No. 86.Sadko3—
Sadko166—
"235—
The Tsar's Bride14—
"""81—
"""166—
In three and four octaves:
Servilia93—
No. 87.Kashtcheï105—
Shéhérazade, 3rdmovementM—
Examples of melody in thirds and sixths:
Servilia44—
No. 88.Servilia111—Strings and wood-wind in thirds.
No. 89."125—same combination, in thirds and sixths.
Kashtcheï90—The same.
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;
Examples:
Tsar Saltan102—
*No. 90.Shéhérazade, 4thmovementU—
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:
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.[14]
Example:
No. 91.Tsar Saltan92—
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+Trumpet; Viola+Horn;
(for heavy massive effects).
The combination of horns and 'cellos, frequently employed, produces a beautifully blended, soft quality of tone.
Examples:
Tsar Saltan29—VnsI+II+Horn.
*No. 92.The Golden Cockerel98—Violascon sord.+Horn.
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:
Such groupings are used for preference in loud passages or for a heavypianoeffect.
Examples:
No.93-94.Snegourotchka218and219—VnsI+II+Cl.+Horn and VnsI+II+Cl.+Trumpet.
Servilia168—
No. 95.Snegourotchka325—
Pan Voyevoda224—Vns+Fag.+Horn+Vn.+Cl.+Trumpet. (Stopped notes in the brass.)
*Mlada, Act III, after23—Violas+2 Cl.+Bass trumpet.
*No. 96.Ivan the Terrible, Act III, before66—
*Ivan the Terrible, Overture, 4thbar after9—Violas+'Cellos+Eng. horn+2 Cl.+Bass Cl.+2 Fag.+4 Horns. (The melody simplified in the horns.)
HARMONY.
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.
Note.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.
Note.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.
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 difficulties. 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.
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:
A. Close part-writing.
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B. Widely-divided part-writing.
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Note.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:Bad:music[Listen]
Note.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:
On account of the distance between the bass and the three other parts, only partial duplication is possible.
Note.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.
Note.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.
Consecutive octaves between the upper parts are not permissible:
Consecutive fifths resulting from the duplication of the three upper parts moving in chords of sixths are of no importance:
The bass of an inversion of the dominant chord should never be doubled in any of the upper parts:
This applies also to other chords of the seventh and diminished seventh:
The rules of harmony concerning sustained and pedal passages apply with equal force to orchestral writing. As regards passing and auxiliary notes,échappées, considerable licence is permitted in rapid passages of different texture:
A certain figure and its essentials, in simplified form, may proceed concurrently, as in the following example:
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:
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InVol. IIof the present work many examples of the above methods will be found.
The normal order of sounds or the natural harmonic scale:
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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:
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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:
The use of sixths in the upper parts, and the practice of doubling the upper note in octaves are sometimes effective methods:
When correct progression increases the distance between the top and bottom notes of the upper parts, this does not matter:
But it would be distinctly bad to fill in the second chord thus:
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 infortepassages; inpianopassages 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:
When the voices converge, the middle parts are eliminated one by one:
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 notesunis, or division of parts.
A.Short chords.Chords of three or four notes can only be executed rapidly on the strings.
Note.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.
Note.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.
Short chords,arco, only sound well when playedforte(sf), 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 1stand 2ndviolins 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.
Examples:
No. 97.Snegourotchka171; cf. also before140and before200.
*Spanish Capriccio, beforeV(cf.Ex. 67).
Shéhérazade, 2ndmovementP(cf.Ex. 19.)
*No. 98.Tsar Saltan135; cf. also141and before182.
Isolated chords may be added to a melodic figure in the upper part, accentuating,sforzando, certain rhythmical moments.
Example:
No. 99.Snegourotchka, before126; cf. also326.
B.Sustained and tremolando chords.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.Chap. I), 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.,
If the harmony in the three upper parts, thus strengthened, is written for divided strings, the 'cellos and basses, playingnon divisiwill prove a trifle heavy; their tone must therefore be eased, either by marking the parts down or reducing the number of players.
In the case of sustained chords orforte tremolandoon two strings, the progression of parts is not always according to rule, the intervals chosen being those which are the easiest to play.
Examples:
No. 100.The Christmas Night161—Fulldivisi.
No. 101."""210.—
No. 102.Snegourotchka187-188—Four-part harmony, VnsI, VnsII, Violas and Violoncellos.
"243—4 Solo 'cellosdivisi.
Shéhérazade, 2ndmovement, beginning.—4 D. bass soli div. (cf.Ex. 40).
The Tsar's Bride179—Chords on all strings (cf.Ex. 243).
No. 103.Legend of Kitesh8—Harmonic basis in the strings.
"""240—(Cf.Ex. 21).
"""283—Harmonic basis in the strings (cf.Ex. 2).
No. 104.The Golden Cockerel4—Basis in the strings.
"""125—Undulating rhythm in the strings as harmonic basis (cf.Ex. 271).
In aforteorsfpchord, where one or two of the upper notes is held, either sustained ortremolando, the balance of tone must still be maintained, as in the following example:
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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.
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:
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:
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:
3. Corresponding or adjacent registers should be made to coincide except for certain colour effects:
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:
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.
A.In pairs.There are three ways of distribution: 1.Superpositionoroverlaying(strictly following the normal order of register),2.Crossing, and 3.Enclosureof parts. The last two methods involve a certain disturbance of the natural order of register:
Overlaying.Crossing.Enclosure.
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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:
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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:
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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:
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Any other distribution will result unquestionably in a grievous lack of relationship between registers:
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If one tone quality is to be enclosed, it must be between two different timbres:
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:
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The use of four different timbres in close four-part harmony is to be avoided, as the respective registers will not correspond:
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