</a> and <a href="#Chapter_III">III</a>) +receives special attention, as does the question of orchestration in +general (<a href="#Chapter_IV">Chapter IV</a>). The last two chapters are devoted to operatic +music, and the <a href="#Chapter_VI_Supplementary">sixth</a> takes a supplementary form, having no direct +bearing on the previous matter.</p> + +<p>Rimsky-Korsakov altered the title of his book several times, and his +final choice was never made. The title I have selected seems to me to +be the one most suitable to the contents of the work, "principles" in +the truest sense of the word. Some may expect to find the "secrets" of +the great orchestrator disclosed; but, as he himself reminds us in his +<a href="#Extract_from_the_Authors_Preface_1891">preface</a>, "to orchestrate is to create, and this is something which +cannot be taught."</p> + +<p>Yet, as invention, in all art, is closely allied to technique, this +book may reveal much to the student of instrumentation. +Rimsky-Korsakov has often repeated the axiom that <i>good orchestration +means proper handling of parts</i>. The simple use of tone-colours and +their combinations may also be taught, but there the science of +instruction ends. From these standpoints the present book will furnish +the pupil with nearly everything he requires. The author's death +prevented him from discussing a few questions, amongst which I would +include full polyphonic orchestration and the scoring of melodic and +harmonic designs. But these questions can be partly solved by the +principles laid down in Chapters <a href="#Chapter_II">II</a> and <a href="#Chapter_III">III</a>, and I have no wish to +overcrowd the first edition of this book with extra matter which can +be added later, if it is found to be necessary. I had first of all to +prepare and amplify the sketches made by Rimsky-Korsakov in 1905; +these form a connected summary throughout the whole six chapters. +<a href="#Chapter_I">Chapter I</a> was completed by the author; it is published as it stands, +save for a few unimportant alterations in style. As regards the other +five chapters, I have tried to keep to the original drafts as far as +possible, and have only made a few changes in the order, and one or +two indispensable additions. The sketches made between 1891 and 1893 +were too disconnected to be of much use, but, in point<span class="pagenum"><a name="Page_xi" id="Page_xi">-XI-</a></span> of fact, they +corresponded very closely to the final form of the work.</p> + +<p>The musical examples are of greater importance. According to the +original scheme, as noted on the 1891 MS., they were to be drawn from +the works of Glinka and Tschaikovsky; those of Borodin and Glazounov +were to be added later. The idea of choosing examples solely from his +own works only came to Rimsky-Korsakov by degrees. The reasons for +this decision are partly explained in the unfinished <a href="#Extract_from_the_Preface_to_the_last_edition">preface of 1905</a>, +but other motives may be mentioned. If Rimsky-Korsakov had chosen his +examples from the works of these four composers, he would have had to +give some account of their individual, and often strongly marked +peculiarities of style. This would have been a difficult undertaking, +and then, how to justify the exclusion of West-European composers, +Richard Wagner, for example, whose orchestration Rimsky-Korsakov so +greatly admired? Besides, the latter could hardly fail to realise that +his own compositions afforded sufficient material to illustrate every +conceivable manner of scoring, examples <i>emanating from one great +general principle</i>. This is not the place to criticise his method; +Rimsky-Korsakov's "school" is here displayed, each may examine it for +himself. The brilliant, highly-coloured orchestration of Russian +composers, and the scoring of the younger French musicians are largely +developments of the methods of Rimsky-Korsakov, who, in turn, looked +upon Glinka as his spiritual father.</p> + +<p>The table of examples found among the author's papers was far from +complete; some portions were badly explained, others, not at all. The +composer had not mentioned which musical quotations were to be printed +in the <a href="rimsky2.html">second volume</a>, and which examples were to indicate the study of +the full score; further, no limit was fixed to the length of +quotation. All this was therefore left to the editor's discretion. I +selected the examples only after much doubt and hesitation, finding it +difficult to keep to those stipulated by the composer, as every page +of the master's works abounds in appropriate instances of this or that +method of scoring.</p> + +<p>I was guided by the following considerations which agreed with the +opinions of the author himself: in the first place the examples should +be as simple as possible, so as not to distract<span class="pagenum"><a name="Page_xii" id="Page_xii">-XII-</a></span> the student's +attention from the point under discussion; secondly, it was necessary +that one example should serve to illustrate several sections of the +book, and lastly, the majority of quotations should be those mentioned +by the author. These amount to 214, in the <a href="rimsky2.html">second volume</a>; the +remaining 98 were added by me. They are drawn, as far as possible, +from Rimsky-Korsakov's dramatic music, since operatic full-scores are +less accessible than those of symphonic works.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p> + +<p>At the end of <a href="rimsky2.html">Vol. II</a> I have added three <a href="rimsky2.html#APPENDIX">tables</a> showing different ways +of scoring full chords; all my additions to the text are marked with +asterisks. I consider that the careful study of the examples contained +in the <a href="rimsky2.html">second volume</a> will be of the greatest use to the student +<i>without replacing</i> the need for the study of other composers' scores. +Broadly speaking, the present work should be studied together with the +reading of full scores in general.</p> + +<p>A few words remain to be said regarding Rimsky-Korsakov's intention to +point out the faulty passages in his orchestral works, an intention +expressed in his <a href="#Extract_from_the_Preface_to_the_last_edition">preface to the last edition</a>. The composer often +referred to the instructional value of such examinations. His purpose +however was never achieved. It is not for me to select these examples, +and I shall only mention two which were pointed out by the composer +himself: 1. <i>The Legend of Tsar Saltan</i> <span class="box">220</span>, 7<span class="super">th</span> bar—the theme +in the brass is not sufficiently prominent the trombones being <i>tacet</i> +(a mistake easily rectified); 2. <i>The Golden Cockerel</i> <span class="box">233</span>, bars +10-14, if the marks of expression are observed in the brass, the +counter-melody on the violas and violoncellos doubled by the wood-wind +will hardly be heard. <a href="rimsky2.html#No_075">Example 75</a> may also be mentioned, to which the +note on <a href="#Page_63">page 63</a>, in the text, refers. I will confine myself to these +examples.</p> + +<p>In conclusion I desire to express my deep gratitude to Madame +Rimsky-Korsakov for having entrusted me with the task of editing this +work, thereby providing me with the opportunity of performing a duty +sacred to the memory of a master, held so deeply in reverence.</p> + +<p><i>St. Petersburgh</i>, December 1912.</p> + +<p class="right">MAXIMILIAN STEINBERG.</p> + + + + +<hr /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">-1-</a></span></p> + +<h2><a name="Extract_from_the_Authors_Preface_1891" id="Extract_from_the_Authors_Preface_1891"></a>Extract from the Author’s Preface (1891).</h2> + +<hr class="short" /> + +<p>Our epoch, the post-Wagnerian age, is the age of brilliance and +imaginative quality in orchestral tone colouring. Berlioz, Glinka, +Liszt, Wagner, modern French composers—Delibes, Bizet and others; +those of the new Russian school—Borodin, Balakirev, Glazounov and +Tschaikovsky—have brought this side of musical art to its zenith; +they have eclipsed, as colourists, their predecessors, Weber, +Meyerbeer and Mendelssohn, to whose genius, nevertheless, they are +indebted for their own progress. In writing this book my chief aim has +been to provide the well-informed reader with the fundamental +principles of modern orchestration from the standpoint of brilliance +and imagination, and I have devoted considerable space to the study of +tonal resonance and orchestral combination.</p> + +<p>I have tried to show the student how to obtain a certain quality of +tone, how to acquire uniformity of structure and requisite power. I +have specified the character of certain melodic figures and designs +peculiar to each instrument or orchestral group, and reduced these +questions briefly and clearly to general principles; in short I have +endeavoured to furnish the pupil with matter and material as carefully +and minutely studied as possible. Nevertheless I do not claim to +instruct him as to how such information should be put to artistic use, +nor to establish my examples in their rightful place in the poetic +language of music. For, just as a handbook of harmony, counterpoint, +or form presents the student with harmonic or polyphonic matter, +principles of construction, formal arrangement, and sound technical +methods, but will never endow him with the talent for composition, so +a treatise on orchestration can demonstrate how to produce a +well-sounding chord<span class="pagenum"><a name="Page_2" id="Page_2">-2-</a></span> of certain tone-quality, uniformly distributed, +how to detach a melody from its harmonic setting, correct progression +of parts, and solve all such problems, but will never be able to teach +the art of poetic orchestration. To orchestrate is to create, and this +is something which cannot be taught.</p> + +<p>It is a great mistake to say: this composer scores well, or, that +composition is well orchestrated, for orchestration is <i>part of the +very soul of the work</i>. A work is thought out in terms of the +orchestra, certain tone-colours being inseparable from it in the mind +of its creator and native to it from the hour of its birth. Could the +essence of Wagner's music be divorced from its orchestration? One +might as well say that a picture is well <i>drawn</i> in colours.</p> + +<p>More than one classical and modern composer has lacked the capacity to +orchestrate with imagination and power; the secret of colour has +remained outside the range of his creative faculty. Does it follow +that these composers do not <i>know how</i> to orchestrate? Many among them +have had greater knowledge of the subject than the mere colourist. Was +Brahms ignorant of orchestration? And yet, nowhere in his works do we +find evidence of brilliant tone or picturesque fancy. The truth is +that his thoughts did not turn towards colour; his mind did not exact +it.</p> + +<p>The power of subtle orchestration is a secret impossible to transmit, +and the composer who possesses this secret should value it highly, and +never debase it to the level of a mere collection of formulæ learned +by heart.</p> + +<p>Here I may mention the case of works scored by others from the +composer's rough directions. He who undertakes such work should enter +as deeply as he may into the spirit of the composer, try to realise +his intentions, and develop them in all their essential features.</p> + +<p>Though one's own personality be subordinate to that of another, such +orchestration is nevertheless creative work. But on the other hand, to +score a composition never intended for the orchestra, is an +undesirable practice. Many musicians have made this mistake and +persist in it.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> In any case this is the lowest form of +in<span class="pagenum"><a name="Page_3" id="Page_3">-3-</a></span>strumentation, akin to colour photography, though of course the +process may be well or badly done.</p> + +<p>As regards orchestration it has been my good fortune to belong to a +first-rate school, and I have acquired the most varied experience. In +the first place I have had the opportunity of hearing all my works +performed by the excellent orchestra of the St. Petersburgh Opera. +Secondly, having experienced leanings towards different directions, I +have scored for orchestras of different sizes, beginning with simple +combinations (my opera <i>The May Night</i> is written for natural horns +and trumpets), and ending with the most advanced. In the third place, +I conducted the choir of the Military Marine for several years and was +therefore able to study wind-instruments. Finally I formed an +orchestra of very young pupils, and succeeded in teaching them to +play, quite competently, the works of Beethoven, Mendelssohn, Glinka, +etc. All this has enabled me to present this work to the public as the +result of long experience.</p> + +<p>As a starting-point I lay down the following fundamental axioms:</p> + +<p>I. <i>In the orchestra there is no such thing as ugly quality of tone.</i></p> + +<p>II. <i>Orchestral writing should be easy to play</i>; a composer's work +stands the best chance when the parts are well written.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<p>III. <i>A work should be written for the size of orchestra that is to +perform it</i>, not for some imaginary body, as many composers persist in +doing, introducing brass instruments in unusual keys upon which the +music is impracticable because it is not played in the key the +composer intends.</p> + +<p>It is difficult to devise any method of learning orchestration without +a master. As a general rule it is best to advance by degrees from the +simplest scoring to the most complicated.</p> + +<p>The student will probably pass through the following phases: 1. the +phase during which he puts his entire faith in percussion +instru<span class="pagenum"><a name="Page_4" id="Page_4">-4-</a></span>ments, believing that beauty of sound emanates entirely from +this branch of the orchestra—this is the earliest stage; 2. the +period when he acquires a passion for the harp, using it in every +possible chord; 3. the stage during which he adores the wood-wind and +horns, using stopped notes in conjunction with strings, muted or +<i>pizzicato</i>; 4. the more advanced period, when he has come to +recognise that the string group is the richest and most expressive of +all. When the student works alone he must try to avoid the pitfalls of +the first three phases. The best plan is to study full-scores, and +listen to an orchestra, score in hand. But it is difficult to decide +what music should be studied and heard. Music of all ages, certainly, +but, principally, that which is fairly modern. Fairly modern music +will teach the student how to score—classical music will prove of +negative value to him. Weber, Mendelssohn, Meyerbeer (<i>The Prophet</i>), +Berlioz, Glinka, Wagner, Liszt, and modern French and Russian +composers—these will prove his best guides. It is useless for a +Berlioz or a Gevaert to quote examples from the works of Gluck. The +musical idiom is too old-fashioned and strange to modern ears; such +examples are of no further use today. The same may be said of Mozart +and of Haydn (the father of modern orchestration).</p> + +<p>The gigantic figure of Beethoven stands apart. His music abounds in +countless leonine leaps of orchestral imagination, but his technique, +viewed in detail, remains much inferior to his titanic conception. His +use of the trumpets, standing out above the rest of the orchestra, the +difficult and unhappy intervals he gives to the horns, the distinctive +features of the string parts and his often highly-coloured employment +of the wood-wind,—these features will combine causing the student of +Beethoven to stumble upon a thousand and one points in contradiction.</p> + +<p>It is a mistake to think that the beginner will light upon no simple +and instructive examples in modern music, in that of Wagner and +others. On the contrary, clearer, and better examples are to be found +amongst modern composers than in what is called the range of classical +music.</p> + + + + +<hr /> +<p><span class="pagenum"><a name="Page_5" id="Page_5">-5-</a></span></p> + +<h2><a name="Extract_from_the_Preface_to_the_last_edition" id="Extract_from_the_Preface_to_the_last_edition"></a>Extract from the Preface to the last edition.</h2> + +<hr class="short" /> + +<p>My aim in undertaking this work is to reveal the principles of modern +orchestration in a somewhat different light than that usually brought +to bear upon the subject. I have followed these principles in +orchestrating my own works, and, wishing to impart some of my ideas to +young composers, I have quoted examples from my own compositions, or +given references to them, endeavouring to show, in all sincerity, what +is successful and what is not. No one can know except the author +himself the purpose and motives which governed him during the +composition of a certain work, and the practice of explaining the +intentions of a composer, so prevalent amongst annotators, however +reverent and discreet, appears to me far from satisfactory. They will +attribute a too closely philosophic, or excessively poetic meaning to +a plain and simple fact. Sometimes the respect which great composers' +names command will cause inferior examples to be quoted as good; cases +of carelessness or ignorance, easily explained by the imperfections of +current technique, give rise to whole pages of laborious exposition, +in defence, or even in admiration of a faulty passage.</p> + +<p>This book is written for those who have already studied +instrumentation from Gevaert's excellent treatise, or any other +well-known manual, and who have some knowledge of a number of +orchestral scores.</p> + +<p>I shall therefore only just touch on such technical questions as +fingering, range, emission of sound etc.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> + +<p>The present work deals with the combination of instruments in separate +groups and in the entire orchestral scheme; the different means of +producing strength of tone and unity of structure; the sub-division of +parts; variety of colour and expression in scoring,—the whole, +principally from the standpoint of dramatic music.</p> + + + +<hr /> +<p><span class="pagenum"><a name="Page_6" id="Page_6">-6-</a></span></p> + +<h1><a name="Chapter_I" id="Chapter_I"></a>Chapter I.</h1> + +<p class="center"><span class="lg">GENERAL REVIEW OF ORCHESTRAL GROUPS.</span></p> + +<hr class="short" /> + +<h2>A. Stringed Instruments.</h2> + +<p class="bp">The following is the formation of the string quartet and the number of +players required in present day orchestras, either in the theatre or +concert-room.</p> + +<table border="1" cellpadding="4" cellspacing="0" summary="strings"> +<tr><td> </td><td class="center">Full orchestra</td><td class="center">Medium orchestra</td><td class="center">Small orchestra</td></tr> +<tr><td>Violins I</td><td class="center">16</td><td class="center">12</td><td class="center">8</td></tr> +<tr><td><span style="margin-left: 1em;">"</span> <span style="margin-left: 1em;">II</span></td><td class="center">14</td><td class="center">10</td><td class="center">6</td></tr> +<tr><td>Violas</td><td class="center">12</td><td class="center">8</td><td class="center">4</td></tr> +<tr><td>Violoncellos</td><td class="center">10</td><td class="center">6</td><td class="center">3</td></tr> +<tr><td>Double basses</td><td class="center">8-10</td><td class="center">4-6</td><td class="center">2-3</td></tr> +</table> + +<p class="tp">In larger orchestras, the number of first violins may amount to 20 and +even 24, the other strings being increased proportionately. But such a +great quantity of strings overpowers the customary wood-wind section, +and entails re-inforcing the latter. Sometimes orchestras contain less +than 8 first violins; this is a mistake, as the balance between +strings and wind is completely destroyed. In writing for the orchestra +it is advisable to rely on a medium-sized body of strings. Played by a +larger orchestra a work will be heard to greater advantage; played by +a smaller one, the harm done will be minimised.<span class="pagenum"><a name="Page_7" id="Page_7">-7-</a></span></p> + +<p>Whenever a group of strings is written for more than five +parts—without taking double notes or chords into consideration—these +parts may be increased by dividing each one into two, three and four +sections, or even more (<i>divisi</i>). Generally, one or more of the +principal parts is split up, the first or second violins, violas or +violoncellos. The players are then divided by desks, numbers 1, 3, 5 +etc. playing the upper part, and 2, 4, 6 etc., the lower; or else the +musician on the right-hand of each desk plays the top line, the one on +the left the bottom line. Dividing by threes is less easy, as the +number of players in one group is not always divisible by three, and +hence the difficulty of obtaining proper balance. Nevertheless there +are cases where the composer should not hesitate to employ this method +of dividing the strings, leaving it to the conductor to ensure +equality of tone. It is always as well to mark how the passage is to +be divided in the score; Vn<span class="super">s</span> I, 1, 2, 3 desks, 6 'Cellos div. à 3, +and so on. Division into four and more parts is rare, but may be used +in <i>piano</i> passages, as it greatly reduces volume of tone in the group +of strings.</p> + +<div class="blockquot"><p><i>Note.</i> In small orchestras passages sub-divided into many +parts are very hard to realise, and the effect obtained is +never the one required.</p></div> + +<p>String parts may be divided thus:</p> + +<table style="width: 100%" border="0" cellpadding="2" cellspacing="0" summary="strings"> +<tr> +<td><i>a</i></td> +<td><span class="xlg">{</span></td> +<td>Vn<span class="super">s</span> I div.<br /> +Vn<span class="super">s</span> II div.</td> +<td><i>b</i></td> +<td><span class="xlg">{</span></td> +<td>Vn<span class="super">s</span> II div.<br /> +Violas div.</td> +<td><i>c</i></td> +<td><span class="xlg">{</span></td> +<td>Violas div.<br /> +'Cellos div.</td> +<td><i>d</i></td> +<td><span class="xlg">{</span></td> +<td>'Cellos div.<br /> +D. basses div.</td> +</tr> +</table> + +<p>Possible combinations less frequently used are:</p> + +<table style="width: 90%" border="0" cellpadding="2" cellspacing="0" summary="strings"> +<tr> +<td><i>e</i></td> +<td><span class="xlg">{</span></td> +<td>Vn<span class="super">s</span> I div.<br /> +Violas div.</td> +<td><i>f</i></td> +<td><span class="xlg">{</span></td> +<td>Vn<span class="super">s</span> II div.<br /> +'Cellos div.</td> +<td><i>g</i></td> +<td><span class="xlg">{</span></td> +<td>Violas div.<br /> +D. basses div. etc.</td> +</tr> +</table> + +<div class="blockquot"><p><i>Note.</i> It is evident that the tone quality in <i>b</i> and <i>e</i> +will be similar. Still <i>b</i> is preferable since the number of +Vn<span class="super">s</span> II (14-10-6) and Violas (12-8-4) is practically the +same, the respective rôles of the two groups are more +closely allied, and from the fact that second violins +generally sit nearer to the violas than the first, thereby +guaranteeing greater unity in power and execution.</p></div> + +<p>The reader will find all manner of divisions in the musical examples +given in <a href="rimsky2.html">Vol. II</a>. Where necessary, some explanation as to the method +of dividing strings will follow in due course. I dwell on the subject +here in order to show how the usual composition of the string quartet +may be altered.<span class="pagenum"><a name="Page_8" id="Page_8">-8-</a></span></p> + +<p>Stringed instruments possess more ways of producing sound than any +other orchestral group. They can pass, better than other instruments +from one shade of expression to another, the varieties being of an +infinite number. Species of bowing such as <i>legato</i>, detached, +<i>staccato</i>, <i>spiccato</i>, <i>portamento</i>, <i>martellato</i>, light <i>staccato</i>, +<i>saltando</i>, attack at the nut and at the point, +<img src="images1/downbow.png" width="61" height="17" alt="downbow" title="downbow" /> +and +<img src="images1/upbow.png" width="45" height="25" alt="upbow" title="upbow" /> +(down bow and up bow), in every degree of tone, +<i>fortissimo</i>, <i>pianissimo</i>, <i>crescendo</i>, <i>diminuendo</i>, <i>sforzando</i>, +<i>morendo</i>—all this belongs to the natural realm of the string +quartet.</p> + +<p>The fact that these instruments are capable of playing double notes +and full chords across three and four strings—to say nothing of +sub-division of parts—renders them not only melodic but also harmonic +in character.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> + +<p>From the point of view of activity and flexibility the violin takes +pride of place among stringed instruments, then, in order, come the +viola, 'cello and double bass. In practice the notes of extreme limit +in the string quartet should be fixed as follows:</p> + +<p class="center">for violins: <img src="images1/ms001.png" width="92" height="77" alt="Music: A7" title="Music: A7" />, +for violas: <img src="images1/ms002.png" width="89" height="64" alt="Music: A7" title="Music: A7" />,</p> + +<p class="center">for 'cellos: <img src="images1/ms003.png" width="94" height="61" alt="Music: A4" title="Music: A4" />, +for double basses: <img src="images1/ms004.png" width="86" height="57" alt="Music: G4" title="Music: G4" />.</p> + +<p class="tp">Higher notes given in <a href="#Table_A">Table A</a>, should only be used with caution, that +is to say when they are of long value, in <i>tremolando</i>, slow, flowing +melodies, in not too rapid sequence of scales, and in passages of +repeated notes. Skips should always be avoided.</p> + +<div class="blockquot"><p><i>Note.</i> In quick passages for stringed instruments long +chromatic figures are never suitable; they are difficult to +play and sound indistinct and muddled. Such passages are +better allotted to the wood-wind.</p></div> + +<p>A limit should be set to the use of a high note on any one of the +three lower strings on violins, violas and 'cellos. This note should +be the one in the fourth position, either the octave note or the ninth +of the open string.<span class="pagenum"><a name="Page_9" id="Page_9">-9-</a></span></p> + +<p>Nobility, warmth, and equality of tone from one end of the scale to +the other are qualities common to all stringed instruments, and render +them essentially superior to instruments of other groups. Further, +each string has a distinctive character of its own, difficult to +define in words. The top string on the violin (<i>E</i>) is brilliant in +character, that of the viola (<i>A</i>) is more biting in quality and +slightly nasal; the highest string on the 'cello (<i>A</i>) is bright and +possesses a "chest-voice" timbre. The <i>A</i> and <i>D</i> strings on the +violin and the <i>D</i> string on the violas and 'cellos are somewhat +sweeter and weaker in tone than the others. Covered strings (<i>G</i>), on +the violin (<i>G</i> and <i>C</i>), on the viola and 'cello are rather harsh. +Speaking generally, the double bass is equally resonant throughout, +slightly duller on the two lower strings (<i>E</i> and <i>A</i>), and more +penetrating on the upper ones (<i>D</i> and <i>G</i>).</p> + +<div class="blockquot"><p><i>Note.</i> Except in the case of pedal notes, the double bass +rarely plays an independent part, usually moving in octaves +or in unison with the 'cellos, or else doubling the +bassoons. The quality of the double bass tone is therefore +seldom heard by itself and the character of its different +strings is not so noticeable.</p></div> + +<p>The rare ability to connect sounds, or a series of sounds, the +vibration of stopped strings combined with their above-named +qualities—warmth and nobility of tone—renders this group of +instruments far and away the best orchestral medium of melodic +expression. At the same time, that portion of their range situated +beyond the limits of the human voice, e.g. notes on the violin higher +than the extreme top note of the soprano voice, from</p> + +<p class="centertp"> +<img src="images1/ms005.png" width="93" height="66" alt="Music: E6" title="Music: E6" /> +</p> + +<p class="centerbp"></p> + +<p class="noindent">upwards, and notes on the double bass below the range of the bass +voice, descending from</p> + +<p class="centertp"> +<img src="images1/ms006.png" width="92" height="32" alt="Music: D3" title="Music: D3" /> +(written sound)</p> + +<p class="noindent">lose in expression and warmth of tone. Open strings are clearer and +more powerful but less expressive than stopped strings.</p> + +<p>Comparing the range of each stringed instrument with that of the human +voice, we may assign: to the violin, the soprano and<span class="pagenum"><a name="Page_10" id="Page_10">-10-</a></span> contralto voice +plus a much higher range; to the viola, the contralto and tenor voice +plus a much higher register; to the 'cello, the tenor and bass voices +plus a higher register; to the double bass, the bass voice plus a +lower range.</p> + +<p>The use of harmonics, the mute, and some special devices in bowing +produce great difference in the resonance and tone quality of all +these instruments.</p> + +<p>Harmonics, frequently used today, alter the timbre of a stringed +instrument to a very appreciable extent. Cold and transparent in soft +passages, cold and brilliant in loud ones, and offering but little +chance for expression, they form no fundamental part of orchestral +writing, and are used simply for ornament. Owing to their lack of +resonant power they should be used sparingly, and, when employed, +should never be overpowered by other instruments. As a rule harmonics +are employed on sustained notes, <i>tremolando</i>, or here and there for +brilliant effects; they are rarely used in extremely simple melodies. +Owing to a certain tonal affinity with the flute they may be said to +form a kind of link between string and wood-wind instruments.</p> + +<p>Another radical change is effected by the use of mutes. When muted, +the clear, singing tone of the strings becomes dull in soft passages, +turns to a slight hiss or whistle in loud ones, and the volume of tone +is always greatly reduced.</p> + +<p>The position of the bow on the string will affect the resonance of an +instrument. Playing with the bow close to the bridge (<i>sul +ponticello</i>), chiefly used <i>tremolando</i>, produces a metallic sound; +playing on the finger-board (<i>sul tasto</i>, <i>flautando</i>) creates a dull, +veiled effect.</p> + +<div class="blockquot"><p class="bp"><i>Note.</i> Another absolutely different sound results from +playing with the back or wood of the bow (<i>col legno</i>). This +produces a sound like a xylophone or a hollow <i>pizzicato</i>. +It is discussed under the heading of instruments of little +sustaining power.</p></div> + +<div class="bboxf"> +<h3><a name="Table_A" id="Table_A"></a>Table A. String group.</h3> + +<p class="center">(These instruments give all chromatic intervals.)</p> + +<p class="centertp"> +<img src="images1/table_a.png" width="600" height="263" alt="Table A" title="Table A" /> +</p> + +<p class="centerbp">[<a href="images1/table_a_lg.png">Enlarge</a>]</p> + +<div class="blockquot"><p class="bp">Black lines on each string denote the general range in orchestral +writing, the dotted lines give the registers, low, medium, high, very +high.</p> +</div> +</div> + +<p class="tp">The five sets of strings with number of players given above produce a +fairly even balance of tone. If there is any surplus of strength it +must be on the side of the first violins, as they must be heard +distinctly on account of the important part they play in the harmonic +scheme. Besides this, an extra desk of first violins is usual in all +orchestras, and as a general<span class="pagenum"><a name="Page_12" id="Page_12">-12-</a></span> rule they possess a more powerful tone +than second violins. The latter, with the violas, play a secondary +part, and do not stand out so prominently. The 'cellos and double +basses are heard more distinctly, and in the majority of cases form +the bass in octaves.</p> + +<p>In conclusion it may be said that the group of strings, as a melodic +element, is able to perform all manner of passages, rapid and +interrupted phrases of every description, diatonic or chromatic in +character. Capable of sustaining notes without difficulty, of playing +chords of three and four notes; adapted to the infinite variety of +shades of expression, and easily divisible into numerous sundry parts, +the string group in an orchestra may be considered as an harmonic +element particularly rich in resource.</p> + + +<h2>B. Wind instruments.</h2> + +<h3>Wood-wind.</h3> + +<p>Apart from the varying number of players, the formation of the string +group, with its five constituent parts remains constant, satisfying +the demands of any orchestral full score. On the other hand the group +of wood-wind instruments varies both as regards number of parts and +the volume of tone at its command, and here the composer may choose at +will. The group may be divided into three general classes: wood-wind +instruments in pair's, in three's and in four's, (see table on <a href="#Page_13">page +13</a>).</p> + +<p class="bp">Arabic numerals denote the number of players on each instrument; roman +figures, the parts (1<span class="super">st</span>, 2<span class="super">nd</span> etc.). Instruments which do not +require additional players, but are taken over by one or the other +executant in place of his usual instrument, are enclosed in brackets. +As a rule the first flute, first oboe, first clarinet and first +bassoon never change instruments; considering the importance of their +parts it is not advisable for them to turn from one mouth-piece to +another. The parts written for piccolo, bass flute, English horn, +small clarinet, bass clarinet and double bassoon are taken by the +second and third players in each group, who are more accustomed to +using these instruments of a special nature.<span class="pagenum"><a name="Page_13" id="Page_13">-13-</a></span></p> + +<table style="width: 100%" border="0" cellpadding="4" cellspacing="0" summary="woodwinds"> +<tr><td class="center" style="border: 1px solid black"><span class="slg">Wood-wind</span><br />in pair's</td><td class="center" style="border: 1px solid black"><span class="slg">Wood-wind</span><br />in three's</td><td class="center" style="border: 1px solid black"><span class="slg">Wood-wind</span><br />in four's</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Piccolo).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III—Piccolo).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Piccolo (IV).</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Flutes I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Flutes I. II. III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Flutes I. II. III.</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Bass flute).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III—Bass flute).</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Oboes I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Oboes I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Oboes I. II. III.</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Eng. horn).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Eng. horn (III).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Eng. horn (IV).</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Small clarinet).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Small clarinet).</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Clarinets I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Clarinets I. II. III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Clarinets I. II. III.</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Bass clarinet).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III—Bass clarinet).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Bass clarinet (IV).</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Bassoons I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Bassoons I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Bassoons I. II. III.</td></tr> +<tr><td class="center" style="border-bottom: 1px solid black; border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-bottom: 1px solid black; border-right: 1px solid black; border-left: 1px solid black">1 Double bassoon (III).</td><td class="center" style="border-bottom: 1px solid black; border-right: 1px solid black; border-left: 1px solid black">1 Double bassoon (IV).</td></tr> +</table> + +<p class="tp">The formation of the first class may be altered by the permanent +addition of a piccolo part. Sometimes a composer writes for two +piccolos or two Eng. horns etc. without increasing the original number +of players required (in three's or four's).</p> + +<div class="blockquot"><p><i>Note I.</i> Composers using the first class in the course of a +big work (oratorio, opera, symphony, etc.) may introduce +special instruments, called <i>extras</i>, for a long or short +period of time; each of these instruments involves an extra +player not required throughout the entire work. Meyerbeer +was fond of doing this, but other composers, Glinka for +example, refrain from increasing the number of performers by +employing <i>extras</i> (Eng. horn part in <i>Rousslân</i>). Wagner +uses all three classes in the above table (in pair's: +<i>Tannhäuser</i>—in three's: <i>Tristan</i>—in four's: <i>The Ring</i>).</p> + +<p><i>Note II.</i> <i>Mlada</i> is the only work of mine involving +formation by four's. <i>Ivan the Terrible</i>, <i>Sadko</i>, <i>The +Legend of Tsar Saltan</i>, <i>The Legend of the Invisible City of +Kitesh</i> and <i>The Golden Cockerel</i> all belong to the second +class, and in my other works, wood-wind in pair's is used +with a varying number of extras. <i>The Christmas Night</i>, with +its two oboes, and two bassoons, three flutes and three +clarinets, forms an intermediate class.</p></div> + +<p>Considering the instruments it comprises, the string group offers a +fair variety of colour, and contrast in compass, but this diversity of +range and timbre is subtle and not easily discerned. In the wood-wind +department, however, the difference in register and quality of flutes, +oboes, clarinets and bassoons is striking to a degree. As a rule, +wood-wind instruments are less flexible than<span class="pagenum"><a name="Page_14" id="Page_14">-14-</a></span> strings; they lack the +vitality and power, and are less capable of different shade of +expression.</p> + +<p>In each wind instrument I have defined the <i>scope of greatest +expression</i>, that is to say the range in which the instrument is best +qualified to achieve the various grades of tone, (<i>forte</i>, <i>piano</i>, +<i>cresc.</i>, <i>dim.</i>, <i>sforzando</i>, <i>morendo</i>, etc.)—the register which +admits of the most <i>expressive</i> playing, in the truest sense of the +word. Outside this range, a wind instrument is more notable for +richness of colour than for expression. I am probably the originator +of the term "scope of greatest expression". It does not apply to the +piccolo and double bassoon which represent the two extremes of the +orchestral compass. They do not possess such a register and belong to +the body of highly-coloured but non-expressive instruments.</p> + +<p>The four kinds of wind instruments: flutes, oboes, clarinets and +bassoons may be generally considered to be of equal power. The same +cannot be said of instruments which fulfil a special purpose: piccolo, +bass flute, Eng. horn, small clarinet, bass clarinet and double +bassoon. Each of these instruments has four registers: low, middle, +high and extremely high, each of which is characterised by certain +differences of quality and power. It is difficult to define the exact +limits of each register; adjacent registers almost blend together and +the passage from one to another is scarcely noticeable. But when the +instrument jumps from one register to another the difference in power +and quality of tone is very striking.</p> + +<p>The four families of wind instruments may be divided into two classes: +a) instruments of nasal quality and dark resonance—oboes and bassoons +(Eng. horn and double bassoon); and b) instruments of "chest-voice" +quality and bright tone—flutes and clarinets (piccolo, bass flute, +small clarinet, bass clarinet).</p> + +<p class="bp">These characteristics of colour and resonance—expressed in too simple +and rudimentary a form—are specially noticeable in the middle and +upper registers. The lower register of the oboes and bassoons is thick +and rough, yet still nasal in quality; the very high compass is +shrill, hard and dry. The clear resonance of the flutes and clarinets +acquires something nasal and dark in the lower compass; in the very +high register it becomes somewhat piercing.</p> + +<div class="bboxf"> +<h3><a name="Table_B" id="Table_B"></a>Note to Table B.</h3> + +<div class="blockquot"><p>In the following Table B the top note in each register +serves as the bottom note in the next, as the limits to each +register are not defined absolutely. The note <i>G</i> fixes the +register of flutes and oboes, <i>C</i> for the clarinets and +bassoons. In the very high compass those notes are only +given which can really be used; anything higher and not +printed as actual notes are either too difficult to produce +or of no artistic value. The number of sounds obtainable in +the highest compass is indefinite, and depends, partly on +the quality of the instrument itself, partly on the position +and application of the lips. The signs +<img src="images1/resonance.png" width="101" height="14" alt="resonance" title="resonance" /> +are not to be mistaken for <i>crescendo</i> and <i>diminuendo</i>; they indicate how +the resonance of an instrument increases or diminishes in +relation to the characteristic quality of its timbre. The +scope of greatest expression for each typical instrument is +marked thus, +<img src="images1/bracket.png" width="88" height="17" alt="bracket" title="bracket" /> +under the notes; the range is +the same in each instrument of the same type.</p></div> + +<h3>Table B. Wind group.</h3> + +<p class="center">These instruments give all chromatic intervals.</p> + +<p class="centertp"> +<img src="images1/table_b.png" width="600" height="659" alt="Table B" title="Table B" /> +</p> + +<p class="centerbp">[<a href="images1/table_b_lg.png">Enlarge</a>]</p> +</div> + +<p class="tp"><span class="pagenum"><a name="Page_18" id="Page_18">-18-</a></span></p> + +<div class="blockquot"><p><i>Note.</i> It is a difficult matter to define tone quality in +words; we must encroach upon the domain of sight, feeling, +and even taste. Though borrowed from these senses, I have no +doubt as to the appropriateness of my comparisons, but, as a +general rule definitions drawn from other sources are too +elementary to be applied to music. No condemnatory meaning +however should be attached to my descriptions, for in using +the terms thick, piercing, shrill, dry, etc. my object is to +express <i>artistic</i> fitness in words, rather than material +exactitude. Instrumental sounds which have no musical +meaning are classed by me in the category of <i>useless +sounds</i>, and I refer to them as such, giving my reasons. +With the exception of these, the reader is advised to +consider all other orchestral timbres beautiful from an +artistic point of view, although it is necessary, at times, +to put them to other uses.</p> + +<p><span class="err" title="Transcriber's Note: The table referred +to precedes this paragraph in the original.">Further on</span>, a <a href="#Table_B">table of wind instruments</a> is appended, +outlining the approximate limit of range, defining different +qualities of tone and indicating the scope of greatest +expression (the piccolo and double bassoon excepted).</p></div> + +<p>Flutes and clarinets are the most flexible wood-wind instruments (the +flutes in particular), but for expressive power and subtlety in +<i>nuances</i> the clarinet supersedes them; this instrument can reduce +volume of tone to a mere breath. The nasal instruments, oboe and +bassoon, are less mobile and supple; this is accounted for by their +double reed, but, having to effect all sorts of scales and rapid +passages in common with the flutes and clarinets, oboes and bassoons +may be considered melodic instruments in the real sense of the word, +only of a more <i>cantabile</i> and peaceful character. In very quick +passages they often double the flutes, clarinets or strings.</p> + +<p>The four families are equally capable of <i>legato</i> and <i>staccato</i> +playing and changing from one to the other in different ways, but +distinct and penetrating <i>staccato</i> passages are better suited to the +oboes and bassoons, while the flutes and clarinets excel in +well-sustained <i>legato</i> phrases. Composite <i>legato</i> passages should be +allotted to the first two instruments, composite <i>staccato</i> passages +to the latter pair, but these general directions should not deter the +orchestrator from adopting the opposite plan.</p> + +<p>In comparing the technical individualities of the wood-wind the +following fundamental differences should be noted:</p> + +<p>a) The rapid repetition of a single note by single tonguing is common +to all wind instruments; repetition of a single note by means of +double tonguing is only possible on the flute, a reedless instrument.</p> + +<p>b) On account of its construction the clarinet is not well adapted to +sudden leaps from one octave to another; these skips are easier on +flutes, oboes and bassoons.<span class="pagenum"><a name="Page_19" id="Page_19">-19-</a></span></p> + +<p>c) <i>Arpeggios</i> and rapid alternation of two intervals <i>legato</i> sound +well on flutes and clarinets, but not on oboes and bassoons.</p> + +<p>Wood-wind players cannot manage extremely long sustained passages, as +they are compelled to take breath; care must be taken therefore to +give them a little rest from time to time. This is unnecessary in the +case of string players.</p> + +<p>In the endeavour to characterise the timbre of each instrument typical +of the four families, from a psychological point of view, I do not +hesitate to make the following general remarks which apply generally +to the middle and upper registers of each instrument:</p> + +<p>a) Flute.—Cold in quality, specially suitable, in the major key, to +melodies of light and graceful character; in the minor key, to slight +touches of transient sorrow.</p> + +<p>b) Oboe.—Artless and gay in the major, pathetic and sad in the minor.</p> + +<p>c) Clarinet.—Pliable and expressive, suitable, in the major, to +melodies of a joyful or contemplative character, or to outbursts of +mirth; in the minor, to sad and reflective melodies or impassioned and +dramatic passages.</p> + +<p>d) Bassoon.—In the major, an atmosphere of senile mockery; a sad, +ailing quality in the minor.</p> + +<p>In the extreme registers these instruments convey the following +impressions to my mind:</p> + +<table style="width: 80%" border="0" cellpadding="4" cellspacing="0" summary="registers"> +<tr><td> </td><td class="center"><i>Low register</i></td><td class="center"><i>Very high register</i></td></tr> +<tr><td>a) Flute—</td><td class="center">Dull, cold</td><td class="center">Brilliant</td></tr> +<tr><td>b) Oboe—</td><td class="center">Wild</td><td class="center">Hard, dry</td></tr> +<tr><td>c) Clarinet—</td><td class="center">Ringing, threatening</td><td class="center">Piercing</td></tr> +<tr><td>d) Bassoon—</td><td class="center">Sinister</td><td class="center">Tense.</td></tr> +</table> + +<div class="blockquot"><p><i>Note.</i> It is true that no mood or frame of mind, whether it +be joyful or sad, meditative or lively, careless or +reflective, mocking or distressed can be aroused by one +single isolated timbre; it depends more upon the general +melodic line, the harmony, rhythm, and dynamic shades of +expression, upon the whole formation of a given piece of +music. The choice of instruments and timbre to be adopted +depends on the position which melody and harmony occupy in +the seven-octave scale of the orchestra; for example, a +melody of light character in the tenor register could not be +given to the flutes, or a sad, plaintive phrase in the high +soprano register confided to the bassoons. But the ease with +which tone colour can be adapted to expression must not be +forgotten, and in the first of these two cases it may be +conceded that the mocking character of the bassoon could +easily and quite naturally assume a light-hearted aspect, +and<span class="pagenum"><a name="Page_20" id="Page_20">-20-</a></span> in the second case, that the slightly melancholy timbre +of the flute is somewhat related to the feeling of sorrow +and distress with which the passage is to be permeated. The +case of a melody coinciding in character with the instrument +on which it is played is of special importance, as the +effect produced cannot fail to be successful. There are also +moments when a composer's artistic feeling prompts him to +employ instruments, the character of which is at variance +with the written melody (for eccentric, grotesque effects, +etc.).</p></div> + +<p>The following remarks illustrate the characteristics, timbre, and +employment of special instruments:</p> + +<p>The duty of the piccolo and small clarinet is, principally, to extend +the range of the ordinary flute and clarinet in the high register. The +whistling, piercing quality of the piccolo in its highest compass is +extraordinarily powerful, but does not lend itself to more moderate +shades of expression. The small clarinet in its highest register is +more penetrating than the ordinary clarinet. The low and middle range +of the piccolo and small clarinet correspond to the same register in +the normal flute and clarinet, but the tone is so much weaker that it +is of little service in those regions. The double bassoon extends the +range of the ordinary bassoon in the low register. The characteristics +of the bassoon's low compass are still further accentuated in the +corresponding range of the double bassoon, but the middle and upper +registers of the latter are by no means so useful. The very deep notes +of the double bassoon are remarkably thick and dense in quality, very +powerful in <i>piano</i> passages.</p> + +<div class="blockquot"><p><i>Note.</i> Nowadays, when the limits of the orchestral scale +are considerably extended (up to the high <i>C</i> of the 7<span class="super">th</span> +octave, and down to the low <i>C</i>, 16 ft. contra octave), the +piccolo forms an indispensable constituent of the +wind-group; similarly, it is recognised that the double +bassoon is capable of supplying valuable assistance. The +small clarinet is rarely employed and only for colour +effects.</p></div> + +<p>The English horn, or alto oboe (oboe in <i>F</i>) is similar in tone to the +ordinary oboe, the listless, dreamy quality of its timbre being sweet +in the extreme. In the low register it is fairly penetrating. The bass +clarinet, though strongly resembling the ordinary clarinet, is of +darker colour in the low register and lacks the silvery quality in the +upper notes; it is incapable of joyful expression. The bass flute is +an instrument seldom used even today; it possesses the same features +as the flute, but it is colder in<span class="pagenum"><a name="Page_21" id="Page_21">-21-</a></span> colour, and crystalline in the +middle and high regions. These three particular instruments, apart +from extending the low registers of the instruments to which they +belong, have their own distinctive peculiarities of timbre, and are +often used in the orchestra, as solo instruments, clearly exposed.</p> + +<div class="blockquot"><p><i>Note.</i> Of the six special instruments referred to above, +the piccolo and double bassoon were the first to be used in +the orchestra; the latter, however, was neglected after +Beethoven's death and did not reappear until towards the end +of the 19<span class="super">th</span> century. The Eng. horn and bass clarinet were +employed initially during the first half of the same century +by Berlioz, Meyerbeer, and others, and for some time +retained their position as <i>extras</i>, to become, later on, +permanent orchestral factors, first in the theatre, then in +the concert room. Very few attempts have been made to +introduce the small clarinet into the orchestra (Berlioz +etc.); this instrument together with the bass flute is used +in my opera-ballet <i>Mlada</i> (1892), and also in my most +recent compositions, <i>The Christmas Night</i>, and <i>Sadko</i>; the +bass flute will also be found in <i>The Legend of the +Invisible City of Kitesh</i>, and in the revised version of +"<i>Ivan the Terrible</i>".</p></div> + +<p>Of late years the habit of muting the wood-wind has come into fashion. +This is done by inserting a soft pad, or a piece of rolled-up cloth +into the bell of the instrument. Mutes deaden the tone of oboes, Eng. +horns, and bassoons to such an extent that it is possible for these +instruments to attain the extreme limit of <i>pianissimo</i> playing. The +muting of clarinets is unnecessary, as they can play quite softly +enough without artificial means. It has not yet been discovered how to +mute the flutes; such a discovery would render great service to the +piccolo. The lowest notes on the bassoon,</p> + +<p class="centertbp"><img src="images1/ms007.png" width="91" height="55" alt="Music: B1" title="Music: B1" /> +and on the oboe and Eng. horn +<img src="images1/ms008.png" width="89" height="58" alt="Music: B3" title="Music: B3" /> +</p> + +<p class="noindent">are impossible when the instruments are muted. Mutes have no effect in +the highest register of wind instruments.</p> + + +<h3>Brass.</h3> + +<p class="bp">The formation of the group of brass instruments, like that of the +wood-wind is not absolutely uniform, and varies in different scores. +The brass group may be divided into three general classes +corresponding to those of the wood-wind (in pair's, in three's, and in +four's).<span class="pagenum"><a name="Page_22" id="Page_22">-22-</a></span></p> + +<table style="width: 100%" border="0" cellpadding="4" cellspacing="0" summary="woodwinds"> +<tr><td class="center" style="border: 1px solid black">Group corresponding<br /> +to the wood-wind<br /> +in pair's</td> +<td class="center" style="border: 1px solid black">Group corresponding<br /> +to the wood-wind<br /> +in three's</td> +<td class="center" style="border: 1px solid black">Group corresponding<br /> +to the wood-wind<br /> +in four's</td></tr> +<tr><td style="border-right: 1px solid black; border-left: 1px solid black"> </td><td style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II—Small trumpet).</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Trumpets I, II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trumpets I, II, III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trumpets I, II, III.</td></tr> +<tr><td style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III—Alto trumpet</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III—Alto trumpet or</td></tr> +<tr><td style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">or:</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">Bass trumpet.)</td></tr> +<tr><td style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">{ 2 Cornets I, II.</td><td style="border-right: 1px solid black; border-left: 1px solid black"> </td></tr> +<tr><td style="border-right: 1px solid black; border-left: 1px solid black"> </td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black"><span style="margin-left: 1em;">{ 2 Trumpets I, II.)</span></td><td style="border-right: 1px solid black; border-left: 1px solid black"> </td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">4 Horns I, II, III, IV.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">4 Horns I, II, III, IV.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">6 or 8 Horns I, II, III, IV, V, VI, VII, VIII.</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trombones.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trombones I, II, III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trombones I, II, III.</td></tr> +<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black; border-bottom: 1px solid black">1 Tuba.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black; border-bottom: 1px solid black">1 Tuba<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black; border-bottom: 1px solid black"> 1 Tuba.</td></tr> +</table> + +<p class="tp">The directions are the same as in the preceding table for wood-wind. +It is evident that in all three classes the formation may vary as the +composer wishes. In music for the theatre or concert room page after +page may be written without the use of trumpets, trombones and tuba, +or some instrument may be introduced, temporarily as an <i>extra</i>. In +the above table I have given the most typical formations, and those +which are the most common at the present day.</p> + +<div class="blockquot"><p><i>Note I.</i> Besides the instruments given above, Richard +Wagner used some others in <i>The Ring</i>, notably the quartet +of tenor and bass tubas, and a contrabass trombone. +Sometimes these additions weigh too heavily on the other +groups, and at other times they render the rest of the brass +ineffective. For this reason composers have doubtless +refrained from employing such instruments, and Wagner +himself did not include them in the score of <i>Parsifal</i>. +Some present-day composers (Richard Strauss, Scriabine) +write for as many as five trumpets.</p> + +<p><i>Note II.</i> From the middle of the 19<span class="super">th</span> century onward the +natural brass disappeared from the orchestra, giving place +to valve instruments. In my second opera, <i>The May Night</i> I +used natural horns and trumpets, changing the keys, and +writing the best notes "stopped"; this was purposely done +for practise.</p></div> + +<p>Though far less flexible than the wood-wind, brass instruments +heighten the effect of other orchestral groups by their powerful +resonance. Trumpets, trombones, and tubas are about equal in<span class="pagenum"><a name="Page_23" id="Page_23">-23-</a></span> +strength; cornets have not quite the same force; horns, in <i>forte</i> +passages, are about one half as strong, but <i>piano</i>, they have the +same weight as other brass instruments played softly. To obtain an +equal balance, therefore, the marks of expression in the horns should +be one degree stronger than in the rest of the brass; if the trumpets +and trombones play <i>pp</i>, the horns should be marked <i>p</i>. On the other +hand, to obtain a proper balance in <i>forte</i> passages, two horns are +needed to one trumpet or one trombone.</p> + +<p>Brass instruments are so similar in range and timbre that the +discussion of register is unnecessary. As a general rule quality +becomes more brilliant as the higher register is approached, and <i>vice +versa</i>, with a decrease in tone. Played <i>pp</i> the resonance is sweet; +played <i>ff</i> the tone is hard and "crackling". Brass instruments +possess a remarkable capacity for swelling from <i>pianissimo</i> to +<i>fortissimo</i>, and reducing the tone inversely, the <i>sf</i> +<img src="images1/decrescendo.jpg" width="40" height="12" alt="decrescendo" title="decrescendo" /> +<i>p</i> effect being excellent.</p> + +<p>The following remarks as to character and tone quality may be added:</p> + +<p>a) 1. <i>Trumpets</i> (<i>B♭-A</i>). Clear and fairly penetrating in tone, +stirring and rousing in <i>forte</i> passages; in <i>piano</i> phrases the high +notes are full and silvery, the low notes troubled, as though +threatening danger.</p> + +<p class="bi">2. <i>Alto trumpet</i> (in <i>F</i>). An instrument of my own invention, first +used by me in the opera-ballet <i>Mlada</i>. In the deep register (notes 2 +to 3 in the trumpet scale) it possesses a fuller, clearer, and finer +tone. Two ordinary trumpets with an alto trumpet produce greater +smoothness and equality in resonance than three ordinary trumpets. +Satisfied with the beauty and usefulness of the alto trumpet, I have +consistently written for it in my later works, combined with wood-wind +in three's.</p> + +<div class="blockquot"><p><i>Note.</i> To obviate the difficulty of using the alto trumpet +in ordinary theatres and some concert rooms, I have not +brought into play the last four notes of its lowest register +or their neighbouring chromatics; by this means the alto +trumpet part may be played by an ordinary trumpet in <i>B♭</i> +or <i>A</i>.</p></div> + +<p class="bi">3. <i>Small trumpet</i> (in <i>E♭-D</i>). Invented by me and used for the +first time in <i>Mlada</i> to realise the very high<span class="pagenum"><a name="Page_24" id="Page_24">-24-</a></span> trumpet notes without +difficulty. In tonality and range the instrument is similar to the +soprano cornet in a military band.</p> + +<div class="blockquot"><p><i>Note.</i> The small trumpet, (<i>B♭-A</i>) sounding an octave +higher than the ordinary trumpet has not yet appeared in +musical literature.</p></div> + +<p>b) <i>Cornets</i> (in <i>B♭-A</i>). Possessing a quality of tone similar to +the trumpet, but softer and weaker. It is a beautiful instrument +though rarely employed today in theatre or concert room. Expert +players can imitate the cornet tone on the trumpet, and <i>vice versa</i>.</p> + +<p>c) <i>Horn</i> (in <i>F</i>). The tone of this instrument is soft, poetical, and +full of beauty. In the lower register it is dark and brilliant; round +and full in the upper. The middle notes resemble those of the bassoon +and the two instruments blend well together. The horn, therefore, +serves as a link between the brass and wood-wind. In spite of valves +the horn has but little mobility and would seem to produce its tone in +a languid and lazy manner.</p> + +<p>d) <i>Trombone.</i> Dark and threatening in the deepest register, brilliant +and triumphant in the high compass. The <i>piano</i> is full but somewhat +heavy, the <i>forte</i> powerful and sonorous. Valve trombones are more +mobile than slide trombones, but the latter are certainly to be +preferred as regards nobility and equality of sound, the more so from +the fact that these instruments are rarely required to perform quick +passages, owing to the special character of their tone.</p> + +<p class="bp">e) <i>Tuba.</i> Thick and rough in quality, less characteristic than the +trombone, but valuable for the strength and beauty of its low notes. +Like the double bass and double bassoon, the tuba is eminently useful +for doubling, an octave lower, the bass of the group to which it +belongs. Thanks to its valves, the tuba is fairly flexible.</p> + + +<div class="bboxf"> +<h3><a name="Table_C" id="Table_C"></a>Table C. Brass group.</h3> + +<p class="center">These instruments give all chromatic intervals.<a name="FNanchor_A_9" id="FNanchor_A_9"></a><a href="#Footnote_A_9" class="fnanchor">[A]</a> <a name="FNanchor_B_10" id="FNanchor_B_10"></a><a href="#Footnote_B_10" class="fnanchor">[B]</a></p> + +<p class="centertp"> +<img src="images1/table_c.png" width="500" height="233" alt="Table C" title="Table C" /> +</p> + +<p class="center">[<a href="images1/table_c_lg.png">Enlarge</a>]</p> + +<p class="centerbp">Natural sounds are given in white notes. The upper lines indicate the +scope of greatest expression.</p> +</div> + +<p class="tp">The <a href="#Table_C">group of brass instruments</a>, though uniform in resonance throughout +its constituent parts, is not so well adapted to expressive playing +(in the exact sense of the word) as the wood-wind group. Nevertheless, +a scope of greatest expression may be distinguished<span class="pagenum"><a name="Page_26" id="Page_26">-26-</a></span><span class="pagenum"><a name="Page_25" id="Page_25">-25-</a></span> in the middle +registers. In company with the piccolo and double bassoon it is not +given to the small trumpet (<i>E♭-D</i>) and tuba to play with any great +amount of expression. The rapid and rhythmical repetition of a note by +single tonguing is possible to all members of the brass, but double +tonguing can only be done on instruments with a small mouth-piece, +trumpets and cornets. These two instruments can execute rapid +<i>tremolando</i> without difficulty. The remarks on breathing, in the +section devoted to the wood-wind, apply with equal force to the brass.</p> + +<p>The use of stopped notes and mutes alters the character of brass tone. +Stopped notes can only be employed on trumpets, cornets and horns; the +shape of trombones and tubas prevents the hand from being inserted +into the bell. Though mutes are applied indiscriminately to all brass +instruments in the orchestra, tubas rarely possess them. Stopped and +muted notes are similar in quality. On the trumpet, muting a note +produces a better tone than stopping it.</p> + +<p>In the horn both methods are employed; single notes are stopped in +short phrases, muted in longer ones. I do not propose to describe the +difference between the two operations in detail, and will leave the +reader to acquire the knowledge for himself, and to form an opinion as +to its importance from his own personal observation. Sufficient to say +that the tone is deadened by both methods, assuming a wild "crackling" +character in <i>forte</i> passages, tender and dull in <i>piano</i>. Resonance +is greatly reduced, the silvery tone of the instrument so lost and a +timbre resembling that of the oboe and Eng. horn is approached. +Stopped notes (<i>con sordino</i>) are marked <span class="xlg">+</span> +underneath the note, sometimes followed by +<img src="images1/open.png" width="21" height="21" alt="no mute" title="no mute" />, +denoting the resumption of open sounds, <i>senza sordini</i>. Brass +instruments, when muted, produce an effect of distance.</p> + + +<h2>C. Instruments of little sustaining power.</h2> + +<h3>Plucked strings.</h3> + +<p>When the usual orchestral string quartet (Vn<span class="super">s</span> I, Vn<span class="super">s</span> II, Violas, +'Cellos, D. basses) does not make use of the bow, but plucks the +strings with the finger, it becomes to my mind a new and inde<span class="pagenum"><a name="Page_27" id="Page_27">-27-</a></span>pendent +group with its own particular quality of tone. Associated with the +harp, which produces sound in a similar manner, I consider it +separately under the heading of plucked strings.</p> + +<div class="blockquot"><p><i>Note.</i> In this group may be classed the guitar, zither, +balalaïka; instruments plucked with a quill, such as the +domra,<a name="FNanchor_9_11" id="FNanchor_9_11"></a><a href="#Footnote_9_11" class="fnanchor">[9]</a> the mandoline etc., all of which may be used in an +orchestra, but have no place in the scope of the present +book.</p></div> + + +<h3>Pizzicato.</h3> + +<p>Although capable of every degree of power from <i>ff</i> to <i>pp</i>, +<i>pizzicato</i> playing has but small range of expression, and is used +chiefly as a colour effect. On open strings it is resonant and heavy, +on stopped strings shorter and duller; in the high positions it is +rather dry and hard.</p> + +<p><a href="#Table_D">Table D</a> on <span class="err" title="Transcriber's Note: +Table D has been moved to p. 30 to avoid breaking up a paragraph."><a href="#Page_30">page 31</a></span> indicates the range in which <i>pizzicato</i> may be +used on each stringed instrument.</p> + +<p>In the orchestra, <i>pizzicato</i> comes into operation in two distinct +ways: a) on single notes, b) on double notes and chords. The fingers +of the right hand playing <i>pizz.</i> are far less agile than the bow; +<i>pizz.</i> passages therefore can never be performed as quickly as those +played <i>arco</i>. Moreover, the speed of <i>pizzicato</i> playing depends upon +the thickness of the strings; on the double basses, for instance, it +must always be much slower than on the violins.</p> + +<p>In <i>pizzicato</i> chords it is better to avoid open strings, which +produce a more brilliant tone than of covered strings. Chords of four +notes allow of greater freedom and vigour of attack, as there is no +danger of accidentally touching a wrong note. Natural harmonics played +<i>pizz.</i> create a charming effect; the tone is weak however, and they +are chiefly successful on the violoncello.</p> + + +<h3>Harp.</h3> + +<p>In the orchestra, the harp is almost entirely an harmonic or +accompanying instrument. The majority of scores require only one harp +part, but in recent times composers have written for two or even three +harps, which are sometimes compressed into the one part.<span class="pagenum"><a name="Page_28" id="Page_28">-28-</a></span></p> + +<div class="blockquot"><p><i>Note.</i> Full orchestras should include three or even four +harps. My operas <i>Sadko</i>, <i>The Legend of the Invisible City +of Kitesh</i>, and <i>The Golden Cockerel</i> are designed for two +harps, <i>Mlada</i> for three.</p></div> + +<p>The special function of the harp lies in the execution of chords, and +the florid figures springing from them. As only four notes at the most +can be played by each hand, the notes of a chord should be written +close together, with not too great a space between one hand and the +other. The chords must always be broken (<i>arpeggiato</i>); should the +composer wish otherwise he should notify it (<i>non arpeggiato</i>). In the +middle and lower octaves the resonance of the strings is slightly +prolonged, and dies away gradually. In changes of harmony the player +stops the vibration of the strings with his hands, but, in quick +modulations, this method is not feasible, and the mixture of one chord +with another produces a discordant effect. It follows that more or +less rapid figures can only be realised clearly and neatly in the +upper register of the harp, where the strings are shorter and harder +in tone.</p> + +<p>As a general rule, in the whole range of the harp:</p> + +<p class="centertbp"> +<img src="images1/harp.png" width="448" height="107" alt="C1♭-F7♯" title="C1♭-F7♯" /> +</p> + +<p class="noindent">only the notes of the first to the fourth octave are used; the extreme +notes in both compasses may be employed in special circumstances, and +for doubling in octaves.</p> + +<p>The harp is essentially a diatonic instrument, since all chromatic +passages depend on the manipulation of the pedals. For this reason the +harp does not lend itself to rapid modulation, and the orchestrator is +advised to bear this fact in mind. But the difficulty may be obviated +by using two harps alternately.<a name="FNanchor_10_12" id="FNanchor_10_12"></a><a href="#Footnote_10_12" class="fnanchor">[10]</a></p> + +<div class="blockquot"><p><i>Note.</i> I would remind the reader that the harp is not +capable of double sharps or double flats. For this reason, +certain modulations from one key to another one, adjacent to +it can only be accomplished enharmonically. For instance, +the transition from <i>C</i> flat, <i>G</i> flat or <i>D</i> flat, major to +their minor subdominant chords or keys is not possible owing +to double flats. It is therefore<span class="pagenum"><a name="Page_29" id="Page_29">-29-</a></span> necessary to start +enharmonically from the keys of <i>B</i>, <i>F</i> sharp or <i>C</i> sharp, +major. Similarly, on account of double sharps, it is +impossible to change from <i>A</i> sharp, <i>D</i> sharp or <i>G</i> sharp, +minor to their respective dominant major chords or keys; <i>B</i> +flat, <i>E</i> flat and <i>A</i> flat, minor must be the +starting-points.</p></div> + +<p>The technical operation known as <i>glissando</i> is peculiar to the harp +alone. Taking for granted that the reader is conversant with the +methods of acquiring different scales by means of double-notched +pedals, it will be sufficient to remark that <i>glissando</i> scales +produce a discordant medley of sound owing to the length of time the +strings continue to vibrate, and therefore, as a <i>purely musical</i> +effect, <i>glissando</i> can only be used in the upper octaves, quite +<i>piano</i>, where the sound of the strings is sufficiently clear, yet not +too prolonged. <i>Forte glissando</i> scales, entailing the use of the +lower and middle strings are only permissible as embellishments. +Glissando passages in chords of the seventh and ninth, enharmonically +obtained, are much more common, and as the above reservations do not +apply, every dynamic shade of tone is possible. Chords in harmonics +can only consist of three notes written close together, two for the +left hand and one for the right.</p> + +<p>The tender poetic quality of the harp is adapted to every dynamic +shade, but it is never a very powerful instrument, and the +orchestrator should treat it with respect.</p> + +<p>At least three, if not four harps in unison are necessary, if they are +to be heard against a full orchestra playing <i>forte</i>. The more rapidly +a <i>glissando</i> passage is played, the louder it will sound. Harmonic +notes on the harp have great charm but little resonance, and are only +possible played quite softly. Speaking generally, the harp, like the +string quartet, <i>pizzicato</i>, is more an instrument of colour than +expression.</p> + + +<h2>Percussion instruments producing determinate<br /> +sounds, keyed instruments.</h2> + +<h3>Kettle-drums.</h3> + +<p>Kettle-drums, indispensable to every theatre and concert orchestra +occupy the most important place in the group of percussion +instruments. A pair of kettle-drums (<i>Timpani</i>), in the tonic and +dominant keys, was the necessary attribute of an orchestra up to, and<span class="pagenum"><a name="Page_30" id="Page_30">-30-</a></span> +including Beethoven's time, but, from the middle of the 19<span class="super">th</span> +century onward, in western Europe and in Russia, an ever-increasing +need was felt for the presence of three or even four kettle-drums, +during the whole course or part of a work. If the expensive chromatic +drum, permitting instant tuning is rarely met with, still, in the +majority of good orchestras, three screw drums are generally to be +found. The composer can therefore take it for granted that a good +timpanist, having three kettle-drums at his command, will be able to +tune at least one of them during a pause of some length.</p> + +<p class="bp">The limits of possible change in Beethoven's time was considered to +be:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="kettledrums"> +<tr> +<td class="center">Big<br />kettle-drum:</td> +<td class="center"><img src="images1/bigkettle.png" width="161" height="65" alt="F2-C3 (chromatically)" title="F2-C3 (chromatically)" /></td> +<td class="center">Small<br />kettle-drum:</td> +<td class="center"><img src="images1/smkettle.png" width="163" height="68" alt="B♭2-F3 (chromatically)" title="B♭2-F3 (chromatically)" /></td> +</tr> +</table> + +<p class="tp">In these days it is difficult to define the precise extent of high +compass in the kettle-drums, as this depends entirely on the size and +quality of the smallest one, of which there are many kinds, but I +advise the composer to select:</p> + +<p class="centertbp"> +<img src="images1/kettle.png" width="166" height="75" alt="E2-G♯3 (chromatically)" title="E2-G♯3 (chromatically)" /> +</p> + +<div class="blockquot"><p><i>Note.</i> A magnificent kettle-drum of very small size was +made for my opera-ballet <i>Mlada</i>; this instrument gave the +<i>D♭</i> of the fourth octave.</p></div> + +<p>Kettle-drums are capable of every dynamic shade of tone, from +thundering <i>fortissimo</i> to a barely perceptible <i>pianissimo</i>. In +<i>tremolando</i> they can execute the most gradual <i>crescendo</i>, +<i>diminuendo</i>, the <i>sfp</i> and <i>morendo</i>.</p> + +<p class="bp">To deaden the sound, a piece of cloth is generally placed on the skin +of the drum, according to the instruction: <i>timpani coperti</i> (muffled +drums).</p> + + +<div class="bboxf"> +<h3><a name="Table_D" id="Table_D"></a>Table D.</h3> + +<h3>Pizzicato.</h3> + +<p class="centertp"> +<img src="images1/table_d.png" width="500" height="235" alt="Table D" title="Table D" /> +</p> + +<p class="center">[<a href="images1/table_d_lg.png">Enlarge</a>]</p> + +<div class="blockquot"> +<p class="bp">The black notes are dry and hard, without resonance, and should only be +used when doubled with the wood-wind.</p> +</div> + + +<h3><a name="Table_E" id="Table_E"></a>* Table E.</h3> + +<h3>Glockenspiel, celesta, xylophone.</h3> + +<p class="centertp"> +<img src="images1/table_e.png" width="500" height="351" alt="Table E" title="Table E" /> +</p> + +<p class="centerbp">[<a href="images1/table_e_lg.png">Enlarge</a>]</p> +</div> + +<h3 class="tp">Piano and Celesta.</h3> + +<p>The use of a piano in the orchestra (apart from pianoforte concertos) +belongs almost entirely to the Russian school.<a name="FNanchor_11_13" id="FNanchor_11_13"></a><a href="#Footnote_11_13" class="fnanchor">[11]</a> The object is +two-fold: the quality of tone, either alone, or combined with<span class="pagenum"><a name="Page_32" id="Page_32">-32-</a></span> that +of the harp, is made to imitate a popular instrument, the guzli, (as +in Glinka), or a soft peal of bells. When the piano forms part of an +orchestra, not as a solo instrument, an upright is preferable to a +grand, but today the piano is gradually being superseded by the +celesta, first used by Tschaikovsky. In the celesta, small steel +plates take the place of strings, and the hammers falling on them +produce a delightful sound, very similar to the <i>glockenspiel</i>. The +celesta is only found in full orchestras; when it is not available it +should be replaced by an upright piano, and not the <i>glockenspiel</i>.</p> + + +<h3>Glockenspiel, Bells, Xylophone.</h3> + +<p>The <i>glockenspiel</i> (<i>campanelli</i>) may be made of steel bars, or played +with a keyboard. The first type is the more satisfactory and possesses +greater resonance. The use of the <i>glockenspiel</i> is similar to the +celesta, but its tone is more brilliant and penetrating. Big bells in +the shape of hollow discs or metal tubes,<a name="FNanchor_12_14" id="FNanchor_12_14"></a><a href="#Footnote_12_14" class="fnanchor">[12]</a> or real church bells of +moderate size may be considered more as theatrical properties than +orchestral instruments.</p> + +<p>The xylophone is a species of harmonica composed of strips or +cylinders of wood, struck with two little hammers. It produces a +clattering sound, both powerful and piercing.</p> + +<p>To complete this catalogue of sounds mention should be made of the +strings playing <i>col legno</i>, that is with the wood or back of the bow. +The sound produced is similar to the xylophone, and gains in quality +as the number of players is increased.</p> + +<p>A <a href="#Table_E">table</a> is appended showing the range of the celesta, <i>glockenspiel</i> +and xylophone.</p> + + +<h2>Percussion instruments producing indefinite sounds.</h2> + +<p>Instruments in this group, such as triangle, castanets, little bells, +tambourine, switch or rod (<i>Rute.</i> Ger.), side or military drum, +cymbals, bass drum, and Chinese gong do not take any harmonic or +melodic part in the orchestra, and can only be considered as +ornamental instruments pure and simple. They have no intrinsic<span class="pagenum"><a name="Page_33" id="Page_33">-33-</a></span> +musical meaning, and are just mentioned by the way. The first three +may be considered as <i>high</i>, the four following as <i>medium</i>, and the +last <i>two</i> as deep instruments. This may serve as a guide to their use +with percussion instruments of determinate sounds, playing in +corresponding registers.</p> + + +<h2>Comparison of resonance in orchestral groups and<br /> +combination of different tone qualities.</h2> + +<p>In comparing the resonance of the respective groups of +sound-sustaining instruments we arrive at the following approximate +conclusions:</p> + +<p>In the most resonant group, the brass, the strongest instruments are +the trumpets, trombones and tuba. In loud passages the horns are only +one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns. +Wood-wind instruments, in <i>forte</i> passages, are twice as weak as the +horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Bassoons; but, in +<i>piano</i> passages, all wind-instruments, wood or brass are of fairly +equal balance.</p> + +<p>It is more difficult to establish a comparison in resonance between +wood-wind and strings, as everything depends on the number of the +latter, but, in an orchestra of medium formation, it may be taken for +granted that in <i>piano</i> passages, the whole of one department (<i>all</i> +1<span class="super">st</span> Violins or <i>all</i> 2<span class="super">nd</span> Violins etc.) is equivalent in strength +to one wind instrument, (Violins I = 1 Flute etc.), and, in <i>forte</i> +passages, to two wind instruments, (Violins I = 2 Flutes = 1 Oboe <span class="lg">+</span> 1 +Clarinet, etc.).</p> + +<p>It is still harder to form a comparison with instruments of little +sustaining power, for too great a diversity in production and emission +of sound exists. The combined force of groups of sustained resonance +easily overpowers the strings played <i>pizz.</i> or <i>col legno</i>, the piano +played softly, or the celesta. As regards the <i>glockenspiel</i>, bells, +and xylophone, their emphatic tone will easily prevail over other +groups in combination. The same may be said of the kettle-drums with +their ringing, resounding quality, and also of other subsidiary +instruments.</p> + +<p>The influence of the timbre of one group on another is noticeable when +the groups are doubled; for instance, when the wood-wind timbre is +closely allied to the strings on the one hand, and to the brass on the +other. Re-inforcing both, the wind <i>thickens</i> the strings<span class="pagenum"><a name="Page_34" id="Page_34">-34-</a></span> and +<i>softens</i> the brass. The strings do not blend so well with the brass, +and when the two groups are placed side by side, each is heard too +distinctly. The combination of the three different timbres in unison +produces a rich, mellow and coherent tone.</p> + +<p>All, or several wind instruments in combination will absorb one +department of added strings:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="winds and strings"> +<tr><td> </td><td>2 Fl.</td><td><span class="lg">+</span></td><td>2 Ob.</td><td><span class="lg">+</span></td><td>Vn<span class="super">s</span> I,</td></tr> +<tr><td>or:</td><td>2 Ob.</td><td><span class="lg">+</span></td><td>2 Cl.</td><td><span class="lg">+</span></td><td>Violas,</td></tr> +<tr><td>or:</td><td>2 Cl.</td><td><span class="lg">+</span></td><td>2 Fag.</td><td><span class="lg">+</span></td><td>'Cellos.</td></tr> +</table> + +<p>One department of strings added to the wood-wind in unison produces a +sweet coherent quality, the wood-wind timbre still predominating; but +the addition of one wind instrument to all or part of the strings in +unison, only thickens the resonance of the latter, the wood-wind +timbre being lost in the process:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="strings and winds"> +<tr><td> </td><td>Vn<span class="super">s</span> I</td><td><span class="lg">+</span></td><td>Vn<span class="super">s</span> II</td><td><span class="lg">+</span></td><td>1 Ob.,</td></tr> +<tr><td>or:</td><td>Violas</td><td><span class="lg">+</span></td><td>'Cellos</td><td><span class="lg">+</span></td><td>1 Cl.</td></tr> +<tr><td>or:</td><td>'Cellos</td><td><span class="lg">+</span></td><td>D. basses</td><td><span class="lg">+</span></td><td>1 Fag.</td></tr> +</table> + +<p>Muted strings do not combine so well with wood-wind, as the two tone +qualities remain distinct and separate. Uniting plucked strings and +percussion with instruments of sustained resonance results in the +following: wind instruments, wood and brass, strengthen and clarify +<i>pizzicato</i> strings, harp, kettle-drums and percussion generally, the +latter lending a touch of relief to the tone of the wood-wind. Uniting +plucked strings and percussion with bowed instruments does not produce +such a satisfactory blend, both qualities being heard independently. +The combination of plucked strings with percussion alone, is +excellent; the two blend perfectly, and the consequent increase in +resonance yields an admirable effect.</p> + +<p>The relationship which exists between string harmonics and the flute +or piccolo constitutes a link between the two groups in the upper +range of the orchestra. Moreover, the timbre of the viola may be +vaguely compared to the middle register of the bassoon and the lowest +compass of the clarinet; hence, in the medium orchestral range, a +point of contact is established between the quartet of strings and the +wood-wind.</p> + +<p>The bassoon and horn provide the connection between wood-wind and +brass, these two instruments being somewhat analogous<span class="pagenum"><a name="Page_35" id="Page_35">-35-</a></span> in character +when played <i>piano</i> or <i>mezzo-forte</i>; the flute also, in its lowest +register, recalls the <i>pianissimo</i> trumpet tone. Stopped and muted +notes in horns and trumpets are similar in quality to the oboe and +Eng. horn, and blend tolerably well with the latter instrument.</p> + +<p>Concluding this survey of orchestral groups I add a few remarks which +seem to me of special importance.</p> + +<p>The principal part in music is undertaken by three instrumental groups +of sustained resonance, representing the three primary elements, +melody, harmony and rhythm. Instruments of little sustaining power, +though sometimes used independently, are chiefly employed for ornament +and colour; instruments producing indeterminate sounds play no melodic +or harmonic part, their functions being purely rhythmical.</p> + +<p>By glancing at the order in which the six orchestral groups are +placed, strings, wood-wind, brass, plucked strings, percussion +producing definite, and those producing indefinite sounds, the reader +will be able to determine the part played by each in the art of +orchestration, from the secondary standpoint of colour and expression. +As regards expression, the strings come first, and the expressive +capacity of the other groups diminishes in the above order, colour +being the only attribute of the last group of percussion instruments.</p> + +<p>The same order obtains from the standpoint of general effect in +orchestration. We can listen to strings for an almost indefinite +period of time without getting tired, so varied are their +characteristics (<i>vide</i> the number of string quartets, suites, +serenades etc. written for strings alone). The addition of a single +group of strings will add lustre to a passage for wind instruments. On +the other hand, the quality of wind instruments soon becomes +wearisome; the same may be said of plucked strings, and also +percussion of every kind which should only be employed at reasonable +intervals in orchestral composition.</p> + +<p>It cannot be denied that the constant use of compound timbres, in +pair's, in three's etc. eliminates characteristics of tone, and +produces a dull, neutral texture, whereas the employment of simple, +elementary combinations gives infinitely greater scope for variety in +colour.</p> + +<p class="right">7 (20) June 1908.</p> + + + +<hr /> +<p><span class="pagenum"><a name="Page_36" id="Page_36">-36-</a></span></p> + +<h1><a name="Chapter_II" id="Chapter_II"></a>Chapter II.</h1> + +<p class="center"><span class="lg">MELODY.</span></p> + +<hr class="short" /> + +<p>Whether it be long or short, a simple theme or a melodic phrase, +melody should always stand out in relief from the accompaniment. This +may be done by artificial or natural means; artificially, when the +question of tone quality does not come into consideration, and the +melody is detached by means of strongly accentuated dynamic shades; +naturally, by selection and contrast of timbres, strengthening of +resonance by doubling, tripling, etc., or crossing of parts +(violoncellos above the violas and violins, clarinets or oboes above +the flutes, bassoons above the clarinets etc.).</p> + +<p>Melody planned in the upper parts stands out from the very fact of +position alone, and likewise, to a less degree when it is situated in +the low register. In the middle of the orchestral range it is not so +prominent and the methods referred to above come into operation. They +may also be employed for two part melody (in thirds and sixths) and +for polyphonic writing.</p> + + +<h2>Melody in stringed instruments.</h2> + +<p>Instances of the melodic use of stringed instruments are innumerable. +The reader will find many examples in the present treatise. With the +exception of the double basses,—dull in tone and of little +flexibility, chiefly employed in unison or in octaves with the +violoncellos,—each of the other stringed instruments, taken +independently, is qualified to assume full responsibility for the +melodic line.</p> + + +<h3>a) Violins.</h3> + +<p>Melody in the soprano-alto register and an extra-high compass usually +falls to the lot of the 1<span class="super">st</span> Violins, sometimes to the 2<span class="super">nd</span> +Violins or to both in unison, a process which produces fuller +resonance without impairing quality of tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The Tsar's Bride</i> <span class="box">84</span>.<a name="FNanchor_C_15" id="FNanchor_C_15"></a><a href="#Footnote_C_15" class="fnanchor">[C]</a>—<i>Pianissimo</i> melody (Vn<span class="super">s</span> I) of a +<span class="pagenum"><a name="Page_37" id="Page_37">-37-</a></span>troubled dramatic character. Harmonic accompaniment (Vn<span class="super">s</span> II and +Violas <i>tremolando</i>—middle parts; the Violoncellos forming the bass).</p> + +<p><i>Antar</i>, before <span class="box">70</span>.—Descending melodic phrase, Vn<span class="super">s</span> I <i>con +sordini piano</i>.</p> + +<p><a href="rimsky2.html#No_001">No. 1.</a> <i>Shéhérazade</i> 2<span class="super">nd</span> movement <span class="box">B</span>. A <i>piano</i> melody (Vn<span class="super">s</span> +I) graceful in character.</p> + +<p><i>Antar</i> <span class="box">12</span>. Light graceful melody, oriental in style; a dance +measure (Vn<span class="super">s</span> I <i>con sord.</i>), the mutes producing a dull ethereal +quality of tone.</p> + +<p><a href="rimsky2.html#No_002">No. 2.</a> <i>The Legend of the Invisible City of Kitesh</i> <span class="box">283</span>.</p> + +<p class="bp"><a href="rimsky2.html#No_003">No. 3.</a> <i>Spanish Capriccio</i> <span class="box">J</span>. Vn<span class="super">s</span> I in the upper register +doubling the high register of the wood-wind. Choice resonance.</p> + + +<h3>b) Violas.</h3> + +<p>Melody in the alto-tenor register and a still higher compass is +assigned to the violas. <i>Cantabile</i> melodies however are not so +frequently written for violas as for violins and 'cellos, partly +because the viola tone is slightly nasal in quality and better fitted +for short characteristic phrases, partly because the number of viola +players in an orchestra is smaller. Melodies confided to the violas +are generally doubled by other strings or by the wood-wind.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_004">No. 4.</a> <i>Pan Voyevoda</i>, duet in Act II <span class="box">145</span>. A long <i>cantabile</i> +melody in the violas, <i>dolce</i>, in unison with the <i>mezzo soprano</i> +voice.</p> + +<p><a href="rimsky2.html#No_005">No. 5.</a> <i>The Golden Cockerel</i> <span class="box">193</span>.—Flowing <i>cantabile</i>.</p> + +<p class="bp"><a href="rimsky2.html#No_006">No. 6.</a> <i>Sadko.</i> Symphonic tableau <span class="box">12</span>.—Muted violas. A short dance +theme, <i>piano</i> in <i>D♭</i> major. (The same theme in Eng. horn<span class="pagenum"><a name="Page_38" id="Page_38">-38-</a></span> in the +6<span class="super">th</span> scene of the opera <i>Sadko</i> is slightly more penetrating in +tone).</p> + + +<h3>c) Violoncellos.</h3> + +<p>Violoncellos, representing the tenor-bass range <span class="lg">+</span> an extra-high +compass are more often entrusted with tense passionate <i>cantabile</i> +melody than with distinctive figures or rapid phrases. Such melodies +are usually laid out for the top string (<i>A</i>) which possesses a +wonderfully rich "chest" quality.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Antar</i> <span class="box">56</span>. <i>Cantabile</i> on the <i>A</i> string.</p> + +<p><i>Antar</i> <span class="box">63</span>. The same melody in <i>D♭</i> maj. on the <i>D</i> string +(doubled by the bassoons).</p> + +<p><a href="rimsky2.html#No_007">No. 7.</a> <i>Pan Voyevoda</i> <span class="box">134</span>, nocturne, "Moonlight". A broad melody +<i>dolce ed espressivo</i>, afterwards doubled by the first violins an +octave higher.</p> + +<p><a href="rimsky2.html#No_008">No. 8.</a> <i>Snegourotchka</i> <span class="box">231</span>. At the fifth bar, a melody on the <i>A</i> +string <i>cantabile ed espressivo</i>, imitating the first clarinet.</p> + +<p class="bp"><a href="rimsky2.html#No_009">No. 9.</a> <i>Snegourotchka</i> <span class="box">274</span>. Melodic phrase with embellishments.</p> + + +<h3>d) Double basses.</h3> + +<p>Owing to its register—<i>basso profondo</i> <span class="lg">+</span> a still lower compass,—and +its muffled resonance, the double bass is little capable of broad +<i>cantabile</i> phrases and only in unison or in octaves with the 'cellos. +In my own compositions there is no phrase of any importance given to +the double bass without the support of 'cellos or bassoons.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <a href="rimsky2.html#No_010">No. 10.</a> <i>Legend of Kitesh</i> <span class="box">306</span>. Double bass solo, doubled first +by the double bassoon, later by the bassoon. This example affords an +instance of the rare use of the alto clef (in the last few notes).</p> + +<p class="bp">* <a href="rimsky2.html#No_011">No. 11.</a> <i>The Golden Cockerel</i> <span class="box">120</span>.—D. basses <span class="lg">+</span> D. bassoons.<span class="pagenum"><a name="Page_39" id="Page_39">-39-</a></span></p> + + +<h2>Grouping in unison.</h2> + +<p>a) Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II.—It goes without saying that this combination +entails no alteration in colour; it gains in power and richness of +tone by reason of the increased number of players, and is usually +attended by doubling of the melody in some departments of the +wood-wind. The large number of violins prevents the wood-wind +predominating, and the tone quality remains that of the string +quartet, enriched and amplified.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_012">No. 12.</a> <i>Shéhérazade</i>, beginning of the third movement. <i>Cantabile</i> +for Vn<span class="super">s</span> I and II on the <i>D</i> string, then on the <i>A</i>.</p> + +<p><i>The May Night</i>, overture <span class="box">D</span>. Quick <i>piano</i> melody, beginning +<i>cantabile</i> and divided later in octaves</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="instruments"> +<tr> +<td rowspan="2"><span class="xxlg">(</span></td> +<td>Vn<span class="super">s</span> I</td> +<td rowspan="2"><span class="xxlg">]</span></td> +<td rowspan="2">8</td> +<td rowspan="2"><span class="xxlg">)</span></td> +</tr> +<tr> +<td>Vn<span class="super">s</span> II</td> +</tr> +</table> + +<p class="noindent">with florid embellishment.</p> + +<p class="bp"><a href="rimsky2.html#No_013">No. 13.</a> <i>The Golden Cockerel</i> <span class="box">170</span>.—Vn<span class="super">s</span> I <span class="lg">+</span> II muted.</p> + + +<p>b) Violins <span class="lg">+</span> Violas.—The combination of violins and violas presents +no special characteristics, as in the preceding case. The violins +remain predominant, and the resonance is rich and full.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_014">No. 14.</a> <i>Sadko</i> <span class="box">208</span>.—Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Violas (<i>G</i> string). Quiet +<i>cantabile</i> melody <i>pp</i>, in unison with the altos and tenors of the +chorus.</p> + +<p class="bp">The <i>Golden Cockerel</i> <span class="box">142</span>.—Same combination.</p> + + +<p>c) Violas <span class="lg">+</span> 'Cellos.—Produces a rich full resonance, the 'cello +quality predominating.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_015">No. 15.</a> <i>Snegourotchka</i> <span class="box">5</span>.—Apparition of Spring. Violas <span class="lg">+</span> 'Cellos +<span class="lg">+</span> Eng. horn. The same melody, <i>mezzo-forte cantabile</i> as in <a href="rimsky2.html#No_009">Ex. 9</a>; but +in a brighter key, a third higher, its resonance is more brilliant and +tense. The addition of the Eng. horn makes no essential difference to +the compound tone; the 'cellos stand out above the rest.</p> + +<p class="bp"><a href="rimsky2.html#No_016">No. 16.</a> <i>The Golden Cockerel</i> <span class="box">71</span>. Violas <span class="lg">+</span> 'Cellos muted.<span class="pagenum"><a name="Page_40" id="Page_40">-40-</a></span></p> + + +<p>d) Violins <span class="lg">+</span> 'Cellos.—A combination similar to the preceding one. The +'cello tone prevails and the resonance is fuller.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_017">No. 17.</a> <i>Snegourotchka</i> <span class="box">288</span>. "Spring descends upon the lake". +Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II <span class="lg">+</span> 'Cellos <span class="lg">+</span> Eng. horn. +The same <i>cantabile</i> as in +<a href="rimsky2.html#No_009">Ex. 9</a>, and <a href="rimsky2.html#No_015">15</a>. The Eng. horn is absorbed in the musical texture, the +principal colour being that of the 'cellos. Still more powerful in +resonance.</p> + +<p class="bp"><a href="rimsky2.html#No_018">No. 18.</a> <i>The May Night.</i> Act III <span class="box">L</span>. Chorus of <i>Roussâlki</i>. The +combination of the solo 'cello with the violins gives the latter a +touch of the 'cello timbre.</p> + + +<p>e) Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Violas <span class="lg">+</span> 'Cellos.—Combining violins, violas and +'cellos in unison is not possible except in the alto-tenor register; +this process unites the full resonance of the instruments into an +<i>ensemble</i> of complex quality, very tense and powerful in <i>forte</i> +passages, extremely full and rich in <i>piano</i>.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_019">No. 19.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">P</span>.—Energetic phrase <i>ff</i>.</p> + +<p><i>Mlada</i>, Lithuanian dance, before <span class="box">36</span>.</p> + +<p class="bp"><i>Mlada</i>, Act III. <span class="box">40</span>.—Cleopatra's dance. <i>Cantabile</i> embellished +in oriental fashion.</p> + + +<p>f) Violoncellos <span class="lg">+</span> D. basses.—A combination of rich full resonance, +used occasionally for phrases in the very low register.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_020">No. 20.</a> <i>Sadko</i> <span class="box">260</span>.—A persistent <i>forte</i> figure, severe in +character.</p> + +<p class="bp"><a href="rimsky2.html#No_021">No. 21.</a> <i>Legend of Kitesh</i> <span class="box">240</span>.—A <i>pianissimo</i> phrase, sinister +and horrible in character.</p> + + +<h2>Stringed instruments doubling in octaves.</h2> + +<p>a) Vn<span class="super">s</span> I and Vn<span class="super">s</span> II in octaves.</p> + +<p>This is a very common process used for all kinds of melodic figures, +in particular those in the very high register. It has already been +stated that the <i>E</i> string diminishes in fulness of tone<span class="pagenum"><a name="Page_41" id="Page_41">-41-</a></span> the higher +it ascends from the limits of the soprano voice. Moreover, melodic +figures in the very high register of the violins become too isolated +from the rest of the <i>ensemble</i> unless doubled in octaves. Such +doubling secures expression, fulness of tone and firmness of timbre. +The reader will find numerous examples of violins in octaves; a few +are added below, chiefly broad and expressive phrases.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_022">No. 22.</a> <i>The Tsar's Bride</i> <span class="box">166</span>. <i>Cantabile, piano.</i></p> + +<p><i>The Tsar's Bride</i> <span class="box">206</span>. <i>Cantabile, mezzo-piano</i>; the lower part +is in unison with the soprano voice.</p> + +<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">J</span>. <i>Cantabile</i> in <i>G</i> major; +<i>dolce</i> and <i>cantabile</i> (the same as <a href="rimsky2.html#No_012">Ex. 12</a>).</p> + +<p><a href="rimsky2.html#No_023">No. 23.</a> <i>The Legend of Tsar Saltan</i> <span class="box">227</span>. Melody with reiterated +notes, <i>dolce, espress. e cantabile</i>.</p> + +<p><i>Sadko</i>, Symphonic tableau <span class="box">12</span>.</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="noindent">muted. A short dance phrase <i>pianissimo</i>, given first to the +violas, then to the violins (cf. <a href="rimsky2.html#No_006">Ex. 6</a>).</p> + +<p><a href="rimsky2.html#No_024">No. 24.</a> <i>Sadko</i>, opera <span class="box">207</span>. Perhaps an unique example of its kind; +violins playing in the very extremity of the high register.</p> + +<div class="blockquot"><p><i>Note.</i> This passage is difficult but nevertheless quite +playable. One or two desks of the 1<span class="super">st</span> Violins are +sufficient to double the melody in the upper octave, all the +other 1<span class="super">st</span> Violins can play the octave below. In this way +the piercing quality of the highest notes will be +diminished, the melody will acquire a clearer and more +pleasant sound, and the expressive tone quality of the lower +octave will be strengthened.</p></div> + +<p>*<i>The Golden Cockerel</i> <span class="box">156</span>.</p> + +<p>* <span style="margin-left: 1em;">"</span> <span style="margin-left: 2em;">"</span> <span style="margin-left: 2em;">"</span> <span style="margin-left: 1.8em;"><span class="box">165</span>.</span></p> + +<p>* <i>Antar</i>, 1<span class="super">st</span> movement <span class="box">11</span>.</p> + +<p class="bp">* <a href="rimsky2.html#No_025">No. 25.</a> <i>Ivan the Terrible</i>, Act III <span class="box">63</span>.</p> + + +<p>b) Violins <i>divisi</i> in octaves.</p> + +<p>First and second violins divided in two parts and progressing in +octaves will deprive the melody of resonance, since the number of +players is diminished by half, the consequences being specially +noticeable in small orchestras. Nevertheless the method can be used +occasionally when the strings are doubled by the wood-wind, and when +the melody falls in a sufficiently high register.<span class="pagenum"><a name="Page_42" id="Page_42">-42-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">166</span>.—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="noindent"><i>mezzo-forte espressivo</i>. Partial doubling of Coupava's song +(Sopr.). One flute and one oboe double the melody.</p> + +<p><a href="rimsky2.html#No_026">No. 26.</a> <i>Snegourotchka</i> <span class="box">283</span>.—Chorus of Flowers—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Vn<span class="super">s</span> soli<br /> +Vn<span class="super">s</span> I <span class="lg">+</span> Fl. I</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="bp" style="text-indent: 0em"><i>Pianissimo cantabile</i> in two octaves, +progressing with the women's chorus (Sopr. I), and given out earlier +by the Eng. horn. The flute and all the 1<span class="super">st</span> Violins except two play +in the lower octave, the two solo violins, only, in the upper. The +solo desk will be sufficiently prominent owing to the general +<i>pianissimo</i>.</p> + + +<p>c) Violins and Violas in octaves.</p> + +<p>First and second Violins progressing with the Violas in octaves is a +common method, especially when the lower octave in the melody happens +to go below the open <i>G</i> string on the violins.</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>1. </td> +<td style="padding-top: .3em">Vn<span class="super">s</span> (I or II)<br /> +Violas</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="centertp"><i>Example:</i></p> + +<p><i>Snegourotchka</i> <span class="box">137</span>, finale of Act I. Quick melody, <i>piano</i>.</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>2. </td> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II<br /> +Violas</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 and 3. </td> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II <span class="lg">+</span> Violas</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>These two distributions are not exactly the same. The first should be +used to obtain greater brilliance in the upper part, the second to +give the lower part a fuller and more <i>cantabile</i> quality.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_027">No. 27.</a> <i>Sadko</i>, before <span class="box">181</span>.—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II<br /> +Violas</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent">Quick animated passage, <i>forte</i>, introducing reiterated notes.</p> + +<p class="bp"><a href="rimsky2.html#No_028">No. 28.</a> <i>Snegourotchka</i> <span class="box">137</span>, finale to Act I—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II <span class="lg">+</span> +Violas</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent"><i>Cantabile</i> phrase, transmitted to the flute and clarinet +(cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</p> + + +<p>d) Violas and Violoncellos in octaves.</p> + +<p>Of special use when the Violins are otherwise employed.</p> + +<p class="centertp"><i>Example:</i></p> + +<p>* <i>Legend of Kitesh</i> <span class="box">59</span>,</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Violas<br /> +Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8,</td> +</tr> +</table> + +<p class="bp" style="text-indent: 0em">doubled by bassoons.</p> + +<p>e) Violins and Violoncellos in octaves.</p> + +<p>Used in very expressive passages where the 'cellos have to play on the +<i>A</i> or <i>D</i> strings. This method produces a more resonant tone than the +preceding one; instances of it are frequent.<span class="pagenum"><a name="Page_43" id="Page_43">-43-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_029">No. 29.</a> <i>Antar</i> <span class="box">43</span>.—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II<br /> +'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent"><i>Cantabile</i> of Eastern origin.</p> + +<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">H</span>.—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent"><i>Cantabile mezzo-forte appassionato</i> (cf. <a href="rimsky2.html#No_001">Ex. 1</a>).</p> + +<p>* <a href="rimsky2.html#No_030">No. 30.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement, before <span class="box">P</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II <span class="lg">+</span> 'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 and </td> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II<br /> +'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent">The first arrangement is rarely found.</p> + +<p><i>Pan Voyevoda</i> <span class="box">134</span>, nocturne "Moonlight"—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent"><i>Cantabile</i> melody given first to 'cellos alone (cf. <a href="rimsky2.html#No_007">Ex. 7</a>).</p> + +<p><i>The May Night</i>, Act III <span class="box">B, C, D</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II<br /> +'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="bp" style="text-indent: 0em">A <i>forte</i> melodic phrase.</p> + + +<p>f) Violoncellos and Double basses in octaves.</p> + +<p>The bass is usually constructed in this manner. Examples of it are to +be found everywhere. Sometimes the double bass part is simplified in +comparison with the 'cello part.</p> + +<p class="centertp"><i>Example:</i></p> + +<p class="bp"><i>Snegourotchka</i> <span class="box">9</span>, Fairy Spring's <i>Aria</i>.</p> + +<p>g) Violas and Double basses in octaves.</p> + +<p>This combination seldom arises and is only used when the 'cellos are +otherwise employed.</p> + +<p class="centertp"><i>Example:</i></p> + +<p class="bp"><a href="rimsky2.html#No_031">No. 31.</a> <i>Legend of Kitesh</i> <span class="box">223</span>.</p> + +<p>h) Parts progressing in octaves, each part doubled in unison. Melodies +situated in the middle orchestral range may be allotted to 1<span class="super">st</span> and +2<span class="super">nd</span> Vn<span class="super">s</span>, in octaves with Violas and 'Cellos. This arrangement is +constantly found, and produces a beautiful quality of tone, somewhat +severe in character.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">58</span>, <span class="box">60</span>, <span class="box">65</span> and <span class="box">68</span>. The same melody, +played twice <i>pianissimo</i>, not doubled, then twice (<i>mezzo-forte</i> and +<i>forte</i>), doubled in the wood-wind.<span class="pagenum"><a name="Page_44" id="Page_44">-44-</a></span></p> + +<p><i>Mlada</i>, Act II, the beginning of the Lithuanian dance. A lively +<i>piano</i> theme.</p> + +<p class="bp"><i>Ivan the Terrible</i>, Act II <span class="box">28</span>.</p> + +<div class="blockquot"><p><i>Note I.</i> It may be of use to point out that melodies lying +in the extreme upper register, e.g. those exceeding the +middle of the 5<span class="super">th</span> octave, are generally doubled an octave +below, whilst those situated in the extreme low register +(below the middle of the 1<span class="super">st</span> octave) are doubled an +octave higher.</p></div> + +<p class="centertp"><i>Examples:</i></p> + +<p class="bp"><i>Sadko</i> <span class="box">207</span> (cf. <a href="rimsky2.html#No_024">Ex. 24</a>).</p> + +<div class="blockquot"><p><i>Note II.</i> Progression in octaves of divided strings <i>of the +same kind</i> is generally to be avoided:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Violas I<br /> +Violas II,</td> +<td style="padding-top: .3em">'Cellos I<br /> +'Cellos II,</td> +<td style="padding-top: .3em">D. basses I<br /> +D. basses II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8,</td> +</tr> +</table> + +<p class="noindent">for, in such cases the parts are played on strings which do +not correspond, and unity of tone is impaired. This, +however, does not apply to violins.</p></div> + +<div class="blockquot"><p><i>Note III.</i> The following distribution is occasionally +found:</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Violas <span class="lg">+</span> 'Cellos I<br /> +D. basses <span class="lg">+</span> 'Cellos II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> +</div> + + +<h3>Melody in double octaves.</h3> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td rowspan="2" class="vat">a) </td> +<td>Vn<span class="super">s</span> I</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8</td> +<td rowspan="2"> or </td> +<td>Vn<span class="super">s</span> I</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8</td> +</tr> +<tr> +<td>Vn<span class="super">s</span> II<br /> +Violas</td> +<td><span class="xxlg">]</span></td> +<td>8</td> +<td>Vn<span class="super">s</span> II<br /> +'Cellos</td> +<td><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="noindent">may be used for full <i>cantabile</i> melodies extremely tense in +character, and in <i>forte</i> passages for choice.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_032">No. 32.</a> <i>Antar</i> <span class="box">65</span>.—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Vn<span class="super">s</span> I</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8.</td> +</tr> +<tr> +<td>Vn<span class="super">s</span> II<br /> +Violas <span class="lg">+</span> 'Cellos</td> +<td><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><br /></p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td rowspan="2" style="vertical-align: top; padding-top: .3em;">b) </td> +<td>Violas</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8</td> +<td rowspan="2"> or </td> +<td>Vn<span class="super">s</span> I <span class="lg">+</span> II</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8</td> +<td rowspan="2"> or </td> +<td>Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Violas</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8</td> +</tr> +<tr> +<td>'Cellos<br /> +D. basses</td> +<td><span class="xxlg">]</span></td> +<td>8</td> +<td>Violas <span class="lg">+</span>'Cellos<br /> +D. basses</td> +<td><span class="xxlg">]</span></td> +<td>8</td> +<td>'Cellos<br /> +D. basses</td> +<td><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="noindent">are employed when the low register of each instrument is brought into +play, and also to suit phrases of a rough and severe character.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Legend of Kitesh</i> <span class="box">66</span>, opening of the 2<span class="super">nd</span> Act.</p> + +<p><a href="rimsky2.html#No_033">No. 33.</a> <i>Snegourotchka</i> <span class="box">215</span>. Tumblers' dance.<span class="pagenum"><a name="Page_45" id="Page_45">-45-</a></span></p> + +<div class="blockquot"> +<p class="tp"><i>Note.</i> The lack of balance in the distribution:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span>Violas</td> +<td><span style="margin-left: .5em;"><b>]</b></span></td> +<td>8</td> +</tr> +<tr> +<td>'Cellos<br /> +D. basses</td> +<td><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="noindent">is not of any great importance, for, in such cases, the +partial harmonics of one octave support the tone of the +other, and <i>vice versa</i>.</p></div> + + +<h3>Doubling in three and four octaves.</h3> + +<p>The distribution</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="line-height: 1.4em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II<br /> +Violas<br /> +'Cellos<br /> +D. basses</td> +<td><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8</td> +</tr> +</table> + +<p class="noindent">is very seldom found, and as a rule, only when supported by wind +instruments.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The Legend of Kitesh</i> <span class="box">150</span> (<i>allargando</i>).</p> + +<p>* <i>Shéhérazade</i>, 4<span class="super">th</span> movement, commencing at the 10<span class="super">th</span> bar.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II<br /> +Violas <span class="lg">+</span> 'Cellos<br /> +D. basses</td> +<td><span class="mlg">]</span><br /> +<span class="mlg">]</span><br /> +<span class="mlg">]</span><br /> +</td> +<td>8.</td> +</tr> +</table> + + +<h3>Melody in thirds and sixths.</h3> + +<p>In confiding a melody in thirds to the strings it is frequently +necessary to use the same quality of tone in both parts, but in the +case of a melody in sixths different timbres may be employed. In +writing thirds doubled in octaves, the first and second violins should +be used. In spite of the difference in the quantity of players, the +thirds will not sound unequal. The same arrangement may obtain in the +viola and 'cello groups, but it is useless in the case of melody in +sixths.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <a href="rimsky2.html#No_034">No. 34.</a> <i>Legend of Kitesh</i> <span class="box">34</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <i>div.</i>) 3<br /> +Vn<span class="super">s</span> II <i>div.</i>) 3</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <i>Legend of Kitesh</i> <span class="box">39</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Violas</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>6.</td> +</tr> +</table> + +<p>Cf. also <i>Legend of Kitesh</i> <span class="box">223</span>:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II</td> +<td><span class="mlg">}</span></td> +<td>3</td> +<td rowspan="2"><span class="xxlg">]</span></td> +<td rowspan="2">8 (<a href="rimsky2.html#No_031">Ex. 31</a>).</td> +</tr> +<tr> +<td>Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II</td> +<td><span class="mlg">}</span></td> +<td>3</td> +</tr> +</table> + +<p class="tp">Distribution in octaves, thirds, and sixths is usually regulated by +the normal register of the respective instruments, so as to avoid<span class="pagenum"><a name="Page_46" id="Page_46">-46-</a></span> any +suggestion of mannerism resulting from the disturbance of balance. But +such a departure from the recognised order may be permitted in special +cases. For instance, in the following example of writing in sixths the +upper part is allotted to the 'cellos, the lower part to the violins +on the <i>G</i> string; this arrangement produces a quality of tone +distinctly original in character.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_035">No. 35.</a> <i>Spanish Capriccio</i> <span class="box">D</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos<br /> +Vn<span class="super">s</span> I <span class="lg">+</span> II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>6.</td> +</tr> +</table> + + +<h2>Melody in the wood-wind.</h2> + +<p>* The choice of instruments for characteristic and expressive melody +is based on their distinctive qualities, discussed minutely in the +<a href="#Chapter_I">foregoing chapter</a>. To a large extent the question is left to the +orchestrator's own personal taste. Only the best methods of using the +wood-wind in unison or octaves, and distributing a melody in thirds, +sixths and mixed intervals, from the standpoint of resonance and tone +quality will be indicated in this section of the work. Examples of the +use of solo wood-wind are to be found in any score; the following are +typical instances:</p> + +<p class="centertp"><i>Examples of solo wood-wind:</i></p> + +<p>1. <i>Piccolo: Serbian Fantasia</i> <span class="box">C</span>; <a href="rimsky2.html#No_036">No. 36.</a> <i>Tsar Saltan</i> <span class="box">216</span>; +<i>Snegourotchka</i> <span class="box">54</span>.</p> + +<p>2. <i>Flute: Antar</i> <span class="box">4</span>; <i>Servilia</i> <span class="box">80</span>; <i>Snegourotchka</i> <span class="box">79</span>, +<span class="box">183</span>; <i>A Fairy Tale</i> <span class="box">L</span>; <i>The Christmas Night</i> <span class="box">163</span>; <a href="rimsky2.html#No_037">No. 37.</a> +<i>Shéhérazade</i>, 4<span class="super">th</span> movement, before <span class="box">A</span> (<i>Fl. à 2</i> in the low +register).</p> + +<p><i>Flute</i> (double tonguing): <i>Pan Voyevoda</i> <span class="box">72</span>; <i>Shéhérazade</i>, +4<span class="super">th</span> movement, after <span class="box">V</span>; <a href="rimsky2.html#No_038">No. 38.</a> <i>Ivan the Terrible</i>, Act III, +after <span class="box">10</span>.</p> + +<p>3. <i>Bass flute</i>: <a href="rimsky2.html#No_039">No. 39.</a> <i>Legend of Kitesh</i> <span class="box">44</span>.</p> + +<p>4. <i>Oboe</i>: <a href="rimsky2.html#No_040">No. 40.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">A</span>; <i>The May +Night</i>, Act III <span class="box">Kk</span>; <a href="rimsky2.html#No_041">No. 41.</a> <i>Snegourotchka</i> <span class="box">50</span>; +<i>Snegourotchka</i> <span class="box">112</span>, <span class="box">239</span>; <i>The Tsar's Bride</i> <span class="box">108</span> +(cf. <a href="rimsky2.html#No_284">Ex. 284</a>), <a href="rimsky2.html#No_042">No. 42</a> and <a href="rimsky2.html#No_043">43</a>. <i>The Golden Cockerel</i> <span class="box">57</span> and <span class="box">97</span>.</p> + +<p>5. <i>Eng. horn: Snegourotchka</i> <span class="box">97</span>, <span class="box">283</span> (cf. <a href="rimsky2.html#No_026">Ex. 26</a>); <a href="rimsky2.html#No_044">No. 44.</a> +<i>Spanish Capriccio</i> <span class="box">E</span>; <a href="rimsky2.html#No_045">No. 45.</a> <i>The Golden Cockerel</i> <span class="box">61</span>.<span class="pagenum"><a name="Page_47" id="Page_47">-47-</a></span></p> + +<p>6. <i>Small Clarinet</i>: <a href="rimsky2.html#No_046">No. 46.</a> <i>Mlada</i>, Act II <span class="box">33</span>; <i>Mlada</i>, Act III +<span class="box">37</span>.</p> + +<p>7. <i>Clarinet: Serbian Fantasia</i> <span class="box">G</span>; <i>Spanish Capriccio</i> <span class="box">A</span>; +<i>Snegourotchka</i> <span class="box">90</span>, <span class="box">99</span>, <span class="box">224</span>, <span class="box">227</span>, <span class="box">231</span> +(cf. <a href="rimsky2.html#No_008">Ex. 8</a>); <i>The May Night</i>, Act I, before <span class="box">X</span>; <i>Shéhérazade</i>, 3<span class="super">rd</span> movement +<span class="box">D</span>; <i>A Fairy Tale</i> <span class="box">M</span>; <i>The Tsar's Bride</i> <span class="box">50</span>, <span class="box">203</span>; <i>The +Golden Cockerel</i> <span class="box">97</span> (lowest register, cf. <a href="rimsky2.html#No_043">Ex. 43</a>).</p> + +<p>8. <i>Bass clarinet</i>: <a href="rimsky2.html#No_047">No. 47</a> and <a href="rimsky2.html#No_048">48</a>. <i>Snegourotchka</i> <span class="box">243</span> and +<span class="box">246-247</span>.</p> + +<p>9. <i>Bassoon: Antar</i> <span class="box">59</span>; <a href="rimsky2.html#No_049">No. 49.</a> <i>Vera Scheloga</i> <span class="box">36</span>; +<i>Shéhérazade</i>, 2<span class="super">nd</span> movement, beginning (cf. <a href="rimsky2.html#No_040">Ex. 40</a>); <a href="rimsky2.html#No_050">No. 50.</a> <i>The +Golden Cockerel</i> <span class="box">249</span>; <a href="rimsky2.html#No_051">No. 51.</a> <i>Mlada</i>, Act III, after <span class="box">29</span>; cf. +also <a href="rimsky2.html#No_078">Ex. 78</a>.</p> + +<p class="bp">10. <i>Double bassoon: Legend of Kitesh</i>, before <span class="box">84</span>, <span class="box">289</span>; cf. +also <a href="rimsky2.html#No_010">Ex. 10</a> (D. bassoon <span class="lg">+</span> D. bass solo).</p> + +<p>The normal order of wood-wind instruments and that which produces the +most natural resonance is the following: <i>Flutes</i>, <i>Oboes</i>, +<i>Clarinets</i>, <i>Bassoons</i> (the order used in orchestral full scores). +Departure from this natural order, e.g. placing bassoons above +clarinets and oboes, or flutes below oboes and clarinets, and +especially below the bassoons, creates a far-fetched, unnatural tone, +useful, however, in certain cases to attain certain special effects. I +do not advise the student to make too free a use of this proceeding.</p> + + +<h3>Combination in unison.</h3> + +<p>The combination of two different wood-wind instruments in unison +yields the following tone qualities:</p> + +<p>a) <i>Flute <span class="lg">+</span> Oboe.</i> A quality fuller than that of the flute, sweeter +than that of the oboe. Played softly, the flute will predominate in +the low, the oboe in the upper register. Example: <a href="rimsky2.html#No_052">No. 52.</a> +<i>Snegourotchka</i> <span class="box">113</span>.</p> + +<p>b) <i>Flute <span class="lg">+</span> Clarinet.</i> A quality fuller than that of the flute, duller +than that of the clarinet. The flute will predominate in the lower, +the clarinet in the higher register. Examples: <a href="rimsky2.html#No_053">No. 53.</a> <i>Legend of +Kitesh</i> <span class="box">330</span>; also <span class="box">339</span> and <span class="box">342</span>.</p> + +<p>c) <i>Oboe <span class="lg">+</span> Clarinet.</i> A fuller quality than that of either instrument +heard separately. The dark, nasal tone of the oboe will prevail in the +low register, the bright, "chest" quality of the clarinet in the high +compass. Examples: <i>Snegourotchka</i> <span class="box">19</span>; <a href="rimsky2.html#No_054">No. 54.</a> <i>Snegourotchka</i><span class="pagenum"><a name="Page_48" id="Page_48">-48-</a></span> +<span class="box">115</span>. Cf. also <i>Legend of Kitesh</i> <span class="box">68</span>, <span class="box">70</span>, <span class="box">84</span>—2 Ob. <span class="lg">+</span> 3 +Cl. (<a href="rimsky2.html#No_199">Ex. 199</a>-<a href="rimsky2.html#No_201">201</a>).</p> + +<p>d) <i>Flute <span class="lg">+</span> Oboe <span class="lg">+</span> Clarinet.</i> Very full in quality. The flute +predominates in the low register, the oboe in the middle, and the +clarinet in the high compass. Examples: <i>Mlada</i>, Act I <span class="box">1</span>; * +<i>Sadko</i> <span class="box">58</span> (2 Fl. <span class="lg">+</span> 2 Ob. <span class="lg">+</span> Small Cl.).</p> + +<p>e) <i>Bassoon <span class="lg">+</span> Clarinet.</i> Very full quality. The gloomy character of +the clarinet prevails in the lower register, the sickly quality of the +bassoon in the higher. Example: <i>Mlada</i>, Act II, after <span class="box">49</span>.</p> + +<p>f) <i>Bassoon <span class="lg">+</span> Oboe</i>, and</p> + +<p>g) <i>Bassoon <span class="lg">+</span> Flute.</i></p> + +<p>The combinations <i>f</i> and <i>g</i>, as well as <i>Bassoon <span class="lg">+</span> Clarinet <span class="lg">+</span> Oboe</i>, +and <i>Bassoon <span class="lg">+</span> Clarinet <span class="lg">+</span> Flute</i> are very seldom found except in +certain orchestral <i>tutti</i>, where they produce increased resonance +without creating a fresh atmosphere. But in such combinations, the +range of which is practically restricted to the limits of the third +octave, the low notes of the flute will predominate in the lower third +of this register, and the high notes of the bassoon in the middle +third. The clarinet, weak in the middle compass will not stand out +prominently in this particular combination.</p> + +<p>h) <i>Bassoon <span class="lg">+</span> Clarinet <span class="lg">+</span> Oboe <span class="lg">+</span> Flute.</i> This combination is equally +rare. The colour is rich, and difficult to define in words. The tone +of each instrument will be separated from the others more or less in +the manner detailed above. Examples: <i>Russian Easter Fête</i>, the +beginning; <a href="rimsky2.html#No_055">No. 55.</a> <i>Snegourotchka</i> <span class="box">301</span>; <i>The May Night</i>, Act III +<span class="box">Qqq</span>.</p> + +<p>The process of combining two or more qualities of tone in unison, +while endowing the music with greater resonance, sweetness and power, +possesses the disadvantage of restricting the variety of colour and +expression. Individual timbres lose their characteristics when +associated with others. Hence such combinations should be handled with +extreme care. Phrases or melodies demanding diversity of expression +alone should be entrusted to solo instruments of simple timbres. The +same applies to the coupling of two instruments of the same kind, such +as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone +will lose nothing of its individuality, and will gain in power, but +its capacity for expression will be diminished accordingly. An<span class="pagenum"><a name="Page_49" id="Page_49">-49-</a></span> +instrument enjoys greater independence and freedom when used as a solo +than when it is doubled. The use of doubling and mixed timbres is +naturally more frequent in loud passages than in soft ones, also where +expression and colour is broad rather than individual or intimate in +character.</p> + +<div class="blockquot"> +<p>I cannot refrain from mentioning how greatly I dislike the +method of duplicating all the wood-wind, in order to balance +a group of strings, reinforced out of all reason, to suit +the ever-growing dimensions of concert halls. I am convinced +that, artistically speaking, a limit should be set to the +size of both concert room and orchestra. The music performed +at these super-concerts must be specially composed on a plan +of its own—a subject which cannot be considered here.</p> +</div> + + +<h3>Combination in octaves.</h3> + +<p>When the melody is entrusted to two wood-wind instruments in octaves, +the usual arrangement producing natural resonance is:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>8</td> +<td class="vat"><span class="xxlg">[</span></td> +<td style="padding-top: .3em">Fl.<br /> +Ob.</td> +<td style="padding-top: .3em">Fl.<br /> +Cl.</td> +<td style="padding-top: .3em">Fl.<br /> +Fag.</td> +<td style="padding-top: .3em">Ob.<br /> +Cl.</td> +<td style="padding-top: .3em">Ob.<br /> +Fag.</td> +<td style="padding-top: .3em">Cl.<br /> +Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p>The combination of flute and bassoon in octaves is rare on account of +the widely separated registers of the two instruments. Deviation from +the natural order, such as placing the bassoon above the clarinet or +oboe, the clarinet above the oboe or flute etc., creates an unnatural +resonance occasioned by the confusion of registers, the instrument of +lower compass playing in its high register and <i>vice versa</i>. The lack +of proper relationship between the different tone qualities then +becomes apparent.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_056">No. 56.</a> <i>Spanish Capriccio</i> <span class="box">O</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_057">No. 57.</a> <i>Snegourotchka</i> <span class="box">254</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Eng. horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <a href="rimsky2.html#No_058">No. 58.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">E</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Sadko</i> <span class="box">195</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Eng. horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Pan Voyevoda</i> <span class="box">132</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Tsar Saltan</i> <span class="box">39</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Cl.<br /> +Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_059">No. 59.</a> <i>Vera Scheloga</i> <span class="box">30</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Cl.<br /> +Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8,</td> +</tr> +</table> + +<p class="noindent">likewise any number of examples in the scores of +various composers.</p> + +<p class="tp">The use of two instruments of the same colour in octaves, e.g. 2 +flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided<span class="pagenum"><a name="Page_50" id="Page_50">-50-</a></span> +is certainly not to be recommended, as the instruments, playing in +different registers will not correspond one with the other. +Nevertheless this method may be safely employed when stringed +instruments, <i>arco</i> or <i>pizzicato</i> double the two members of the +wood-wind, and especially in the middle compass. The process is most +satisfactory for repeated notes or sustained passages.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The May Night</i>, Act I <span class="box">T</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Cl. I<br /> +Cl. II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <i>Sadko</i>, after <span class="box">159</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Ob. I<br /> +Ob. II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3, doubled by <i>pizz.</i> strings.</td> +</tr> +</table> + +<p>* <i>Servilia</i>, after <span class="box">21</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fag. I<br /> +Fag. II</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 <span class="lg">+</span> <i>pizz.</i> strings.</td> +</tr> +</table> + +<p class="tp">Instruments of the same branch playing in octaves, e.g.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>8</td> +<td class="vat"><span class="xxlg">[</span></td> +<td style="padding-top: .3em">Fag.<br /> +C-Fag.</td> +<td style="padding-top: .3em">Cl.<br /> +Cl. basso</td> +<td style="padding-top: .3em">Ob.<br /> +Eng. horn</td> +<td style="padding-top: .3em">Small cl.<br /> +Clar.</td> +<td style="padding-top: .3em">Flute<br /> +Alto Fl.</td> +<td style="padding-top: .3em">Picc.<br /> +Fl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="noindent">always produce a good effect.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">5</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Fl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_015">Ex. 15</a>).</td> +</tr> +</table> + +<p><i>The Tsar's Bride</i> <span class="box">133</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Fl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Tsar Saltan</i> <span class="box">216</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Fl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_036">Ex. 36</a>).</td> +</tr> +</table> + +<p><i>Sadko</i>, after <span class="box">59</span></p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Small cl.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Legend of Kitesh</i> <span class="box">240</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fag.<br /> +C-Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_021">Ex. 21</a>).</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_060">No 60.</a> <i>Mlada</i>, Act III, before <span class="box">44</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Ob.<br /> +Eng. horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="tp">As in the strings, so in the wood-wind it is advisable to double in +octaves any melody situated in the extremely high or low compass; an +octave lower in the first case, an octave higher in the second. Thus +the piccolo will be doubled by the flute, oboe or clarinet an octave +lower; the double bassoon will be doubled by bassoon, clarinet or bass +clarinet an octave higher.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>8</td> +<td class="vat"><span class="xxlg">[</span></td> +<td style="padding-top: .3em">Picc.<br /> +Fl.</td> +<td style="padding-top: .3em">Picc.<br /> +Ob.</td> +<td style="padding-top: .3em">Picc.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>8</td> +<td class="vat"><span class="xxlg">[</span></td> +<td style="padding-top: .3em">Fag.<br /> +C-Fag.</td> +<td style="padding-top: .3em">Bass cl.<br /> +Fag.</td> +<td style="padding-top: .3em">Cl.<br /> +Fag.</td> +<td style="padding-top: .3em">Cl.<br /> +Bass cl.</td> +<td style="padding-top: .3em">Fag.<br /> +Fag.</td> +<td style="padding-top: .3em">Fag.<br /> +Bass cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Tsar Saltan</i> <span class="box">39</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <a href="rimsky2.html#No_061">No. 61.</a> <i>Mlada</i>, Act II, Lithuanian dance <span class="box">32</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Small cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_51" id="Page_51">-51-</a></span></p> + +<p><i>Sadko</i> <span class="box">150</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Small cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="tp">* Mixed qualities of tone may be employed in doubling in octaves, the +above remarks still holding good.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Pan Voyevoda</i> <span class="box">134</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Cl. <span class="lg">+</span> Ob.<br /> +Cl. <span class="lg">+</span> Eng. horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_007">Ex. 7</a>).</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_062">No. 62.</a> <i>Servilia</i> <span class="box">168</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Fl. <span class="lg">+</span> Ob.<br /> +2 Cl. <span class="lg">+</span> Eng. horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_063">No. 63.</a> <i>The Tsar's Bride</i> <span class="box">120</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">3 Fl. <span class="lg">+</span> Ob.<br /> +2 Cl. <span class="lg">+</span> Fag. <span class="lg">+</span> Eng. +horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Mlada</i>, Act III <span class="box">41</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl. <span class="lg">+</span> Bass fl.<br /> +Cl. <span class="lg">+</span> Bass cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + + +<h3>Doubling in two, three and four octaves.</h3> + +<p>In such cases the student should follow the above-mentioned rules, and +should take care not to infringe the natural order:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>In 3 octaves: </td> +<td style="padding-top: .3em">Fl.<br /> +Ob.<br /> +Cl.</td> +<td style="padding-top: .3em">Ob.<br /> +Cl.<br /> +Fag.</td> +<td style="padding-top: .3em">Fl.<br /> +Cl.<br /> +Fag.</td> +<td style="padding-top: .3em">Fl.<br /> +Ob.<br /> +Fag.</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p><br /></p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>In 4 octaves: </td> +<td style="padding-top: .3em">Fl.<br /> +Ob.<br /> +Cl.<br /> +Fag.</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p class="tp">Mixed timbres may also be employed.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_064">No. 64.</a> <i>Spanish Capriccio</i> <span class="box">P</span>—melody in 4 octaves:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +2 Fl.<br /> +2 Ob. <span class="lg">+</span> Cl.<br /> +Fag.</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p><i>The Tsar's Bride</i> <span class="box">141</span>—melody in 3 octaves.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">212</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>2 Cl.<br /> +Bass cl.<br /> +D. bassoon</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p>* <a href="rimsky2.html#No_065">No. 65.</a> <i>Antar</i>, (1<span class="super">st</span> version) 3<span class="super">rd</span> movement, the +beginning—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Picc. <span class="lg">+</span> 2 Fl.<br /> +2 Ob. <span class="lg">+</span> 2 Cl.<br /> +2 Fag.</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8;</td> +</tr> +</table> + +<p class="noindent">also <span class="box">C</span>, melody +in 4 octaves (piccolo in the upper octaves).</p> + +<p>* <i>Mlada</i>, Act III, after <span class="box">42</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Fl.<br /> +Ob.<br /> +Eng. horn</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_066">No. 66.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">G</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Picc.<br /> +Cl. I<br /> +Cl. II</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p class="tp">Examples of melody doubled in five octaves are extremely rare; in such +cases the strings participate in the process.<span class="pagenum"><a name="Page_52" id="Page_52">-52-</a></span></p> + + +<h3>Melody in thirds and sixths.</h3> + +<p>Melodic progression in thirds and sixths demands either two +instruments of the same colour (2 Fl., 2 Ob., 2 Cl., 2 Fag.), or +instruments of different colours in the normal order of register:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Ob.</td> +<td style="padding-top: .3em">Fl.<br /> +Cl.</td> +<td style="padding-top: .3em">Ob.<br /> +Cl.</td> +<td style="padding-top: .3em">Cl.<br /> +Fag.</td> +<td style="padding-top: .3em">Ob.<br /> +Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6).</td> +</tr> +</table> + +<p class="noindent">If this order is inverted, e.g.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Ob.<br /> +Fl.</td> +<td style="padding-top: .3em">Cl.<br /> +Fl.</td> +<td style="padding-top: .3em">Fag.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6),</td> +</tr> +</table> + +<p class="noindent">a strained and forced resonance is created. For progressions in thirds, +the best method, from the standpoint of equality in tone is to use +instruments of the same kind in pairs; for progressions in sixths +instruments of different kinds are more suitable, but both courses are +good and useful. They may also be employed for progressions in thirds +and sixths, or thirds, fifths and sixths mixed, as for example:</p> + +<p class="centertp"> +<img src="images1/progression.png" width="248" height="56" alt="Music" title="Music" /> +</p> + +<p class="centerbp">[<a href="music1/progression.mp3">Listen</a>]</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Legend of Kitesh</i> <span class="box">24</span>—different wind instruments in turn.</p> + +<p><i>The May Night</i>, Act III <span class="box">G</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Cl.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3.</td> +</tr> +</table> + +<p><i>Sadko</i> <span class="box">279-280</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Fl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6).</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_067">No. 67.</a> <i>Spanish Capriccio</i>, before <span class="box">V</span>—various wood-wind in thirds +and sixths.</p> + +<p><i>Servilia</i> <span class="box">228</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Fl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3</td> +<td class="center">and</td> +<td style="padding-top: .3em">Cl.<br /> +Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3.</td> +</tr> +</table> + +<p><i>The Golden Cockerel</i> <span class="box">232</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Fl.<br /> +2 Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>6.</td> +</tr> +</table> + +<p>* <i>Sadko</i> <span class="box">43</span>—All wood-wind in turn, simple timbres.</p> + +<p class="tp">When the doubled parts progress in thirds or sixths, the following +method is advisable:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob.<br /> +Fl. <span class="lg">+</span> Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6)</td> +<td class="center">or</td> +<td style="padding-top: .3em">Fl. <span class="lg">+</span> Cl.<br /> +Fl. <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6) etc., as well as:</td> +</tr> +<tr> +<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob.<br /> +Fl. <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6)</td> +<td class="center">or</td> +<td style="padding-top: .3em">Ob. <span class="lg">+</span> Fl.<br /> +Fl. <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6) etc.</td> +</tr> +</table> + +<p>In the case of tripling the following arrangement may be adopted:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl.<br /> +Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6)</td> +<td class="center">or</td> +<td style="padding-top: .3em">Ob. <span class="lg">+</span> 2 Fl.<br /> +Ob. <span class="lg">+</span> 2 Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3 (6) etc.</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <a href="rimsky2.html#No_068">No. 68.</a> <i>The Christmas Night</i> <span class="box">187</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Ob. <span class="lg">+</span> Cl.<br /> +Ob. <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3.</td> +</tr> +</table> + +<p>* <i>Legend of Kitesh</i> <span class="box">202-203</span> different mixed timbres.<span class="pagenum"><a name="Page_53" id="Page_53">-53-</a></span></p> + + +<h3>Thirds and sixths together.</h3> + +<p class="centertp"> +<img src="images1/thirds-sixths.png" width="325" height="63" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/thirds-sixths.mp3">Listen</a>]</p> + +<p>Apart from the obvious distribution:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Fl.<br /> +Ob.<br /> +Cl.</td> +<td class="center">or</td> +<td>Ob.<br /> +Cl.<br /> +Fag.,</td> +</tr> +</table> + +<p class="noindent">there are certain complicated methods which involve doubling:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr><td>Upper</td><td class="center">part.</td><td>Ob. <span class="lg">+</span> Fl.</td></tr> +<tr><td>Middle</td><td class="center">"</td><td>Fl. <span class="lg">+</span> Cl.</td></tr> +<tr><td>Lower</td><td class="center">"</td><td>Ob. <span class="lg">+</span> Cl.</td></tr> +</table> + +<p>The following is a complex instance somewhat vague in character:</p> + +<p><a href="rimsky2.html#No_069">No. 69.</a> Legend of Kitesh <span class="box">35</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Ob.<br /> +Ob. <span class="lg">+</span> Cl.<br /> +Cl.</td> +<td class="center">and</td> +<td>Fl.<br /> +Fl. <span class="lg">+</span> Ob.<br /> +Ob.</td> +</tr> +</table> + + +<h2>Melody in the brass.</h2> + +<p>The natural scale, the only one which brass instruments had at their +disposal prior to the invention of valves was:</p> + +<p class="centertp"> +<img src="images1/brass_scale.png" width="317" height="98" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/brass_scale.mp3">Listen</a>]</p> + +<p class="noindent">giving, in two part harmony:</p> + +<p class="centertp"> +<img src="images1/brass_harmony.png" width="267" height="53" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/brass_harmony.mp3">Listen</a>]</p> + +<p class="noindent">With the help of rhythm, these component parts have given rise to a +whole series of themes and phrases named fanfares, trumpet calls or +flourishes, best adapted to the character of brass instruments.</p> + +<p>In modern music, thanks to the introduction of valves, this scale is +now possible in all keys for every chromatic brass instrument, without +it being necessary to change the key, and the addition of a few notes +foreign to the natural scale has enriched the possibilities of these +flourishes and fanfares, and endowed them with greater variety of +expression.</p> + +<p>These phrases, either as solos, or in two or three parts, fall +specially to the lot of the trumpets and horns, but they may also be +given to the trombones. The full, clear, ringing notes of the middle +and upper register of horns and trumpets are best suited to figures of +this description.<span class="pagenum"><a name="Page_54" id="Page_54">-54-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Servilia</i> <span class="box">20</span>—Trumpets.</p> + +<p><i>The Christmas Night</i> <span class="box">182</span>—Horn, Trumpets.</p> + +<p><i>Vera Scheloga</i>, beginning of Overture, and after <span class="box">45</span>—Horn, +Trumpets.</p> + +<p><i>Ivan the Terrible</i>, Act III <span class="box">3</span>—Cornet.</p> + +<p><i>Snegourotchka</i> <span class="box">155</span>—Trumpets.</p> + +<p><a href="rimsky2.html#No_070">No. 70.</a> <i>Legend of Kitesh</i> <span class="box">65</span> and elsewhere.—3 Trumpets, 4 Horns.</p> + +<p><i>Pan Voyevoda</i> <span class="box">191</span>—2 Trombones, Trumpet.</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">20</span>—2 Horns and</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Trumpets<br /> +Horns</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. further on).</td> +</tr> +</table> + +<p class="tp">After fanfare figures, those melodies best suited to the brass quality +are those of an unmodulated diatonic character, rousing and triumphant +in the major key, dark and gloomy in the minor.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_071">No. 71.</a> <i>Sadko</i> <span class="box">342</span>—Trumpet.</p> + +<p><i>Sadko</i>, before <span class="box">181</span>—Trombones (cf. <a href="rimsky2.html#No_027">Ex. 27</a>).</p> + +<p><a href="rimsky2.html#No_072">No. 72.</a> <i>Snegourotchka</i> <span class="box">71</span>—Trumpet.</p> + +<p><i>Russian Easter Fête</i> <span class="box">M</span>—Trombone.</p> + +<p><i>Spanish Capriccio</i> <span class="box">E</span>—Alternative use in the horn of open and +stopped notes (cf. <a href="rimsky2.html#No_044">Ex. 44</a>).</p> + +<p><i>Ivan the Terrible</i>, Act II, before <span class="box">17</span>—Bass trumpet, and 3 Horns +a little further on.</p> + +<p><i>Mlada</i>, Act II <span class="box">33</span>—Bass trumpet (cf. <a href="rimsky2.html#No_046">Ex. 46</a>).</p> + +<p class="tp">The genial and poetic tone of the horn in <i>piano</i> passages affords +greater scope in the choice of melodies and phrases that may be +entrusted to this instrument.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The May Night</i>, Overture <span class="box">13</span>.</p> + +<p><i>The Christmas Night</i> <span class="box">1</span>.</p> + +<p><i>Snegourotchka</i> <span class="box">86</span>.</p> + +<p><i>Pan Voyevoda</i> <span class="box">37</span>.</p> + +<p><a href="rimsky2.html#No_073">No. 73.</a> <i>Antar</i> <span class="box">40</span>.<span class="pagenum"><a name="Page_55" id="Page_55">-55-</a></span></p> + +<p class="tp">Melodies involving chromatic or enharmonic writing are much less +suitable to the character of brass instruments. Nevertheless such +melodies may sometimes be allotted to the brass, as in the music of +Wagner, and the modern Italian realists, who, however, carry the +proceeding to extremes. Vigourous phrases in the form of a fanfare, +although introducing chromatic notes sound singularly beautiful on the +brass.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_074">No. 74.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">D</span>.</p> + +<p class="tp">As a general rule, brass instruments lack the capacity to express +passion or geniality. Phrases charged with these sentiments become +sickly and insipid when confided to the brass. Energetic power, free +or restrained, simplicity and eloquence constitute the valuable +qualities of this group.</p> + + +<h3>Brass in unison, in octaves, thirds and sixths.</h3> + +<p>As, from its very nature, the brass is not called upon to realise a +wide range of expression, kindred instruments of one group may be +employed <i>solo</i>, as well as in unison. The combination of 3 trombones +or 4 horns in unison is frequently met with, and produces extreme +power and resonance of tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">5</span>—4 Horns (cf. <a href="rimsky2.html#No_015">Ex. 15</a>).</p> + +<p><i>Snegourotchka</i> <span class="box">199</span>—4 Horns and 2 Trumpets.</p> + +<p><i>Sadko</i> <span class="box">175</span>—1, 2, 3 Trumpets.</p> + +<p><a href="rimsky2.html#No_075">No. 75.</a> <i>Sadko</i> <span class="box">305</span><a name="FNanchor_13_16" id="FNanchor_13_16"></a><a href="#Footnote_13_16" class="fnanchor">[13]</a>—3 Trombones.</p> + +<p><a href="rimsky2.html#No_076">No. 76.</a> <i>The May Night</i>, beginning of Act III—1, 2, 3, 4 Horns.</p> + +<p><i>Legend of Kitesh</i>, end of Act I—4 Horns (cf. <a href="rimsky2.html#No_070">Ex. 70</a>).</p> + +<p><a href="rimsky2.html#No_077">No. 77.</a> <i>Shéhérazade</i>, 4<span class="super">th</span> movement p. 204—3 Trombones.</p> + +<p><i>Mlada</i>; Lithuanian dance—6 Horns (cf. <a href="rimsky2.html#No_061">Ex. 61</a>).<span class="pagenum"><a name="Page_56" id="Page_56">-56-</a></span></p> + +<p class="tp">Owing to the resonant power of the entire group, the equality and even +gradation of tone between the dark colour of the deep compass and the +bright quality of the upper register, the use of brass instruments of +the same kind in octaves, thirds or sixths invariably leads to +satisfactory results. For the same reason the employment of brass +instruments of different kinds, arranged according to normal order of +register:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>Trumpet<br /> +2 Horns</td> +<td>Trumpet<br /> +Trombone</td> +<td>Trombone<br /> +Tuba</td> +<td>2 Trombones<br /> +Trombone <span class="lg">+</span> Tuba</td> +<td>2 Trumpets<br /> +2 Trombones</td> +<td>2 Horns<br /> +Tuba</td> +</tr> +</table> + +<p class="noindent">is likewise successful whether the instruments are doubled or not. +Another possible method, though not so reliable, is to combine horns +(above) with trombones, exclusively in octaves:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Horns<br /> +1 Trombone</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8</td> +<td class="center">or</td> +<td style="padding-top: .3em">4 Horns<br /> +2 Trombones</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Sadko</i>, before <span class="box">120</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Trumpet<br /> +Trumpet</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Sadko</i> <span class="box">5</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Trumpets<br /> +4 Horns</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Snegourotchka</i> <span class="box">222</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Trombones<br /> +Trombone <span class="lg">+</span> Tuba</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Ivan the Terrible</i>, Act III <span class="box">10</span></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">1 Trombone <span class="lg">+</span> Trumpet<br /> +2 Trombones</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_038">Ex. 38</a>).</td> +</tr> +</table> + +<p><i>The Golden Cockerel</i> <span class="box">125</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Trumpet<br /> +Trombone</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>Cf. also <i>Snegourotchka</i> <span class="box">325-326</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Trombone<br /> +Trombone</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (<a href="rimsky2.html#No_095">Ex. 95</a>).</td> +</tr> +</table> + + +<h2>Melody in different groups of instruments combined together.</h2> + +<h3>A. Combination of wind and brass in unison.</h3> + +<p>The combination of a wood-wind and brass instrument produces a complex +resonance in which the tone of the brass predominates. This resonance +is naturally more powerful than that of each instrument taken +separately, but slightly sweeter than the brass instrument alone. The +tone of the wood-wind blends with that of the brass, softens and +rarefies it, as in the process of combining two wood-wind instruments +of different colour. Instances of such doubling are fairly numerous, +especially in <i>forte</i> passages. The trumpet is the instrument most +frequently doubled: Trumpet <span class="lg">+</span> Cl., Trumpet <span class="lg">+</span> Ob., Trumpet <span class="lg">+</span> Fl., as +well as Trumpet <span class="lg">+</span> Cl. <span class="lg">+</span> Ob. <span class="lg">+</span> Fl.;<span class="pagenum"><a name="Page_57" id="Page_57">-57-</a></span> the horn, less often: Horn <span class="lg">+</span> Cl., +Horn <span class="lg">+</span> Fag. Trombones and Tuba may also be doubled: Trombone <span class="lg">+</span> Fag., +Tuba <span class="lg">+</span> Fag. Combining the Eng. horn, bass clarinet and double bassoon +with the brass, in corresponding registers, presents the same +characteristics.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Legend of Kitesh</i> <span class="box">56</span>—Trombone <span class="lg">+</span> Eng. horn.</p> + +<p>* <i>Mlada</i>, Act III, before <span class="box">34</span>—3 Trombones <span class="lg">+</span> Bass cl.</p> + +<p class="tp">As a rule, the addition of a wind to a brass instrument yields a finer +legato effect than when the latter instrument plays alone.</p> + + +<h3>B. Combination of wind and brass in octaves.</h3> + +<p>Doubling the horns in octaves by clarinets, oboes or flutes often +replaces the combination</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">1 Trumpet<br /> +1 Horn (or 2 Horns)</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent">This is done when it is a question of introducing a rich tone into the +upper octave which the trumpet is not capable of imparting. If a +single horn is used, the upper part is allotted to 2 clarinets, 2 +oboes, or 2 flutes. But if there are two horns playing the lower +octave in unison, three or four wind instruments will be necessary +above, especially in <i>forte</i> passages:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>8</td> +<td class="vat"><span class="xxlg">[</span></td> +<td style="padding-top: .3em">2 Ob. or 2 Cl. or 2 Fl.<br /> +1 Horn</td> +<td class="center">as well as</td> +<td style="padding-top: .3em">2 Ob. <span class="lg">+</span> 1 Cl.<br /> +1 Horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8;</td> +<td style="padding-top: .3em">2 Fl. <span class="lg">+</span> 2 Cl.<br /> +2 Horns</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent">To double a trumpet in the upper octave three or four wind instruments +are required, but in the top register two flutes will suffice.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="double trumpet"> +<tr> +<td class="center"><img src="images1/trumpet01.png" width="133" height="110" alt="music" title="music" /> +<br /> +[<a href="music1/trumpet01.mp3">Listen</a>]</td> +<td class="center"><img src="images1/trumpet02.png" width="99" height="110" alt="music" title="music" /> +<br /> +[<a href="music1/trumpet02.mp3">Listen</a>]</td> +</tr> +</table> + +<p>Wood-wind instruments should not be used to double a trombone in the +octave above; trumpets are more suitable.</p> + + +<h3>Examples of doubling in octaves:</h3> + +<p>* <i>Snegourotchka</i> <span class="box">71</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Ob. <span class="lg">+</span> Cl.<br /> +Horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <i>Legend of Tsar Saltan</i>, before <span class="box">180</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Ob. <span class="lg">+</span> Cl.<br /> +Ob. <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>6</td> +<td rowspan="2"><span class="xxlg">]</span></td> +<td rowspan="2">8.</td> +</tr> +<tr> +<td style="padding-top: .3em">Horn<br /> +Horn</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>6</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_58" id="Page_58">-58-</a></span></p> + +<p class="tp">* Mention should also be made of mixed timbres (wood and brass) in +progression in octaves.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Mlada</i>, Act III, beginning of Scene III—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Trombone <span class="lg">+</span> Bass cl.<br /> +Tuba <span class="lg">+</span> C-fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_078">No. 78.</a> <i>Mlada</i>, Act III after <span class="box">25</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Cl. <span class="lg">+</span> 2 Horns <span class="lg">+</span> Trombone<br /> +Bass cl. <span class="lg">+</span> 2 Horns <span class="lg">+</span> Trombone</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (low register).</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_079">No. 79.</a> <i>Mlada</i>, Act III, before <span class="box">35</span>—general unison.</p> + +<p class="tp">When it is desired to distribute the melody over three or four +octaves, it is difficult to achieve perfect balance of tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Shéhérazade</i>, 4<span class="super">th</span> movement, 15<span class="super">th</span> bar after <span class="box">W</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Picc.<br /> +2 Fl. <span class="lg">+</span> 2 Ob.<br /> +2 Trumpets</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p>* <i>Legend of Tsar Saltan</i> <span class="box">228</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Picc.<br /> +2 Fl. <span class="lg">+</span> 2 Ob.<br /> +Trumpet <span class="lg">+</span> Eng. horn</td> +<td class="vat"><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + + +<h3>C. Combination of strings and wind.</h3> + +<p>In commencing this section of the work I consider it necessary to lay +down the following fundamental rules which apply equally to melody, +harmony, counterpoint and polyphonic writing.</p> + +<p>All combinations of strings and wood-wind are good; a wind instrument +progressing in unison with a stringed instrument increases the +resonance of the latter and amplifies its tone, while the quality of +the strings softens that of the wood-wind. In such combinations the +strings will predominate provided that the two instruments are of +equal power, e.g. when violins are coupled with an oboe, a bassoon +with the 'cellos. If several wind instruments play in unison with one +group of strings, the latter will be overpowered. As a rule all +combinations refine the characteristics of each instrument taken +separately, the wood-wind losing more than the strings.</p> + + +<p class="centertp"><i>Doubling in unison.</i></p> + +<p>The best and most natural combinations are between instruments whose +registers correspond the nearest:</p> + +<p>Vn<span class="super">s</span> <span class="lg">+</span> Fl. (Bass fl., picc.), Vn<span class="super">s</span> <span class="lg">+</span> Ob., Vn<span class="super">s</span> <span class="lg">+</span> Cl. (small +Cl.);</p> + +<p>Violas <span class="lg">+</span> Ob. (Eng. horn), Violas <span class="lg">+</span> Cl., Violas <span class="lg">+</span> Fag.</p> + +<p>'Cellos <span class="lg">+</span> Cl. (Bass cl.), 'Cellos <span class="lg">+</span> Fag.;<span class="pagenum"><a name="Page_59" id="Page_59">-59-</a></span></p> + +<p>D. basses <span class="lg">+</span> Bass cl., D. basses <span class="lg">+</span> Fag.; D. basses <span class="lg">+</span> C-fag.</p> + +<p>The object of these combinations is: a) to obtain a new timbre of +definite colour; b) to strengthen the resonance of the strings; c) to +soften the quality of the wood-wind.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">5</span>—'Cellos <span class="lg">+</span> Violas <span class="lg">+</span> Eng. horn (cf. <a href="rimsky2.html#No_015">Ex. 15</a>).</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.5em;"><span class="box">28</span>—Violas <span class="lg">+</span> Ob. <span class="lg">+</span> Eng. horn.</span></p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2em;"><span class="box">116</span>—Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Ob. <span class="lg">+</span> Cl.</span></p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2em;"><span class="box">288</span>—Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> 'Cellos <span class="lg">+</span> Eng. horn (cf. <a href="rimsky2.html#No_017">Ex. 17</a>).</span></p> + +<p><a href="rimsky2.html#No_080">No. 80.</a> <i>The May Night</i>, Act III <span class="box">Bb</span>—Violas <span class="lg">+</span> Cl.</p> + +<p><a href="rimsky2.html#No_081">No. 81.</a> <i>Sadko</i> <span class="box">311</span>—Vn<span class="super">s</span> <span class="lg">+</span> Ob.</p> + +<p><a href="rimsky2.html#No_082">No. 82.</a> <span style="margin-left: 1em;">"</span> <span style="margin-left: 1.5em;"><span class="box">77</span>—Violas <span class="lg">+</span> Eng. horn.</span></p> + +<p><a href="rimsky2.html#No_083">No. 83.</a> <span style="margin-left: 1em;">"</span> <span style="margin-left: 1em;"><span class="box">123</span>—Violas <span class="lg">+</span> Eng. horn.</span></p> + +<p><i>Servilia</i> <span class="box">59</span>—Vn<span class="super">s</span> <i>G</i> string <span class="lg">+</span> Fl.</p> + +<p><i>Tsar Saltan</i> <span class="box">30</span>—Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> 2 Cl.</p> + +<p><a href="rimsky2.html#No_084">No. 84.</a> <i>Tsar Saltan</i> <span class="box">30</span>, 10<span class="super">th</span> bar.—'Cellos <span class="lg">+</span> Violas <span class="lg">+</span> 3 Cl. <span class="lg">+</span> +Fag.</p> + +<p><i>Tsar Saltan</i> <span class="box">156-159</span>—Vn<span class="super">s</span> detached <span class="lg">+</span> Fl. <i>legato</i>.</p> + +<p><i>The Tsar's Bride</i> <span class="box">10</span> Violas <span class="lg">+</span> 'Cellos <span class="lg">+</span> Fag.</p> + +<p><i>Antar</i>, 4<span class="super">th</span> movement <span class="box">63</span>—'Cellos <span class="lg">+</span> 2 Fag.</p> + +<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">H</span>—Violas <span class="lg">+</span> Ob. <span class="lg">+</span> Eng. horn.</p> + + +<p class="centertp"><i>Parts doubled in octaves.</i></p> + +<p>Examples of strings in octaves doubled by wood-wind also in octaves +are numerous, and do not require special description; they are used +according to the rules already laid down. The following are examples +of melody distributed over 1, 2, 3 and 4 octaves:</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_085">No. 85.</a> <i>Ivan the Terrible</i>, beginning of Overture—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> 2 Cl.<br /> +Violas <span class="lg">+</span> 'Cellos <span class="lg">+</span> 2 Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_086">No. 86.</a> <i>Sadko</i> <span class="box">3</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Bass cl.<br /> +D. basses <span class="lg">+</span> C-fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Sadko</i> <span class="box">166</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Fag.<br /> +D. basses <span class="lg">+</span> C-fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">235</span>—</span></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Violas <span class="lg">+</span> 2 Cl.<br /> +'Cellos <span class="lg">+</span> D. basses <span class="lg">+</span> 2 Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>The Tsar's Bride</i> <span class="box">14</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Fag.<br /> +D. basses <span class="lg">+</span> Fag.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_60" id="Page_60">-60-</a></span></p> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">81</span>—</span></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> II</td> +<td class="center">div.</td> +<td><span class="lg">+</span> Fl.<br /> +<span class="lg">+</span> Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: .5em;"><span class="box">166</span>—</span></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> Fl.<br /> +Vn<span class="super">s</span> II <span class="lg">+</span> Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_022">Ex. 22</a>).</td> +</tr> +</table> + +<p>In three and four octaves:</p> + +<p><i>Servilia</i> <span class="box">93</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Vn<span class="super">s</span> <span class="lg">+</span> 3 Fl.<br /> +Violas <span class="lg">+</span> 2 Ob.<br /> +'Cellos <span class="lg">+</span> 2 Fag.</td> +<td><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_087">No. 87.</a> <i>Kashtcheï</i> <span class="box">105</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Vn<span class="super">s</span> I <span class="lg">+</span> Picc.<br /> +Vn<span class="super">s</span> II <span class="lg">+</span> Fl. <span class="lg">+</span> Ob.<br /> +Violas <span class="lg">+</span> 'Cellos <span class="lg">+</span> 2 Cl. <span class="lg">+</span> Eng. horn <span class="lg">+</span> Fag.</td> +<td><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + +<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">M</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Vn<span class="super">s</span> I <span class="lg">+</span> Fl.<br /> +Vn<span class="super">s</span> II <span class="lg">+</span> Ob.<br /> +'Cellos <span class="lg">+</span> Engl. horn</td> +<td><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + + +<p class="centertp"><i>Examples of melody in thirds and sixths:</i></p> + +<p><i>Servilia</i> <span class="box">44</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl. <span class="lg">+</span> Vn<span class="super">s</span><br /> +Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl. <span class="lg">+</span> Vn<span class="super">s</span></td> +<td class="center">div.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>3.</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_088">No. 88.</a> <i>Servilia</i> <span class="box">111</span>—Strings and wood-wind in thirds.</p> + +<p><a href="rimsky2.html#No_089">No. 89.</a> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.3em;"><span class="box">125</span>—same combination, in thirds and sixths.</span></p> + +<p><i>Kashtcheï</i> <span class="box">90</span>—The same.</p> + +<p class="tp">It is necessary to pay more attention to cases where, of the two parts +in octaves, only one is doubled. When this method is applied to a +melody in the soprano register it is better to allow the wood-wind to +progress in octaves, the lower part only being doubled by one of the +string groups;</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Picc.<br /> +Fl. <span class="lg">+</span> Vn<span class="super">s</span></td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +<td style="padding-top: .3em">Fl.<br /> +Ob. (Cl.) <span class="lg">+</span> Vn<span class="super">s</span></td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Tsar Saltan</i> <span class="box">102</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Fl. <span class="lg">+</span> Picc.<br /> +Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Ob.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8 (cf. <a href="rimsky2.html#No_133">Ex. 133</a>).</td> +</tr> +</table> + +<p>* <a href="rimsky2.html#No_090">No. 90.</a> <i>Shéhérazade</i>, 4<span class="super">th</span> movement <span class="box">U</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Cl.<br /> +'Cellos <span class="lg">+</span> 2 Horns</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="tp">In the case of a melody in the low register demanding a sweet soft +tone, the violoncellos and double basses should be made to progress in +octaves, the former doubled by a bassoon, the latter not doubled at +all:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Fag.<br /> +D. basses</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="noindent">Sometimes a composer is obliged to +use this method on account of the very low register of the double +bass, especially if a double bassoon is not included in his orchestral +scheme.<a name="FNanchor_14_17" id="FNanchor_14_17"></a><a href="#Footnote_14_17" class="fnanchor">[14]</a></p> + +<p><span class="pagenum"><a name="Page_61" id="Page_61">-61-</a></span></p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_091">No. 91.</a> <i>Tsar Saltan</i> <span class="box">92</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Violas <span class="lg">+</span> Fag.<br /> +'Cellos <span class="lg">+</span> Fag.<br /> +D. basses</td> +<td><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8.</td> +</tr> +</table> + + +<h3>D. Combination of strings and brass.</h3> + +<p>Owing to the dissimilarity between the quality of string and brass +tone, the combination of these two groups in unison can never yield +such a perfect blend as that produced by the union of strings and +wood-wind. When a brass and a stringed instrument progress in unison, +each can be heard separately, but the instruments in each group which +can be combined with the greatest amount of success are those whose +respective registers correspond the most nearly; Violin <span class="lg">+</span> Trumpet; +Viola <span class="lg">+</span> Horn;</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos<br /> +D. basses</td> +<td class="center"><span class="lg">+</span></td> +<td style="padding-top: .3em">Trombones<br /> +Tuba</td> +</tr> +</table> + +<p class="noindent">(for heavy massive effects).</p> + +<p>The combination of horns and 'cellos, frequently employed, produces a +beautifully blended, soft quality of tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Tsar Saltan</i> <span class="box">29</span>—Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Horn.</p> + +<p>* <a href="rimsky2.html#No_092">No. 92.</a> <i>The Golden Cockerel</i> <span class="box">98</span>—Violas <i>con sord.</i> <span class="lg">+</span> Horn.</p> + + +<h3>E. Combination of the three groups.</h3> + +<p>The combination of members of the three groups in unison is more +common, the presence of the wood-wind imparting a fuller and more +evenly blended tone. The question as to which group will predominate +in timbre depends upon the number of instruments employed. The most +natural combinations, and those most generally in use are:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td colspan="2">Vn<span class="super">s</span> <span class="lg">+</span> Ob. (Fr., Cl.) <span class="lg">+</span> Trumpet;</td> +</tr> +<tr> +<td colspan="2">Violas (or 'Cellos) <span class="lg">+</span> Cl. (Eng. horn) <span class="lg">+</span> Horn;</td> +</tr> +<tr> +<td>'Cellos<br /> +D. basses</td> +<td><span class="lg">+</span> 2 Fag. <span class="lg">+</span> 3 Trombones <span class="lg">+</span> Tuba.</td> +</tr> +</table> + +<p>Such groupings are used for preference in loud passages or for a heavy +<i>piano</i> effect.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>No. <a href="rimsky2.html#No_093">93</a>-<a href="rimsky2.html#No_094">94</a>. <i>Snegourotchka</i> <span class="box">218</span> and <span class="box">219</span>—Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Cl. <span class="lg">+</span> +<span class="pagenum"><a name="Page_62" id="Page_62">-62-</a></span>Horn and Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Cl. <span class="lg">+</span> Trumpet.</p> + +<p><i>Servilia</i> <span class="box">168</span>—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>Violas <span class="lg">+</span> Trombones<br /> +'Cellos <span class="lg">+</span> Trombone <span class="lg">+</span> Bass Cl.<br /> +D. basses <span class="lg">+</span> Tuba <span class="lg">+</span> Fag.</td> +<td><span class="mlg">]</span> 8<br /> +<span class="mlg">]</span> 8</td> +<td>(cf. <a href="rimsky2.html#No_062">Ex. 62</a>).</td> +</tr> +</table> + +<p><a href="rimsky2.html#No_095">No. 95.</a> <i>Snegourotchka</i> <span class="box">325</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Violas <span class="lg">+</span> Fag. <span class="lg">+</span> Trombone<br /> +D. basses <span class="lg">+</span> Fag. <span class="lg">+</span> Tuba</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p><i>Pan Voyevoda</i> <span class="box">224</span>—Vn<span class="super">s</span> <span class="lg">+</span> Fag. <span class="lg">+</span> Horn <span class="lg">+</span> Vn. <span class="lg">+</span> Cl. <span class="lg">+</span> Trumpet. +(Stopped notes in the brass.)</p> + +<p>* <i>Mlada</i>, Act III, after <span class="box">23</span>—Violas <span class="lg">+</span> 2 Cl. <span class="lg">+</span> Bass trumpet.</p> + +<p>* <a href="rimsky2.html#No_096">No. 96.</a> <i>Ivan the Terrible</i>, Act III, before <span class="box">66</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Bass Cl. <span class="lg">+</span> Horn<br /> +D. basses <span class="lg">+</span> C-fag. <span class="lg">+</span> Tuba</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <i>Ivan the Terrible</i>, Overture, 4<span class="super">th</span> bar after <span class="box">9</span>—Violas <span class="lg">+</span> +'Cellos <span class="lg">+</span> Eng. horn <span class="lg">+</span> 2 Cl. <span class="lg">+</span> Bass Cl. <span class="lg">+</span> 2 Fag. <span class="lg">+</span> 4 Horns. (The melody +simplified in the horns.)</p> + + + +<hr /> +<p><span class="pagenum"><a name="Page_63" id="Page_63">-63-</a></span></p> + +<h1><a name="Chapter_III" id="Chapter_III"></a>Chapter III.</h1> + +<p class="center"><span class="lg">HARMONY.</span></p> + +<hr class="short" /> + +<h2>General observations.</h2> + +<p>The art of orchestration demands a beautiful and well-balanced +distribution of chords forming the harmonic texture. Moreover, +transparence, accuracy and purity in the movement of each part are +essential conditions if satisfactory resonance is to be obtained. No +perfection in resonance can accrue from faulty progression of parts.</p> + +<div class="blockquot"> +<p><i>Note.</i> There are people who consider orchestration simply +as the art of selecting instruments and tone qualities, +believing that if an orchestral score does not sound well, +it is entirely due to the choice of instruments and timbres. +But unsatisfactory resonance is often solely the outcome of +faulty handling of parts, and such a composition will +continue to sound badly whatever choice of instruments is +made. So, on the other hand, it often happens that a passage +in which the chords are properly distributed, and the +progression of parts correctly handled, will sound equally +well if played by strings, wood-wind or brass.</p> +</div> + +<p>The composer should picture to himself the exact harmonic formation of +the piece he intends to orchestrate. If, in his rough sketch, there +exist any uncertainly as to the number or movement of harmonic parts, +he is advised to settle this at once. It is likewise essential for him +to form a clear idea as to the construction and musical elements of +the piece, and to realise the exact nature and limitations of the +themes, phrases and ideas he is going to employ. Every transition from +one order of harmonic writing to another, from four-part harmony to +three, or from five-part harmony to unison etc., must coincide with +the introduction of a new idea, a fresh theme or phrase; otherwise the +orchestrator will encounter many unforeseen and insurmountable +difficul<span class="pagenum"><a name="Page_64" id="Page_64">-64-</a></span>ties. For example, if, during a passage written in four parts +a chord in five-part harmony is introduced, a fresh instrument must +needs be added to play this particular fifth part, and this addition +may easily damage the resonance of the chord in question, and render +the resolution of a discord or the correct progression of parts +impossible.</p> + + +<h3>Number of harmonic parts—Duplication.</h3> + +<p>In the very large majority of cases harmony is written in four parts; +this applies not only to single chords or a succession of them, but +also to the formation of the harmonic basis. Harmony which at first +sight appears to comprise 5, 6, 7 and 8 parts, is usually only four +part harmony with extra parts added. These additions are nothing more +than the duplication in the adjacent upper octave of one or more of +the three upper parts forming the original harmony, the bass being +doubled in the lower octave only. The following diagrams will explain +my meaning:</p> + +<p><span class="slg"><i>A. Close part-writing.</i></span></p> + +<p class="center"> +<img src="images1/close_part_writing.png" width="634" height="215" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/close_part_writing.mid">Listen</a>]</p> + +<p><span class="slg"><i>B. Widely-divided part-writing.</i></span></p> + +<p class="center"> +<img src="images1/wide_part_writing.png" width="631" height="136" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/wide_part_writing.mid">Listen</a>]</p> + +<div class="blockquot"> +<p><i>Note.</i> In widely-spaced harmony only the soprano and alto +parts may be doubled in octaves. Duplicating the tenor part +is to be avoided, as close writing is thereby produced, and +doubling the bass part creates an effect of heaviness. The +bass part should never mix with the others:<span class="pagenum"><a name="Page_65" id="Page_65">-65-</a></span></p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Bad:</td> +<td class="center"><img src="images1/wide_part_writing_bad.png" width="248" height="122" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/wide_part_writing_bad.mid">Listen</a>]</td> +</tr> +</table> +</div> + +<p>On account of the distance between the bass and the three other parts, +only partial duplication is possible.</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Good:</td> +<td class="center"><img src="images1/partial_duplication.png" width="292" height="110" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/partial_duplication.mid">Listen</a>]</td> +</tr> +</table> + +<div class="blockquot"> +<p><i>Note.</i> Notes in unison resulting from correct duplication +need not be avoided, for although the tone in such cases is +not absolutely uniform, the ear will be satisfied with the +correct progression of parts.</p> +</div> + +<p>Consecutive octaves between the upper parts are not permissible:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Bad:</td> +<td class="center"><img src="images1/consecutive_octaves.png" width="313" height="107" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/consecutive_octaves.mid">Listen</a>]</td> +</tr> +</table> + +<p>Consecutive fifths resulting from the duplication of the three upper +parts moving in chords of sixths are of no importance:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Good:</td> +<td class="center"><img src="images1/consecutive_fifths.png" width="249" height="65" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/consecutive_fifths.mid">Listen</a>]</td> +</tr> +</table> + +<p>The bass of an inversion of the dominant chord should never be doubled +in any of the upper parts:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Good:</td> +<td class="center"><img src="images1/bass_inversion_good.png" width="292" height="145" alt="music" title="music" /></td> +<td>Bad:</td> +<td class="center"><img src="images1/bass_inversion_bad.png" width="271" height="142" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/bass_inversion_good.mid">Listen</a>]</td> +<td> </td> +<td class="center">[<a href="music1/bass_inversion_bad.mid">Listen</a>]</td> +</tr> +</table> + +<p>This applies also to other chords of the seventh and diminished +seventh:<span class="pagenum"><a name="Page_66" id="Page_66">-66-</a></span></p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Bad:</td> +<td class="center"><img src="images1/seventh_bad.png" width="229" height="126" alt="music" title="music" /></td> +<td>Good:</td> +<td class="center"><img src="images1/seventh_good.png" width="233" height="126" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/seventh_bad.mid">Listen</a>]</td> +<td> </td> +<td class="center">[<a href="music1/seventh_good.mid">Listen</a>]</td> +</tr> +</table> + +<p>The rules of harmony concerning sustained and pedal passages apply +with equal force to orchestral writing. As regards passing and +auxiliary notes, <i>échappées</i>, considerable licence is permitted in +rapid passages of different texture:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>One texture:<br /> +<br /> +<br /> +A different one:</td> +<td class="center"><img src="images1/textures01.png" width="352" height="154" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/textures01.mid">Listen</a>]</td> +</tr> +</table> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>One texture:<br /> +<br /> +A different one:</td> +<td class="center"><img src="images1/textures02.png" width="636" height="164" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/textures02.mid">Listen</a>]</td> +</tr> +</table> + +<p>A certain figure and its essentials, in simplified form, may proceed +concurrently, as in the following example:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>One texture:<br /> +<br /><br /> +A different one: +<br /><br /><br /> +A third: +</td> +<td class="center"><img src="images1/textures03.png" width="363" height="164" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/textures03.mid">Listen</a>]</td> +</tr> +</table> + +<p>Upper and inner pedal notes are more effective on the orchestra than +in pianoforte or chamber music, owing to the greater variety of tone +colour:</p> + +<p class="center"> +<img src="images1/upper_pedal.png" width="295" height="68" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/upper_pedal.mid">Listen</a>]</p> + +<p><span class="pagenum"><a name="Page_67" id="Page_67">-67-</a></span></p> + +<p>In <a href="rimsky2.html">Vol. II</a> of the present work many examples of the above methods will +be found.</p> + + +<h3>Distribution of notes in chords.</h3> + +<p>The normal order of sounds or the natural harmonic scale:</p> + +<p class="center"> +<img src="images1/harmonic_scale.png" width="630" height="83" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/harmonic-scale.mid">Listen</a>]</p> + +<p class="noindent">may serve as a guide to the orchestral arrangement of chords. It will +be seen that the widely-spaced intervals lie in the lower part of the +scale, gradually becoming closer as the upper register is approached:</p> + +<p class="center"> +<img src="images1/chords01.png" width="110" height="133" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/chords01.mid">Listen</a>]</p> + +<p>The bass should rarely lie at a greater distance than an octave from +the part directly above it (tenor harmony). It is necessary to make +sure that the harmonic notes are not lacking in the upper parts:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>To be avoided:</td> +<td class="center"><img src="images1/chords02.png" width="279" height="116" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords02.mid">Listen</a>]</td> +</tr> +</table> + +<p>The use of sixths in the upper parts, and the practice of doubling the +upper note in octaves are sometimes effective methods:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="10" cellspacing="0" summary="music"> +<tr> +<td class="center"><img src="images1/chords03.png" width="113" height="118" alt="music" title="music" /></td> +<td class="center"><img src="images1/chords04.png" width="112" height="120" alt="music" title="music" /></td> +</tr> +<tr> +<td class="center">[<a href="music1/chords03.mid">Listen</a>]</td> +<td class="center">[<a href="music1/chords04.mid">Listen</a>]</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_68" id="Page_68">-68-</a></span></p> + +<p>When correct progression increases the distance between the top and +bottom notes of the upper parts, this does not matter:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Good:</td> +<td class="center"><img src="images1/chords05.png" width="192" height="126" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords05.mid">Listen</a>]</td> +</tr> +</table> + +<p>But it would be distinctly bad to fill in the second chord thus:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Not good:</td> +<td class="center"><img src="images1/chords06.png" width="193" height="127" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords06.mid">Listen</a>]</td> +</tr> +</table> + +<p>Hence it follows that the distribution of intermediate parts is a +question of the greatest importance. Nothing is worse than writing +chords, the upper and lower parts of which are separated by wide, +empty intervals, especially in <i>forte</i> passages; in <i>piano</i> passages +such distribution may be possible. Progression in contrary motion, the +upper and lower parts diverging by degrees gives rise to the gradual +addition of extra parts occupying the middle register:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Schematic<br /> +Example:</td> +<td class="center"><img src="images1/chords07.png" width="499" height="171" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords07.mid">Listen</a>]</td> +</tr> +</table> + +<p>When the voices converge, the middle parts are eliminated one by one:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Schematic<br /> +Example:</td> +<td class="center"><img src="images1/chords08.png" width="499" height="169" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords08.mid">Listen</a>]</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_69" id="Page_69">-69-</a></span></p> + + +<h2>String harmony.</h2> + +<p>It is an incontrovertible rule that the resonance of different +harmonic parts must be equally balanced, but this balance will be less +noticeable in short sharp chords than in those which are connected and +sustained. Both these cases will be studied separately. In the first +case, in order to increase the number of harmonic parts, each +instrument in the string group may be provided with double notes or +chords of three and four notes. In the second case, the resources are +limited to double notes <i>unis</i>, or division of parts.</p> + +<p>A. <i>Short chords.</i> Chords of three or four notes can only be executed +rapidly on the strings.</p> + +<div class="blockquot"> +<p><i>Note.</i> It is true that the two upper notes of a chord can +be sustained and held a long time; this, however, involves +complications and will be considered later.</p> +</div> + +<p>Short chords, <i>arco</i>, only sound well when played <i>forte</i> (<i>sf</i>), and +when they can be supported by wind instruments. In the execution of +double notes and chords of three and four notes on the strings, +balance, perfect distribution of tone, and correct progression of +parts are of minor importance. What must be considered before +everything is the resonance of the chords themselves, and the degree +of ease with which they can be played. Those comprising notes on the +gut strings are the most powerful. Chords played on several strings +are usually assigned to 1<span class="super">st</span> and 2<span class="super">nd</span> violins and violas, the +different notes being divided between them according to ease in +execution and the demands of resonance. On account of its low register +the 'cello is rarely called upon to play chords on three or four +strings, and is usually allotted the lowest note of the chord in +company with the double bass. Chords on the latter instrument are even +more uncommon, but it may supply the octave on an uncovered string.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_097">No. 97.</a> <i>Snegourotchka</i> <span class="box">171</span>; cf. also before <span class="box">140</span> and before +<span class="box">200</span>.</p> + +<p>* <i>Spanish Capriccio</i>, before <span class="box">V</span> (cf. <a href="rimsky2.html#No_067">Ex. 67</a>).</p> + +<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">P</span> (cf. <a href="rimsky2.html#No_019">Ex. 19</a>.)</p> + +<p>* <a href="rimsky2.html#No_098">No. 98.</a> <i>Tsar Saltan</i> <span class="box">135</span>; cf. also <span class="box">141</span> and before <span class="box">182</span>.<span class="pagenum"><a name="Page_70" id="Page_70">-70-</a></span></p> + +<p class="tp">Isolated chords may be added to a melodic figure in the upper part, +accentuating, <i>sforzando</i>, certain rhythmical moments.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_099">No. 99.</a> <i>Snegourotchka</i>, before <span class="box">126</span>; cf. also <span class="box">326</span>.</p> + +<p class="tp">B. <i>Sustained and tremolando chords.</i> Chords sustained for a shorter +or longer period of time, or tremolando passages, often used as a +substitute, demand perfect balance of tone. Taking for granted that +the different members of the string group are equal in power, the +parts being written according to the usual order of register, (cf. +<a href="#Chapter_I">Chap. I</a>), it is patent that a passage in close four-part harmony, with +the bass in octaves will also be uniformly resonant. When it is +necessary to introduce notes to fill up the empty middle register, the +upper parts being farther distant from the bass, doubled notes on the +violins or violas should be used, or on both instruments together. The +method of dividing strings, which is sometimes adopted, should be +avoided in such cases, as certain parts of the chord will be divided +and others will not; but, on the other hand, if a passage in six and +seven-part harmony be written entirely for strings divided in the same +manner, the balance of tone will be completely satisfactory, e.g.,</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="instruments"> +<tr> +<td>div.</td> +<td><span class="xxlg">{</span></td> +<td>Vn<span class="super">s</span> I<br /> +Vn<span class="super">s</span> I</td> +</tr> +<tr><td>div.</td> +<td><span class="xxlg">{</span></td> +<td>Vn<span class="super">s</span> II<br /> +Vn<span class="super">s</span> II</td> +</tr> +<tr> +<td>div.</td> +<td><span class="xxlg">{</span></td> +<td>Violas I<br /> +Violas II</td> +</tr> +</table> + +<p>If the harmony in the three upper parts, thus strengthened, is written +for divided strings, the 'cellos and basses, playing <i>non divisi</i> will +prove a trifle heavy; their tone must therefore be eased, either by +marking the parts down or reducing the number of players.</p> + +<p>In the case of sustained chords or <i>forte tremolando</i> on two strings, +the progression of parts is not always according to rule, the +intervals chosen being those which are the easiest to play.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_100">No. 100.</a> <i>The Christmas Night</i> <span class="box">161</span>—Full <i>divisi</i>.</p> + +<p><a href="rimsky2.html#No_101">No. 101.</a> <span style="margin-left: .5em;">"</span> <span style="margin-left: 2em;">"</span> <span style="margin-left: 3.5em;">"</span> <span style="margin-left: 1em;"><span class="box">210</span>.</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Violas div.<br /> +'Cellos div.</td> +<td><span class="xxlg">}</span></td> +<td>4 part harmony.</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_71" id="Page_71">-71-</a></span></p> + +<p><a href="rimsky2.html#No_102">No. 102.</a> <i>Snegourotchka</i> <span class="box">187-188</span>—Four-part harmony, Vn<span class="super">s</span> I, +Vn<span class="super">s</span> II, Violas and Violoncellos.</p> + +<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">243</span></span>—4 Solo 'cellos <i>divisi</i>.</p> + +<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement, beginning.—4 D. bass soli div. +(cf. <a href="rimsky2.html#No_040">Ex. 40</a>).</p> + +<p><i>The Tsar's Bride</i> <span class="box">179</span>—Chords on all strings (cf. <a href="rimsky2.html#No_243">Ex. 243</a>).</p> + +<p><a href="rimsky2.html#No_103">No. 103.</a> <i>Legend of Kitesh</i> <span class="box">8</span>—Harmonic basis in the strings.</p> + +<p><span style="margin-left: 5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">240</span></span>—(Cf. <a href="rimsky2.html#No_021">Ex. 21</a>).</p> + +<p><span style="margin-left: 5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">283</span></span>—Harmonic basis in the strings (cf. <a href="rimsky2.html#No_002">Ex. 2</a>).</p> + +<p><a href="rimsky2.html#No_104">No. 104.</a> <i>The Golden Cockerel</i> <span class="box">4</span>—Basis in the strings.</p> + +<p><span style="margin-left: 4.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 3em;">"</span> <span style="margin-left: 1.5em;"><span class="box">125</span></span>—Undulating rhythm in the +strings as harmonic basis (cf. <a href="rimsky2.html#No_271">Ex. 271</a>).</p> + +<p class="tp">In a <i>forte</i> or <i>sfp</i> chord, where one or two of the upper notes is +held, either sustained or <i>tremolando</i>, the balance of tone must still +be maintained, as in the following example:</p> + +<p class="center"> +<img src="images1/forte_chord.png" width="364" height="326" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/forte_chord.mp3">Listen</a>]</p> + + +<h2>Wood-wind harmony.</h2> + +<p>Before entering upon this section of the work I would remind the +reader of the general principles laid down in the beginning of the +chapter.</p> + +<p>Harmonic texture, composed of plain chords or ornamental designs, +simple or contrapuntal in character, must possess a resonance equally +distributed throughout. This may be obtained by the following means:<span class="pagenum"><a name="Page_72" id="Page_72">-72-</a></span></p> + +<p>1. Instruments forming chords must be used continuously in the same +way during a given passage, that is to say they must be doubled or not +throughout, except when one of the harmonic parts is to be made +prominent:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>To be avoided:</td> +<td class="center"><img src="images1/chords09.png" width="409" height="105" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords09.mp3">Listen</a>]</td> +</tr> +</table> + +<p>2. The normal order of register must be followed, except in the case +of crossing or enclosure of parts, which will be discussed later on:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>To be avoided:</td> +<td class="center"><img src="images1/chords10.png" width="251" height="56" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords10.mp3">Listen</a>]</td> +</tr> +</table> + +<p>3. Corresponding or adjacent registers should be made to coincide +except for certain colour effects:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>To be avoided:</td> +<td class="center"><img src="images1/chords11.png" width="103" height="61" alt="music" title="music" /></td> +<td class="center">The second flute will sound too weak and<br /> +the oboes too piercing.</td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords11.mp3">Listen</a>]</td> +<td> </td> +</tr> +</table> + +<p>4. Concords (octaves, thirds and sixths) and not discords (fifths, +fourths, seconds and sevenths), should be given to instruments of the +same kind or colour, except when discords are to be emphasised. This +rule should be specially observed in writing for the oboe with its +penetrating quality of tone:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>To be avoided:</td> +<td class="center"><img src="images1/chords12.png" width="128" height="59" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords12.mp3">Listen</a>]</td> +</tr> +</table> + + +<h3>Four-part and three-part harmony.</h3> + +<p>Harmonic writing for the wood-wind may be considered from two points +of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b) +instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.</p> + +<p>A. <i>In pairs.</i> There are three ways of distribution: 1. +<i>Superposition</i> or <i>overlaying</i> (strictly following the normal order +of register),<span class="pagenum"><a name="Page_73" id="Page_73">-73-</a></span> 2. <i>Crossing</i>, and 3. <i>Enclosure</i> of parts. The last +two methods involve a certain disturbance of the natural order of +register:</p> + +<p class="center">Overlaying. <span style="margin-left: 2em;">Crossing.</span> <span style="margin-left: 2em;">Enclosure.</span></p> + +<p class="center"> +<img src="images1/overlaying01.png" width="351" height="71" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/overlaying01.mp3">Listen</a>]</p> + +<p>In choosing one of these three methods the following points must not +be forgotten: a) the register of a particular isolated chord; the soft +and weak register of an instrument should not be coupled with the +powerful and piercing range of another:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td class="center">Overlaying.</td> +<td class="center">Crossing.</td> +<td class="center">Enclosure.</td> +</tr> +<tr> +<td colspan="3" class="center"><img src="images1/overlaying02.png" width="359" height="71" alt="music" title="music" /></td> +</tr> +<tr> +<td class="center">Oboe too<br /> +piercing.</td> +<td class="center">Low notes<br /> +of the flute<br /> +too weak.</td> +<td class="center">Bassoon too<br /> +prominent.</td> +</tr> +</table> + +<p class="centerbp">[<a href="music1/overlaying02.mp3">Listen</a>]</p> + +<p>b) In a succession of chords the general progression of parts must be +considered; one tone quality should be devoted to the stationary and +another to the moving parts:</p> + +<p class="center"> +<img src="images1/chord_progression.png" width="511" height="65" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/chord_progression.mp3">Listen</a>]</p> + +<p>When chords are in widely-divided four-part harmony notes may be +allotted in pairs to two different tone qualities, adhering to the +normal order of register:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Good:</td> +<td class="center"><img src="images1/chords13.png" width="390" height="82" alt="music" title="music" /></td> +<td>etc.</td> +</tr> +</table> + +<p class="centerbp">[<a href="music1/chords13.mp3">Listen</a>]</p> + +<p>Any other distribution will result unquestionably in a grievous lack +of relationship between registers:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>To be avoided:</td> +<td class="center"><img src="images1/chords14.png" width="387" height="74" alt="music" title="music" /></td> +<td>etc.</td> +</tr> +</table> + +<p class="centerbp">[<a href="music1/chords14.mp3">Listen</a>]</p> + +<p><span class="pagenum"><a name="Page_74" id="Page_74">-74-</a></span></p> + +<p>If one tone quality is to be enclosed, it must be between two +different timbres:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>Good:</td> +<td class="center"><img src="images1/chords15.png" width="388" height="75" alt="music" title="music" /></td> +<td>etc.</td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/chords15.mp3">Listen</a>]</td> +<td> </td> +</tr> +</table> + +<p>It is possible to lend four distinct timbres to a chord in +widely-divided four-part harmony, though such a chord will possess no +uniformity in colour; but the higher the registers of the different +instruments are placed, the less perceptible becomes the space which +separates them:</p> + +<p class="center"> +<img src="images1/chords16.png" width="317" height="91" alt="music" title="music" /> +</p> + +<p class="center">Fairly good <span style="margin-left: 2em;">Better</span> <span style="margin-left: 2.5em;">Still better</span></p> + +<p class="centerbp">[<a href="music1/chords16.mp3">Listen</a>]</p> + +<p>The use of four different timbres in close four-part harmony is to be +avoided, as the respective registers will not correspond:</p> + +<p class="center"> +<img src="images1/chords17.png" width="251" height="76" alt="music" title="music" /> +</p> + +<p class="center"><span style="margin-left: 7em;">Bad</span> <span style="margin-left: 2.5em;">Better</span> <span style="margin-left: 1.5em;">Still slightly better</span></p> + +<p class="centerbp">[<a href="music1/chords17.mp3">Listen</a>]</p> + +<div class="blockquot"> +<p><i>Note.</i> In <i>Mozart and Salieri</i>, which is only scored for 1 +Fl., 1 Ob., 1 Cl. and 1 Fag., wood-wind chords in four-part +harmony are of necessity devoted to these four different +timbres.</p> +</div> + +<p>The same rules apply to writing in three-part harmony, which is the +most customary form when it is a question of establishing a harmonic +basis, the lowest register of which is entrusted to another group of +instruments (strings <i>arco</i> or <i>pizz.</i>, for example). Chords in +three-part harmony are generally given to two instruments of one +timbre and a third instrument of another, but never to three different +timbres. Overlaying of parts is the best course to adopt:</p> + +<p class="center"> +<img src="images1/chords18.png" width="600" height="90" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/chords18.mp3">Listen</a>]</p> + +<p><span class="pagenum"><a name="Page_75" id="Page_75">-75-</a></span></p> + +<p>The use of crossing and enclosure of parts (which in a way amount to +the same thing) must depend on the manner of their progression:</p> + +<p class="right"><span style="margin-right: 5em;">Enclosure:</span></p> + +<p class="center"> +<img src="images1/enclosure.png" width="602" height="62" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/enclosure.mp3">Listen</a>]</p> + +<p>B. <i>Wood-wind in three's.</i> Here the distribution of chords in close +three-part harmony is self-evident; any grouping of three instruments +of the same timbre is sure to sound well:</p> + +<p class="center"> +<img src="images1/woodwind01.png" width="398" height="68" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind01.mp3">Listen</a>]</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>also:</td> +<td class="center"><img src="images1/woodwind02.png" width="385" height="93" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/woodwind02.mp3">Listen</a>]</td> +</tr> +</table> + +<p class="center"> +<img src="images1/woodwind03.png" width="201" height="52" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind03.mp3">Listen</a>]</p> + +<p>Overlaying of parts is the best method to follow in writing close +four-part harmony; three instruments of the same timbre with a fourth +instrument of another. Crossing and enclosure of parts may also be +employed. Correspondence of timbres and the progression of remote +parts must be kept in mind:</p> + +<p class="center"> +<img src="images1/overlaying03.png" width="643" height="65" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/overlaying03.mp3">Listen</a>]</p> + +<p>The method of using three instruments of the same timbre in +widely-divided three-part harmony is inferior:</p> + +<p class="center"> +<img src="images1/woodwind04.png" width="641" height="78" alt="music" title="music" /> +</p> + +<p class="center">Not good <span style="margin-left: 3em;">Better</span> <span style="margin-left: 3em;">Better</span> <span style="margin-left: 3em;">Not good</span> <span style="margin-left: 3em;">Better</span> <span style="margin-left: 3em;">Better</span></p> + +<p class="centerbp">[<a href="music1/woodwind04.mp3">Listen</a>]</p> + +<p><span class="pagenum"><a name="Page_76" id="Page_76">-76-</a></span></p> + +<p>But if the third instrument is of low register (Bass Fl., Eng. horn, +Bass cl., or C-fag.), the resonance will be satisfactory:</p> + +<p class="center"> +<img src="images1/woodwind05.png" width="491" height="68" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind05.mp3">Listen</a>]</p> + +<p>In chords of four-part harmony, three instruments of the same timbre +should be combined with a fourth instrument of another:</p> + +<p class="center"> +<img src="images1/woodwind06.png" width="481" height="90" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind06.mp3">Listen</a>]</p> + + +<h3>Harmony in several parts.</h3> + +<p>In writing chords of 5, 6, 7 and 8 part-harmony, whether they are +independent, or constitute the harmonic basis, the student should +follow the principles outlined in the <a href="#Chapter_II">previous chapter</a>, dealing with +the progression of wood-wind instruments in octaves. As the 5<span class="super">th</span>, +6<span class="super">th</span>, 7<span class="super">th</span> and 8<span class="super">th</span> notes are only duplications in octaves of +lower notes of the real harmony (in 4 parts), instruments should be +chosen which combine amongst themselves to give the best octaves. The +process of crossing and enclosure of parts may also be used.</p> + +<p>A. Wood-wind in pairs (close distribution):</p> + +<p class="center"> +<img src="images1/woodwind_pairs01.png" width="638" height="82" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind_pairs01.mp3">Listen</a>]</p> + +<p>In widely-divided harmony chords in several parts are to be avoided as +they will entail both close and extended writing:</p> + +<p class="center"> +<img src="images1/woodwind_pairs02.png" width="171" height="104" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind_pairs02.mp3">Listen</a>]</p> + +<div class="blockquot"> +<p><i>Note.</i> In the majority of cases this distribution is +employed when the two upper harmonic parts have a special +melodic duty to perform—this question is discussed above.</p> +</div> + +<p><span class="pagenum"><a name="Page_77" id="Page_77">-77-</a></span></p> + +<p>B. Wood-wind in three's:</p> + +<p class="center"> +<img src="images1/woodwind_threes01.png" width="303" height="87" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind_threes01.mp3">Listen</a>]</p> + +<p class="center"> +<img src="images1/woodwind_threes02.png" width="582" height="150" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind_threes02.mp3">Listen</a>]</p> + +<p>Overlaying of parts is the most satisfactory method in dealing with +close three-part harmony. Crossing of parts is not so favourable, as +octaves will be produced contrary to the natural order of register:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td class="center"><img src="images1/woodwind_threes03.png" width="141" height="74" alt="music" title="music" /></td> +<td>Here the arrangement</td> +<td class="center"><img src="images1/woodwind_threes04.png" width="93" height="63" alt="music" title="music" /></td> +<td>is bad.</td> +</tr> +<tr> +<td class="center">[<a href="music1/woodwind_threes03.mp3">Listen</a>]</td> +<td> </td> +<td class="center">[<a href="music1/woodwind_threes04.mp3">Listen</a>]</td> +<td> </td> +</tr> +</table> + + +<h3>Duplication of timbres.</h3> + +<p>A. If the wood-wind is in pairs it is a good plan to mix the doubled +timbres as much as possible:</p> + +<p class="center"> +<img src="images1/woodwind_pairs03.png" width="377" height="71" alt="music" title="music" /> +</p> + +<p class="right"><span style="margin-right: 12em;">Excellent</span></p> + +<p class="centerbp">[<a href="music1/woodwind_pairs03.mp3">Listen</a>]</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td>also:</td> +<td class="center"><img src="images1/woodwind_pairs04.png" width="377" height="74" alt="music" title="music" /></td> +</tr> +<tr> +<td> </td> +<td class="center">[<a href="music1/woodwind_pairs04.mp3">Listen</a>]</td> +</tr> +</table> + +<p>In chords of four-part harmony the classical method may be adopted:</p> + +<p class="center"> +<img src="images1/classical.png" width="197" height="68" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/classical.mp3">Listen</a>]</p> + +<p><span class="pagenum"><a name="Page_78" id="Page_78">-78-</a></span></p> + +<p>In this case, though the high <i>C</i> in the flute is fairly powerful, the +resonance of the <i>G</i> and <i>E</i> in the oboes is softened by the +duplication of the 2<span class="super">nd</span> flute and 1<span class="super">st</span> clarinet, while the <i>C</i> in +the 2<span class="super">nd</span> clarinets (not doubled) is feeble in comparison with the +other notes. In any case the two extreme parts are the thinnest and +weakest in tone, the intermediate parts the fullest and strongest.</p> + +<p>B. <i>Wood-wind in three's</i> admit of perfectly balanced mixed timbres in +chords of three-part harmony:</p> + +<p class="center"> +<img src="images1/woodwind_threes05.png" width="583" height="82" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind_threes05.mp3">Listen</a>]</p> + +<p>These timbres may even originate from three-fold duplication:</p> + +<p class="center"> +<img src="images1/woodwind_threes06.png" width="267" height="73" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/woodwind_threes06.mp3">Listen</a>]</p> + + +<h3>Remarks.</h3> + +<p>1. Modern orchestrators do not allow any void in the intermediate +parts in writing close harmony; it was permitted to some extent by the +classics:</p> + +<p class="center"> +<img src="images1/close_harmony.png" width="327" height="71" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/close_harmony.mid">Listen</a>]</p> + +<p>These empty spaces create a bad effect especially in <i>forte</i> passages. +For this reason widely-divided harmony, which is fundamentally based +on the extension of intervals, can be used but seldom and only in +<i>piano</i> passages. Close writing is the more frequent form in all +harmony devoted to the wood-wind, <i>forte</i> or <i>piano</i>.</p> + +<p>2. As a general rule a chord of greatly extended range and in several +parts is distributed according to the order of the natural scale, with +wide intervals (octaves and sixths), in the bass part, lesser +intervals (fifths and fourths) in the middle, and close intervals +(3<span class="super">rds</span> or 2<span class="super">nds</span>) in the upper register:<span class="pagenum"><a name="Page_79" id="Page_79">-79-</a></span></p> + +<p class="center"> +<img src="images1/chords19.png" width="499" height="157" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/chords19.mp3">Listen</a>]</p> + +<p>3. In many cases correct progression of parts demands that one of them +should be temporarily doubled. In such cases the ear is reconciled to +the brief overthrow of balance for the sake of a single part, and is +thankful for the logical accuracy of the progression. The following +example will illustrate my meaning:</p> + +<p class="center"> +<img src="images1/progression02.png" width="499" height="126" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/progression02.mid">Listen</a>]</p> + +<p>In the second bar of this example the <i>D</i> is doubled in unison on +account of the proximity of the three upper parts to their +corresponding parts an octave lower. In the fourth bar the <i>F</i> is +doubled in unison in both groups.</p> + +<p>4. The formation of the harmonic basis, which is essentially in four +parts, does not by any means devolve upon the wood-wind alone. One of +the parts is often devoted to the strings, <i>arco</i> or <i>pizz.</i> More +frequently the bass part is treated separately, the chords of greater +value in the three upper parts being allotted to the wood-wind. Then, +if the upper part is assigned to a group of strings, there remains +nothing for the wind except the sustained harmony in the two middle +parts. In the first case the three-part harmony in the wood-wind +should form an independent whole, receiving no assistance from the +bass; in this manner intervals of open fourths and fifths will be +obviated. In the second case it is desirable to provide the +intermediate parts with a moderately full tone, choosing no other +intervals except seconds, sevenths, thirds or sixths.</p> + +<p>All that has been said with regard to the use of wood-wind in the +formation of harmony, and the division of simple and mixed<span class="pagenum"><a name="Page_80" id="Page_80">-80-</a></span> timbres +applies with equal force to sustained chords, or harmonic progressions +interchanging rapidly with <i>staccato</i> chords. In short chords, +separated by rests of some importance, the arrangement and division of +timbres is not so perceptible to the ear, and progression of parts +attracts less attention. It would be useless, nay, impossible to +examine the countless combinations of tone colour, all the varieties +of duplication and distribution of chords. It has been my aim to +denote the fundamental principles upon which to work, and to indicate +the general rules to be followed. Once having mastered these, if the +student devote a little time to the study of full scores, and listen +to them on the orchestra, he will soon learn when certain methods +should be used and when to adopt others. The pupil is advised, +generally, to write for wood-wind in its normal order of distribution, +to take heed that each particular chord is composed entirely either of +duplicated or non-duplicated parts, (except in certain cases resulting +from progression), to use the methods of crossing and enclosure of +timbres with full knowledge of what he is doing, and finally to +concentrate his attention on close part-writing.</p> + +<p class="centertp"><i>Examples of wood-wind harmony:</i></p> + +<p>a) Independent chords.</p> + +<p><a href="rimsky2.html#No_105">No. 105.</a> <i>The Christmas Night</i> <span class="box">148</span>—Cl., 2 Fag.</p> + +<p><a href="rimsky2.html#No_106">No. 106.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">beginning—Ob., Cl., Fag. (crossing of parts).</span></p> + +<p><i>Snegourotchka</i> <span class="box">16</span>—2 Cl., Fag.</p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">79</span>, 5<span class="super">th</span> bar.—2 Ob., 2 Fag. (cf. <a href="rimsky2.html#No_136">Ex. 136</a>).</span></p> + +<p>* <a href="rimsky2.html#No_107">No. 107.</a> <i>Snegourotchka</i> <span class="box">197</span>—Picc., 2 Fl. (<i>tremolando</i>).</p> + +<p><a href="rimsky2.html#No_108">No. 108.</a> <span style="margin-left: 3.7em;">"</span><span style="margin-left: 3em;"><span class="box">204</span>—2 Fl., 2 Ob. (high register).</span></p> + +<p><a href="rimsky2.html#No_109">No. 109.</a> <i>Shéhérazade</i>, beginning—Total wood-wind in different +distribution.</p> + +<p>* <i>Russian Easter Fête</i> <span class="box">A</span>—3 Fl. <i>tremolando</i> (cf. <a href="rimsky2.html#No_176">Ex. 176</a>).</p> + +<p>* <i>Tsar Saltan</i> <span class="box">45</span> Ob., 2 Fag.</p> + +<p><a href="rimsky2.html#No_110">No. 110.</a> <i>Tsar Saltan</i>, before <span class="box">115</span>—mixed timbres.</p> + +<p><a href="rimsky2.html#No_111">No. 111.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;"><span class="box">115</span>, and other similar passages—very sweet effect of wood-wind in three's.</span></p> + +<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;"><span class="box">177</span>—2 Ob., 2 Fag.</span></p> + +<p><span class="pagenum"><a name="Page_81" id="Page_81">-81-</a></span></p> + +<p><i>Sadko</i>, Symphonic Tableau <span class="box">9</span>—Ob., 2 Cl., Fag.</p> + +<p>* <i>Sadko</i>, Opera <span class="box">4</span>—Eng. horn, 2 Cl.</p> + +<p><span style="margin-left: 2em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">before <span class="box">5</span>—Total wood-wind.</span></p> + +<p><a href="rimsky2.html#No_112">No. 112.</a> <i>Sadko</i> <span class="box">72</span>—Chords in three-part harmony; simple and +mixed timbres.</p> + +<p>* <a href="rimsky2.html#No_113">No. 113.</a> <i>The Tsar's Bride</i> <span class="box">126</span> Full wind.</p> + +<p>* <a href="rimsky2.html#No_114">No. 114.</a> <i>Legend of Kitesh</i>, before <span class="box">90</span>—Enclosure of parts +(Ob. I in the high register).</p> + +<p><a href="rimsky2.html#No_115">No. 115.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">before <span class="box">161</span>—Wind and brass alternately.</span></p> + +<p><a href="rimsky2.html#No_116">No. 116.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;"><span class="box">167</span>—Full wind except oboe, with chorus.</span></p> + +<p><i>Legend of Kitesh</i> <span class="box">269</span>—Fl., Cl., Fag.</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">125</span>—Various wind instruments, 4 part +harmony (cf. <a href="rimsky2.html#No_271">Ex. 271</a>).</p> + +<p><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2em;"><span class="box">218</span>—Ob., Eng. horn, Fag., C-fag.; cf. +also <span class="box">254</span>.</span></p> + +<p><a href="rimsky2.html#No_117">No. 117.</a> <i>The Golden Cockerel</i>, before <span class="box">236</span>—Mixed timbre; 2 Fag. +form the bass.</p> + +<p class="tp">b) Harmonic basis (sometimes joined by the horns).</p> + +<p><i>The May Night</i>, Act III <span class="box">L</span>—2 Fag., Eng. horn (cf. <a href="rimsky2.html#No_018">Ex. 18</a>).</p> + +<p><i>Antar</i> <span class="box">68</span>—3 Flutes.</p> + +<p><i>Snegourotchka</i> <span class="box">20</span>—2 Cl., high register.</p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;">before <span class="box">50</span>—2 Fl., Fag.</span></p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">187</span>—2 Ob., 2 Fag.</span></p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">274</span>—2 Cl., low register (cf. <a href="rimsky2.html#No_009">Ex. 9</a>).</span></p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">283</span>—Fl., Eng. horn, Cl., Fag. (cf. <a href="rimsky2.html#No_026">Ex. 26</a>).</span></p> + +<p><a href="rimsky2.html#No_118">No. 118.</a> <i>Snegourotchka</i> <span class="box">292</span>—Widely-divided harmony and +doubling of parts in the wind.</p> + +<p><a href="rimsky2.html#No_119">No. 119.</a><span style="margin-left: 3em;">"</span><span style="margin-left: 3.2em;"><span class="box">318-319</span>—2 Flutes.</span></p> + +<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">B</span>—2 Cl., Fag. (sustained note in +the horn) (cf. <a href="rimsky2.html#No_001">Ex. 1</a>).</p> + +<p><i>The Christmas Night</i> <span class="box">1</span>—3 Cl.</p> + +<p><i>Sadko</i> <span class="box">1</span>—Cl., Bass Cl., Fag., C-fag.</p> + +<p><a href="rimsky2.html#No_120">No. 120.</a> <i>Sadko</i> <span class="box">49</span>—Ob., Cl., Horn, Fag.</p> + +<p><span style="margin-left: 4.8em;">"</span><span style="margin-left: 1.5em;"><span class="box">99</span>—2 Cl. (cf. <a href="rimsky2.html#No_289">Ex. 289</a>, <a href="rimsky2.html#No_290">290</a>).</span></p> + +<p><span class="pagenum"><a name="Page_82" id="Page_82">-82-</a></span></p> + +<p><a href="rimsky2.html#No_121">No. 121.</a> <i>Sadko</i> <span class="box">144</span>—Cl., Fag.</p> + +<p><a href="rimsky2.html#No_122">No. 122.</a><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;"><span class="box">195-196</span>—2 Cl., Bass Cl.</span></p> + +<p><i>The Tsar's Bride</i> <span class="box">80</span>—Cl., Fag.</p> + +<p><span style="margin-left: .8em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">"</span><span style="margin-left: 1.2em;"><span class="box">166</span>—harmonic parts in motion, Fl. and Cl. (cf. <a href="rimsky2.html#No_022">Ex. 22</a>).</span></p> + +<p><i>Servilia</i> <span class="box">59</span>—Cl. (low. register), Fag.</p> + +<p>* <a href="rimsky2.html#No_123">No. 123.</a> <i>Kashtcheï the Immortal</i> <span class="box">80</span>—Ob., Fag. muted.</p> + +<p>* <a href="rimsky2.html#No_124">No. 124.</a> <i>Legend of Kitesh.</i> <span class="box">52</span>—Fl., Fag.</p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">55</span>—Fl., Ob. (cf. <a href="rimsky2.html#No_197">Ex. 197</a>).</span></p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">68</span>—Eng. horn, Fag., C-fag. (cf. <a href="rimsky2.html#No_199">Ex. 199</a>).</span></p> + +<p><a href="rimsky2.html#No_124">No. 124.</a><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">118</span>—mixed timbre: 2 Ob., Eng. horn and 3 Cl.</span></p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">136</span>—harmonic parts in motion:</span></p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">before <span class="box">185</span>—3 Fl. (low register) and 2 Cl.</span></p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">223</span>—Fl., Ob., Cl. (cf. <a href="rimsky2.html#No_031">Ex. 31</a>).</span></p> + +<p>* <a href="rimsky2.html#No_125">No. 125.</a><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">247</span>—2 Cl., Bass Cl.</span></p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">273</span>—Eng. horn, 2 Cl. and Bass Cl., Fag.</span></p> + +<p>* <a href="rimsky2.html#No_126">No. 126.</a><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">355</span>—Eng. horn muted, Cl., 2 Fag.</span></p> + +<p>* <a href="rimsky2.html#No_127">No. 127.</a> <i>The Golden Cockerel</i> <span class="box">3</span>—Cl., Bass Cl., Fag., C-fag.</p> + +<p><span style="margin-left: 5.2em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.8em;"><span class="box">40-41</span> Bass Cl., Fag.; Fl., Cl.; Cl., Bass Cl.</span></p> + +<p>* <a href="rimsky2.html#No_128">No. 128.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.8em;"><span class="box">156</span>—harmonic parts in motion: +Fl. and Cl.</span></p> + + +<h2>Harmony in the brass.</h2> + +<p>Here, as in the wood-wind, part writing should be of the close order +with no empty spaces in the intervals.</p> + +<h3>Four-part writing.</h3> + +<p>It is evident that the quartet of horns presents every facility for +four-part harmony, perfectly balanced in tone, without doubling the +bass in octaves:<span class="pagenum"><a name="Page_83" id="Page_83">-83-</a></span></p> + +<p class="center"> +<img src="images1/4-part_brass01.png" width="379" height="58" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/4-part_brass01.mp3">Listen</a>]</p> + +<div class="blockquot"> +<p><i>Note.</i> In the diagrams of the present section the actual +sounds of horns and trumpets are given, as in a piano score, +for the sake of simplicity.</p> +</div> + +<p>When it is found necessary to double the bass in octaves, the too +resonant trombone and tuba are seldom used, the duplication being +effected by the bassoon, as explained further on. The quartet of +trombones and tuba is not often employed in close four-part harmony; +the third trombone and the tuba usually form the bass in octaves, and +the three upper parts are generally allotted to the two remaining +trombones reinforced by a trumpet or two horns in unison, so as to +obtain a perfect balance of tone:</p> + +<p class="center"> +<img src="images1/4-part_brass02.png" width="633" height="75" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/4-part_brass02.mp3">Listen</a>]</p> + +<p>I have often adopted the following combination of brass instruments, +and consider it eminently satisfactory: 2 horns and tuba to form the +bass in octaves, the three other parts given to the trombones:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td class="center"><img src="images1/4-part_brass03.png" width="176" height="74" alt="music" title="music" /></td> +<td>(beautiful full resonance).</td> +</tr> +<tr> +<td class="center">[<a href="music1/4-part_brass03.mp3">Listen</a>]</td> +<td> </td> +</tr> +</table> + +<p>In the higher registers, four-part harmony, of which the two upper +parts are given to the trumpets, may be completed by two trombones or +four horns in pairs:</p> + +<p class="center"> +<img src="images1/4-part_brass04.png" width="384" height="60" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/4-part_brass04.mp3">Listen</a>]</p> + +<p>When 3 trumpets are available the fourth part should be allotted to +one trombone, or two horns in unison:</p> + +<p class="center"> +<img src="images1/4-part_brass05.png" width="273" height="73" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/4-part_brass05.mp3">Listen</a>]</p> + +<p>Enclosure of parts may be used in single chords:</p> + +<p class="center"> +<img src="images1/4-part_brass06.png" width="333" height="56" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/4-part_brass06.mp3">Listen</a>]</p> + +<p><span class="pagenum"><a name="Page_84" id="Page_84">-84-</a></span></p> + +<p class="noindent">or in progression:</p> + +<p class="center"> +<img src="images1/4-part_brass07.png" width="637" height="86" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/4-part_brass07.mp3">Listen</a>]</p> + + +<h3>Three-part writing.</h3> + +<p>The best combination is trombones, horns, or trumpets in three's. If +the instruments are mixed the number of horns should be doubled:</p> + +<p class="center"> +<img src="images1/3-part_brass.png" width="614" height="70" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/3-part_brass.mp3">Listen</a>]</p> + + +<h3>Writing in several parts.</h3> + +<p>When the whole group is used the number of horns should be doubled:</p> + +<p class="center"> +<img src="images1/sev-part_brass01.png" width="610" height="146" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/sev-part_brass01.mp3">Listen</a>]</p> + +<p>In seven, six, or five-part harmony certain instruments must be +omitted:</p> + +<p class="center"> +<img src="images1/sev-part_brass02.png" width="550" height="284" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/sev-part_brass02.mp3">Listen</a>]</p> + +<p>Discords of the seventh or second are preferably entrusted to +instruments of different tone colour:<span class="pagenum"><a name="Page_85" id="Page_85">-85-</a></span></p> + +<p class="center"> +<img src="images1/sev-part_brass03.png" width="374" height="142" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/sev-part_brass03.mp3">Listen</a>]</p> + +<p>When such chords are written for an orchestra which only includes two +trumpets, it is impossible for the horns to proceed in pairs. In such +cases the following arrangement may obtain, the horns being marked one +degree louder than the other instruments, to secure balance of tone:</p> + +<p class="center"> +<img src="images1/sev-part_brass04.png" width="220" height="146" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/sev-part_brass04.mp3">Listen</a>]</p> + +<p>The same method should be followed whenever the use of horns in pairs +fails to produce satisfactory tone.</p> + +<p>When chords of widely-divided harmony are distributed throughout +several harmonic registers, the register occupied by the horns need +not be doubled; the arrangement of the chord will resemble that of a +chorale written for double or triple choir. For example:</p> + +<p class="center"> +<img src="images1/sev-part_brass05.png" width="593" height="148" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/sev-part_brass05.mp3">Listen</a>]</p> + + +<h3>Duplication in the brass.</h3> + +<p>Duplication in the brass group is most frequently effected by placing +a chord for horns side by side with the same chord written for +trumpets or trombones. The soft round quality of the horns intensifies +the tone, and moderates the penetrating timbre of the trumpets and +trombones:<span class="pagenum"><a name="Page_86" id="Page_86">-86-</a></span></p> + +<p class="center"> +<img src="images1/dup_brass01.png" width="631" height="76" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/dup_brass01.mp3">Listen</a>]</p> + +<p>Similar juxtaposition of trumpets and trombones:</p> + +<p class="center"> +<img src="images1/dup_brass02.png" width="228" height="58" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/dup_brass02.mp3">Listen</a>]</p> + +<p class="noindent">is not so common, as this unites the two most powerful agents in the +group.</p> + +<p>In handling an orchestra the brass is frequently employed to sustain +notes in two or three octaves; this sphere of activity must not be +ignored. The <i>tenuto</i> is generally given to two trumpets, or to two or +four horns in the octave, (in double octaves). The octave is sometimes +formed by trumpets and horns acting together:</p> + +<p class="center"> +<img src="images1/dup_brass03.png" width="500" height="88" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/dup_brass03.mp3">Listen</a>]</p> + +<p>The trombone with its ponderous tone rarely takes part in such +combinations. Sustained notes in double octaves are usually +apportioned thus:</p> + +<p class="center"> +<img src="images1/dup_brass04.png" width="145" height="105" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/dup_brass04.mp3">Listen</a>]</p> + +<p>The imperfect balance arising from the duplication of the middle note +is compensated for by the mixture of timbres, which lends some unity +to the chord.</p> + +<p class="centertp"><i>Examples of harmony in the brass:</i></p> + +<p>a) Independent chords:</p> + +<p><i>Snegourotchka</i> <span class="box">74</span>—3 Trombones, 2 Horns.</p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">140</span>—3 Trombones, 2 Horns. Chords in different groups alternately (cf. <a href="rimsky2.html#No_244">Ex. 244</a>).</span></p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">171</span>—Full brass; further on 3 Trombones (cf. <a href="rimsky2.html#No_097">Ex. 97</a>).</span></p> + +<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">255</span>—4 Horns (stopped).</span> +<span class="pagenum"><a name="Page_87" id="Page_87">-87-</a></span></p> + +<p><a href="rimsky2.html#No_129">No. 129.</a> <i>Snegourotchka</i>, before <span class="box">289</span>—4 Horns.</p> + +<p><span style="margin-left: 6.5em;">"</span><span style="margin-left: 3.5em;"><span class="box">289</span>—Full brass.</span></p> + +<p>* <i>Sadko</i>, before <span class="box">9</span>—Full brass (enclosure of parts).</p> + +<p><a href="rimsky2.html#No_130">No. 130.</a> <i>Sadko</i> <span class="box">175</span>—Mixed timbres (juxtaposition) 3 Horns +<span class="lg">+</span> 3 Trumpets.</p> + +<p><span style="margin-left: 5em;">"</span><span style="margin-left: 1.3em;">before <span class="box">338</span>—Full brass except Tuba.</span></p> + +<p><a href="rimsky2.html#No_131">No. 131.</a><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;"><span class="box">191-193</span> (Full brass).</span></p> + +<p><a href="rimsky2.html#No_132">No. 132.</a> <i>The Christmas Night</i>, before <span class="box">180</span>—Full muted brass.</p> + +<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 2.8em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.5em;"><span class="box">181</span>—4 Horns <span class="lg">+</span> 3 Trombones <span class="lg">+</span> Tuba (cf. <a href="rimsky2.html#No_237">Ex. 237</a>).</span></p> + +<p>* <i>The Tsar's Bride</i> <span class="box">178</span>—Strings and brass alternately +(cf. <a href="rimsky2.html#No_242">Ex. 242</a>).</p> + +<p>* <a href="rimsky2.html#No_133">No. 133.</a> <i>Tsar Saltan</i> <span class="box">102</span>, 7<span class="super">th</span> bar.—2 Trumpets, 2 Trombones <span class="lg">+</span> 4 Horns (juxtaposition).</p> + +<p><span style="margin-left: 5.5em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;"><span class="box">230</span>—Full brass, thickly scored (cf. <a href="rimsky2.html#APPENDIX">Table of chords</a> No. II at the end of <a href="rimsky2.html">Vol. II</a>, Ex. 12).</span></p> + +<p>* <i>Servilia</i> <span class="box">154</span>—Various brass instruments.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">130</span>—3 Trumpets, Trombone and Tuba.</p> + +<p><a href="rimsky2.html#No_134">No. 134.</a> <i>Legend of Kitesh</i> <span class="box">199</span>—Short chords (juxtaposition).</p> + +<p>* <a href="rimsky2.html#No_135">No. 135.</a> <i>The Golden Cockerel</i> <span class="box">115</span>—Horns, Trombones +(enclosure).</p> + +<p class="tp">b) Harmonic basis:</p> + +<p><a href="rimsky2.html#No_136">No. 136.</a> <i>Snegourotchka</i> <span class="box">79</span>, 6<span class="super">th</span> bar.—4 Horns.</p> + +<p><span style="margin-left: 6.5em;">"</span><span style="margin-left: 3.3em;"><span class="box">231</span>—3 Trombones, soft and sweet (cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</span></p> + +<p><i>Antar</i> <span class="box">64-65</span>—4 Horns; later 3 Trombones (cf. <a href="rimsky2.html#No_032">Ex. 32</a>).</p> + +<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement, <span class="box">A</span>, <span class="box">E</span>, <span class="box">H</span>, <span class="box">K</span>, +<span class="box">M</span>—Harmonic bases of different power and timbre (cf. <a href="rimsky2.html#No_192">Ex. 192</a>-<a href="rimsky2.html#No_195">195</a>).</p> + +<p><a href="rimsky2.html#No_137">No. 137.</a> <i>Servilia</i> <span class="box">93</span>—Full brass.</p> + +<p>* <a href="rimsky2.html#No_138">No. 138.</a> <i>Tsar Saltan</i> <span class="box">127</span>—4 muted Horns <span class="lg">+</span> 3 Trombones +and Tuba <i>con sord. pp.</i></p> + +<p><span style="margin-left: 5.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">before <span class="box">147</span>—Full brass <i>ff</i> (the 2 Oboes and Eng. horn are of no particular importance).</span></p> + +<p>* <i>Pan Voyevoda</i> <span class="box">136</span>, 9<span class="super">th</span> bar.—4 Horns, then Trombones, 2 +Horns.</p> + +<p>* <a href="rimsky2.html#No_139">No. 139.</a> <i>Legend of Kitesh</i> <span class="box">158</span>—Trumpets, Trombones.</p> + +<p><a href="rimsky2.html#No_140">No. 140.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.8em;"><span class="box">248</span>—3 Trombones.</span></p> + +<p><span style="margin-left: 5.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">before <span class="box">362</span>—Full brass.</span></p> + +<p><span class="pagenum"><a name="Page_88" id="Page_88">-88-</a></span></p> + + +<h2>Harmony in combined groups.</h2> + +<h3>A. Combination of wind and brass.</h3> + +<p>Wind and brass instruments may be combined by the method of placing a +chord in one timbre side by side with the same chord in another +timbre, or by any of the three methods already described: overlaying, +crossing and enclosure of parts.</p> + +<h4>1. <i>In unison (juxtaposition or contrast of tone qualities).</i></h4> + +<p>This class of combination possesses the same features as combinations +in the melodic line (cf. <a href="#Chapter_II">Chap. II</a>). Wood-wind reinforces the brass, +softens it and reduces its characteristic qualities. Arrangements such +as the following are possible:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>2 Trumpets <span class="lg">+</span> 2 Fl.;<br /> +3 Trumpets <span class="lg">+</span> 3 Fl.;</td> +<td>2 Trumpets <span class="lg">+</span> 2 Ob.;<br /> +3 Trumpets <span class="lg">+</span> 3 Ob.;</td> +<td>2 Trumpets <span class="lg">+</span> 2 Cl.<br /> +3 Trumpets <span class="lg">+</span> 3 Cl.</td> +</tr> +</table> + +<p>Also</p> + +<p class="center"> +<img src="images1/harmony_unison01.png" width="241" height="125" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/harmony_unison01.mp3">Listen</a>]</p> + +<p class="noindent">as well as:</p> + +<table border="0" cellpadding="4" cellspacing="0" summary="instruments"> +<tr> +<td>2 Horns <span class="lg">+</span> 2 Fag.;<br /> +3 Horns <span class="lg">+</span> 3 Fag.; +</td> +<td>2 Horns <span class="lg">+</span> 2 Cl.;<br /> +3 Horns <span class="lg">+</span> 3 Cl.; and:</td> +</tr> +</table> + +<p class="noindent">2 Horns <span class="lg">+</span> 2 Fag. <span class="lg">+</span> 2 Cl. etc.</p> + +<p>The combinations 3 Trombones <span class="lg">+</span> 3 Fag., or 3 Trombones <span class="lg">+</span> 3 Cl. are very +rare.</p> + +<p>A chord scored for full brass doubled by the same chords scored for +full wood-wind (in pairs) produces a magnificent and uniform tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">315</span>—2 Horns <span class="lg">+</span> 2 Cl. and 2 Horns <span class="lg">+</span> 2 Ob. +(cf. <a href="rimsky2.html#No_236">Ex. 236</a>).</p> + +<p><a href="rimsky2.html#No_141">No. 141.</a> <i>The Tsar's Bride</i> <span class="box">50</span>—4 Horns <span class="lg">+</span> 2 Cl., 2 Fag.</p> + +<p><a href="rimsky2.html#No_142">No. 142.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.3em;"><span class="box">142</span>—Juxtaposition of full wind and brass.</span></p> + +<p><i>Ivan the Terrible</i>, Act II <span class="box">30</span>—Juxtaposition and enclosure (cf. +<a href="rimsky2.html#APPENDIX">Table of chords</a> II, Ex. 8).</p> + +<p><a href="rimsky2.html#No_143">No. 143.</a> <i>The Christmas Night</i> <span class="box">165</span>—4 Horns <span class="lg">+</span> Fl., Cl., Fag.<span class="pagenum"><a name="Page_89" id="Page_89">-89-</a></span></p> + +<p>* <a href="rimsky2.html#No_144">No. 144.</a> <i>Sadko</i>, before <span class="box">79</span>—Horn, Trumpet <span class="lg">+</span> doubled wood-wind.<a name="FNanchor_15_18" id="FNanchor_15_18"></a><a href="#Footnote_15_18" class="fnanchor">[15]</a></p> + +<p><a href="rimsky2.html#No_145">No. 145.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;"><span class="box">242</span>—Full brass <span class="lg">+</span> Fl., Cl.</span></p> + +<p><i>Legend of Kitesh</i>, beginning—Horn, Trombones <span class="lg">+</span> Cl., Fag. (cf. also +<span class="box">5</span>—<a href="rimsky2.html#No_249">Ex. 249</a>).</p> + +<p>* <a href="rimsky2.html#No_146">No. 146.</a> <i>Legend of Kitesh</i> <span class="box">10</span>—Eng. horn, 2 Cl., Fag. <i>legato</i> <span class="lg">+</span> 4 Horns non legato.</p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.6em;">"</span><span style="margin-left: 1.7em;"><span class="box">324</span>—Full brass <span class="lg">+</span> wind.</span></p> + +<p>* <a href="rimsky2.html#No_146">No. 147.</a> <i>The Golden Cockerel</i> <span class="box">233</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Trumpets <span class="lg">+</span> Ob.<br /> +Horn <span class="lg">+</span> Cl.</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p class="tp">Stopped or muted notes in trumpets and horns resemble the oboe and +Eng. horn in quality; the combination of these instruments produces a +magnificent tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_148">No. 148.</a> <i>Russian Easter Fête</i>, p. 11.—Horn (<span class="lg">+</span>), Trumpets (low +register) <span class="lg">+</span> Ob., Cl.</p> + +<p>* <i>The Christmas Night</i>, before <span class="box">154</span>—Full muted brass <span class="lg">+</span> wind.</p> + +<p>* <a href="rimsky2.html#No_149">No. 149.</a> <i>Tsar Saltan</i> <span class="box">129</span>—2 Ob., Eng. horn, <span class="lg">+</span> 3 Trumpets muted (3 Cl. at the bottom).</p> + +<p>* <a href="rimsky2.html#No_150">No. 150.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.6em;"><span class="box">131</span> 17<span class="super">th</span> bar.—Same combination with added horns.</span></p> + +<p>* <a href="rimsky2.html#No_151">No. 151.</a> <i>Antar</i> <span class="box">7</span>—Ob., Eng. horn, 2 Fag. <span class="lg">+</span> 4 Horns (<span class="lg">+</span>).</p> + +<p class="tp">A beautiful dark tone is derived from the combination of middle notes +in stopped horns and deep notes in the clarinet:</p> + +<p class="center"> +<img src="images1/harmony_unison02.png" width="189" height="59" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/harmony_unison02.mp3">Listen</a>]</p> + +<p>If bassoons are substituted for clarinets the effect loses part of its +character.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Kashtcheï the Immortal</i> <span class="box">29</span>, 11<span class="super">th</span> bar,—2 Ob., 2 Cl. <span class="lg">+</span> 4 Horns (<span class="lg">+</span>).</p> + +<p><span style="margin-left: 2.8em;">"</span><span style="margin-left: 2.3em;">"</span><span style="margin-left: 2.3em;">"</span><span style="margin-left: 2.2em;"><span class="box">107</span>, 6<span class="super">th</span> bar.—2 Cl., Fag. <span class="lg">+</span> 3 Horns (<span class="lg">+</span>).</span></p> + +<p>* <i>The Christmas Night</i>, p. 249—Cl., Fag. <span class="lg">+</span> 3 Horns (<span class="lg">+</span>).</p> + +<p>* <i>Mlada</i>, Act III <span class="box">19</span>—3 Horns (<span class="lg">+</span>) <span class="lg">+</span> 3 Fag. and 3 Horns (<span class="lg">+</span>) <span class="lg">+</span> 3 +Ob. (cf. <a href="rimsky2.html#No_259">Ex. 259</a>).</p> + +<p><span class="pagenum"><a name="Page_90" id="Page_90">-90-</a></span></p> + +<h4>2. <i>Overlaying (superposition), crossing, enclosure of parts.</i></h4> + +<p>It has already been stated that the bassoon and horn are the two +instruments best capable of reconciling the groups of wood-wind and +brass. Four-part harmony given to two bassoons and two horns, +especially in soft passages, yields a finely-balanced tone recalling +the effect of a quartet of horns, but possessing slightly greater +transparence. In <i>forte</i> passages the horns overwhelm the bassoons, +and it is wiser to employ four horns alone. In the former case +crossing of parts is to be recommended for the purposes of blend, the +concords being given to the horns, the discords to the bassoons:</p> + +<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music"> +<tr> +<td class="center"><img src="images1/overlaying04.png" width="177" height="50" alt="music" title="music" /></td> +<td>and not:</td> +<td class="center"><img src="images1/overlaying05.png" width="175" height="49" alt="music" title="music" /></td> +</tr> +<tr> +<td class="center">[<a href="music1/overlaying04.mp3">Listen</a>]</td> +<td> </td> +<td class="center">[<a href="music1/overlaying05.mp3">Listen</a>]</td> +</tr> +</table> + +<p>Bassoons may also be written inside the horns, but the inverse process +is not to be recommended:</p> + +<p class="center"> +<img src="images1/overlaying06.png" width="180" height="59" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/overlaying06.mp3">Listen</a>]</p> + +<p>The same insetting of parts may be used for sustained trumpet notes in +octaves. In soft passages, thirds played in the low register of the +flutes, sometimes combined with clarinets, produce a beautiful +mysterious effect between trumpets in octaves. In a chain of +consecutive chords it is advisable to entrust the stationary parts to +the brass, the moving parts to the wood-wind.</p> + +<p>Clarinets, on account of their tone quality should rarely be set +inside the horns, but, in the upper register, and in the higher +harmonic parts, a chord of four horns, (<i>piano</i>), may be completed by +clarinets as effectively as by oboes or flutes; the bassoon may then +double the base an octave below:</p> + +<p class="center"> +<img src="images1/overlaying07.png" width="286" height="134" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/overlaying07.mp3">Listen</a>]</p> + +<p>Played <i>forte</i>, the horns are more powerful than the wood-wind; +balance may be established by doubling the upper harmonic parts:<span class="pagenum"><a name="Page_91" id="Page_91">-91-</a></span></p> + +<p class="center"> +<img src="images1/overlaying08.png" width="302" height="142" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/overlaying08.mp3">Listen</a>]</p> + +<p class="center"><i>Examples:</i></p> + +<p>a) Superposition.</p> + +<p>* <i>Sadko</i>, Symphonic Tableau <span class="box">1</span>, <span class="box">9</span>—Fl., Ob., Cl., Horn (basis).</p> + +<p><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">before <span class="box">14</span>—2 Fl., Cl., Horns.</span></p> + +<p><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">final chord—Fl., Cl., Horn.</span></p> + +<p>* <i>Antar</i> <span class="box">22</span>—Fl., Cl., Horns (basis).</p> + +<p><a href="rimsky2.html#No_152">No. 152.</a> <i>Antar</i> <span class="box">56</span>—3 Fl., 4 Horns (basis).</p> + +<p>* <i>Snegourotchka</i> <span class="box">300</span>—Full wind and horns.</p> + +<p>* <i>Shéhérazade</i>—Final chords of 1<span class="super">st</span> and 4<span class="super">th</span> movements.</p> + +<p>* <i>Russian Easter Fête</i> <span class="box">D</span>—Fl., Cl., Horn; later trumpets and +trombones in juxtaposition (cf. <a href="rimsky2.html#No_248">Ex. 248</a>).</p> + +<p>* <a href="rimsky2.html#No_153">No. 153.</a> <i>The Christmas Night</i> <span class="box">212</span>, 10<span class="super">th</span> bar.—Wind and Horns; trumpets and trombones added later.</p> + +<p><span style="margin-left: 6em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.3em;"><span class="box">215</span></span></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">3 Fl. <span class="lg">+</span> 3 Cl.<br /> +3 Horns</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* <i>Sadko</i>, Opera <span class="box">165</span>—Juxtaposition and Superposition.</p> + +<p><a href="rimsky2.html#No_154">No. 154.</a> <i>Sadko</i> <span class="box">338</span>—Same distribution.</p> + +<p><a href="rimsky2.html#No_155">No. 155.</a> <i>Servilia</i> <span class="box">73</span></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td class="center">3 Fl <span class="lg">+</span> 2 Ob., Cl.<br /> +4 Horns.</td> +</tr> +</table> + +<p>* <a href="rimsky2.html#No_156">No. 156.</a> <i>Legend of Kitesh</i>, before <span class="box">157</span>—3 Flutes, 3 Trombones.</p> + +<p><span style="margin-left: 5.8em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">final chord (cf. <a href="rimsky2.html#APPENDIX">Table III of chords</a>, Ex. 15).</span></p> + +<p>* <i>The Golden Cockerel</i>, before <span class="box">219</span>—Mixed timbre of wood-wind, 4 +Horns.</p> + +<p class="tp">b) Crossing.</p> + +<p>* <i>The Christmas Night</i>, before <span class="box">53</span>—Horn, Fag.</p> + +<p><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3.3em;">"</span><span style="margin-left: 1.7em;"><span class="box">107</span>—Clar., Horn, Fag.</span></p> + +<p>* <i>Legend of Tsar Saltan</i>, before <span class="box">62</span>—Horn, Fag.</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">220</span>—3 Trombones, 2 Fag., C-fag. +(cf. <a href="rimsky2.html#No_232">Ex. 232</a>).</p> + +<p>* <a href="rimsky2.html#No_157">No. 157.</a> <i>Antar</i>, before <span class="box">30</span>—Wood-wind, Horns, then Trumpets.<span class="pagenum"><a name="Page_92" id="Page_92">-92-</a></span></p> + +<p class="tp">c) Enclosure:</p> + +<p><a href="rimsky2.html#No_158">No. 158.</a> <i>Ivan the Terrible</i>, Act I <span class="box">33</span>—Flutes within horns; later +horns within bassoons.</p> + +<p><a href="rimsky2.html#No_159">No. 159.</a> <i>Snegourotchka</i> <span class="box">183</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Trumpet<br /> +Fl., 2 Cl.<br /> +Trumpet</td> +</tr> +</table> + +<p>* <i>Sadko</i>, symphonic tableau <span class="box">3</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Cl. <span class="lg">+</span> Fag.<br /> +4 Horns<br /> +Cl. <span class="lg">+</span> Fag.</td> +</tr> +</table> + +<p>* <i>Antar</i> before <span class="box">37</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Fag.<br /> +2 Horns (<span class="lg">+</span>)<br /> +Cl.</td> +</tr> +</table> + +<p>* <i>Sadko</i>, Opera <span class="box">105</span>—Harmonic basis; oboes within trumpets +(cf. <a href="rimsky2.html#No_260">Ex. 260</a>).</p> + +<p>* <a href="rimsky2.html#No_160">No. 160.</a> <i>Sadko</i>, Opera, before <span class="box">155</span>—Flutes within trumpets.</p> + +<p>* <i>The Tsar's Bride</i>, end of Overture—Bassoons within horns (cf. +<a href="rimsky2.html#APPENDIX">Table III of chords</a>, Ex. 14).</p> + +<p>* <a href="rimsky2.html#No_161">No. 161.</a> <i>Tsar Saltan</i> <span class="box">50</span>—Trumpets within wood-wind doubled.</p> + +<p><a href="rimsky2.html#No_162">No. 162.</a><span style="margin-left: 1.8em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;"><span class="box">59</span>—Flutes within trumpets; clarinets within horns.</span></p> + +<p>* <a href="rimsky2.html#No_163">No. 163.</a> <i>Legend of Kitesh</i> <span class="box">82</span>—Oboes and clarinets within +trumpets.</p> + +<p class="tp">The relationship which has been shown to exist between stopped horns +and oboe or Eng. horn authorizes the simultaneous use of these +instruments in one and the same chord, played <i>p</i> or <i>sfp</i>:</p> + +<p class="center"> +<img src="images1/enclosure02.png" width="193" height="69" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/enclosure02.mp3">Listen</a>]</p> + +<p class="center"><i>Examples:</i></p> + +<p>* <i>The Christmas Night</i> <span class="box">75</span>—3 Horns (<span class="lg">+</span>) <span class="lg">+</span> Oboe.</p> + +<p><i>The Tsar's Bride</i> <span class="box">123</span>—Ob., Eng. horn, Horn (<span class="lg">+</span>) (cf. <a href="rimsky2.html#No_240">Ex. 240</a>).</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">244</span>—Cl., 2 Fl., <span class="lg">+</span> 2 Ob., Eng. horn, 3 Horn +(<span class="lg">+</span>).</p> + +<p>* <a href="rimsky2.html#No_164">No. 164.</a> <i>Legend of Kitesh</i>, before <span class="box">256</span>—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">2 Ob., Eng. horn<br /> +3 Horns (<span class="lg">+</span>)</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8.</td> +</tr> +</table> + +<p>* Cf. also <i>Tsar Saltan</i>, before <span class="box">115</span>—</p> + +<table border="0" cellpadding="5" cellspacing="0" summary="instruments"> +<tr> +<td>Horn (<span class="lg">+</span>)<br /> +2 Fl. <span class="lg">+</span> 2 Fag.</td> +<td>(<a href="rimsky2.html#No_110">Ex. 110</a>).</td> +</tr> +</table> + +<p class="tp">If trumpets and trombones take part in a chord, flutes, oboes and +clarinets are better used to form the harmonic part above the +trumpets. The following should be the arrangement:<span class="pagenum"><a name="Page_93" id="Page_93">-93-</a></span></p> + +<p class="center"> +<img src="images1/trumpchord01.png" width="637" height="189" alt="music" title="music" /> +</p> + +<p class="center"> +<img src="images1/trumpchord02.png" width="468" height="175" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/trumpchord01-02.mp3">Listen</a>]</p> + +<p class="center"> +<img src="images1/trumpchord03.png" width="638" height="177" alt="music" title="music" /> +</p> + +<p class="centerbp">[<a href="music1/trumpchord03.mp3">Listen</a>]</p> + +<p class="center"><i>Examples:</i></p> + +<p>* <i>Sadko</i>, symphonic tableau <span class="box">20</span>.</p> + +<p>* <a href="rimsky2.html#No_165">No. 165.</a> <i>The May Night</i>, Act I <span class="box">Ee</span>—3 Trombones, 2 Ob. <span class="lg">+</span> 2 Cl. <span class="lg">+</span> 2 Fag.</p> + +<p><span style="margin-left: 5.2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">p. 325.—Final chord, <i>C</i> maj. (cf. <a href="rimsky2.html#APPENDIX">Table I of chords</a>, Ex. 1).</span></p> + +<p>* <a href="rimsky2.html#No_166">No. 166.</a> <i>Snegourotchka</i> <span class="box">198</span>; cf. also <span class="box">200</span> and before +<span class="box">210</span>.</p> + +<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement <span class="box">E</span>, 2<span class="super">nd</span> movement <span class="box">P</span>, 3<span class="super">rd</span> +movement <span class="box">M</span>, 4<span class="super">th</span> movement p. 203 (cf. <a href="rimsky2.html#No_195">Ex. 195</a>, <a href="rimsky2.html#No_019">19</a>, <a href="rimsky2.html#No_210">210</a>, <a href="rimsky2.html#No_077">77</a>).</p> + +<p><a href="rimsky2.html#No_167">No. 167.</a> <i>The Christmas Night</i> <span class="box">205</span>; cf. also <span class="box">161</span>, <span class="box">212</span>, +14<span class="super">th</span> bar. (<a href="rimsky2.html#No_100">Ex. 100</a>, <a href="rimsky2.html#No_153">153</a>).</p> + +<p>* <i>Mlada</i>, end of Act I (cf. <a href="rimsky2.html#APPENDIX">Chord Table II</a>, Ex. 13). Act II <span class="box">20</span>.</p> + +<p>No. <a href="rimsky2.html#No_168">168</a>-<a href="rimsky2.html#No_169">169</a>. <i>Sadko</i>, Opera, before <span class="box">249</span>, <span class="box">302</span>; +cf. also <a href="rimsky2.html#No_120">Ex. 120</a>. +<span class="pagenum"><a name="Page_94" id="Page_94">-94-</a></span></p> + +<p><a href="rimsky2.html#No_170">No. 170.</a> <i>Sadko</i>, Opera <span class="box">244</span>—Chord of widely extended range; bassoons at the limit of low compass.</p> + +<p><span style="margin-left: 4.8em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1em;"><span class="box">142</span>, <span class="box">239</span>; cf. also <span class="box">3</span> (<a href="rimsky2.html#No_086">Ex. 86</a>).</span></p> + +<p>* <i>The Tsar's Bride</i> <span class="box">179</span> (cf. <a href="rimsky2.html#No_243">Ex. 243</a>).</p> + +<p><i>Antar</i> <span class="box">65</span>—Alternation of notes in horns and wood-wind on +trombone chords (cf. <a href="rimsky2.html#No_032">Ex. 32</a>).</p> + +<p class="tp"><i>General observations.</i> It is not always possible to secure proper +balance in scoring for full wood-wind. For instance, in a succession +of chords where the melodic position is constantly changing, +distribution is subordinate to correct progression of parts. In +practice, however, any inequality of tone may be counterbalanced by +the following acoustic phenomenon: in every chord the parts in octaves +strengthen one another, the harmonic sounds in the lowest register +coinciding with and supporting those in the highest. In spite of this +fact it rests entirely with the orchestrator to obtain the best +possible balance of tone; in difficult cases this may be secured by +judicious dynamic grading, marking the wood-wind one degree louder +than the brass.</p> + + +<h3>B. Combination of strings and wind.</h3> + +<p>1. We frequently meet with the combination of strings and wood-wind in +the light of comparison of one timbre with another, either in long +sustained notes, or <i>tremolando</i> in the strings. Apart from the +complete or partial doubling of the string quartet (two methods +frequently used), the general and most natural arrangement is:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td>Fl.<br /> +Ob. (Cl.)</td> +<td><span class="lg">+</span> Vn<span class="super">s</span> div.;</td> +<td>Clar.<br /> +Fag.</td> +<td><span class="lg">+</span> 'Cellos <span class="lg">+</span> Violas div., etc.</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Sadko</i>, Symphonic Tableau before <span class="box">4</span>, and <span class="box">4</span>, 9<span class="super">th</span> bar.</p> + +<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement <span class="box">M</span> 6 Vn<span class="super">s</span> soli <span class="lg">+</span> 2 Ob. (2 Fl.), +Cl.</p> + +<p>* <i>Antar</i> <span class="box">7</span>—String quartet <i>divisi</i> <span class="lg">+</span> wood-wind (cf. <a href="rimsky2.html#No_151">Ex. 151</a>).</p> + +<p>* <a href="rimsky2.html#No_171">No. 171.</a> <i>Antar</i> <span class="box">57</span>—Vn<span class="super">s</span> II, Violas div. <span class="lg">+</span> Fl., Horn (florid +accompaniment in the Clar.).</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">295</span>—the same; rhythmic motion in the wind, +sustained harmony in the strings (cf. <a href="rimsky2.html#No_213">Ex. 213</a>).<span class="pagenum"><a name="Page_95" id="Page_95">-95-</a></span></p> + +<p class="tp">2. Owing to the complete absence of any affinity in tone quality, the +combination of strings with brass is seldom employed in juxtaposition, +crossing, or enclosure of parts.</p> + +<p>The first method may be used however when the harmony is formed by the +strings <i>tremolando</i>, and the brass is employed in sustaining chords, +also when the strings play short disconnected chords, <i>sforzando</i>. +Another possible exception may be mentioned; the splendid effect of +horns doubled by divided violas or 'cellos.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">242</span>—Full brass <span class="lg">+</span> strings <i>tremolando</i> (cf. 1<span class="super">st</span> +<a href="rimsky2.html#APPENDIX">Table of chords</a>, Ex. 6).</p> + +<p>* <i>Legend of Kitesh</i>, before <span class="box">240</span>—the same (Horn, Trumpet <span class="lg">+</span>).</p> + +<p>* <i>Sadko</i>, Opera, before <span class="box">34</span>—Horn <span class="lg">+</span> Violas <i>div.</i>, Trombones <span class="lg">+</span> +'Cellos <i>div.</i><a name="FNanchor_16_19" id="FNanchor_16_19"></a><a href="#Footnote_16_19" class="fnanchor">[16]</a></p> + + +<h3>C. Combination of the three groups.</h3> + +<p>The combination of strings, wood-wind and brass instruments, set side +by side, produces a full, round and firm tone.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_172">No. 172.</a> <i>The Tsar's Bride</i>, before <span class="box">145</span>—Ob., Fag. <span class="lg">+</span> Horns <span class="lg">+</span> Strings.</p> + +<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">final chord (cf. <a href="rimsky2.html#APPENDIX">Table I of chords</a>, Ex. 5).</span></p> + +<p>* <a href="rimsky2.html#No_173">No. 173.</a> <i>Sadko</i>, end of 1<span class="super">st</span> tableau—short chords. Last chords +of the 1<span class="super">st</span>, 3<span class="super">rd</span> and 7<span class="super">th</span> tableaux (cf. <a href="rimsky2.html#APPENDIX">Table I and III</a>, +<a href="rimsky2.html">Vol. II</a>, Ex. 9, 10, 18).</p> + +<p>* <a href="rimsky2.html#No_174">No. 174.</a> <i>The Christmas Night</i> <span class="box">22</span>—Wind <span class="lg">+</span> Brass <i>c. sord.</i> <span class="lg">+</span> +<i>tremolo</i> strings.</p> + +<p><i>Legend of Kitesh</i> <span class="box">162</span> (cf. <a href="rimsky2.html#No_250">Ex. 250</a>).</p> + +<p><i>Snegourotchka</i>—end of opera, (cf. <a href="rimsky2.html#APPENDIX">Table III</a> in <a href="rimsky2.html">Vol. II</a>, Ex. 17) and +a host of other examples.<span class="pagenum"><a name="Page_96" id="Page_96">-96-</a></span></p> + +<p class="tp"><i>General Observations.</i> Balance and correct distribution of tone is +much more important in dealing with long sustained chords or those of +rhythmic design; in the case of short, disconnected chords resonance +is a minor consideration, but one which should not be entirely +neglected.</p> + +<p>I have endeavoured to outline the general principles to be followed, +but I do not profess to deal with all the countless cases which may +arise in the course of orchestration. I have given a few examples of +well-sounding chords; for further information I advise the reader to +study full scores with care, as this is the only method to acquire +perfect knowledge of the distribution and doubling of various +instruments.</p> + + + +<hr /> +<p><span class="pagenum"><a name="Page_97" id="Page_97">-97-</a></span></p> +<h1><a name="Chapter_IV" id="Chapter_IV"></a>Chapter IV.</h1> + +<p class="center"><span class="lg">COMPOSITION OF THE ORCHESTRA.</span></p> + +<hr class="short" /> + +<h2>Different ways of orchestrating the same music.</h2> + +<p>There are times when the general tone, character and atmosphere of a +passage, or a given moment in an orchestral work point to one, and +only one particular manner of scoring. The following simple example +will serve for explanation. Take a short phrase where a flourish or +fanfare call is given out above a <i>tremolando</i> accompaniment, with or +without change in harmony. There is no doubt that any orchestrator +would assign the <i>tremolo</i> to the strings and the fanfare to a +trumpet, never <i>vice versa</i>. But taking this for granted, the composer +or orchestrator may still be left in doubt. Is the fanfare flourish +suitable to the range of a trumpet? Should it be written for two or +three trumpets in unison, or doubled by other instruments? Can any of +these methods be employed without damaging the musical meaning? These +are questions which I shall endeavour to answer.</p> + +<p>If the phrase is too low in register for the trumpets it should be +given to the horns (instruments allied to the trumpet); if the phrase +is too high it may be entrusted to the oboes and clarinets in unison, +this combination possessing the closest resemblance to the trumpet +tone both in character and power. The question whether one trumpet or +two should be employed must be decided by the degree of power to be +vested in the given passage. If a big sonorous effect is required the +instruments may be doubled, tripled, or even multiplied by four; in +the opposite case one solo brass instrument, or two of the wood-wind +will suffice (1 Ob. <span class="lg">+</span> 1 Cl.). The question whether the <i>tremolo</i> in +the strings should be supported<span class="pagenum"><a name="Page_98" id="Page_98">-98-</a></span> by sustained harmony in the wood-wind +depends upon the purpose in view. A composer realises his intentions +beforehand, others who orchestrate his music can only proceed by +conjecture. Should the composer desire to establish a strongly-marked +difference between the harmonic basis and the melodic outline it is +better not to employ wood-wind harmony, but to obtain proper balance +of tone by carefully distributing his dynamic marks of expression, +<i>pp</i>, <i>p</i>, <i>f</i> and <i>ff</i>. If, on the contrary, the composer desires a +full round tone as harmonic basis and less show of brilliance in the +harmonic parts, the use of harmony in the wood-wind is to be +recommended. The following may serve as a guide to the scoring of +wood-wind chords: the harmonic basis should differ from the melody not +only in fullness and intensity of tone, but also in colour. If the +fanfare figure is allotted to the brass (trumpets or horns) the +harmony should be given to the wood-wind; if the phrase is given to +the wood-wind (oboes and clarinets) the harmony should be entrusted to +the horns. To solve all these questions successfully a composer must +have full knowledge of the purpose he has in view, and those who +orchestrate his work should be permeated with his intentions. Here the +question arises, what should those intentions be? This is a more +difficult subject.</p> + +<p>The aim of a composer is closely allied to the form of his work, to +the aesthetic meaning of its every moment and phrase considered apart, +and in relation to the composition as a whole. The choice of an +orchestral scheme depends on the musical matter, the colouring of +preceding and subsequent passages. It is important to determine +whether a given passage is a complement to or a contrast with what +goes before and comes after, whether it forms a climax or merely a +step in the general march of musical thought. It would be impossible +to examine all such possible types of relationship, or to consider the +<i>rôle</i> played by each passage quoted in the present work. The reader +is therefore advised not to pay too much attention to the examples +given, but to study them and their bearing on the context in their +proper place in the full scores. Nevertheless I shall touch upon a few +of these points in the course of the following outline. To begin with, +young and inexperienced composers do not always possess a clear idea +of what they wish to do. They can improve in this direction by +reading<span class="pagenum"><a name="Page_99" id="Page_99">-99-</a></span> good scores and by repeatedly listening to an orchestra, +provided they concentrate the mind to the fullest possible extent. The +search after extravagant and daring effects in orchestration is quite +a different thing from mere caprice; <i>the will to achieve is not +sufficient; there are certain things which should not be achieved</i>.</p> + +<hr class="med" /> + +<p>The simplest musical ideas, melodic phrases in unison and octaves, or +repeated throughout several octaves, chords, of which no single part +has any melodic meaning are scored in various ways according to +register, dynamic effect and the quality of expression or tone colour +that may be desired. In many cases, one idea will be orchestrated in a +different way every time it recurs. Later on I shall frequently touch +upon this more complicated question.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Snegourotchka</i> <span class="box">58</span>; <span class="box">65</span> and before <span class="box">68</span>—sustained note in +unison.</p> + +<p class="tp">There are fewer possible ways of scoring more complex musical ideas, +harmonico-melodic phrases, polyphonic designs etc.; sometimes there +are but two methods to be followed, for each of the primary elements +in music, melody, harmony, and counterpoint possesses its own special +requirements, regulating the choice of instruments and tone colour. +The most complicated musical ideas sometimes admit of only one manner +of scoring, with a few hardly noticeable variations in detail. To the +following example, very simple in structure I add an alternative +method of scoring:</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_175_A">No. 175.</a> <i>Vera Scheloga</i>, before <span class="box">35</span>—<a href="rimsky2.html#No_175_A">a)</a> actual orchestration, +*<a href="rimsky2.html#No_175_B">b)</a>—another method.</p> + +<p class="tp">It is obvious that the method <a href="rimsky2.html#No_175_B">b)</a> will produce satisfactory tone. But a +3<span class="super">rd</span> and 4<span class="super">th</span> way of scoring would be less successful, and a +continuation of this process would soon lead to the ridiculous. For +instance if the chords were given to the brass the whole passage would +sound heavy, and the soprano recitative in the low and middle register +would be overpowered. If the <i>F</i> sharp in the<span class="pagenum"><a name="Page_100" id="Page_100">-100-</a></span> double basses were +played <i>arco</i> by 'cellos and basses together it would sound clumsy, if +it were given to the bassoons a comic effect would be produced, and if +played by the brass it would sound rough and coarse, etc.</p> + +<p>The object of scoring the same musical phrase in different ways is to +obtain variety either in tone colour or resonance. In each case the +composer may resort to the inversion of the normal order of +instruments, duplication of parts, or the two processes in +combination. The first of these is not always feasible. In the +preceding sections of the book I have tried to explain the +characteristics of each instrument and the part which each group of +instruments plays in the orchestra. Moreover many methods of doubling +are to be avoided; these I have mentioned, while there are also some +instruments which cannot be combined owing to the great difference in +their peculiarities. Therefore, as regards the general composition of +the orchestra, the student should be guided by the general principles +laid down in the earlier stages of the present work.</p> + +<p>The best means of orchestrating the same musical idea in various ways +is by the adaptation of the musical matter. This can be done by the +following operations: a) complete or partial transference into other +octaves; b) repetition in a different key; c) extension of the whole +range by the addition of octaves to the upper and lower parts; d) +alteration of details (the most frequent method); e) variation of the +general dynamic scheme, e.g. repeating a phrase <i>piano</i>, which has +already been played <i>forte</i>.</p> + +<p>These operations are always successful in producing variety of +orchestral colour.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_176">No. 176</a>, <a href="rimsky2.html#No_177">177</a>. <i>Russian Easter Fête</i> <span class="box">A</span> and <span class="box">C</span>.</p> + +<p><i>The Christmas Night</i> <span class="box">158</span> and <span class="box">179</span>.</p> + +<p><a href="rimsky2.html#No_178">No. 178</a>-<a href="rimsky2.html#No_181">181</a>. <i>The Tsar's Bride</i>, Overture: beginning, <span class="box">1</span>, <span class="box">2</span>, +<span class="box">7</span>.</p> + +<p><i>Sadko</i> <span class="box">99-101</span> and <span class="box">305-307</span> (cf. <a href="rimsky2.html#No_289">Ex. 289</a>, <a href="rimsky2.html#No_290">290</a>, and <a href="rimsky2.html#No_075">75</a>).</p> + +<p><a href="rimsky2.html#No_182">No. 182</a>-<a href="rimsky2.html#No_186">186</a>. <i>Tsar Saltan</i> <span class="box">14</span>, <span class="box">17</span>, <span class="box">26</span>, <span class="box">28</span>, <span class="box">34</span>.</p> + +<p><a href="rimsky2.html#No_187">No. 187</a>-<a href="rimsky2.html#No_189">189</a>.<span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.6em;"><span class="box">181</span>, <span class="box">246</span>, <span class="box">220</span>.</span></p> + +<p>* <a href="rimsky2.html#No_190">No. 190</a>-<a href="rimsky2.html#No_191">191</a>. <i>Ivan the Terrible</i>, Overture <span class="box">5</span> and <span class="box">12</span>.</p> + +<p><span class="pagenum"><a name="Page_101" id="Page_101">-101-</a></span></p><p><i>Spanish Capriccio</i>—compare 1<span class="super">st</span> and 3<span class="super">rd</span> movement.</p> + +<p> +* <a href="rimsky2.html#No_192">No. 192</a>-<a href="rimsky2.html#No_195">195</a>. <i>Shéhérazade</i>, 1<span class="super">st</span> movement—beginning of the +<i>allegro</i> <span class="box">A</span>, <span class="box">E</span>, <span class="box">M</span>.</p> + +<p><span style="margin-left: 8.5em;">"</span> <span style="margin-left: 3em;">3<span class="super">rd</span> movement—beginning <span class="box">A</span>, <span class="box">I</span>.</span></p> + +<p><span style="margin-left: 8.5em;">"</span> <span style="margin-left: 3em;">3<span class="super">rd</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 2.8em;"><span class="box">E</span>, <span class="box">G</span>, <span class="box">O</span>.</span></span></p> + +<p>* <a href="rimsky2.html#No_196">No. 196</a>-<a href="rimsky2.html#No_198">198</a>. <i>Legend of Kitesh</i> <span class="box">55</span>, <span class="box">56</span>, <span class="box">62</span>.</p> + +<p>* <a href="rimsky2.html#No_199">No. 199</a>-<a href="rimsky2.html#No_201">201</a>.<span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.2em;"><span class="box">68</span>, <span class="box">70</span>, <span class="box">84</span>.</span></p> + +<p>(Cf. also <a href="rimsky2.html#No_213">Ex. 213</a>, <a href="rimsky2.html#No_214">214</a>. <i>Legend of Kitesh</i> <span class="box">294</span> and <span class="box">312</span>.)</p> + +<p>* <a href="rimsky2.html#No_202">No. 202</a>-<a href="rimsky2.html#No_203">203</a>. <i>The Golden Cockerel</i> <span class="box">229</span>, <span class="box">233</span>.</p> + +<p class="tp">The process of scoring the same or similar ideas in different ways is +the source of numerous musical operations, <i>crescendo</i>, <i>diminuendo</i>, +interchange of tone qualities, variation of tone colour etc., and +incidentally throws new light upon the fundamental composition of the +orchestra.</p> + + +<h2>Full <i>Tutti</i>.</h2> + +<p>The word <i>tutti</i> generally means the simultaneous use of all +instruments, but the word "all" is used relatively, and it must not be +inferred that every single instrument must necessarily be employed to +form a <i>tutti</i>. In order to simplify the following illustrations I +will divide the word into two classes, <i>full tutti</i> and <i>partial +tutti</i>,—independently of whether the orchestra is constructed in +pairs, in three's, or a larger number of instruments. I call <i>full +tutti</i> the combination of all melodic groups, strings, wind, and +brass. By <i>partial tutti</i> I mean passages in which the brass group +only takes part, whether two horns or two trumpets participate alone, +or whether two horns are combined with one or three trombones, without +tuba, trumpets, or the two remaining horns, etc.:</p> + +<table style="width: 50%" border="0" cellpadding="1" cellspacing="0" summary="horns"> +<tr> +<td rowspan="3" class="vat"><span class="xxxlg">[</span></td> +<td class="center">4 Horns,</td> +<td class="center">2 Horns</td> +<td class="center">2 Horns</td> +<td> </td> +<td rowspan="3" style="vertical-align: top" class="right"><span class="xxxlg">]</span>.</td> +</tr> +<tr> +<td class="center">. . . .</td> +<td class="center">or 2 Trumpets, or</td> +<td class="center">. . . . . .</td> +<td class="center">etc.</td> +</tr> +<tr> +<td class="center">. . . .</td> +<td class="center">. . . . . .</td> +<td class="center">3 Trombones</td> +<td> </td> +</tr> +</table> + +<p>In both species of <i>tutti</i> full wood-wind may be employed or not, +according to the register and musical context of the passage. For +instance, in the extreme high register it may be essential to include +the piccolo; in the low register flutes will be unnecessary, and yet +the passage can still be called <i>tutti</i>. The inclusion of +kettle-drums, harp, and other instruments of little sustaining power, +as of the percussion in general, does not come under discussion.<span class="pagenum"><a name="Page_102" id="Page_102">-102-</a></span></p> + +<p>The variety of orchestral operations increases with the number of +instruments forming a <i>tutti</i>, in fact, so great does it become that +it is impossible to consider all combinations. I can only give a few +examples of full and partial <i>tutti</i>, and leave the reader to draw his +own conclusions. Some of these examples fall under the double heading +of full and partial <i>tutti</i>, and the student is reminded that the +<i>tutti</i> is used essentially in <i>forte</i> and <i>fortissimo</i>, rarely in +<i>pianissimo</i> and <i>piano</i> passages.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">61</span> and <span class="box">62</span>—Partial and full <i>Tutti</i>.</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">231</span> Partial <i>Tutti</i>, without the trumpets (cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</span></p> + +<p><a href="rimsky2.html#No_204">No. 204.</a> <i>Snegourotchka</i> <span class="box">216</span>—Full <i>Tutti</i>.</p> + +<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">325-326</span>—Full <i>Tutti</i> and chorus (cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</span></p> + +<p><i>Sadko</i> <span class="box">3</span>, <span class="box">223</span>, <span class="box">239</span>—Full <i>Tutti</i> (cf. <a href="rimsky2.html#No_086">Ex. 86</a>).</p> + +<p><a href="rimsky2.html#No_205">No. 205</a>-<a href="rimsky2.html#No_206">206</a>. <i>Sadko</i> <span class="box">173</span>, <span class="box">177</span>—Full <i>Tutti</i> with chorus, +differently scored.</p> + +<p><a href="rimsky2.html#No_207">No. 207</a>-<a href="rimsky2.html#No_208">208</a>. <i>The Christmas Night</i> <span class="box">184</span> and <span class="box">186</span>—Full <i>Tutti</i>, +orchestrated in different ways, with and without chorus.</p> + +<p>* <i>The Tsar's Bride</i>, Overture <span class="box">1</span>, <span class="box">2</span>, <span class="box">7</span>—Full and partial <i>Tutti</i> +(cf. <a href="rimsky2.html#No_179">Ex. 179</a>-<a href="rimsky2.html#No_181">181</a>).</p> + +<p>* <span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">141</span>—Full <i>Tutti</i>.</span></p> + +<p>* <span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">177</span>—</span> <span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span></p> + +<p><i>Pan Voyevoda</i> <span class="box">186</span> and <span class="box">188</span> Full <i>Tutti</i>.</p> + +<p>* <i>Antar</i> <span class="box">65</span>—(cf. <a href="rimsky2.html#No_032">Ex. 32</a>).</p> + +<p>* <a href="rimsky2.html#No_209">No. 209.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">M</span>; cf. also 1<span class="super">st</span> +movement <span class="box">A</span>, <span class="box">E</span>, <span class="box">H</span>; 2<span class="super">nd</span> movement <span class="box">K</span>, <span class="box">P</span>, <span class="box">R</span>; +3<span class="super">rd</span> movement <span class="box">G</span>, <span class="box">O</span>; 4<span class="super">th</span> movement <span class="box">G</span>, <span class="box">P</span>, <span class="box">W</span> and +further on to <span class="box">Y</span> (<a href="rimsky2.html#No_193">No. 193</a>, <a href="rimsky2.html#No_194">194</a>, <a href="rimsky2.html#No_019">19</a>, <a href="rimsky2.html#No_066">66</a>, <a href="rimsky2.html#No_077">77</a>).</p> + +<p>* <i>Spanish Capriccio</i> <span class="box">B</span>, <span class="box">F</span>, <span class="box">J</span>, <span class="box">P</span>, <span class="box">V</span>, <span class="box">X-Z</span> +(cf. <a href="rimsky2.html#No_003">Ex. 3</a>).</p> + +<p>* <i>Russian Easter Fête</i> <span class="box">F</span>, <span class="box">J</span>, before <span class="box">L</span>, <span class="box">Y</span>, up to the +end.</p> + +<p>* <i>3<span class="super">rd</span> Symphony</i>, 1<span class="super">st</span> movement <span class="box">D</span>, <span class="box">R-T</span>, <span class="box">X</span>; 2<span class="super">nd</span> +movement <span class="box">A</span>, <span class="box">E</span>; 4<span class="super">th</span> movement <span class="box">A</span>, <span class="box">H</span>, <span class="box">S</span>.</p> + +<p>* <i>Sadko</i>, Symphonic tableau <span class="box">20-24</span>.</p> + +<p>* <i>Mlada</i>, Act III <span class="box">12</span> (cf. <a href="rimsky2.html#No_258">Ex. 258</a>).</p> + +<p>* For examples of <i>Tutti</i> chords, see special <a href="rimsky2.html#APPENDIX">Tables</a> at the end of +<a href="rimsky2.html">Vol. II</a>.<span class="pagenum"><a name="Page_103" id="Page_103">-103-</a></span></p> + + +<h2><i>Tutti</i> in the wind.</h2> + +<p>In many cases the wood-wind and brass groups can form a <i>tutti</i> by +themselves for periods of varying length. Sometimes this is effected +by the wood-wind alone, but more frequently with the support of horns. +At other times the horns are found alone without the wood-wind, and, +lastly, a <i>tutti</i> may be comprised of instruments of each group in +varying numbers. The addition of kettle-drums and the rest of the +percussion is quite common and constitutes what the Germans call +"Janitscharenmusik", or Turkish infantry music. Violoncellos and +double basses playing more or less important <i>pizz.</i> notes are often +added to wood-wind instruments (<i>tutti</i>), likewise the remainder of +the strings and the harps; this process renders the sustained notes in +the wood-wind more distinct. <i>Tutti</i> passages in wood-wind and horns +do not produce any great amount of power in <i>forte</i> passages, but, on +the other hand <i>tutti</i> in the brass groups alone may attain an +extraordinary volume of tone. In the following examples the formation +of pedal notes by strings or wood-wind in no way alters the general +character of the <i>Tutti</i>:</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_210">No. 210</a>-<a href="rimsky2.html#No_211">211</a>. <i>Snegourotchka</i> <span class="box">149</span>, <span class="box">151</span> (compare).</p> + +<p><i>Tsar Saltan</i> <span class="box">14</span>, <span class="box">17</span>, <span class="box">26</span> (cf. <a href="rimsky2.html#No_182">Ex. 182</a>-<a href="rimsky2.html#No_184">184</a>).</p> + +<p><i>Pan Voyevoda</i> <span class="box">57</span>, <span class="box">186</span>, <span class="box">262</span>.</p> + +<p><a href="rimsky2.html#No_212">No. 212.</a> <i>Ivan the Terrible</i>, Act II <span class="box">19</span>; cf. also Act. III <span class="box">5</span>.</p> + +<p>* <a href="rimsky2.html#No_213">No. 213</a>-<a href="rimsky2.html#No_214">214</a>. <i>Legend of Kitesh</i> <span class="box">294</span>, <span class="box">312</span> (compare).</p> + +<p>* <a href="rimsky2.html#No_215">No. 215.</a> <i>The Golden Cockerel</i> <span class="box">116</span>; cf. also <span class="box">82</span> and <span class="box">84</span>.</p> + +<p>* <i>Antar</i> <span class="box">37</span> (cf. <a href="rimsky2.html#No_065">Ex. 65</a>).</p> + + +<h2><i>Tutti pizzicato.</i></h2> + +<p>The quartet of strings (<i>pizzicato</i>), reinforced occasionally by the +harp and piano, may, in certain cases constitute a particular kind of +<i>tutti</i>, which can only attain any great degree of strength by support +from the wood-wind. Without this support it is of medium power, though +still fairly brilliant in quality.<span class="pagenum"><a name="Page_104" id="Page_104">-104-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_216">No. 216.</a> <i>Snegourotchka</i>, before <span class="box">128</span>; cf. also <span class="box">153</span> and before +<span class="box">305</span>.</p> + +<p>* <a href="rimsky2.html#No_217">No. 217.</a> <i>Russian Easter Fête</i> <span class="box">K</span>; cf. also <span class="box">U</span> and <span class="box">V</span>.</p> + +<p>* <i>Spanish Capriccio</i> <span class="box">A</span>, <span class="box">C</span>, before <span class="box">S</span>, before <span class="box">P</span>; cf. +also <span class="box">O</span> (<a href="rimsky2.html#No_056">Ex. 56</a>).</p> + +<p><i>Mlada</i>, Act II <span class="box">15</span>.</p> + +<p>* <i>Sadko</i>: <span class="box">220</span> (cf. <a href="rimsky2.html#No_295">Ex. 295</a>).</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">101</span>.</p> + +<p>* <a href="rimsky2.html#No_218">No. 218.</a> <i>The May Night</i>, Act I, The Mayor's Song—combination of +strings, <i>arco</i> and <i>pizz.</i></p> + + +<h2><i>Tutti</i> in one, two and three parts.</h2> + +<p>It often happens that a moderately full orchestral <i>ensemble</i> executes +a passage composed of one or two harmonic parts, in unison or in +octaves. Such melodic phrases call for more or less simple +orchestration with the usual doubling of parts, or, in ornamental +writing, admit of contrast in tone colouring, occasionally with the +addition of sustained notes.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i>, before <span class="box">152</span>, <span class="box">174</span>, <span class="box">176</span>.</p> + +<p><i>The Tsar's Bride</i> <span class="box">120-121</span> (cf. <a href="rimsky2.html#No_063">Ex. 63</a>).</p> + +<p><i>The Golden Cockerel</i> <span class="box">215</span>.</p> + +<p>* <a href="rimsky2.html#No_219">No. 219</a>-<a href="rimsky2.html#No_221">221</a>. <i>Legend of Kitesh</i> <span class="box">142</span>, <span class="box">144</span>, <span class="box">147</span>—3 part +<i>Tutti</i>, with different scoring.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">138</span>, <span class="box">139</span>—<i>Tutti</i> in one part.</p> + + +<h2><i>Soli</i> in the strings.</h2> + +<p>Although, in any orchestral piece, numerous instances are to be found +of melodies and phrases entrusted to a solo wind instrument (generally +the first of each group, wood-wind or brass), solos for stringed +instruments, on the other hand, are extremely rare. Whilst the 1<span class="super">st</span> +violin and 1<span class="super">st</span> 'cello are fairly frequently used in this manner, +the solo viola is seldom found, and a solo on the double bass is +practically unknown. Phrases demanding particular individuality<span class="pagenum"><a name="Page_105" id="Page_105">-105-</a></span> of +expression are entrusted to solo instruments; likewise passages that +require extraordinary technique, beyond the scope of the orchestral +rank and file. The comparatively weak tone of the solo instrument +necessitates light, transparent accompaniment. Difficult virtuoso +solos should not be written, as they attract too much attention to a +particular instrument. Solo stringed instruments are also used when +vigourous expression and technical facility are not required, but +simply in order to obtain that singular difference in colour which +exists between a solo stringed instrument and strings in unison. Two +solo instruments can be coupled together, e.g. 2 <i>Violins soli</i>, etc. +and in very rare cases a quartet of solo strings may be employed.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i><span class="u">Violin solo:</span></i></p> + +<p><a href="rimsky2.html#No_222">No. 222</a>-<a href="rimsky2.html#No_223">223</a>. <i>Snegourotchka</i> <span class="box">54</span>, <span class="box">275</span>.</p> + +<p><i>The May Night</i>, pp. 64-78.</p> + +<p><i>Mlada</i>, Act I <span class="box">52</span>; Act III, before <span class="box">19</span>.</p> + +<p>* <i>A Fairy Tale</i> <span class="box">W</span>.</p> + +<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement <span class="box">C</span>, <span class="box">G</span>; also the passages at +the start of each movement.</p> + +<p>* <i>Spanish Capriccio</i> <span class="box">H</span>, <span class="box">K</span>, <span class="box">R</span>, and the cadence on p. 38.</p> + +<p>* <a href="rimsky2.html#No_224">No. 224.</a> <i>Legend of Kitesh</i> <span class="box">310</span>—Vn. solo, on harmonic basis of +strings <i>sul ponticello</i> and wood-wind.</p> + +<p><i>Snegourotchka</i> <span class="box">274</span>, <span class="box">279</span>—2 Vn<span class="super">s</span> soli (cf. <a href="rimsky2.html#No_009">Ex. 9</a>).</p> + +<p class="tp"><i><span class="u">Viola solo:</span></i></p> + +<p><a href="rimsky2.html#No_225">No. 225.</a> <i>Snegourotchka</i> <span class="box">212</span>.</p> + +<p><i>Sadko</i> <span class="box">137</span>.</p> + +<p>* <a href="rimsky2.html#No_226">No. 226.</a> <i>The Golden Cockerel</i> <span class="box">163</span>; cf. also <span class="box">174</span>, <span class="box">177</span>.</p> + +<p class="tp"><i><span class="u">Violoncello solo:</span></i></p> + +<p><i>Snegourotchka</i> <span class="box">187</span> (cf. <a href="rimsky2.html#No_102">Ex. 102</a>).</p> + +<p><i>The Christmas Night</i>, before <span class="box">29</span>, <span class="box">130</span>.</p> + +<p><i>Mlada</i>, Act III <span class="box">36</span>.</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">177</span>, <span class="box">180</span> (cf. <a href="rimsky2.html#No_229">Ex. 229</a>).<span class="pagenum"><a name="Page_106" id="Page_106">-106-</a></span></p> + +<p class="tp"><i><span class="u">Double bass solo:</span></i></p> + +<p>* <a href="rimsky2.html#No_227">No. 227.</a> <i>Mlada</i>, Act II <span class="box">10-12</span>—a special instance where the +first string is tuned down.</p> + +<p class="tp"><i><span class="u">Solo quartet:</span></i></p> + +<p><i>The Christmas Night</i> <span class="box">222</span>—Vn., Viola, 'Cello, D. bass.</p> + +<p>* <a href="rimsky2.html#No_228">No. 228.</a> <i>Tsar Saltan</i> <span class="box">248</span>—Vn. I, Vn. II, Viola, 'Cello.</p> + +<p>* The case of a solo stringed instrument doubled by the wood-wind in +unison must not be forgotten. The object is to attain great purity and +abundance of tone, without impairing the timbre of the solo instrument +(especially in the high and low registers), or to produce a certain +highly-coloured effect.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Mlada</i>, Act II <span class="box">52</span>—Vn. <span class="lg">+</span> Fl.; Act IV <span class="box">31</span>—Viol. <span class="lg">+</span> Fl. <span class="lg">+</span> +Harp.</p> + +<p>* <i>The Christmas Night</i> <span class="box">212</span>—2 Vn<span class="super">s</span> <span class="lg">+</span> Fl. <span class="lg">+</span> Small Cl. +(cf. <a href="rimsky2.html#No_153">Ex. 153</a>).</p> + +<p>* <i>Pan Voyevoda</i> <span class="box">67</span>—2 Vn<span class="super">s</span> <span class="lg">+</span> 2 Ob.; 2 Violas <span class="lg">+</span> 2 Cl.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">306</span>—Bass cl. <span class="lg">+</span> C-fag. (cf. <a href="rimsky2.html#No_010">Ex. 10</a>).</p> + +<p><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.2em;"><span class="box">309</span>—Vn. <span class="lg">+</span> Fl.</span></p> + +<p>* <a href="rimsky2.html#No_229">No. 229.</a> <i>The Golden Cockerel</i> <span class="box">179</span>—Vn. <span class="lg">+</span> Picc.; 'Cello <span class="lg">+</span> Bass +cl.</p> + +<p>* As shown in <a href="#Chapter_II">Chap. II</a>, 2 Vn<span class="super">s</span> soli or Violin solo <span class="lg">+</span> Fl. (Picc.) are +often sufficient to double a melody in the upper register.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Sadko</i> <span class="box">207</span>—cf. <a href="#Chapter_II">Chap. II</a>, <a href="#Page_42">p. 42</a> and <a href="rimsky2.html#No_024">Ex. 24</a>.</p> + +<p>* <a href="rimsky2.html#No_230">No. 230.</a> <i>Russian Easter Fête</i>, p. 32—2 Solo violins (in +harmonics).</p> + +<p>* <a href="rimsky2.html#No_231">No. 231.</a> <i>Legend of Kitesh</i> <span class="box">297</span>—2 Solo violins <span class="lg">+</span> Picc.</p> + + +<h2>Limits of orchestral range.</h2> + +<p>It is seldom that the entire orchestral conception is centred in the +upper register of the orchestra (the 5<span class="super">th</span> and 6<span class="super">th</span> octaves), still +more rarely is it focussed wholly in the lowest range (octaves 1 and +-1) where the proximity of harmonic intervals creates a bad effect. In +the first case the flutes and piccolo should be used along with the +upper notes of the violins, <i>soli</i> or <i>divisi</i>; in the second<span class="pagenum"><a name="Page_107" id="Page_107">-107-</a></span> case +the double bassoon and the low notes of the bassoons, bass clarinet, +horns, trombones and tuba are brought into play. The first method +gives brilliant colour, the second combination is dark and gloomy. The +contrary would be fundamentally impossible.</p> + +<p class="centertp"><i>Examples:</i></p> + +<table style="width: 90%" border="0" cellpadding="3" cellspacing="0" summary="examples"> +<tr> +<td><i>Pan Voyevoda</i> <span class="box">122</span>, <span class="box">137</span></td> +<td rowspan="3" class="right"><span class="xxxlg">}</span></td> +<td rowspan="3" class="center">low<br />register.</td> +</tr> +<tr> +<td><i>Servilia</i> <span class="box">168</span>, 8<span class="super">th</span> bar. (cf. <a href="rimsky2.html#No_062">Ex. 62</a>)</td> +</tr> +<tr> +<td><a href="rimsky2.html#No_232">No. 232.</a> <i>The Golden Cockerel</i> <span class="box">220</span>; cf. also <span class="box">218</span>, <span class="box">219</span></td> +</tr> +</table> + +<table style="width: 90%; padding-top: 1em" border="0" cellpadding="3" cellspacing="0" summary="examples"> +<tr> +<td>* <i>Snegourotchka</i>, before <span class="box">25</span></td> +<td rowspan="4" class="right"><span class="xxxlg">}</span></td> +<td rowspan="4" class="center">high<br />register.</td> +</tr> +<tr> +<td>* <i>Legend of Kitesh</i>, before <span class="box">34</span></td> +</tr> +<tr> +<td>* <a href="rimsky2.html#No_233">No. 233.</a> <i>The Golden Cockerel</i> <span class="box">113</span>, <span class="box">117</span></td> +</tr> +<tr> +<td>* <a href="rimsky2.html#No_234">No. 234.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement pp. 59-62</td> +</tr> +</table> + +<p class="tp">The upper and lower parts of a passage can seldom be widely separated +without the intermediate octaves being filled in, for this is contrary +to the first principles of proper distribution of chords. Nevertheless +the unusual resonance thus produced serves for strange and grotesque +effects. In the first of the following examples the piccolo figure +doubled by the harp and the sparkling notes of the <i>glockenspiel</i> is +set about four octaves apart from the bass, which is assigned to a +single Double bass and Tuba. But in the 3<span class="super">rd</span> octave, the augmented +fourths and diminished fifths in the two flutes help to fill up the +intermediate space and lessen the distance between the two extreme +parts, thus forming some sort of link between them. The general effect +is fanciful.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_235">No. 235.</a> <i>Snegourotchka</i> <span class="box">255</span>.</p> + +<p>* <a href="rimsky2.html#No_236">No. 236.</a> <span style="margin-left: 2em;">"</span> <span style="margin-left: 3em;"><span class="box">315</span>, 5<span class="super">th</span> and 6<span class="super">th</span> bars.</span></p> + +<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">274</span> (cf. <a href="rimsky2.html#No_009">Ex. 9</a>).</span></p> + +<p><i>A Fairy Tale</i> <span class="box">A</span>.</p> + +<p><i>The Golden Cockerel</i> <span class="box">179</span>, 9<span class="super">th</span> bar. (cf. <a href="rimsky2.html#No_229">Ex. 229</a>).</p> + + +<h2>Transference of passages and phrases.</h2> + +<p>A phrase or a figure is often transferred from one instrument to +another. In order to connect the phrases on each instrument in<span class="pagenum"><a name="Page_108" id="Page_108">-108-</a></span> the +best possible way, the last note of each part is made to coincide with +the first note of the following one. This method is used for passages +the range of which is too wide to be performed on any one instrument, +or when it is desired to divide a phrase into two different timbres.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Snegourotchka</i> <span class="box">137</span>—The melody is transferred from the violins +to the flute and clarinet (cf. <a href="rimsky2.html#No_028">Ex. 28</a>).</p> + +<p>* <span style="margin-left: 3em;">"</span> <span style="margin-left: 3em;">before <span class="box">191</span>—Solo violin—Solo 'cello.</span></p> + +<p><i>Pan Voyevoda</i> <span class="box">57</span>—Trombones—Trumpets; Horn—Ob. <span class="lg">+</span> Cl.</p> + +<p class="tp">A similar operation is used in scoring passages covering the entire +orchestral scale, or a great portion of it. When one instrument is on +the point of completing its allotted part, another instrument takes up +the passage, starting on one or two notes common to both parts, and so +on. This division must be carried out to ensure the balance of the +whole passage.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">36</span>, <span class="box">38</span>, <span class="box">131</span>—Strings.</p> + +<p><i>The Tsar's Bride</i> <span class="box">190</span>—Wood-wind.</p> + +<p><i>Sadko</i> <span class="box">72</span>—Strings (cf. <a href="rimsky2.html#No_112">Ex. 112</a>).</p> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">223</span>—Strings.</span></p> + +<p><i>The Christmas Night</i>, before <span class="box">180</span>—Strings, wind and chorus +(cf. <a href="rimsky2.html#No_132">Ex. 132</a>).</p> + +<p>* <a href="rimsky2.html#No_237">No. 237.</a> <i>The Christmas Night</i>, before <span class="box">181</span>—String figure.</p> + +<p>* <i>Servilia</i> <span class="box">111</span>—Strings (cf. <a href="rimsky2.html#No_088">Ex. 88</a>).</p> + +<p><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">29</span>, 5<span class="super">th</span> bar.—Ob.—Fl.; Cl.—Bass cl., Fag.</span></p> + +<p><a href="rimsky2.html#No_238">No. 238.</a> <i>The Golden Cockerel</i>, before <span class="box">9</span>—Wood-wind.</p> + +<p>* <span style="margin-left: 3.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 3.5em;">"</span> <span style="margin-left: 2em;"><span class="box">5</span>—Fag.—Eng. horn (<span class="lg">+</span> 'Cellos <i>pizz.</i>).</span></p> + + +<h2>Chords of different tone quality used alternately.</h2> + +<p>1. The most usual practice is to employ chords on different groups of +instruments alternately. In dealing with chords in different registers +care should be taken that the progression of parts, though broken in +passing from one group to another, remains as regular<span class="pagenum"><a name="Page_109" id="Page_109">-109-</a></span> as if there +were no leap from octave to octave; this applies specially to +chromatic passages in order to avoid false relation.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_239">No. 239.</a> <i>Ivan the Terrible</i>, Act II <span class="box">29</span>.</p> + +<p><a href="rimsky2.html#No_240">No. 240</a>-<a href="rimsky2.html#No_241">241</a>. <i>The Tsar's Bride</i> <span class="box">123</span>, before <span class="box">124</span>.</p> + +<p>* <a href="rimsky2.html#No_242">No. 242</a>-<a href="rimsky2.html#No_243">243</a>. "<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">"</span> <span style="margin-left: 1em;"><span class="box">178</span>, <span class="box">179</span>.</span></p> + +<div class="blockquot"> +<p class="tp">* <i>Note.</i> The rules regulating progression of parts may +sometimes be ignored, when extreme contrast of timbre +between two adjacent chords is intended.</p> + +<p class="center"><i>Examples:</i></p> + +<p>* <i>Shéhérazade</i>, 8<span class="super">th</span> bar from the beginning, (the +chromatic progression at the 12<span class="super">th</span> bar is undertaken by +the same instruments, the 2<span class="super">nd</span> cl. is therefore placed +above the first in the opening)—cf. <a href="rimsky2.html#No_109">Ex. 109</a>.</p> + +<p>* <i>The Christmas Night</i>, opening (cf. <a href="rimsky2.html#No_106">Ex. 106</a>).</p> +</div> + +<p class="tp">2. Another excellent method consists in transferring <i>the same chord +or its inversion</i> from one orchestral group to another. This operation +demands perfect balance in progression of parts as well as register. +The first group strikes a chord of short value, the other group takes +possession of it simultaneously in the same position and distribution, +either in the same octave or in another. The dynamic gradations of +tone need not necessarily be the same in both groups.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, commencement of the overture (cf. <a href="rimsky2.html#No_085">Ex. 85</a>).</p> + +<p><a href="rimsky2.html#No_244">No. 244.</a> <i>Snegourotchka</i> <span class="box">140</span>.</p> + + +<h2>Amplification and elimination of tone qualities.</h2> + +<p>The operation which consists in contrasting the resonance of two +different groups (* or the different timbres of one and the same +group), either in sustained notes or chords, transforms a simple into +a complex timbre, suddenly, or by degrees. It is used in establishing +a <i>crescendo</i>. While the first group effects the <i>crescendo</i> +gradually, the second group enters <i>piano</i> or <i>pianissimo</i>, and +attains its <i>crescendo</i> more rapidly. The whole process is thereby +rendered more tense as the timbre changes. The converse operation—the +transition from a complex to a simple timbre, by the suppression of +one of the groups, belongs essentially to the <i>diminuendo</i>.<span class="pagenum"><a name="Page_110" id="Page_110">-110-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_245">No. 245.</a> <i>Snegourotchka</i> <span class="box">313</span>.</p> + +<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">140</span> (cf. <a href="rimsky2.html#No_244">Ex. 244</a>).</span></p> + +<p><i>A Fairy Tale</i> <span class="box">V</span>.</p> + +<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">D</span> (cf. <a href="rimsky2.html#No_074">Ex. 74</a>).</p> + +<p>* <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 2.7em;">4<span class="super">th</span> movement p. 221.</span></p> + +<p><a href="rimsky2.html#No_246">No. 246.</a> <i>Servilia</i> <span class="box">228</span>; cf. also <span class="box">44</span>.</p> + +<p><i>The Christmas Night</i> <span class="box">165</span> (cf. <a href="rimsky2.html#No_143">Ex. 143</a>).</p> + +<p><a href="rimsky2.html#No_247">No. 247.</a> <i>The Tsar's Bride</i>, before <span class="box">205</span>.</p> + +<p>* <a href="rimsky2.html#No_248">No. 248.</a> <i>Russian Easter Fête</i> <span class="box">D</span>.</p> + +<p>* <a href="rimsky2.html#No_249">No. 249</a>-<a href="rimsky2.html#No_250">250</a>. <i>Legend of Kitesh</i> <span class="box">5</span>, <span class="box">162</span>.</p> + + +<h2>Repetition of phrases, imitation, echo.</h2> + +<p>As regards choice of timbre, phrases in imitation are subject to the +law of register. When a phrase is imitated in the upper register it +should be given to an instrument of higher range and <i>vice versa</i>. If +this rule is ignored an unnatural effect will be produced, as when the +clarinet in its upper range replies to the oboe in the lower compass +etc. The same rule must be followed in dealing with phrases, actually +different, but similar in character; repeated phrases of different +character should be scored in a manner most suitable to each.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The Tsar's Bride</i> <span class="box">157</span>, <span class="box">161</span>.</p> + +<p><i>Legend of Kitesh</i> <span class="box">40-41</span>.</p> + +<p>* <a href="rimsky2.html#No_251">No. 251.</a> <i>Spanish Capriccio</i> <span class="box">S</span>.</p> + +<p class="tp">In echo phrases, that is to say imitation entailing not only decrease +in volume of tone but also an effect of distance, the second +instrument should be weaker than the first, but the two should possess +some sort of affinity. An echo given to muted brass following the same +phrase not muted produces this distant effect. Muted trumpets are +eminently suited to echo a theme in the oboes; flutes also may imitate +clarinets and oboes successfully. A wood-wind instrument cannot be +used to echo the strings, or<span class="pagenum"><a name="Page_111" id="Page_111">-111-</a></span> <i>vice versa</i>, on account of the +dissimilarity in timbre. Imitation in octaves (with a decrease in +resonance) creates an effect resembling an echo.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, Act III <span class="box">3</span>.</p> + +<p><a href="rimsky2.html#No_252">No. 252.</a> <i>Sadko</i> <span class="box">264</span>.</p> + +<p>* <i>Spanish Capriccio</i> <span class="box">E</span>.—This example is not precisely an echo +but resembles one in character (cf. <a href="rimsky2.html#No_044">Ex. 44</a>).</p> + +<p>* <i>Shéhérazade</i>, 4<span class="super">th</span> movement before <span class="box">O</span>.</p> + + +<h2><i>Sforzando-piano</i> and <i>piano-sforzando</i> chords.</h2> + +<p>Besides the natural dynamic process of obtaining these marks of +expression, a process which depends upon the player, they may also be +produced by artificial means of orchestration.</p> + +<p>a) At the moment when the wood-wind begins a <i>piano</i> chord, the +strings attack it <i>sforzando</i>, a compound chord for preference, either +<i>arco</i> or <i>pizz.</i> In the opposite case the <i>sf</i> in the strings must +occur at the end of the wood-wind chord. The first method is also +employed for a <i>sf-dim.</i>, and the second for a <i>cresc.-sf</i> effect.</p> + +<p>b) It is not so effective, and therefore less frequent to give the +notes of sustained value to the strings, and the short chords to the +wood-wind. In such cases the <i>tenuto</i> chord is played <i>tremolando</i> on +the strings.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Vera Scheloga</i>, before <span class="box">35</span>, <span class="box">38</span>, 10<span class="super">th</span> bar.</p> + +<p>* <a href="rimsky2.html#No_253">No. 253.</a> <i>Legend of Kitesh</i>, before <span class="box">15-16</span>.</p> + +<p>* <i>Shéhérazade</i>, 2<span class="super">nd</span> movement, <span class="box">P</span>, 14<span class="super">th</span> bar.</p> + + +<h2>Method of emphasising certain notes and chords.</h2> + +<p>In order to stress or emphasise a certain note or chord, besides the +marks of expression <img src="images1/decrescendo.jpg" width="40" height="12" alt="decrescendo" title="decrescendo" /> and <i>sf</i>, chords of 2, +3, and 4 notes can be inserted into the melodic progression by the +instruments of the string quartet, each playing a single note; short +notes in the wood-wind may also be used as well as a chain of three +or<span class="pagenum"><a name="Page_112" id="Page_112">-112-</a></span> four grace notes, in the form of a scale, either in strings or +wood-wind. These unstressed notes (anacrusis), generally written very +small, form a kind of upward glide, the downward direction being less +common. As a rule they are connected to the main note by a slur. In +the strings they should not lead up to chords of three or four notes, +as this would be awkward for the bow.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_254">No. 254.</a> <i>The Tsar's Bride</i> <span class="box">142</span>—Anacrusis in the strings.</p> + +<p>* <a href="rimsky2.html#No_255">No. 255.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">C</span>—Short <i>pizz.</i> chords.</p> + +<p>* <span style="margin-left: 6em;">"</span><span style="margin-left: 3.5em;">"</span><span style="margin-left: 2.5em;">"</span> <span style="margin-left: 2em;"><span class="box">P</span>—Short wind chords (cf. <a href="rimsky2.html#No_019">Ex. 19</a>).</span></p> + + +<h2><i>Crescendo</i> and <i>diminuendo</i>.</h2> + +<p>Short <i>crescendi</i> and <i>diminuendi</i> are generally produced by natural +dynamic means; when prolonged, they are obtained by this method +combined with other orchestral devices. After the strings, the brass +is the group most facile in producing dynamic shades of expression, +glorifying <i>crescendo</i> chords into the most brilliant <i>sforzando</i> +climaxes. Clarinets specialise in <i>diminuendo</i> effects and are capable +of decreasing their tone to a breath (<i>morendo</i>). Prolonged orchestral +<i>crescendi</i> are obtained by the gradual addition of other instruments +in the following order: strings, wood-wind, brass. <i>Diminuendo</i> +effects are accomplished by the elimination of the instruments in the +reverse order (brass, wood-wind, strings). The scope of this work does +not lend itself to the quotation of prolonged <i>crescendo</i> and +<i>diminuendo</i> passages. The reader is referred, therefore, to the full +scores:</p> + +<p>* <i>Shéhérazade</i>, pp. 5-7, 92-96, 192-200.</p> + +<p>* <i>Antar</i> <span class="box">6</span>, <span class="box">51</span>.</p> + +<p>* <i>The Christmas Night</i> <span class="box">183</span>.</p> + +<p>* <i>Sadko</i> <span class="box">165-166</span>.</p> + +<p>* <i>The Tsar's Bride</i> <span class="box">80-81</span>.</p> + +<p>Many examples of shorter <i>crescendi</i> and <i>diminuendi</i> will be found in +<a href="rimsky2.html">Vol. II</a>.<span class="pagenum"><a name="Page_113" id="Page_113">-113-</a></span></p> + + +<h2>Diverging and converging progressions.</h2> + +<p>In the majority of cases, diverging and converging progressions simply +consist in the gradual ascent of the three upper parts, with the bass +descending. The distance separating the bass from the other parts is +trifling at first, and grows by degrees. On the other hand, in +converging progressions, the three upper parts, at first so far +distant from the bass, gradually approach it. Sometimes these +progressions involve an increase or a decrease in tone. The +intermediate intervals are filled up by the introduction of fresh +parts as the distance widens, so that the upper parts become doubled +or trebled. In converging progressions the tripled and doubled parts +are simplified, as the duplicating instruments cease to play. +Moreover, if the harmony allows it, the group in the middle region +which remains stationary is the group to be retained, or else the +sustained note which guarantees unity in the operation. Below, the +reader will find double examples of both descriptions. The first pair +represents a diverging progression, 1. <i>piano</i>, in which the human +voice takes part; 2. a purely orchestral <i>crescendo</i>. The second +depicts two similar diverging progressions, firstly a gradual +<i>crescendo</i>, secondly <i>dim.</i>, during which the strings become more and +more divided as the wind instruments cease to play. <a href="rimsky2.html#No_258">Ex. 258</a> +accompanies the apparition of Mlada, <a href="rimsky2.html#No_259">Ex. 259</a>, its disappearance. The +atmosphere and colouring are weird and fanciful. The third pair of +examples forms instances of converging progressions. In the first +(<a href="rimsky2.html#No_260">Ex. 260</a>) Princess Volkhova relates the wonders of the sea. Then in the +middle of a powerful orchestral <i>crescendo</i> the Sea-King appears +(<a href="rimsky2.html#No_261">Ex. 261</a>). Both examples include a sustained stationary chord of the +diminished seventh. The handling of such progressions requires the +greatest care.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_256">No. 256</a>-<a href="rimsky2.html#No_257">257</a>. <i>The Tsar's Bride</i> <span class="box">102</span> and <span class="box">107</span>.</p> + +<p><a href="rimsky2.html#No_258">No. 258</a>-<a href="rimsky2.html#No_259">259</a>. <i>Mlada</i>, Act III <span class="box">12</span> and <span class="box">19</span>.</p> + +<p><a href="rimsky2.html#No_260">No. 260</a>-<a href="rimsky2.html#No_261">261</a>. <i>Sadko</i> <span class="box">105</span> and <span class="box">119</span>.</p> + +<p><i>Sadko</i> <span class="box">72</span> (cf. <a href="rimsky2.html#No_112">Ex. 112</a>).</p> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;">before <span class="box">315</span>.</span></p> + +<p><span class="pagenum"><a name="Page_114" id="Page_114">-114-</a></span></p> + +<p>* <i>The Christmas Night</i>, beginning (cf. <a href="rimsky2.html#No_106">Ex. 106</a>).</p> + +<p>* <a href="rimsky2.html#No_262">No. 262.</a> <i>Antar</i>, end of 3<span class="super">rd</span> movement.</p> + +<div class="blockquot"> +<p><i>Note.</i> A sustained note between the diverging parts does not always +allow the empty space to be more completely filled up.</p> + +<p class="center"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_263">No. 263.</a> <i>The Golden Cockerel</i>, before <span class="box">106</span>.</p> +</div> + + +<h2>Tone quality as a harmonic force.</h2> + +<h3>Harmonic basis.</h3> + +<p>Melodic design comprising notes foreign to the harmony, passing or +grace notes, embellishments etc., does not permit that a florid +outline should proceed at the same time with another one, reduced to +essential and fundamental notes:</p> + +<p class="centertp"><img src="images1/melodic_design.png" width="471" height="128" alt="Melodic design. Fundamental notes." title="Melodic design. Fundamental notes." /></p> + +<p class="centerbp">[<a href="music1/melodicdesign.mid">Listen</a>]</p> + +<p>If, in the above example, the upper part is transposed an octave +lower, the discordant effect produced by the contact of appoggiaturas +and fundamental notes will be diminished; the quicker the passage is +played the less harsh the effect will be, and <i>vice versa</i>. But it +would be ill-advised to lay down any hard and fast rule as to the +permissible length of these notes. There is no doubt that the harmonic +notes, the thirds of the fundamental one (<i>E</i>) are more prominent from +their proximity with the notes extraneous to the harmony. If the +number of parts is increased (for instance, if the melodic figure is +in thirds, sixths etc.), the question becomes still more complicated, +since, to the original harmonic scheme, chords with different root +bases are added, producing false relation.</p> + +<p>Nevertheless, for the solution of such problems, orchestration +provides an element of the greatest importance: difference of timbres. +The greater the dissimilarity in timbre between the harmonic basis on +the one hand and the melodic design on the other, the less discordant +the notes extraneous to the harmony<span class="pagenum"><a name="Page_115" id="Page_115">-115-</a></span> will sound. The best example of +this is to be found between the human voice and the orchestra, next +comes the difference of timbres between the groups of strings, +wood-wind, plucked strings and percussion instruments. Less important +differences occur between wood-wind and brass; in these two groups, +therefore, the harmonic basis generally remains an octave removed from +the melodic design, and should be of inferior dynamic power.</p> + +<p class="centertp"><i>Examples of harmonic basis in chords:</i></p> + +<p><a href="rimsky2.html#No_264">No. 264.</a> <i>Pan Voyevoda</i>, Introduction.</p> + +<p><i>Legend of Kitesh</i>, Introduction (cf. also <a href="rimsky2.html#No_125">Ex. 125</a> and <a href="rimsky2.html#No_140">140</a>).</p> + +<p>* <i>Mlada</i>, Act III <span class="box">10</span>.</p> + +<p class="tp">The harmonic basis may be ornamental in character, in which case it +should move independently of the concurrent melodic design.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <a href="rimsky2.html#No_265">No. 265</a>-<a href="rimsky2.html#No_266">266</a>. <i>Tsar Saltan</i> <span class="box">103-104</span>, <span class="box">128</span>, <span class="box">149</span>, +<span class="box">162-165</span> (cf. below).</p> + +<p class="tp">Chords the most widely opposed in character may be used on a simple, +stationary harmonic basis, a basis, founded, for example, on the chord +of the tonic or diminished seventh.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_267">No. 267.</a> <i>Legend of Kitesh</i> <span class="box">326-328</span>—Wood-wind and harps on a +string basis.</p> + +<p><a href="rimsky2.html#No_268">No. 268</a>-<a href="rimsky2.html#No_269">269</a>. <i>Kashtcheï the Immortal</i> <span class="box">33</span>, <span class="box">43</span>.</p> + +<p><a href="rimsky2.html#No_270">No. 270.</a> <i>Mlada</i>, Act II, before <span class="box">17</span>, <span class="box">18</span>], <span class="box">20</span>.</p> + +<p><a href="rimsky2.html#No_271">No. 271.</a> <i>The Golden Cockerel</i> <span class="box">125</span>—Chords of the diminished +seventh, on arpeggio basis (augmented fifth).</p> + +<p class="tp">The effect of alternating harmony produced between two melodic +figures, e.g. one transmitting a note, held in abeyance, to the other, +or the simultaneous progression of a figure in augmentation and +diminution etc. becomes comprehensible and pleasant to the ear when +the fundamental sustained harmony is different.<span class="pagenum"><a name="Page_116" id="Page_116">-116-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Legend of Kitesh</i> <span class="box">34</span>, <span class="box">36</span>, <span class="box">297</span> (cf. <a href="rimsky2.html#No_034">Ex. 34</a> and <a href="rimsky2.html#No_231">231</a>).</p> + +<p><a href="rimsky2.html#No_272">No. 272</a>-<a href="rimsky2.html#No_274">274</a>. <i>Tsar Saltan</i> <span class="box">104</span>, <span class="box">162-165</span> (cf. also +<span class="box">147-148</span>).</p> + +<p>* <i>Russian Easter Fête</i>, before <span class="box">V</span>.</p> + +<p class="tp">The whole question as to what is allowed and what forbidden in the +employment of notes extraneous to the harmony is one of the most +difficult in the whole range of composition; the permissible length of +such notes is in no way established. In absence of artistic feeling, +the composer who relies entirely on the difference between two timbres +will often find himself using the most painful discords. Innovations +in this direction in the latest post-Wagnerian music are often very +questionable; they depress the ear and deaden the musical senses, +leading to the unnatural conclusion that what is good, taken +separately, must necessarily be good in combination.</p> + + +<h2>Artificial effects.</h2> + +<p>I apply this name to some orchestral operations which are based on +certain defects of hearing and faculty of perception. Having no wish +to specify those that already exist or to foretell those which may yet +be invented, I will mention, in passing, a few which have been used by +me in my own works. To this class belong <i>glissando</i> scales or +arpeggios in the harp, the notes of which do not correspond with those +played simultaneously by other instruments, but which are used from +the fact that long <i>glissandi</i> are more resonant and brilliant than +short ones.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">325</span> (cf. <a href="rimsky2.html#No_095">Ex. 95</a>).</p> + +<p><a href="rimsky2.html#No_275">No. 275.</a> <i>Pan Voyevoda</i> <span class="box">128</span>.</p> + +<p>* <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">M</span>, 5<span class="super">th</span> bar (cf. <a href="rimsky2.html#No_248">Ex. 248</a>).</p> + +<p>* <i>Russian Easter Fête</i> <span class="box">D</span> (cf. <a href="rimsky2.html#No_248">Ex. 248</a>).</p> + +<p>* Enharmonic <i>glissando</i> in the strings should also be mentioned.</p> + +<p><a href="rimsky2.html#No_276">No. 276.</a> <i>The Christmas Night</i> <span class="box">180</span>, 13<span class="super">th</span> bar—'Cellos +<i>glissando</i>.<span class="pagenum"><a name="Page_117" id="Page_117">-117-</a></span></p> + + +<h2>Use of percussion instruments for rhythm and colour.</h2> + +<p>Whenever some portion of the orchestra executes a rhythmic figure, +percussion instruments should always be employed concurrently. An +insignificant and playful rhythm is suitable to the triangle, +tambourine, castanets and side drum, a vigourous and straightforward +rhythm may be given to the bass drum, cymbals and gong. The strokes on +these instruments should almost invariably correspond to the strong +beats of the bar, highly-accented syncopated notes or disconnected +<i>sforzandi</i>. The triangle, side drum and tambourine are capable of +various rhythmic figures. Sometimes the percussion is used separately, +independently of any other group of instruments.</p> + +<p>The brass and wood-wind are the two groups which combine the most +satisfactorily with percussion from the standpoint of colour. The +triangle, side drum, and tambourine go best with harmony in the upper +register; cymbals, bass drum and gong with harmony in the lower. The +following are the combinations most generally employed: <i>tremolo</i> on +the triangle and tambourine with trills in wood-wind and violins; +<i>tremolo</i> on the side drum, or cymbals struck with drum sticks, and +sustained chords on trumpets and horns; <i>tremolo</i> on the bass drum or +the gong with chords on trombones or low sustained notes on 'cellos +and double basses. It must not be forgotten that the bass drum, +cymbals, gong and a <i>tremolo</i> on the side drum, played <i>fortissimo</i>, +is sufficient to overpower any orchestral <i>tutti</i>.</p> + +<p>* The reader will find instances of the use of percussion instruments +in any full score, and in several examples of the present work.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Shéhérazade</i> pp. 107-119, also many passages in 4<span class="super">th</span> movement.</p> + +<p>* <i>Antar</i> <span class="box">40</span>, <span class="box">43</span> (cf. <a href="rimsky2.html#No_073">Ex. 73</a>, <a href="rimsky2.html#No_029">29</a>).</p> + +<p>* <i>Spanish capriccio</i> <span class="box">P</span> (cf. <a href="rimsky2.html#No_064">Ex. 64</a>); the cadences to be studied +in the 4<span class="super">th</span> movement, where they are accompanied by various +percussion instruments.</p> + +<p>* <i>Russian Easter Fête</i> <span class="box">K</span> (cf. <a href="rimsky2.html#No_217">Ex. 217</a>).</p> + +<p>* <i>The Tsar's Bride</i> <span class="box">140</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">196-197</span>—"The Battle of Kerjémetz".</p> + +<p>* <i>Pan Voyevoda</i> <span class="box">71-72</span>.<span class="pagenum"><a name="Page_118" id="Page_118">-118-</a></span></p> + + +<h2>Economy in orchestral colour.</h2> + +<p>Neither musical feeling nor the ear itself can stand, for long, the +full resources of the orchestra combined together. The favourite group +of instruments is the strings, then follow in order the wood-wind, +brass, kettle-drums, harps, <i>pizzicato</i> effects, and lastly the +percussion, also, in point of order, triangle, cymbals, big drum, side +drum, tambourine, gong. Further removed stand the celesta, +<i>glockenspiel</i> and xylophone, which instruments, though melodic, are +too characteristic in timbre to be employed over frequently. The same +may be said of the piano and castanets. A quantity of national +instruments not included in the present work may be incorporated into +the orchestra; such are the guitar, the domra, zither, mandoline, the +oriental tambourine, small tambourine etc. These instruments are +employed from time to time for descriptive-aesthetic purposes.</p> + +<p>These instruments are most frequently used in the above-named order. A +group of instruments which has been silent for some time gains fresh +interest upon its reappearance. The trombones, trumpets and tuba are +occasionally <i>tacet</i> 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.</p> + +<p>After a long rest the re-entry of the horns, trombones and tuba should +coincide with some characteristic intensity of tone, either <i>pp</i> or +<i>ff</i>; <i>piano</i> and <i>forte</i> re-entries are less successful, while +re-introducing these instruments <i>mezzo-forte</i> or <i>mezzo-piano</i> +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 <i>mf</i> or <i>mp</i>. 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.</p> + + + +<hr /> +<p><span class="pagenum"><a name="Page_119" id="Page_119">-119-</a></span></p> + +<h1><a name="Chapter_V" id="Chapter_V"></a>Chapter V.</h1> + +<p class="center"><span class="lg">COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA.<br /> +THE STAGE BAND.</span></p> + +<hr class="short" /> + +<h2>Orchestral accompaniment of solo voices.</h2> + +<h3>General remarks.</h3> + +<p>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.</p> + +<p>Opera singing may be divided into two general classes, lyric singing +and declamation or recitative. The full, round, <i>legato</i> 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.</p> + +<p>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 in +the orchestra. The voice may then be said to form the accompaniment, +exchanging musical for literary interest. It becomes<span class="pagenum"><a name="Page_120" id="Page_120">-120-</a></span> subordinate to +the orchestra, as though it were an extra part, subsequently added as +an after-thought. But it is evident that great care must be taken with +orchestral writing in such cases. The scoring must not be so heavy or +complicated as to drown the voice and prevent the words from being +heard, thereby breaking the thread of the text, and leaving the +musical imagery unexplained. Certain moments may require great volume +of orchestral tone, so great that a voice of even phenomenal power is +incapable of being heard. Even if the singer is audible, such unequal +struggles between voice and orchestra are most inartistic, and the +composer should reserve his orchestral outbursts for the intervals +during which the voice is silent, distributing the singer's phrases +and pauses in a free and natural manner, according to the sense of the +words. If a prolonged <i>forte</i> passage occurs in the orchestra it may +be used concurrently with action on the stage. All artificial +reduction of tone contrary to the true feeling of a passage, the sole +object being to allow the voice to come through, should be strictly +avoided, as it deprives orchestral writing of its distinctive +brilliance. It must also be remembered that too great a disparity in +volume of tone between purely orchestral passages and those which +accompany the voice create an inartistic comparison. Therefore, when +the orchestra is strengthened by the use of wood-wind in three's or +four's, and brass in large numbers, the division of tone and colour +must be manipulated skillfully and with the greatest care.</p> + +<p>In previous sections I have frequently stated that the structure of +the orchestra is closely related to the music itself. The scoring of a +vocal work proves this relationship in a striking manner, and, indeed, +it may be stipulated that <i>only that which is well written can be well +orchestrated</i>.</p> + + +<h3>Transparence of accompaniment. Harmony.</h3> + +<p>The group of strings is the most transparent medium and the one least +likely to overpower the voice. Then come the wood-wind and the brass, +the latter in the following order: horns, trombones, trumpets. A +combination of strings, <i>pizz.</i>, and the harp forms a setting +eminently favourable for the voice. As a general rule a singer is more +easily overpowered by long sustained notes than by short detached +ones. Strings doubled in the wood-wind<span class="pagenum"><a name="Page_121" id="Page_121">-121-</a></span> and brass, and brass doubled +by wood-wind are combinations liable to drown the singer. This may be +done even more easily by <i>tremolando</i> in the kettle-drums and other +percussion instruments, which, even by themselves are capable of +overpowering any other orchestral group of instruments. Doubling of +wood-wind and horns, and the use of two clarinets, two oboes or two +horns in unison to form one harmonic part is likewise to be avoided, +as such combinations will have a similar effect on the voice. The +frequent use of long sustained notes in the double basses is another +course unfavourable to the singer; these notes in combination with the +human voice produce a peculiar throbbing effect.</p> + +<p>Juxtaposition of strings and wood-wind which overweights <i>legato</i> or +declamatory singing may nevertheless be employed if one of the groups +forms the harmony in sustained notes and the other executes a melodic +design, when, for instance the sustaining instruments are clarinet, +and bassoon, or bassoon and horn, and the melodic design is entrusted +to violins or violas—or in the opposite case, when the harmony is +given to violas and 'cellos <i>divisi</i>, and the +<span class="err" title="Transcriber's Note: melodic">harmonic</span> figure to the clarinets.</p> + +<p>Sustained harmony in the register of the second octave to the middle +of the third does not overpower women's voices, as these develop +<i>outside</i> this range; neither is it too heavy for men's voices, which +although opening out <i>within</i> the range itself sound an octave higher, +as in the case of the tenor voice. As a rule women's voices suffer +more than men's when they come in contact with harmony in a register +similar to their own. Taken separately, and used in moderation, each +group of orchestral instruments may be considered favourable to each +type of voice. But the combination of two or three groups cannot be so +considered unless they each play an independent part and are not +united together at full strength. Incessant four-part harmony is to be +deprecated. Satisfactory results will be obtained when the number of +harmonic parts is gradually decreased, with some of them sustaining +pedal notes, and when the harmony, interspersed with necessary pauses +is confined to the limits of one octave, distributed over several +octaves, or duplicated in the higher register.</p> + +<p>These manipulations allow the composer to come to the singer's aid; in +voice-modulations, when the singer passes from the <i>can<span class="pagenum"><a name="Page_122" id="Page_122">-122-</a></span>tabile</i> to the +declamatory style, the composer may reduce or eliminate some harmony +which is found to be too heavy as the vocal tone diminishes, and +conversely, support the voice by a fuller orchestral tone in broad +phrases and climaxes.</p> + +<p>Ornamental writing and polyphonic accompaniment should never be too +intricate in character, entailing the use of an unnecessary number of +instruments. Some complicated figures are better partially entrusted +to <i>pizz.</i> strings and harp, as this combination has little chance of +overpowering the voice. Some examples of accompanying an <i>aria</i> are +given below.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The Tsar's Bride</i>, Lykow's supplementary <i>Aria</i> (Act III).</p> + +<p><span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">16-19</span>—Griasnov's <i>Aria</i>.</span></p> + +<p><a href="rimsky2.html#No_277">No. 277.</a> <i>Snegourotchka</i> <span class="box">45</span>.</p> + +<p>* <i>Snegourotchka</i> <span class="box">187-188</span>, <span class="box">212-213</span> the two Cavatinas of Tsar +Berendey (cf. extracts, <a href="rimsky2.html#No_102">Ex. 102</a>, <a href="rimsky2.html#No_225">225</a>).</p> + +<p><a href="rimsky2.html#No_278">No. 278.</a> <i>Sadko</i> <span class="box">143</span>.</p> + +<p><span style="margin-left: 5em;">"</span> <span style="margin-left: 1em;"><span class="box">204-206</span>—The Venetian's Song.</span></p> + +<p>* <i>Legend of Kitesh</i> <span class="box">39-41</span>, <span class="box">222-223</span> (cf. <a href="rimsky2.html#No_031">Ex. 31</a>).</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">153-157</span>, <span class="box">163</span>.</p> + +<p class="tp">Florid singing which limits volume of tone requires a light +accompaniment, simple in outline and colour, involving no duplication +of instruments.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_279">No. 279.</a> <i>Snegourotchka</i> <span class="box">42-48</span>—<i>Snegourotchka's Aria</i> (Prologue), +Fragment.</p> + +<p>* <i>Sadko</i> <span class="box">195-197</span>—Hindoo Song (cf. <a href="rimsky2.html#No_122">Ex. 122</a>).</p> + +<p>* <i>The Christmas Night</i> <span class="box">45-50</span>—Oxana's <i>Aria</i>.</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">131-136</span>—<i>Aria</i> of Queen Shémakhâ.</p> + + +<h3>Doubling voices in the orchestra.</h3> + +<p>Melodic doubling of voices by orchestral instruments (in unison or +octaves) is of frequent occurrence, but incessant duplication for an +extended period of time should be avoided; it is only permissible in +isolated phrases. The most natural duplication in<span class="pagenum"><a name="Page_123" id="Page_123">-123-</a></span> unison of womens' +voices is performed by violins, violas, clarinets and oboes; that of +mens' voices by violas, 'cellos, bassoons and horns. Doubling in +octaves is usually done in the upper register. Trombones and trumpets +overpower the voice and cannot be used for this purpose. Uninterrupted +or too frequent duplication should be avoided, not only because the +operation deprives the singer of full freedom of expression, but also +because it replaces by a mixed timbre the rare characteristic +qualities of the human voice. Doubling, when limited to a few special +phrases supports the voice and endows it with beauty and colour. It is +only suitable <i>in tempo</i>; to apply it, in unison or octaves to a +passage <i>ad. lib.</i> is both ineffective and dangerous.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">50-52</span>—Snegourotchka's Arietta (cf. <a href="rimsky2.html#No_041">Ex. 41</a>).</p> + +<p><i>Sadko</i> <span class="box">309-311</span>—Volkhova's Cradle-song (cf. <a href="rimsky2.html#No_081">Ex. 81</a>).</p> + +<p class="tp">Besides the question of doubling the voice for the object of colour +there are instances when the singer executes only part of a phrase, +allotted in its entirely to an orchestral instrument.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><i>Vera Scheloga</i> <span class="box">30</span>, <span class="box">36</span> (cf. <a href="rimsky2.html#No_049">Ex. 49</a>).</p> + +<p class="tp">Lyrical climaxes, <i>a piena voce</i>, or dramatic passages for the voice +situated outside its normal range should be supported melodically and +harmonically by the orchestra, in the register in which the voice is +placed. The culminating point in such passages often coincides with +the entry or sudden attack of the trombones or other brass +instruments, or by a rush of strings. Strengthening the accompaniment +in this manner will soften the tone of the voice.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_280">No. 280.</a> <i>The Tsar's Bride</i> <span class="box">206</span>.</p> + +<p><i>Servilia</i> <span class="box">126-127</span>.</p> + +<p><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;"><span class="box">232</span>.</span></p> + +<p><a href="rimsky2.html#No_281">No. 281.</a> <i>Sadko</i> <span class="box">314</span>.</p> + +<p><i>Vera Scheloga</i> <span class="box">41</span>.<span class="pagenum"><a name="Page_124" id="Page_124">-124-</a></span></p> + +<p class="tp">If the culminating point is soft in colour and outline it is better +left unsupported in the orchestra, but sometimes the wood-wind, +sustaining such passages with light transparent melody or harmony may +produce an entrancing effect.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">188</span>.</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">318</span> (cf. <a href="rimsky2.html#No_119">Ex. 119</a>).</span></p> + +<p><a href="rimsky2.html#No_282">No. 282.</a> <i>The Tsar's Bride</i> <span class="box">214</span>.</p> + +<p class="tp">It is a common practice to support voices in concerted numbers by +harmony and duplication; this operation makes for accuracy and +brilliance when applied to duets, trios, quartets etc.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">292-293</span>—Duet (cf. <a href="rimsky2.html#No_118">Ex. 118</a>).</p> + +<p><i>Sadko</i> <span class="box">99-101</span>—Duet (cf. <a href="rimsky2.html#No_289">Ex. 289</a> and <a href="rimsky2.html#No_290">290</a>).</p> + +<p><a href="rimsky2.html#No_283">No. 283.</a> <i>The Tsar's Bride</i> <span class="box">169</span>—sextet.</p> + +<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1em;"><span class="box">117</span> quartet.</span></p> + +<p><i>Legend of Kitesh</i> <span class="box">341</span>—quartet and sextet (cf. <a href="rimsky2.html#No_305">Ex. 305</a>).</p> + +<p class="tp">The beautiful effect produced by a solo instrument accompanying a +<i>cantabile aria</i> cannot be denied. In such cases the instruments used +are generally the violin, viola, and 'cello, or the flute, oboe, Eng. +horn, clar., bass clar., bassoon, horn and harp. The accompaniment is +often contrapuntal or composed of polyphonic designs. The solo +instrument either plays alone or as the leading melodic voice in the +<i>ensemble</i>. In combination with the voice, or associated with some +action on the stage, a solo instrument is a powerful expedient for +musical characterisation. Instances of this description are numerous.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">50</span>—Soprano and oboe (cf. <a href="rimsky2.html#No_041">Ex. 41</a>).</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">97</span>—Contralto and Eng. horn.</span></p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">243</span>, <span class="box">246</span>—Baritone and bass clar. (cf. <a href="rimsky2.html#No_047">Ex. 47</a>-<a href="rimsky2.html#No_048">48</a>).</span></p> + +<p><a href="rimsky2.html#No_284">No. 284.</a> <i>The Tsar's Bride</i> <span class="box">108</span>—Soprano, 'cello and oboe.</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">163</span>—Soprano and viola (cf. <a href="rimsky2.html#No_226">Ex. 226</a>).<span class="pagenum"><a name="Page_125" id="Page_125">-125-</a></span></p> + +<p class="tp">It is comparatively rare for percussion instruments to take part in +accompanying the voice. The triangle is occasionally used, the cymbals +less frequently. An accompaniment may be formed by a figure or a +<i>tremolo</i> on the kettle-drums.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">97</span>, <span class="box">224</span>, <span class="box">247</span> (Lell's 1<span class="super">st</span> and 3<span class="super">rd</span> +songs).</p> + +<p><i>Tsar Saltan</i>, before <span class="box">5</span>.</p> + +<p>* <a href="rimsky2.html#No_285">No. 285.</a> <i>The Golden Cockerel</i> <span class="box">135</span>; cf. also <span class="box">161</span>, <span class="box">197</span>.</p> + +<p class="tp">The following are examples of powerful and expressive orchestral +passages, the voice <i>tacet</i>:</p> + +<p><a href="rimsky2.html#No_286">No. 286.</a> <i>The Tsar's Bride</i> <span class="box">81</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">282</span>, <span class="box">298</span>.</p> + +<p>* <i>Servilia</i> <span class="box">130</span>.</p> + + +<h3>Recitative and declamation.</h3> + +<p>The accompaniment of recitative and melodic declamatory phrases should +be light enough to allow the voice to come through without strain, and +the words to be heard distinctly. The most convenient method is to +employ sustained chords and <i>tremolo</i> on the strings or wood-wind, +giving free latitude to the voice from a rhythmic point of view (<i>a +piacere</i>).</p> + +<p>Another excellent plan is to write short chords in the strings +combined with wood-wind in different ways. Sustained chords and those +entailing change of position should occur preferably when the voice is +silent, thus permitting both conductor and orchestra to keep a closer +watch over the singer's irregularities of rhythm in <i>a piacere</i> +recitatives. If the accompaniment is more complex in character, +melodic, polyphonic or ornamental in design, the recitative must be +sung <i>in tempo</i>. Any phrase which it is necessary to emphasise in +accordance with the sense of the words assumes a more <i>cantabile</i> +character, and must be reinforced by the orchestra. Opera, today, +besides demanding much greater care in the treatment of the text than +in the past, abounds in constant transition from declamation to +<i>cantabile</i>, or in the fusion of the two. The orchestra offers more +variety of texture and must be<span class="pagenum"><a name="Page_126" id="Page_126">-126-</a></span> handled with greater regard to its +relationship to the words, and the action on the stage. This class of +orchestration can only be studied from lengthy examples. I refer the +reader to operatic full scores and content myself with giving one or +<span class="err" title="Transcriber's Note: 'two' missing in original">short</span> instances:</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_287">No. 287.</a> <i>Snegourotchka</i> <span class="box">16</span>.</p> + +<p><a href="rimsky2.html#No_288">No. 288.</a> <i>The Tsar's Bride</i> <span class="box">124-125</span>.</p> + +<p class="tp">The following double examples, similar from a musical point of view, +show different methods of handling an orchestra from the standpoint of +accompaniment to the voice, and the <i>tutti</i> form.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_289">No. 289</a>-<a href="rimsky2.html#No_291">291</a>. <i>Sadko</i> <span class="box">99-101</span> and <span class="box">305-307</span> (compare also <a href="rimsky2.html#No_075">Ex. 75</a>).</p> + +<p><i>Vera Scheloga</i> <span class="box">3-7</span> and <span class="box">28</span>.</p> + +<p class="tp">Care should be taken not to score too heavily when accompanying +singers in the wings.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <a href="rimsky2.html#No_292_A">No. 292.</a> <i>Sadko</i> <span class="box">316</span>, <span class="box">318</span>, <span class="box">320</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">286-289</span>, <span class="box">304-305</span>.</p> + + +<h2>Orchestral accompaniment of the chorus.</h2> + +<p>The chorus, possessing much greater unity and power than the solo +voice, does not demand such careful handling in the accompaniment. On +the contrary, too great a refinement of orchestral treatment will +prove harmful to the resonance of the chorus. As a general rule +orchestration of choral works follows the rules laid down for purely +instrumental scoring. It is obvious that dynamic marks of expression +must correspond in both bodies, but doubling one orchestral group with +another and coupling instruments of the same kind in unison (2 Ob., 2 +Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if +performed according to the requirements of the musical context. +Doubling choral parts by instruments is generally a good plan. In +<i>cantabile</i> passages such<span class="pagenum"><a name="Page_127" id="Page_127">-127-</a></span> duplication may be melodic in character, +and the design more ornamental in the orchestra than in the chorus.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, Act II <span class="box">3-6</span>; Act III <span class="box">66-69</span>.</p> + +<p><i>The May Night</i>, Act I <span class="box">X-Y</span>; Act III <span class="box">L-Ee</span>, <span class="box">Ddd-Fff</span>.</p> + +<p><i>Snegourotchka</i> <span class="box">61-73</span>, <span class="box">147-153</span>, <span class="box">323-328</span>.</p> + +<p><i>Mlada</i>, Act II <span class="box">22-31</span>, <span class="box">45-63</span>; Act IV <span class="box">31-36</span>.</p> + +<p><i>The Christmas Night</i> <span class="box">59-61</span>, <span class="box">115-123</span>.</p> + +<p><i>Sadko</i> <span class="box">37-39</span>, <span class="box">50-53</span>, <span class="box">79-86</span>, <span class="box">173</span>, <span class="box">177</span>, <span class="box">187</span>, +<span class="box">189</span>, <span class="box">218-221</span>, <span class="box">233</span>, <span class="box">270-273</span>.</p> + +<p><i>The Tsar's Bride</i> <span class="box">29-30</span>, <span class="box">40-42</span>, <span class="box">50-59</span>, <span class="box">141</span>.</p> + +<p><i>Tsar Saltan</i> <span class="box">67-71</span>, <span class="box">91-93</span>, <span class="box">133-145</span>, <span class="box">207-208</span>.</p> + +<p><i>Legend of Kitesh</i> <span class="box">167</span>, <span class="box">177-178</span>.</p> + +<p><i>The Golden Cockerel</i> <span class="box">237-238</span>, <span class="box">262-264</span>.</p> + +<p class="tp">The reader will find instances of choral accompaniment in many +examples relating to other sections of the work.</p> + +<p>In the case of solitary exclamations or phrases in recitative, melodic +doubling is not always suitable. It is better to support the voice +simply by harmonic duplication.</p> + +<p>The repetition of notes—required by declamation—forming no +fundamental part of the rhythmical structure of a phrase or chord +should not be reproduced in the orchestra; the melodic or harmonic +basis alone should be doubled. Sometimes the rhythmical structure of a +choral phrase is simplified in comparison with its orchestral +duplication.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_293">No. 293.</a> <i>The Tsar's Bride</i> <span class="box">96</span>.</p> + +<p><a href="rimsky2.html#No_294">No. 294.</a> <i>Ivan the Terrible</i>, Act I, before <span class="box">75</span>.</p> + +<p class="tp">Choral passages, the musical context of which is complete in itself, +forming a chorus <i>a cappella</i> often remain undoubled by the orchestra, +accompanied solely by sustained notes or an independent polyphonic +figure.<span class="pagenum"><a name="Page_128" id="Page_128">-128-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_295">No. 295.</a> <i>Sadko</i> <span class="box">219</span>.</p> + +<p>* <i>Tsar Saltan</i> <span class="box">207</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">167</span> (cf. <a href="rimsky2.html#No_116">Ex. 116</a>).</p> + +<p>* <i>The Golden Cockerel</i> <span class="box">236</span>.</p> + +<p class="tp">Heavier scoring is required for a mixed chorus; for a male voice +chorus the orchestration should be lighter; still more so for women's +voices alone. In scoring a certain passage the composer should not +lose sight of the number of choristers he is employing, for scenic +conditions may necessitate a reduction of that figure. The approximate +number should be marked in the full score as a basis upon which to +work.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_296">No. 296.</a> <i>Ivan the Terrible</i>, Act II <span class="box">37</span>.</p> + +<p>* <i>Sadko</i> <span class="box">17</span>, <span class="box">20</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">61</span> (cf. <a href="rimsky2.html#No_198">Ex. 198</a>).</p> + +<div class="blockquot"> +<p><i>Note.</i> It must also be remembered that a <i>ff</i> passage on an +enlarged orchestra, comprising wood-wind in fours, and +numerous brass (sometimes in three's), is capable of +overpowering a large mixed chorus.</p> +</div> + +<p class="tp">A chorus in the wings requires as light an accompaniment as that +employed for a solo singer on the stage.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>Ivan the Terrible</i>, Act I <span class="box">25-26</span>, <span class="box">90</span>; Act III <span class="box">13-14</span>.</p> + +<p>* <i>The May Night</i>, Act I, before <span class="box">X</span>; Act III <span class="box">Bbb-Ccc</span>.</p> + +<p>* <a href="rimsky2.html#No_297">No. 297.</a> <i>Sadko</i> <span class="box">102</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">54-56</span> (cf. <a href="rimsky2.html#No_196">Ex. 196</a> and <a href="rimsky2.html#No_197">197</a>).</p> + + +<h3>Solo voice with chorus.</h3> + +<p>When an <i>aria</i> or recitative is coupled with the chorus great care +must be taken in the choral writing. A woman's solo voice stands out +well against a male voice chorus, likewise a solo male voice against a +women's chorus, for in both cases, the timbre of the solo voice +differs from the rest. But the combination of solo<span class="pagenum"><a name="Page_129" id="Page_129">-129-</a></span> voice and chorus, +of the same timbre, or mixed chorus, creates a certain amount of +difficulty. In such cases the soloist should sing in a higher register +than the chorus, the former <i>a piena voce</i>, the latter <i>piano</i>. The +soloist should stand as near to the footlights as possible; the chorus +up-stage. The orchestration should be adapted to the soloist, not to +the chorus.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_298">No. 298.</a> <i>Snegourotchka</i> <span class="box">143</span>.</p> + +<p><i>Ivan the Terrible.</i> Act II <span class="box">37</span> (cf. <a href="rimsky2.html#No_296">Ex. 296</a>).</p> + +<p class="tp">When the chorus sings in the wings the soloist is always heard +distinctly.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, Act I <span class="box">25-26</span>.</p> + +<p>* <i>The May Night</i>, Act III <span class="box">Ccc</span>.</p> + +<p>* <i>Sadko</i> <span class="box">102</span>, <span class="box">111</span>.</p> + + +<h2>Instruments on the stage and in the wings.</h2> + +<p>The use of instruments on the stage or in the wings dates from distant +times (Mozart, <i>Don Giovanni</i>, string orchestra in Act I, <i>finale</i>). +In the middle of last century orchestras of brass instruments, or +brass and wood-wind combined, made their appearance on the stage +(Glinka, Meyerbeer, Gounod and others). More modern composers have +abandoned this clumsy practice, not only unfortunate from the +spectators' point of view, but also detrimental to the mediaeval or +legendary setting of the majority of operas. Only those stage +instruments are now used which suit the scene and surroundings in +which the opera is laid. As regards instruments in the wings, +invisible to the audience, the question is simple. Nevertheless, for +the musician of today the choice of these instruments must be +regulated by aesthetic considerations of greater importance than those +governing the selection of a military band. The instruments are played +in the wings, those visible on the stage are only for ornament. +Sometimes stage-instruments may be replicas of those common to the +period which the opera represents, (the sacred horns in <i>Mlada</i>, for +example). The orchestral accompaniment<span class="pagenum"><a name="Page_130" id="Page_130">-130-</a></span> must vary in power according +to the characteristics of the instruments played in the wings. It is +impossible to illustrate the use of all the instruments mentioned +below, and to outline suitable accompaniments. I can only give a few +examples and refer the reader once again to the passages in the full +scores.</p> + +<p class="tp">a) Trumpets:</p> + +<p><i>Servilia</i> <span class="box">12</span>, <span class="box">25</span>.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">53</span>, <span class="box">55</span>, <span class="box">60</span>.</p> + +<p>* <i>Tsar Saltan</i> <span class="box">139</span> and further on.</p> + +<p class="tp">b) Horns, in the form of hunting horns:</p> + +<p><i>Pan Voyevoda</i> <span class="box">38-39</span>.</p> + +<p class="tp">c) Trombones, leaving the orchestra to go on the stage:</p> + +<p><i>Pan Voyevoda</i> <span class="box">191</span>.</p> + +<p class="tp">d) Cornets:</p> + +<p><i>Ivan the Terrible</i>, Act III <span class="box">3</span>, <span class="box">7</span>.</p> + +<p class="tp">e) Sacred horns (natural brass instruments in various keys):</p> + +<p><i>Mlada</i>, Act II, pp. 179 onwards.</p> + +<p class="tp">f) Small clarinets and piccolos:</p> + +<p><a href="rimsky2.html#No_299">No. 299</a>-<a href="rimsky2.html#No_300">300</a>. <i>Mlada</i>, Act III <span class="box">37</span>, <span class="box">39</span>.</p> + +<p class="tp">g) Pipes of Pan: instruments, specially made, with many holes which +are passed over the lips. These particular pipes produce a special +enharmonic scale (<i>B</i> flat, <i>C</i>, <i>D</i> flat, <i>E</i> flat, <i>E</i>, <i>F</i> sharp, +<i>G</i>, <i>A</i>), which has the effect of a glissando:</p> + +<p><i>Mlada</i>, Act III <span class="box">39</span>, <span class="box">43</span> (cf. <a href="rimsky2.html#No_300">Ex. 300</a>).</p> + +<p class="tp">h) Harp, reproducing the effect of an aeolian harp:</p> + +<p><i>Kashtcheï the Immortal</i> <span class="box">32</span> and further on (cf. <a href="rimsky2.html#No_268">Ex. 268</a>, <a href="rimsky2.html#No_269">269</a>).</p> + +<p class="tp">i) Lyres. Instruments specially made and tuned so as to be able to +perform a glissando chord of the diminished seventh:</p> + +<p><i>Mlada</i>, Act III <span class="box">39</span>, <span class="box">43</span> (cf. <a href="rimsky2.html#No_300">Ex. 300</a>).</p> + +<p class="tp">k) Pianoforte, grand or upright:</p> + +<p><i>Mozart and Salieri</i> <span class="box">22-23</span>.</p> + +<p class="tp">l) Gong, imitating a church bell:</p> + +<p><i>Ivan the Terrible</i>, Act I <span class="box">57</span> and further on.<span class="pagenum"><a name="Page_131" id="Page_131">-131-</a></span></p> + +<p class="tp">m) Bass Drum (without cymbals) to imitate the sound of cannon:</p> + +<p><i>Tsar Saltan</i> <span class="box">139</span> and later.</p> + +<p class="tp">n) Small kettle-drum, in <i>D</i> flat (3<span class="super">rd</span> octave):</p> + +<p><i>Mlada</i>, Act III <span class="box">41</span> and later (cf. <a href="rimsky2.html#No_060">Ex. 60</a>).</p> + +<p class="tp">o) Bells in various keys:</p> + +<p><i>Sadko</i> <span class="box">128</span> and <span class="box">139</span>.</p> + +<p><a href="rimsky2.html#No_301">No. 301.</a> <i>Legend of Kitesh</i> <span class="box">181</span> and further on. See also <span class="box">241</span>, +<span class="box">323</span> and later.</p> + +<p>* <i>Tsar Saltan</i> <span class="box">139</span> and further on.</p> + +<p class="tp">p) Organ:</p> + +<p><a href="rimsky2.html#No_302">No. 302.</a> <i>Sadko</i> <span class="box">299-300</span>.</p> + +<p class="tp">Wood-wind and strings are comparatively seldom used on the stage or in +the wings. In Russian opera the strings are employed in this way by +Rubinstein (<i>Gorioucha</i>), and in a splendidly characteristic manner by +Serov (<i>Hostile Power</i>): in the latter opera the <i>E</i> flat clarinet is +used to imitate the fife in the Carnival procession.<a name="FNanchor_17_20" id="FNanchor_17_20"></a><a href="#Footnote_17_20" class="fnanchor">[17]</a></p> + + + +<hr /> +<p><span class="pagenum"><a name="Page_132" id="Page_132">-132-</a></span></p> + +<h1><a name="Chapter_VI_Supplementary" id="Chapter_VI_Supplementary"></a>Chapter VI (Supplementary).</h1> + +<p class="center"><span class="lg">VOICES.</span></p> + +<hr class="short" /> + +<h2>Technical Terms.</h2> + +<p>Among all the confused terms employed in singing to denote the +compass, register and character of the human voice, there are four +which may be said to represent elemental types: soprano, alto or +contralto, tenor and bass. These names are used to denote the +composition of the chorus with sub-divisions of <i>firsts</i> and +<i>seconds</i>, to determine how the parts must be divided. (Sopr. I, Sopr. +II etc.) While the range of an instrument is exactly governed by its +construction, the compass of the voice, on the other hand, depends on +the individuality of the singer. It is therefore impossible to define +the exact limits of each of these vocal types. When it is a question +of dividing choristers into 1<span class="super">st</span> and 2<span class="super">nd</span> parts, those with the +higher voices are classed among the firsts and <i>vice versa</i>.</p> + +<p>Besides the principal terms mentioned above, the names mezzo-soprano +(between sop. and alto), and baritone (between tenor and bass) are +also employed.</p> + +<div class="blockquot"> +<p><i>Note.</i> In the chorus mezzo-sopranos are classed with 2<span class="super">nd</span> +sopranos or 1<span class="super">st</span> altos, baritones with 2<span class="super">nd</span> tenors or +first basses, according to quality and timbre of voice.</p> +</div> + +<p>Apart from these denominations which represent the six principal solo +voices, a quantity of others are in use to denote either compass, +timbre or technique, such as light soprano, <i>soprano giusto</i>, lyric +soprano, dramatic soprano, light tenor, <i>tenorino-altino</i>, +<i>baryton-martin</i>, lyric tenor, dramatic tenor, <i>basso cantante</i> +("singing bass"), <i>basso profondo</i> (deep bass) etc. To this lengthy +list must<span class="pagenum"><a name="Page_133" id="Page_133">-133-</a></span> be added the term <i>mezzo-carattere</i>, of intermediate +character (between lyric and dramatic soprano, for example).</p> + +<p>If we try to discover the real meaning of these designations it soon +becomes apparent that they are derived from widely different +sources—for instance, "light soprano" implies agility and mobility in +the voice; "dramatic tenor", the power to express strong dramatic +feeling; <i>basso profondo</i> signifies great resonance in the deep +register.</p> + +<p>Minute examination of all the methods of attack and emission of sound +lies within the province of the singing master and to enumerate them +here would only perplex the student. The same applies to the position +and exact limits of register (chest voice, middle and head voice in +women; chest voice, mixed voice and falsetto in men). The work of a +teacher of singing consists in equalising the voice throughout its +whole compass, so that the transition from one register to another, on +all the vowels, may be accomplished imperceptibly. Some voices are +naturally even and flexible. The professor of singing must correct +faults in breathing, determine the range of the voice and place it, +equalise its tone, increase its flexibility, instruct as to the +pronunciation of vowels, modulation from one grade of expression to +another, etc. A composer should be able to rely upon flexible and +equal voices without having to trouble himself as to the abilities or +defects of individual singers. In these days a part is seldom written +for a particular artist, and composers and librettists do not find it +necessary to entrust a certain rôle to <i>fioriture</i> singers, another to +heavy dramatic voices. Poetic and artistic considerations demand +greater variety of resource in the study of opera or vocal music in +general.</p> + + +<h2>Soloists.</h2> + +<h3>Range and register.</h3> + +<p>I advise the composer to be guided by <a href="#Table_F">Table F.</a> which gives the +approximate range of the six principal solo voices. A bracket under +the notes defines the normal octave, the register in which the voice +is generally used. Within these limits the composer may write freely +without fear of hardening or tiring the voice.<span class="pagenum"><a name="Page_134" id="Page_134">-134-</a></span> The normal octave +applies also to declamatory singing and recitative; the notes above it +are exceptional and should be used for the culminating points of a +passage or for climaxes, the notes below, for the fall or decline of a +melody. Employing voices in unusual registers for long periods of time +will weary both singer and listener, but these registers may +occasionally be used for brief intervals so as not to confine the +voice too strictly to one octave. A few examples are added to +illustrate melody in different types of voices.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>The Tsar's Bride</i> <span class="box">102-109</span> (for extracts cf. <a href="rimsky2.html#No_256">Ex. 256</a>, <a href="rimsky2.html#No_280">280</a>, <a href="rimsky2.html#No_284">284</a>)—Marfa's Aria (Soprano).</p> + +<p><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.2em;"><span class="box">16-18</span>—Griaznov's Aria (Baritone).</span></p> + +<p><i>Snegourotchka</i>—The 3 songs of Lell. (Contralto).</p> + +<p><i>Sadko</i> <span class="box">46-49</span> (cf. extract, <a href="rimsky2.html#No_120">Ex. 120</a>)—Sadko's Aria (Tenor).</p> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">129-131</span>—Lioubava's Aria (Mezzo-sopr.).</span></p> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">191-193</span> (cf. extract, <a href="rimsky2.html#No_131">Ex. 131</a>)—Bass Aria.</span></p> + + +<h3>Vocalisation.</h3> + +<p>A good vocal melody should contain notes of at least three different +values, minims, crotchets and quavers (or crotchets, quavers and +semiquavers etc.). Monotony in rhythmic construction is unsuited to +vocal melody; it is applicable to instrumental music, but only in +certain cases. <i>Cantabile</i> melody requires a fair number of long +notes, and a change of syllable in a word should occur at a moment +when the voice quits a long sustained note. Short, single notes, +changing with every syllable produce a harmonious effect. Owing to the +requirements of diction, extended melodic figures sung <i>legato</i> on one +syllable must be used with care on the part of the composer; to +perform these the singer must possess greater command over flexibility +and technique. The possibility of taking breath in the right place is +one of the conditions essential to all vocal writing. Breath cannot be +taken in the middle of a word, sometimes not even during the course of +a sentence or phrase in the text; hence the voice part must be +suitably interspersed with rests.<span class="pagenum"><a name="Page_135" id="Page_135">-135-</a></span></p> + + +<div class="bboxf"> +<h3><a name="Table_F" id="Table_F"></a>Table F. Voices.</h3> + +<h4>Chorus:</h4> + +<p class="center"> +<img src="images1/table_f_chorus.png" width="581" height="327" alt="Chorus" title="Chorus" /> +</p> + + +<h4>Soloists:</h4> + +<p class="centerbp"> +<img src="images1/table_f_soloists.png" width="620" height="517" alt="Soloists" title="Soloists" /> +</p> +</div> + +<p><span class="pagenum"><a name="Page_136" id="Page_136">-136-</a></span></p> + +<div class="blockquot"> +<p class="tp"><i>Note.</i> It must be remembered that there are some words upon +which the voice may not dwell, or sing more than one or two +notes. These words may be nouns, pronouns, numerals, +prepositions, conjunctions and other parts of speech. It +would be impossible and ridiculous, for instance, to write a +sustained note on such words as "who", "he" etc. The voice +may dwell on certain words which, so to speak, possess some +poetical colour.<a name="FNanchor_18_21" id="FNanchor_18_21"></a><a href="#Footnote_18_21" class="fnanchor">[18]</a></p> +</div> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_303">No. 303.</a> <i>Sadko</i> <span class="box">236</span>—Sadko's Aria (Tenor).</p> + +<p><span style="margin-left: 4.7em;">"</span> <span style="margin-left: 1.3em;"><span class="box">309-311</span> (see extract, <a href="rimsky2.html#No_081">Ex. 81</a>). Volkhova's Cradle Song (Soprano).</span></p> + +<p><i>Snegourotchka</i> <span class="box">9</span>—Fairy Spring's Aria (Mezzo-sopr.).</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">187-188</span>, <span class="box">212-213</span> (see extracts, <a href="rimsky2.html#No_102">Ex. 102</a> and <a href="rimsky2.html#No_225">225</a>)—the two</span><br /> +<span style="margin-left: 8.3em;">Cavatinas of Tsar Berendey (Tenor).</span></p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">247</span>—Miskir's Aria (Baritone).</span></p> + + +<h3>Vowels.</h3> + +<p>As regards vocalisation on one syllable, on long sustained notes and +in the high register, the choice of vowels is a matter of some +importance. The difference in the position of the mouth and lips in +forming the open vowel <b>a</b> and the closed vowel <b>ou</b> is apparent to +everyone. The series of vowels from the point of view of open sounds +is: <b>a</b>, <b>i</b>, <b>o</b>, <b>e</b>, <b>u</b>. In women's voices the easiest vowel on high notes +is <b>a</b>, for men it is <b>o</b>. The vowel <b>i</b> softens the penetrating quality of +the top notes of a bass voice, and the vowel <b>a</b> adds to the extension +of range in the very lowest compass. Lengthy florid passages are often +written on the interjection <b>ah</b>, or simply<span class="pagenum"><a name="Page_137" id="Page_137">-137-</a></span> on the vowel <b>a</b>. Owing to +the restrictions imposed by literary and dramatic laws, the composer +can only follow the above rules to a limited extent.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">293</span>, <span class="box">318-319</span> (cf. <a href="rimsky2.html#No_119">Ex. 119</a>).</p> + +<p><a href="rimsky2.html#No_304">No. 304.</a> <i>Sadko</i> <span class="box">83</span>.</p> + + +<h3>Flexibility.</h3> + +<p>Voices possess the greatest amount of flexibility in their normal +octave. Women's voices are more supple than men's, but in all types, +the higher voice is the more agile, sopranos in women, the tenor voice +in men. Although capable of performing florid and complicated figures, +different varieties of phrasing and the rapid change from staccato to +legato, the human voice is infinitely less flexible than a musical +instrument. In passages of any rapidity, diatonic scales and +<i>arpeggios</i> in thirds come easiest to the voice. Intervals bigger than +fourths in quick succession and chromatic scales are extremely +difficult. Skips of an octave or more starting from a short note +should always be avoided. Preparation should precede any extremely +high note either by leading up to it gradually, or by the clear leap +of a fourth, fifth or octave; but sometimes the voice may attack a +high note without any due preparation.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">46-48</span> (cf. extract, <a href="rimsky2.html#No_279">Ex. 279</a>)—Snegourotchka's Aria (Soprano).</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">96-97</span>—Lell's first song (Contralto).</span></p> + +<p><i>Sadko</i> <span class="box"><span class="err" title="Transcriber's Note: numbers reversed in original">196-193</span></span> (cf. extract, <a href="rimsky2.html#No_122">Ex. 122</a>)—Hindoo song (Tenor).</p> + +<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">203-206</span>—Venetian song (Baritone).</span></p> + +<p><i>Pan Voyevoda</i> <span class="box">20-26</span>—Maria's cradle song (Sopr).</p> + + +<h3>Colour and character of voices.</h3> + +<p>The colouring of the voice, whether it be brilliant or dull, sombre or +sonorous depends upon the individual singer, and the composer has no +need to consider it. The chief question is interpretation and may be +solved by the judicious choice of artists. From the<span class="pagenum"><a name="Page_138" id="Page_138">-138-</a></span> point of view of +flexibility and expression voices may be divided into two classes, +<i>lyric</i> and <i>dramatic</i>. The latter is more powerful and of greater +range, the former possesses more suppleness and elasticity and is more +readily disposed to different shades of expression. Granted that the +rare combination of the two classes is the composer's ideal, he should +nevertheless be content to follow the main artistic purpose which he +has set out <span class="err" title="Transcriber's Note: to">the</span> achieve. In complicated and +important works the composer should bear in mind the characteristics +of the various voices he employs; moreover, if he use two voices of +the same calibre, e.g. 2 Sopranos or 2 Tenors, he should discriminate +between the range and register of their respective parts, writing for +one slightly higher than the other. It is no rare occurrence to meet +with voices of an intermediate character (mezzo-carattere) combining +the qualities of each type to a modified extent. To such voices the +composer may assign rôles demanding the characteristics of each class, +especially secondary rôles. At the present day, besides the rôles +suitable to the dramatic and lyric type of voice, it is customary to +give prominence to those demanding some special qualifications, voices +of a certain tenderness or power, a specified range or degree of +flexibility—attributes decided by the artistic object in view. In +casting secondary and minor rôles the composer is advised to employ a +medium range and less exacting demands on technique.</p> + +<div class="blockquot"> +<p><i>Note.</i> After Meyerbeer, who was the first to write for a +special type of heavy mezzo-soprano and baritone, Richard +Wagner created a type of powerful dramatic soprano, of +extensive range, combining the quality and scope of the +soprano and mezzo-soprano voices; likewise a similar type of +tenor, possessing the attributes and compass of the tenor +and baritone together. To demand that voices shall be +equally brilliant and resonant in the high and low register, +that singers shall be endowed with a super-powerful +breathing apparatus and an extraordinary faculty for +resistance to fatigue (Siegfried, Parsifal, Tristan, +Brünhilda, Kundry, Isolda), is to exact something little +short of the miraculous. Such voices are to be found, but +there are some singers with excellent though not phenomenal +vocal powers, who, by the constant pursuit of Wagnerian +parts endeavour to increase their range and volume, and only +succeed in depriving the voice of correct intonation, beauty +of tone, and all subtlety of <i>nuances</i>. I believe that less +exacting demands and greater perception of what is required, +skilful and judicious use of the high and low registers of +the voice, a proper understanding of <i>cantabile</i> writing +combined with orchestration which never overpowers the vocal +part will be of greater service to the composer, from an +artistic point of view, than the more elaborate methods of +Richard Wagner.</p> +</div> + +<p><span class="pagenum"><a name="Page_139" id="Page_139">-139-</a></span></p> + + +<h2>Voices in combination.</h2> + +<p>Treating solo voices in a polyphonico-harmonic manner is the best +method of preserving their individual character in <i>ensembles</i>. A +distribution which is wholly harmonic or entirely polyphonic is seldom +found. The first plan, largely used in choral writing, simplifies the +movement of the voices too greatly, eliminating their melodic +character; the second method is wearisome and somewhat disturbing to +the ear.</p> + +<p>As a general rule the voices are arranged according to the law of +normal register. Crossing of parts is rare and should only be done +with the intention of emphasising the melody in the ascending voices +above those adjacent in register, e.g. the tenor part above contralto, +the mezzo-soprano above the soprano, etc.</p> + + +<h3>Duet.</h3> + +<p>The combinations most conducive to the proper movement of parts are +those of two voices related within an octave</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">8</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr.,</td> +<td>M.-sopr.,</td> +<td>C.-alto</td> +</tr> +<tr> +<td>Ten.,</td> +<td>Bar.,</td> +<td>Bass.</td> +</tr> +</table> + +<p class="noindent">Movement in tenths, sixths, thirds or +octaves (the last very seldom) will always produce satisfactory +<i>ensemble</i>, and if the parts progress polyphonically, it need not +happen <i>frequently</i> that they are separated by more than a tenth, or +that undesirable crossing of parts will result.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Sadko</i> <span class="box">99-101</span>—Sopr. and Tenor (cf. <a href="rimsky2.html#No_289">Ex. 289</a>, <a href="rimsky2.html#No_290">290</a>).</p> + +<p><i>Servilia</i> <span class="box">143</span>—Sopr. and Tenor.</p> + +<p><i>Ivan the Terrible</i>, Act I <span class="box">48-50</span>—Sopr. and Tenor.</p> + +<p><i>Kashtcheï the Immortal</i> <span class="box">62-64</span>. Mezzo-sopr. and Baritone.</p> + +<p class="tp"><b>Voices related in fifths and fourths,</b></p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2"><b>5</b></td> +<td rowspan="2" class="vat"><span class="xxlg"><b>[</b></span></td> +<td><b>Sopr.,</b></td> +<td rowspan="2"><b>4</b></td> +<td rowspan="2" class="vat"><span class="xxlg"><b>[</b></span></td> +<td><b>C.-alto,</b></td> +<td rowspan="2"><b>5</b></td> +<td rowspan="2" class="vat"><span class="xxlg"><b>[</b></span></td> +<td><b>Ten.</b></td> +</tr> +<tr> +<td><b>C.-alto,</b></td> +<td><b>Ten.,</b></td> +<td><b>Bass.</b></td> +</tr> +</table> + +<p class="noindent">should progress nearer to one another; it +is rare for them to move in tenths, common in sixths and thirds; they +may also proceed in unison. The two voices are seldom separated at a +greater distance than an octave, and certain cases will require +crossing of parts, which, however, should only be for periods of short +duration.<span class="pagenum"><a name="Page_140" id="Page_140">-140-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">263-264</span>—Soprano and Alto.</p> + +<p>* <i>The Christmas Night</i> <span class="box">78-80</span>—Alto and Tenor.</p> + +<p>* <i>Legend of Kitesh</i> <span class="box">338</span>—Tenor and Bass.</p> + +<p class="tp">Voices related in thirds;</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">3</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr.,</td> +<td>M.-sopr.,</td> +<td>Ten.,</td> +<td>Bar.</td> +</tr> +<tr> +<td>M.-sopr.,</td> +<td>C.-alto,</td> +<td>Bass,</td> +<td>Bass,</td> +</tr> +</table> + +<p class="noindent">may move in unison, in thirds and sixths, and admit very largely of +the crossing of parts. Separation by more than an octave must only be +momentary, and is generally to be avoided.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p>* <i>The Tsar's Bride</i> <span class="box">174</span>—Sopr. and Mezzo-sopr.</p> + +<p>* <i>Tsar Saltan</i> <span class="box">5-6</span>—Sopr. and Mezzo-sopr.</p> + +<p class="tp">In the case of voices related in twelfths:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">12</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr.</td> +</tr> +<tr> +<td>Bass,</td> +</tr> +</table> + +<p class="noindent">intervals approaching one another do not create a good effect, for this +transplants the deeper voice into the upper register and <i>vice versa</i>. +Singing in unison is no longer possible, and thirds are to be avoided; +the use of sixths, tenths and thirteenths is recommended. The voices +will often be separated by more than a twelfth and crossing of parts +is out of the question.</p> + +<p class="centertp"><i>Example:</i></p> + +<p>* <i>Tsar Saltan</i> <span class="box">254-255</span>.</p> + +<p class="tp">Relationship in tenths</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">10</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr.</td> +<td rowspan="2">or</td> +<td>M.-sopr.</td> +</tr> +<tr> +<td>Bar.</td> +<td>Bass</td> +</tr> +</table> + +<p class="noindent">is fairly common. The explanations given above are also applicable in this case.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><i>Snegourotchka</i> <span class="box">291-300</span> (cf. extract, <a href="rimsky2.html#No_118">Ex. 118</a>) Sopr. and Bar.</p> + +<p class="tp">The use of similar voices in pairs:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td>Sopr.,</td> +<td>Ten.</td> +</tr> +<tr> +<td>Sopr.,</td> +<td>Ten.</td> +</tr> +</table> + +<p class="noindent">entails singing in unison and thirds. They should rarely be separated beyond a +sixth, but crossing of parts is inevitable, as otherwise the resultant +volume of tone would be too weak.<span class="pagenum"><a name="Page_141" id="Page_141">-141-</a></span></p> + +<div class="blockquot"> +<p><i>Note.</i> Other possible combinations:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td>C.-alto,<br />Bar.,</td> +<td> </td> +<td>M.-sopr.,<br />Ten.,</td> +</tr> +</table> + +<p class="noindent">call for no special remarks.</p> + +<p class="center"><i>Examples:</i></p> + +<p>* <i>The May Night</i>, Act I pp. 59-64—Mezzo-sopr. and Tenor.</p> + +<p>* <i>Sadko</i> <span class="box">322-324</span>—Mezzo-sopr. and Tenor.</p> +</div> + +<p>As a general rule, writing for two voices is only successful when the +progression of parts is clear, when discords are prepared by a common +note, or are the outcome of conveniently separated movement and +correctly resolved. Empty intervals of fourths and perfect fifths, +elevenths and twelfths should be avoided on the strong beats of a bar, +especially on notes of some value. If, however, one of the voices +assumes a melodic character, the other forming the harmonic +accompaniment in declamatory style, it is not absolutely necessary to +avoid the intervals mentioned above.</p> + +<div class="blockquot"> +<p><i>Note.</i> It is not within the scope of the present work to +consider the writing of vocal parts in closer detail. This +question must be left to the professor of free counterpoint. +It remains to be noted that the human voice accompanied by +the orchestra is always heard independently as something +apart, something complete in itself. For this reason a +composer may never rely on the orchestra to fill up an empty +space or correct a fault in the handling of voices. All the +rules of harmony and counterpoint, down to the last detail, +must be applied to vocal writing, which is never dependent +upon orchestral accompaniment.</p> +</div> + + +<h3>Trios, quartets etc.</h3> + +<p>All that has been said regarding the relationship of voices in duet +applies with equal force to the combination of three, four, five or +more voices. An <i>ensemble</i> of several voices is seldom purely +polyphonic; as a rule, although some parts move polyphonically, +progression in thirds, sixths, tenths and thirteenths is used for the +remainder. Declamation for some voices on notes forming the harmony is +also possible. This variety of simultaneous movement of vocal parts +renders the comprehension of the total effect less difficult for the +ear, and sanctions the distribution of distinctive and suitable +figures or tone colouring to certain voices with other figures or +timbres which may be proceeding at the same time. The skilful +arrangement of pauses and re-entries facilitates the understanding of +the whole, and gives desirable prominence to detail.<span class="pagenum"><a name="Page_142" id="Page_142">-142-</a></span></p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">267</span>—Trio, Finale to Act III.</p> + +<p><i>The Tsar's Bride</i> <span class="box">116-118</span>—Quartet in Act II.</p> + +<p><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.1em;"><span class="box">168-171</span>—Sextet in Act III (cf. extract, <a href="rimsky2.html#No_283">Ex. 283</a>).</span></p> + +<p><i>Servilia</i> <span class="box">149-152</span>—Quintet in Act III.</p> + +<p class="tp">The movement of solo voices is seldom purely harmonic in character +with predominance given to the upper voices homophonically treated. +The blending of all the parts into an harmonic whole, without any +distinctive predominant feature in any one part (as in a chorale) is +employed for songs or <i>ensembles</i> in traditional style, prayers, +hymns, etc. If this method is adopted for the quartet of voices,</p> + +<ul> +<li>Sopr.</li> +<li>Alto</li> +<li>Ten.</li> +<li>Bass,</li> +</ul> + +<p class="noindent">it will be noted that widely-spaced part writing +is the most natural and suitable form (especially in <i>forte</i> +passages), as the four voices can sing together in their proper +registers (low, middle and high), while, in close part writing they +may find themselves at a given moment in registers, which are entirely +foreign. But both methods should be employed, as, otherwise, it would +be impossible to guarantee equality in even the shortest succession of +chords.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">178</span> Hymn of Tsar Berendey's subjects.</p> + +<p><a href="rimsky2.html#No_305">No. 305.</a> <i>Legend of Kitesh</i> <span class="box">341</span>.</p> + +<p class="tp">The second half of the last example is an instance of six-part +harmonic writing; the upper voice stands out prominently, the rest +form a kind of accompaniment.</p> + + +<h2>Chorus.</h2> + +<h3>Range and register.</h3> + +<p>The range of choral voices is slightly more limited than that of +soloists. The exceptional register may be considered as two notes +above and below the normal octave. The dotted lines extended still +further indicate the limits upon which a composer may rely in very +exceptional cases, as every full chorus must contain a few<span class="pagenum"><a name="Page_143" id="Page_143">-143-</a></span> voices of +more than average compass, in this respect approaching the solo voice +in character. In many choruses one or two bass singers may be found +who are able to go still lower than the limit of the exceptional range +(they are called <i>octavists</i>).<a name="FNanchor_19_22" id="FNanchor_19_22"></a><a href="#Footnote_19_22" class="fnanchor">[19]</a></p> + +<div class="blockquot"> +<p><i>Note.</i> These uncommonly deep notes must be moderately well +sustained and can only be used when the whole chorus is +singing quite <i>piano</i>; they are hardly applicable except in +unaccompanied choruses (<i>a cappella</i>).</p> +</div> + +<p>The difference in range between the "firsts" and "seconds" in each +type may be fixed as follows: the normal octave and the exceptionally +low register should be allotted to the "seconds", the same octave and +the exceptionally high register to the "firsts".</p> + +<p>The composition of the chorus is approximately as follows: for a full +chorus, 32 singers to each of the 4 parts sopr., alt., ten. and bass; +for a chorus of medium size, from 16 to 20, and for a small chorus +from 8 to 10 singers. The number of women will often predominate, and +more voices are given to the "firsts" than to the "seconds".</p> + +<p>On account of stage requirements a chorus may have to be divided into +two or even three separate parts. This is a great disadvantage, +especially with a small chorus, as each chorister becomes more or less +a soloist.</p> + +<p>The methods of writing for operatic chorus are very numerous. Besides +the primary harmonico-polyphonic arrangement, containing the whole +musical idea, the voices may be made to enter separately, singing or +declaiming phrases of varying length; they may progress in unison or +in octaves; one vocal part may repeat certain notes or the whole +chorus reiterate certain chords; one melodic part may predominate (the +upper part for preference), the others forming an harmonic +accompaniment; isolated exclamatory phrases may be given to the whole +chorus or to certain portions of it, and finally, the entire chorus +may be treated in a purely harmonic manner in chords, with the +essential melodic design allotted to the orchestra. Having outlined +the principal methods of handling the chorus, I advise the reader to +study vocal and orchestral scores where he will find many +illustrations impossible to deal with here.<span class="pagenum"><a name="Page_144" id="Page_144">-144-</a></span></p> + +<p>There exists another most important operation, the division of the +chorus into different groups. The most natural method is to divide it +into men's chorus and women's chorus. Less frequent combinations are +altos, tenors and basses, or sopranos, altos and tenors. There remains +yet another point to be considered, the sub-division of each part into +two's and three's. Men's and women's choruses, considered as distinct +unities may alternate either one with the other, or with the principal +chorus. For this reason sub-division increases the possibilities of +choral writing, and, as I have already remarked, it is only by the +study of choral works that the student will acquire mastery over this +branch of composition, the fundamental principles of which can only be +faintly outlined in the course of the present work.</p> + + +<h3>Melody.</h3> + +<p>Melody is more limited in the chorus than in the solo voice, both as +regards range as well as mobility. Choristers' voices are less +"settled" and not so highly trained as those of soloists. Sometimes +solo and choral melody are similar in point of range and technique, +but more often the latter is lacking in freedom and variety of rhythm, +restricted as it is to the repetition of short phrases, while the solo +voice demands broader melodic outline and greater freedom in +construction. In this respect choral melody more closely resembles +instrumental melody. Pauses for taking breath are not so important +with chorus singers as with soloists; the former do not need to +breathe all together and each singer may take a slight rest from time +to time, thus obviating the necessity for sudden complete silences. +The question of suitable vowels is likewise of secondary importance.</p> + +<p>The change from notes of short value to long, vocalisation on +syllables and other questions mentioned above are equally applicable +to choral melody, but in a minor degree. Not more than two or three +notes should be written on one syllable except for fanciful and +whimsical effects.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_306">No. 306.</a> <i>The Golden Cockerel</i> <span class="box">262</span>; see also before <span class="box">123</span>.<span class="pagenum"><a name="Page_145" id="Page_145">-145-</a></span></p> + + +<h2>A. Mixed chorus.</h2> + +<h3>Chorus in unison.</h3> + +<p>The simplest and most natural combination of voices is sopranos and +altos, or tenors and basses. These combinations produce ample and +vigourous tone, and the mixed timbres serve to give prominence to a +melody in the upper or bass parts. In practice the other voices are +often divided to thicken the harmony. The combination of altos and +tenors produces a peculiar mixed tone quality, somewhat <i>bizarre</i> and +seldom used.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">64</span>.</p> + +<p><i>Sadko</i> <span class="box">208</span> (cf. <a href="rimsky2.html#No_014">Ex. 14</a>).</p> + + +<h3>Progression in octaves.</h3> + +<p>The most beautiful and natural combinations are sopranos and tenors</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">8</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr.</td> +</tr> +<tr> +<td>Ten.,</td> +</tr> +</table> + +<p class="noindent">altos and basses</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">8</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Altos</td> +</tr> +<tr> +<td>Basses;</td> +</tr> +</table> + +<p class="noindent">they produce a tone both brilliant and powerful. Progression of sopranos and altos, or +tenors and basses is seldom practised. Though the latter combinations +may occur in choruses for women and men alone, they can only be used +in melodies of restricted length. The difference of register in which +the voices move does not permit of the same balance of tone obtained +by voices of a distinctive kind.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">60</span>, <span class="box">61</span>—Carnival Procession.</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">113</span>—Wedding Ceremony.</span></p> + +<p><i>Sadko</i> <span class="box">37</span>—Chorus of Guests, 1<span class="super">st</span> Tableau.</p> + +<p class="tp">Dividing kindred voices in octaves is seldom done,</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">8</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr. I</td> +</tr> +<tr> +<td>Sopr. II</td> +</tr> +</table> + +<p class="noindent">etc., except perhaps in the basses</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">8</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Basses I</td> +</tr> +<tr> +<td>Basses II,</td> +</tr> +</table> + +<p class="noindent">when the progression of parts demand it, or it is required to double the bass +part in octaves.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, Act III <span class="box">68</span>—Final chorus (cf. <a href="rimsky2.html#No_312">Ex. 312</a>).</p> + +<p><i>Sadko</i> <span class="box">341</span>—Final chorus.<span class="pagenum"><a name="Page_146" id="Page_146">-146-</a></span></p> + +<p class="tp">A beautifully round tone results from doubling men's and women's +voices in octaves</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2">8</td> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr. <span class="lg">+</span> Altos</td> +</tr> +<tr> +<td>Ten. <span class="lg">+</span> Basses.</td> +</tr> +</table> + +<p class="centertp"><i>Example:</i></p> + +<p><i>Snegourotchka</i> <span class="box">323</span>—Final chorus.</p> + +<p class="tp">Brilliance and vigour is achieved when sopranos and altos progress in +thirds doubled in octaves by tenors and basses also in thirds:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td rowspan="4">8</td> +<td rowspan="4" class="vat"><span class="xxxxlg">[</span></td> +<td>Sopr.</td> +<td rowspan="2"><span class="xlg">]</span></td> +<td rowspan="2">3</td> +</tr> +<tr> +<td>Altos</td> +</tr> +<tr> +<td>Ten.</td> +<td rowspan="2"><span class="xlg">]</span></td> +<td rowspan="2">3.</td> +</tr> +<tr> +<td>Basses</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Mlada</i>, Act I <span class="box">24</span>; Act II, before <span class="box">31</span>.</p> + +<p><i>The Golden Cockerel</i> <span class="box">235</span>.</p> + +<p class="tp">On the rare occasions when the whole chorus progresses in double +octaves the usual arrangement is:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td>Sopr.</td> +<td colspan="2" class="center"><span class="lg">+</span></td> +<td>Altos</td> +<td rowspan="2"><span class="xxlg">]</span></td> +<td rowspan="2">8,</td> +<td rowspan="3"> or else </td> +<td rowspan="2">8</td> +<td rowspan="2"><span class="xxlg">[</span></td> +<td>Sopr.</td> +<td> </td> +<td> </td> +<td> </td> +<td> </td> +</tr> +<tr> +<td> </td> +<td rowspan="2">8</td> +<td rowspan="2"><span class="xxlg">[</span></td> +<td>Ten.</td> +<td>Altos</td> +<td class="center"><span class="lg">+</span></td> +<td>Ten.</td> +<td rowspan="2"><span class="xxlg">]</span></td> +<td rowspan="2">8.</td> +</tr> +<tr> +<td> </td> +<td>Basses</td> +<td> </td> +<td> </td> +<td> </td> +<td> </td> +<td>Basses</td> +</tr> +</table> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">319</span>.</p> + +<p><i>Sadko</i> <span class="box">182</span>.</p> + + +<h3>Voices (<i>divisi</i>); harmonic use of the mixed chorus.</h3> + +<p>The purely harmonic progression of a four-part mixed chorus is more +natural and resonant when the harmony is of the widely divided order, +so that the volume of tone is equally distributed throughout.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_307">No. 307.</a> <i>Sadko</i> <span class="box">144</span>—Beginning of 3<span class="super">rd</span> tableau.</p> + +<p class="tp">To secure a well-balanced <i>forte</i> chord in close part writing the +following distribution is recommended:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Sopr. I</td> +</tr> +<tr> +<td>Sopr. II</td> +</tr> +<tr> +<td> </td> +<td>Altos</td> +</tr> +<tr> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Ten. I</td> +</tr> +<tr> +<td>Ten. II</td> +</tr> +<tr> +<td rowspan="2" class="vat"><span class="xxlg">[</span></td> +<td>Basses I</td> +</tr> +<tr> +<td>Basses II.</td> +</tr> +</table> + +<p><span class="pagenum"><a name="Page_147" id="Page_147">-147-</a></span></p> + +<p class="noindent">Three harmonic parts in the high register (2 sopranos and altos) are +doubled an octave lower by 2 tenors and the 1<span class="super">st</span> basses. The lower +part is undertaken by the 2<span class="super">nd</span> basses. In this manner the tenors +sing in the soprano octave, the 1<span class="super">st</span> basses in the alto octave and +the 2<span class="super">nd</span> basses are independent.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">327</span>—End of the work.</p> + +<p><i>Mlada</i>, Act II <span class="box">20</span>—Procession of Princes.</p> + +<p><i>Ivan the Terrible</i>, Act II <span class="box">19</span> (cf. <a href="rimsky2.html#No_212">Ex. 212</a>).</p> + +<p class="tp">Division of parts can be adopted when one of them is entrusted with a +melody, the remainder forming a sufficiently full accompaniment. The +choice of parts to be divided depends upon the range of the upper one. +When a harmonic-melodic phrase is repeated in different keys and +registers, it may be necessary to distribute the parts and divide them +in another manner, so as to maintain proper choral balance. As an +illustration I give two extracts of identical musical context, the +second (<i>F</i> major) being a third higher than the first (<i>D</i> major). In +the first example the altos are added to the sopranos to strengthen +the melody; the tenors and basses <i>divisi</i> form the harmony. In the +second example the melody being a third higher may be given to the +sopranos alone; the altos therefore take part in the harmony, and +consequently the lower parts are divided in a different way.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Sadko</i> <span class="box">173</span> and <span class="box">177</span> (cf. <a href="rimsky2.html#No_205">Ex. 205</a> and <a href="rimsky2.html#No_206">206</a>); compare also the +same music in <i>G</i> major <span class="box">189</span>.</p> + +<p><a href="rimsky2.html#No_309">No. 309</a>-<a href="rimsky2.html#No_310">310</a>. <i>Ivan the Terrible</i>, Act I <span class="box">77</span>.</p> + +<p class="tp"><a href="rimsky2.html#No_307">Example 307</a> is an instance of widely-spaced four-part writing forming +the harmonic basis, with the melodic idea in the orchestra. In <a href="rimsky2.html#No_308">Example +308</a>, the same in musical context, the melodic figure is given to the +sopranos, and among the other parts which form the harmony the tenors +are divided.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><a href="rimsky2.html#No_308">No. 308.</a> <i>Sadko</i> <span class="box">152</span>.<span class="pagenum"><a name="Page_148" id="Page_148">-148-</a></span></p> + +<p class="tp">In polyphonic writing exceeding 4 part harmony the voices should be +divided so as to obtain the necessary number of actual parts. One part +may be divided into as many as three different parts, 3 sopranos, 3 +altos etc.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><a href="rimsky2.html#No_312">No. 312.</a> <i>Ivan the Terrible</i>, Act III <span class="box">69</span>—Final chorus.</p> + +<p><i>Servilia</i> <span class="box">233</span>—Final chorus.</p> + +<p><i>Mlada</i>, Act IV <span class="box">35-36</span>—Final chorus.</p> + +<p class="tp">In <i>fugato</i> writing and fugal imitation for mixed chorus the +distribution is generally in four parts, but this number may be +increased for cumulative effects as in the example quoted. In such +cases the composer should be careful as to the arrangement of the +final chord, the summit and climax of the passage. After the entry of +the last of the voices the progression of such a passage should be +handled with a view to the tone of the final chord. The treatment +should be such that concords produced by divided voices or different +groups of voices retain their full value; and if the final chord be a +discord its effect may be heightened by means of crossing of parts. +The reader is advised to examine carefully the progression of parts +leading up to the final chord in each of the examples given above, +paying special attention to the distribution of these final chords. +Crossing of parts must not be effected at random. The arrangement of +choral parts follows the natural order of register and can only be +altered for short spaces of time to give momentary prominence to some +melodic or declamatory phrase.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, Act I <span class="box">79</span>, Act II <span class="box">5</span>, Act III <span class="box">67</span>.</p> + + +<h2>B. Men’s chorus and women’s chorus.</h2> + +<p>In writing a three-part female chorus the division should be either</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td>Sopr. I<br /> +Sopr. II<br /> +Altos</td> +<td class="center"> or </td> +<td>Sopr.<br /> +Altos I<br /> +Altos II;</td> +</tr> +</table> + +<p class="noindent">the same for men:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td>Ten. I<br /> +Ten. II<br /> +Bass</td> +<td class="center"> or </td> +<td>Ten.<br /> +Bass I<br /> +Bass II.</td> +</tr> +</table> + +<p class="noindent">The choice of distribution depends upon which voice is to predominate, or the register in which +the group is to be placed. The manner of divid<span class="pagenum"><a name="Page_149" id="Page_149">-149-</a></span>ing the parts may +change, one following the other at will. In four-part harmonic writing +the method of division is self-evident:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td>Sopr. I<br /> +Sopr. II<br /> +Altos I<br /> +Altos II</td> +<td style="width: 5%"> </td> +<td>Ten. I<br /> +Ten. II<br /> +Bass I<br /> +Bass II</td> +</tr> +</table> + +<p>To give prominence to a melody in the middle part in three-part +harmony, the following method may be adopted:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="voices"> +<tr> +<td>Sopr. I<br /> +Sopr. II <span class="lg">+</span> Altos I,<br /> +Altos II</td> +<td> or </td> +<td>Ten. I<br /> +Ten. II <span class="lg">+</span> Bass I.<br /> +Bass II</td> +</tr> +</table> + +<p>If, in three-part writing, the melody has to stand out in the upper +part, the harmony may be either widely-divided or close.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Ivan the Terrible</i>, Act I <span class="box">25-26</span>, <span class="box">23-31</span> (Women's chorus).</p> + +<p><i>Sadko</i>, before <span class="box">181</span>—Men's chorus (cf. <a href="rimsky2.html#No_027">Ex. 27</a>).</p> + +<p><a href="rimsky2.html#No_311">No. 311.</a> <i>Sadko</i> <span class="box">270-272</span>—Women's chorus.</p> + +<p class="tp">In four-part choral writing close harmony is preferable, otherwise the +upper part will be in too high a register and the range of the bottom +part too low.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Sadko</i> <span class="box">17</span>—Male chorus.</p> + +<p><i>Ivan the Terrible</i>, Act II <span class="box">36-38</span>—Female chorus (cf. <a href="rimsky2.html#No_296">Ex. 296</a>).</p> + +<p class="tp">Distribution in two parts which is generally polyphonic does not call +for any special remarks; the same may be said of chorus in unison.</p> + +<p class="centertp"><i>Examples:</i></p> + +<table style="width: 90%" border="0" cellpadding="2" cellspacing="0" summary="examples"> +<tr> +<td style="width: 33%"><i>Sadko</i> <span class="box">50</span>—Male chorus.</td> +<td colspan="2"> </td> +</tr> +<tr> +<td><i>Mlada</i>, beginning of Act I.</td> +<td rowspan="3" style="width: 2%"><span class="xxxlg">}</span></td> +<td rowspan="3">Female chorus.</td> +</tr> +<tr> +<td><i>Ivan the Terrible</i>, Act III <span class="box">13-15</span>.</td> +</tr> +<tr> +<td><i>Servilia</i> <span class="box">26</span>.</td> +</tr> +</table> + +<p class="tp">If male and female choruses are handled in a purely harmonic manner +close part writing should be adopted. This is the only way to secure +proper balance of tone in chords given to voices<span class="pagenum"><a name="Page_150" id="Page_150">-150-</a></span> of the same kind. +Successions of chords in three parts are more frequent than those in +four; sometimes a series of chords is practicable only in two parts.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Snegourotchka</i> <span class="box">19</span>—Chorus of Birds.</p> + +<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">281-285</span>—Chorus of Flowers (cf. <a href="rimsky2.html#No_026">Ex. 26</a>).</span></p> + +<p class="tp">In <i>fugato</i> writing, and fugal imitation in three parts, allotted to a +chorus composed of voices of one kind, the principal subject is given +to two parts, the counter subject to one; by this method the doubled +themes will stand out to better advantage.</p> + +<p class="centertp"><i>Examples:</i></p> + +<p><i>Sadko</i> <span class="box">20-21</span>.</p> + +<p>* <i>The Tsar's Bride</i> <span class="box">29-30</span>.</p> + +<p class="tp">Male and female choruses, apart from the part they play as individual +unities, may be introduced as separate groups in mixed choruses +alternating with the whole <i>ensemble</i>.</p> + +<p class="centertp"><i>Example:</i></p> + +<p><i>Snegourotchka</i> <span class="box">198</span>—Hymn of Tsar Berendey's Subjects +(cf. <a href="rimsky2.html#No_166">Ex. 166</a>).</p> + +<p class="tp">As a general rule a female chorus does not contain the real harmonic +bass part when this part is situated in the low register, so that no +octaves are formed between the real bass and the lower choral voice. +Harmony in a chorus for women is generally given to the three upper +parts, the lower part acting as accompanying bass. It will be noticed +that this rule may lead to the employment of chords of the sixth and +empty consecutive fourth's and fifth's which should be avoided. In +example <a href="rimsky2.html#No_311">No. 311</a> (<i>Sadko</i> <span class="box">270</span>), this is remedied by the high +position of the bass part; later an empty interval (4/5) occurs, but +only for a moment, and still further on another such interval is +avoided by the union of all the voices in the octave (<i>B/B</i>). In <a href="rimsky2.html#No_304">Ex. +No. 304</a> (<i>Sadko</i> <span class="box">83</span>) the harmonic bass in the low register is +carefully omitted, but when transferred to the upper register it is +doubled.<span class="pagenum"><a name="Page_151" id="Page_151">-151-</a></span></p> + +<p>I conclude the present chapter with the following necessary +observations:</p> + +<p>1. The operation of dividing voices undoubtedly weakens their +resonance, and as the reader will have observed, one of the principal +factors in good orchestration is <i>equal</i> balance of tone in the +distribution of chords. But in choral writing the question is somewhat +different. The orchestra, even after repeated rehearsal always <i>plays +from music</i>; the operatic chorus, on the other hand, sings by heart. +The chorus master can carry out the composer's instructions as to the +division of parts in one way or another, varying and adjusting the +number of singers to each part. By manipulating some shade of +expression he can maintain a balance of tone between divided and +undivided voices. In orchestral material the composer has to handle a +great number of timbres, widely different in character and volume of +tone. In the chorus there are but four qualities. A chorus moving +about the stage cannot convey varying shades of expression so exactly +as an orchestra seated at the desk. It may therefore be safely assumed +that a composer is entitled to some licence in the question of +dividing choral parts; dealing with the orchestra involves greater +foresight and care.</p> + +<p>2. In trying to obtain equal balance in writing three-part choruses +for male or female chorus I have often resorted to the method of +doubling the middle part as recommended on <a href="#Page_149">p. 149</a>. The chorus master +is at liberty to equalise the chorus by transferring voices from one +part to another. In choruses divided into three parts I have noticed +that chorus masters are in the habit of giving the upper part to Sopr. +I, or Ten. I, and the two lower parts to Sopr. II and Ten. II divided. +I consider this arrangement unsound, as the balance of parts can never +be equal. The attention of chorus masters is called to the necessity +of strengthening middle parts, for the expedient of giving prominence +to the upper part concerns melody alone and leaves harmony out of the +question.</p> + +<p>3. Skilful management of choral parts is a fairly safe guarantee of +clear and satisfactory performance. Miscalculations in writing are a +great hindrance to study, and the most experienced chorus may come to +grief through faulty progression of parts. If the progression of parts +is correct, if discords are properly prepared,<span class="pagenum"><a name="Page_152" id="Page_152">-152-</a></span> sudden and remote +modulations, even of the harshest and most uncommon kind will be +comparatively simple and may be approached with some degree of +confidence. This is a fact which composers do not always bear in mind, +but singers know it well and appreciate its importance to the full. As +an instance I quote the very difficult modulation which occurs in <a href="rimsky2.html#No_169">Ex. +No. 169</a> (<i>Sadko</i> <span class="box">302</span>). I doubt whether it could be sung if written +in any other way. Careful endeavour on the part of a composer is +better than useless struggle inflicted upon the performer.</p> + +<p class="right">July 31<span class="super">st</span> (Aug. 13<span class="super">th</span>) 1905.</p> + + + +<hr /> +<p class="center"><b><a href="rimsky_toc.html">CONTENTS</a></b><br /> +<b><a href="rimsky2.html">VOLUME II</a></b></p> + + +<hr /> +<h2>FOOTNOTES</h2> + + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This manuscript was given to me by Alexander Glazounov; +if a Rimsky-Korsakov museum is ever founded it will be placed there.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> This <a href="#Extract_from_the_Authors_Preface_1891">preface</a> had already been published in his <i>Notes and +Articles on Music</i> (St. Petersburgh, 1911).</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Recently the firm of Belaieff has published +Rimsky-Korsakov's symphonic works in miniature score, pocket-size.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> In the margin of the MS. a question mark is added here. +(Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> A. Glazounov has well expressed the various degrees of +excellence in scoring, which he divides into three classes: 1. When +the orchestra sounds well, playing from sight; magnificent, after a +few rehearsals. 2. When effects cannot be brought off except with the +greatest care and attention on the part of conductor and players. 3. +When the orchestra never sounds well. Evidently the chief aim in +orchestration is to obtain the first of these results. (Author's +note.)</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> A short review of these various questions forms the +<a href="#Chapter_I">first chapter</a> of the book. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> To give a list of easy three and four-note chords, or to +explain the different methods of bowing does not come within the scope +of the present book.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Of late years sometimes two tubas are employed, by +Glazounov for instance in his Finnish Fantasia. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_A_9" id="Footnote_A_9"></a><a href="#FNanchor_A_9"><span class="label">[A]</span></a> The 7<span class="super">th</span> natural harmonic is everywhere omitted as +useless; the same in the horns, the notes 11, 13, 14 and 15.</p></div> + +<div class="footnote"><p><a name="Footnote_B_10" id="Footnote_B_10"></a><a href="#FNanchor_B_10"><span class="label">[B]</span></a> The <i>b♮</i> of the octave -1 does not exist on the +trombones.</p></div> + +<div class="footnote"><p><a name="Footnote_9_11" id="Footnote_9_11"></a><a href="#FNanchor_9_11"><span class="label">[9]</span></a> A Russian instrument which, like the balalaïka, is better +known abroad. (Translator's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_10_12" id="Footnote_10_12"></a><a href="#FNanchor_10_12"><span class="label">[10]</span></a> A chromatic harp without pedals has now been invented in +France (Lyon's system), on which the most abrupt modulations are +possible. (Translator's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_11_13" id="Footnote_11_13"></a><a href="#FNanchor_11_13"><span class="label">[11]</span></a> Rimsky-Korsakov's opera <i>Sadko</i> and Moussorgsky's <i>Boris +Godounov</i> are particularly interesting in this respect. (Translator's +note.)</p></div> + +<div class="footnote"><p><a name="Footnote_12_14" id="Footnote_12_14"></a><a href="#FNanchor_12_14"><span class="label">[12]</span></a> Recently, bells have been made of suspended metal plates +possessing the rare quality of a fairly pure tone, and which are +sufficiently portable to be used on the concert platform. (Editor's +note.)</p></div> + +<div class="footnote"><p><a name="Footnote_C_15" id="Footnote_C_15"></a><a href="#FNanchor_C_15"><span class="label">[C]</span></a> The present volume is divided into two parts, text (pp. +1-152) and musical examples (pp. 1-333). The <a href="rimsky2.html#LIST">first page of the second +part</a> lists the standard full-score editions of Rimsky-Korsakov's works +that are referred to throughout the book. These references to specific +passages are always indicated by boxed numbers or boxed letters +corresponding to the ones marking the sub-divisions of the particular +score. On the other hand, references in the text to the 312 musical +examples in the <a href="rimsky2.html">second part</a> of the book are always indicated as "No. +1," "No. 2," etc. Thus, "<i>The Tsar's Bride</i> <span class="box">84</span>" indicates that the +reader should look at section <span class="box">84</span> of the score of <i>The Tsar's +Bride</i> as published by Belaieff in Leipzig, the music of which is not +reprinted here; whereas "<a href="rimsky2.html#No_001">No. 1.</a> <i>Shéhérazade</i> 2<span class="super">nd</span> movement <span class="box">B</span>" +indicates that the reader should look at the first musical example in +the second part of the present book, which comes from the section +marked <span class="box">B</span> in the second movement of the score of <i>Shéhérazade</i> as +published by Belaieff.</p></div> + +<div class="footnote"><p><a name="Footnote_13_16" id="Footnote_13_16"></a><a href="#FNanchor_13_16"><span class="label">[13]</span></a> The composer has emended the score in the following +manner: from the fifth to the ninth bar after <span class="box">305</span>, and also from +the fifth to the ninth bar after <span class="box">306</span>, the three clarinets play in +unison, the trumpet being marked <i>forte</i> instead of <i>fortissimo</i>; in +the example, the first of these passages is corrected according to the +composer's alteration. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_14_17" id="Footnote_14_17"></a><a href="#FNanchor_14_17"><span class="label">[14]</span></a> The process of doubling strings and wood-wind in +octaves:</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="instruments"> +<tr> +<td style="padding-top: .3em">Fl.<br /> +Vn<span class="super">s</span></td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8,</td> +<td style="padding-top: .3em">Ob.<br /> +'Cellos</td> +<td class="vat"><span class="xxlg">]</span></td> +<td>8,</td> +</tr> +</table> + +<p class="noindent">etc. often used by the +classics to obtain balance of tone, is not to be recommended, as the +tone quality of the two groups is so widely different. As a result of +the ever-increasing tendency to profusion of colour, this method has +recently come into fashion again, notably among the younger French +composers. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_15_18" id="Footnote_15_18"></a><a href="#FNanchor_15_18"><span class="label">[15]</span></a> In the full score a misprint occurs in the clarinet +part; it is corrected in the example. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_16_19" id="Footnote_16_19"></a><a href="#FNanchor_16_19"><span class="label">[16]</span></a> A splendid example of the combination of strings and +brass may be found in the introduction to the 2<span class="super">nd</span> scene of the +4<span class="super">th</span> act of "<i>Khovanstchina</i>" by Moussorgsky, orchestrated by +Rimsky-Korsakov. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_17_20" id="Footnote_17_20"></a><a href="#FNanchor_17_20"><span class="label">[17]</span></a> Mention should be made of the happy use of a small +orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone, +tambourine, 4 Vn<span class="super">s</span>, 2 violas, 1 D-bass) in <i>The May Night</i>, Act II, +Sc. I. <span class="box">M-P</span>. (Editor's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_18_21" id="Footnote_18_21"></a><a href="#FNanchor_18_21"><span class="label">[18]</span></a> Here the author approaches a question so well known to +the Russians that it does not require any further elucidation for +their guidance. But a whole book would have to be written to form a +compendium of practical rules on this subject, and to point out the +errors which nearly all French composers openly commit—even those who +are famous for their sense of diction and literary style. We can only +conclude that the question has come to be considered of minor +importance in France, perhaps on account of the lack of definite +stress on the syllables of words, which is characteristic of the +French language. It is not within the translator's province to discuss +the question of French versification or to elaborate the excellent +maxims laid down by Rimsky-Korsakov, the first, among many, to touch +upon this delicate and important subject. (Translator's note.)</p></div> + +<div class="footnote"><p><a name="Footnote_19_22" id="Footnote_19_22"></a><a href="#FNanchor_19_22"><span class="label">[19]</span></a> <i>Contrebasses</i> voices as they are called when mentioned +in French works are peculiar to Russia, in which country they are +plentiful. (Translator's note.)</p></div> + + +</body> +</html> |