Note 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 5thoctave, are generally doubled an octave below, whilst those situated in the extreme low register (below the middle of the 1stoctave) are doubled an octave higher.
Note 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 5thoctave, are generally doubled an octave below, whilst those situated in the extreme low register (below the middle of the 1stoctave) are doubled an octave higher.
Examples:
Sadko207(cf.Ex. 24).
Note II.Progression in octaves of divided stringsof the same kindis generally to be avoided:Violas IViolas II,'Cellos I'Cellos II,D. basses ID. basses II]8,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.
Note II.Progression in octaves of divided stringsof the same kindis generally to be avoided:
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.
Note III.The following distribution is occasionally found:Violas+'Cellos ID. basses+'Cellos II]8.
Note III.The following distribution is occasionally found:
may be used for fullcantabilemelodies extremely tense in character, and infortepassages for choice.
Example:
No. 32.Antar65.—
are employed when the low register of each instrument is brought into play, and also to suit phrases of a rough and severe character.
Examples:
Legend of Kitesh66, opening of the 2ndAct.
No. 33.Snegourotchka215. Tumblers' dance.
Note.The lack of balance in the distribution:VnsI+II+Violas]8'CellosD. basses]8is not of any great importance, for, in such cases, the partial harmonics of one octave support the tone of the other, andvice versa.
Note.The lack of balance in the distribution:
is not of any great importance, for, in such cases, the partial harmonics of one octave support the tone of the other, andvice versa.
The distribution
is very seldom found, and as a rule, only when supported by wind instruments.
Examples:
The Legend of Kitesh150(allargando).
*Shéhérazade, 4thmovement, commencing at the 10thbar.
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.
Examples:
*No. 34.Legend of Kitesh34—
*Legend of Kitesh39—
Cf. alsoLegend of Kitesh223:
Distribution in octaves, thirds, and sixths is usually regulated by the normal register of the respective instruments, so as to avoidany 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 theGstring; this arrangement produces a quality of tone distinctly original in character.
Example:
No. 35.Spanish CapriccioD—
* The choice of instruments for characteristic and expressive melody is based on their distinctive qualities, discussed minutely in theforegoing chapter. 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:
Examples of solo wood-wind:
1.Piccolo: Serbian FantasiaC;No. 36.Tsar Saltan216;Snegourotchka54.
2.Flute: Antar4;Servilia80;Snegourotchka79,183;A Fairy TaleL;The Christmas Night163;No. 37.Shéhérazade, 4thmovement, beforeA(Fl. à 2in the low register).
Flute(double tonguing):Pan Voyevoda72;Shéhérazade, 4thmovement, afterV;No. 38.Ivan the Terrible, Act III, after10.
3.Bass flute:No. 39.Legend of Kitesh44.
4.Oboe:No. 40.Shéhérazade, 2ndmovementA;The May Night, Act IIIKk;No. 41.Snegourotchka50;Snegourotchka112,239;The Tsar's Bride108(cf.Ex. 284),No. 42and43.The Golden Cockerel57and97.
5.Eng. horn: Snegourotchka97,283(cf.Ex. 26);No. 44.Spanish CapriccioE;No. 45.The Golden Cockerel61.
6.Small Clarinet:No. 46.Mlada, Act II33;Mlada, Act III37.
7.Clarinet: Serbian FantasiaG;Spanish CapriccioA;Snegourotchka90,99,224,227,231(cf.Ex. 8);The May Night, Act I, beforeX;Shéhérazade, 3rdmovementD;A Fairy TaleM;The Tsar's Bride50,203;The Golden Cockerel97(lowest register, cf.Ex. 43).
8.Bass clarinet:No. 47and48.Snegourotchka243and246-247.
9.Bassoon: Antar59;No. 49.Vera Scheloga36;Shéhérazade, 2ndmovement, beginning (cf.Ex. 40);No. 50.The Golden Cockerel249;No. 51.Mlada, Act III, after29; cf. alsoEx. 78.
10.Double bassoon: Legend of Kitesh, before84,289; cf. alsoEx. 10(D. bassoon+D. bass solo).
The normal order of wood-wind instruments and that which produces the most natural resonance is the following:Flutes,Oboes,Clarinets,Bassoons(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.
The combination of two different wood-wind instruments in unison yields the following tone qualities:
a)Flute+Oboe.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:No. 52.Snegourotchka113.
b)Flute+Clarinet.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:No. 53.Legend of Kitesh330; also339and342.
c)Oboe+Clarinet.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:Snegourotchka19;No. 54.Snegourotchka115. Cf. alsoLegend of Kitesh68,70,84—2 Ob.+3 Cl. (Ex. 199-201).
d)Flute+Oboe+Clarinet.Very full in quality. The flute predominates in the low register, the oboe in the middle, and the clarinet in the high compass. Examples:Mlada, Act I1; *Sadko58(2 Fl.+2 Ob.+Small Cl.).
e)Bassoon+Clarinet.Very full quality. The gloomy character of the clarinet prevails in the lower register, the sickly quality of the bassoon in the higher. Example:Mlada, Act II, after49.
f)Bassoon+Oboe, and
g)Bassoon+Flute.
The combinationsfandg, as well asBassoon+Clarinet+Oboe, andBassoon+Clarinet+Fluteare very seldom found except in certain orchestraltutti, 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.
h)Bassoon+Clarinet+Oboe+Flute.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:Russian Easter Fête, the beginning;No. 55.Snegourotchka301;The May Night, Act IIIQqq.
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. Aninstrument 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.
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.
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.
When the melody is entrusted to two wood-wind instruments in octaves, the usual arrangement producing natural resonance is:
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 andvice versa. The lack of proper relationship between the different tone qualities then becomes apparent.
Examples:
No. 56.Spanish CapriccioO—
No. 57.Snegourotchka254—
*No. 58.Shéhérazade, 3rdmovementE—
Sadko195—
Pan Voyevoda132—
Tsar Saltan39—
No. 59.Vera Scheloga30—
likewise any number of examples in the scores of various composers.
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 avoidedis 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,arcoorpizzicatodouble the two members of the wood-wind, and especially in the middle compass. The process is most satisfactory for repeated notes or sustained passages.
Examples:
The May Night, Act IT—
*Sadko, after159—
*Servilia, after21—
Instruments of the same branch playing in octaves, e.g.
always produce a good effect.
Examples:
Snegourotchka5—
The Tsar's Bride133—
Tsar Saltan216—
Sadko, after59
Legend of Kitesh240—
No 60.Mlada, Act III, before44—
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.
Examples:
*Tsar Saltan39—
*No. 61.Mlada, Act II, Lithuanian dance32—
Sadko150—
* Mixed qualities of tone may be employed in doubling in octaves, the above remarks still holding good.
Examples:
Pan Voyevoda134—
No. 62.Servilia168—
No. 63.The Tsar's Bride120—
Mlada, Act III41—
In such cases the student should follow the above-mentioned rules, and should take care not to infringe the natural order:
Mixed timbres may also be employed.
Examples:
No. 64.Spanish CapriccioP—melody in 4 octaves:
The Tsar's Bride141—melody in 3 octaves.
*Legend of Kitesh212—
*No. 65.Antar, (1stversion) 3rdmovement, the beginning—
alsoC, melody in 4 octaves (piccolo in the upper octaves).
*Mlada, Act III, after42—
No. 66.Shéhérazade, 3rdmovementG—
Examples of melody doubled in five octaves are extremely rare; in such cases the strings participate in the process.
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:
If this order is inverted, e.g.
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:
Music
[[audio/mpeg]
Examples:
Legend of Kitesh24—different wind instruments in turn.
The May Night, Act IIIG—
Sadko279-280—
No. 67.Spanish Capriccio, beforeV—various wood-wind in thirds and sixths.
Servilia228—
The Golden Cockerel232—
*Sadko43—All wood-wind in turn, simple timbres.
When the doubled parts progress in thirds or sixths, the following method is advisable:
In the case of tripling the following arrangement may be adopted:
Examples:
*No. 68.The Christmas Night187—
*Legend of Kitesh202-203different mixed timbres.
music
[[audio/mpeg]
Apart from the obvious distribution:
there are certain complicated methods which involve doubling:
The following is a complex instance somewhat vague in character:
No. 69.Legend of Kitesh35—
The natural scale, the only one which brass instruments had at their disposal prior to the invention of valves was:
music
[[audio/mpeg]
giving, in two part harmony:
music
[[audio/mpeg]
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.
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.
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.
Examples:
Servilia20—Trumpets.
The Christmas Night182—Horn, Trumpets.
Vera Scheloga, beginning of Overture, and after45—Horn, Trumpets.
Ivan the Terrible, Act III3—Cornet.
Snegourotchka155—Trumpets.
No. 70.Legend of Kitesh65and elsewhere.—3 Trumpets, 4 Horns.
Pan Voyevoda191—2 Trombones, Trumpet.
*The Golden Cockerel20—2 Horns and
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.
Examples:
No. 71.Sadko342—Trumpet.
Sadko, before181—Trombones (cf.Ex. 27).
No. 72.Snegourotchka71—Trumpet.
Russian Easter FêteM—Trombone.
Spanish CapriccioE—Alternative use in the horn of open and stopped notes (cf.Ex. 44).
Ivan the Terrible, Act II, before17—Bass trumpet, and 3 Horns a little further on.
Mlada, Act II33—Bass trumpet (cf.Ex. 46).
The genial and poetic tone of the horn inpianopassages affords greater scope in the choice of melodies and phrases that may be entrusted to this instrument.
Examples:
The May Night, Overture13.
The Christmas Night1.
Snegourotchka86.
Pan Voyevoda37.
No. 73.Antar40.
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.
Example:
No. 74.Shéhérazade, 2ndmovementD.
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.
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 employedsolo, 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.
Examples:
Snegourotchka5—4 Horns (cf.Ex. 15).
Snegourotchka199—4 Horns and 2 Trumpets.
Sadko175—1, 2, 3 Trumpets.
No. 75.Sadko305[13]—3 Trombones.
No. 76.The May Night, beginning of Act III—1, 2, 3, 4 Horns.
Legend of Kitesh, end of Act I—4 Horns (cf.Ex. 70).
No. 77.Shéhérazade, 4thmovement p. 204—3 Trombones.
Mlada; Lithuanian dance—6 Horns (cf.Ex. 61).
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:
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:
Examples:
Sadko, before120—
Sadko5—
Snegourotchka222—
Ivan the Terrible, Act III10
The Golden Cockerel125—
Cf. alsoSnegourotchka325-326—
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 infortepassages. The trumpet is the instrument most frequently doubled: Trumpet+Cl., Trumpet+Ob., Trumpet+Fl., as well as Trumpet+Cl.+Ob.+Fl.;the horn, less often: Horn+Cl., Horn+Fag. Trombones and Tuba may also be doubled: Trombone+Fag., Tuba+Fag. Combining the Eng. horn, bass clarinet and double bassoon with the brass, in corresponding registers, presents the same characteristics.
Examples:
Legend of Kitesh56—Trombone+Eng. horn.
*Mlada, Act III, before34—3 Trombones+Bass cl.
As a rule, the addition of a wind to a brass instrument yields a finer legato effect than when the latter instrument plays alone.
Doubling the horns in octaves by clarinets, oboes or flutes often replaces the combination
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 infortepassages:
To double a trumpet in the upper octave three or four wind instruments are required, but in the top register two flutes will suffice.
Wood-wind instruments should not be used to double a trombone in the octave above; trumpets are more suitable.
*Snegourotchka71—
*Legend of Tsar Saltan, before180—
* Mention should also be made of mixed timbres (wood and brass) in progression in octaves.
Examples:
Mlada, Act III, beginning of Scene III—
No. 78.Mlada, Act III after25—
No. 79.Mlada, Act III, before35—general unison.
When it is desired to distribute the melody over three or four octaves, it is difficult to achieve perfect balance of tone.
Examples:
*Shéhérazade, 4thmovement, 15thbar afterW—
*Legend of Tsar Saltan228—
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.
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.
Doubling in unison.
The best and most natural combinations are between instruments whose registers correspond the nearest:
Vns+Fl. (Bass fl., picc.), Vns+Ob., Vns+Cl. (small Cl.);
Violas+Ob. (Eng. horn), Violas+Cl., Violas+Fag.
'Cellos+Cl. (Bass cl.), 'Cellos+Fag.;
D. basses+Bass cl., D. basses+Fag.; D. basses+C-fag.
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.
Examples:
Snegourotchka5—'Cellos+Violas+Eng. horn (cf.Ex. 15).
"28—Violas+Ob.+Eng. horn.
"116—VnsI+II+Ob.+Cl.
"288—VnsI+II+'Cellos+Eng. horn (cf.Ex. 17).
No. 80.The May Night, Act IIIBb—Violas+Cl.
No. 81.Sadko311—Vns+Ob.
No. 82."77—Violas+Eng. horn.
No. 83."123—Violas+Eng. horn.
Servilia59—VnsGstring+Fl.
Tsar Saltan30—VnsI+II+2 Cl.
No. 84.Tsar Saltan30, 10thbar.—'Cellos+Violas+3 Cl.+Fag.
Tsar Saltan156-159—Vnsdetached+Fl.legato.
The Tsar's Bride10Violas+'Cellos+Fag.
Antar, 4thmovement63—'Cellos+2 Fag.
Shéhérazade, 3rdmovementH—Violas+Ob.+Eng. horn.
Parts doubled in octaves.
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:
Examples:
No. 85.Ivan the Terrible, beginning of Overture—