University of Virginia Library

previous sectionChapter II.MELODY. Principles of orchestration
next section
36

Page 36

Chapter II.
MELODY.

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.).

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.

Melody in stringed instruments.

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.

37

Page 37

a) Violins.

Melody in the soprano-alto register and an extra-high compass
usually falls to the lot of the 1st Violins, sometimes to the 2nd Violins
or to both in unison, a process which produces fuller resonance
without impairing quality of tone.

    Examples:

  • The Tsar's Bride 84. -- Pianissimo melody (Vns I) of a troubled
    dramatic character. Harmonic accompaniment (Vns II and Violas
    tremolando — middle parts; the Violincellos forming the bass).
  • Antar, before 70. — Descending melodic phrase, Vns I con sordini
    piano    .
  • No. 1. Shéhérazade 2nd movement B. A piano melody (Vns I)
    graceful in character.
  • Antar 12. Light graceful melody, oriental in style; a dance
    measure (Vns I con sord.), the mutes producing a dull ethereal
    quality of tone.
  • No. 2. The Legend of the Invisible City of Kitesh 283.
  • No. 3. Spanish Capriccio J. Vns I in the upper register
    doubling the high register of the wood-wind. Choice resonance.

b) Violas.

Melody in the alto-tenor register and a still higher compass is
assigned to the violas. Cantabile 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.

    Examples:

  • No. 4. Pan Voyevoda, duet in Act II 145. A long cantabile
    melody in the violas, dolce, in unison with the mezzo soprano voice.
  • No. 5. The Golden Cockerel 193. — Flowing cantabile.
  • No. 6. Sadko. Symphonic tableau 12. — Muted violas. A short
    dance theme, piano in D♭ major. (The same theme in Eng. horn
    38

    Page 38
    in the 6th scene of the opera Sadko is slightly more penetrating
    in tone).

c) Violoncellos.

Violoncellos, representing the tenor-bass range + an extra-high
compass are more often entrusted with tense passionate cantabile
melody than with distinctive figures or rapid phrases. Such melodies
are usually laid out for the top string (A) which possesses
a wonderfully rich "chest" quality.

    Examples:

  • Antar 56. Cantabile on the A string.
  • Antar 63. The same melody in D♭ maj. on the D string
    (doubled by the bassoons).
  • No. 7. Pan Voyevoda 134, nocturne, "Moonlight". A broad
    melody dolce ed espressivo, afterwards doubled by the first violins
    an octave higher.
  • No. 8. Snegourotchka 231. At the fifth bar, a melody on the
    A string cantabile ed espressivo, imitating the first clarinet.
  • No. 9. Snegourotchka 274. Melodic phrase with embellishments.

d) Double basses.

Owing to its register — basso profondo + a still lower compass, —
and its muffled resonance, the double bass is little capable of
broad cantabile 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.

    Examples:

  • * No. 10. Legend of Kitesh 306. 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).
  • * No. 11. The Golden Cockerel 120. — D. basses + D. bassoons.
39

Page 39

Grouping in unison.

a) Vns I + Vns 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.

    Examples:

  • No. 12. Shéhérazade, beginning of the third movement. Cantabile
    for Vns I and II on the D string, then on the A.
  • The May Night, overture D. Quick piano melody, beginning cantabile and divided later in octaves (Vns I/Vns II ] 8) with florid embellishment.
  • No. 13. The Golden Cockerel 170. — Vns I + II muted.

b) Violins + 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.

    Examples:

  • No. 14. Sadko 208. — Vns I + II + Violas (G string). Quiet
    cantabile melody pp, in unison with the altos and tenors of the
    chorus.
  • The Golden Cockerel 142. — Same combination.

c) Violas + 'Cellos. — Produces a rich full resonance, the 'cello
quality predominating.

    Examples:

  • No. 15. Snegourotchka 5. — Apparition of Spring. Violas +
    'Cellos + Eng. horn. The same melody, mezzo-forte cantabile as in
    Ex. 9; 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.
  • No. 16. The Golden Cockerel 71. Violas + 'Cellos muted.
40

Page 40

d) Violins + 'Cellos. — A combination similar to the preceding
one. The 'cello tone prevails and the resonance is fuller.

    Examples:

  • Nr. 17. Snegourotchka 288. "Spring descends upon the lake."
    Vns I + Vns II + 'Cellos + Eng. horn. The same cantabile as in
    Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the
    principal colour being that of the 'cellos. Still more powerful in
    resonance.
  • No. 18. The May Night. Act III L. Chorus of Roussâlki.
    The combination of the solo 'cello with the violins gives the latter
    a touch of the 'cello timbre.

e) Vns I + II + Violas + '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
ensemble of complex quality, very tense and powerful in forte passages,
extremely full and rich in piano.

    Examples:

  • No. 19. Shéhérazade, 2nd movement P. — Energetic phrase ff.
  • Mlada, Lithuanian dance, before 36.
  • Mlada, Act. III. 40. — Cleopatra's dance. Cantabile embellished
    in oriental fashion.

f) Violoncellos + D. basses. — A combination of rich full resonance,
used occasionally for phrases in the very low register.

    Examples:

  • No. 20. Sadko 260. — A persistent forte figure, severe in
    character.
  • No. 21. Legend of Kitesh 240. — A pianissimo phrase, sinister
    and horrible in character.

Stringed instruments doubling in octaves.

a) Vns I and Vns II in octaves.
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 E string diminishes in fulness of tone

41

Page 41
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 ensemble 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.

    Examples:

  • No. 22. The Tsar's Bride 166. Cantabile, piano.
  • The Tsar's Bride 206. Cantabile, mezzo-piano; the lower part
    is in unison with the soprano voice.
  • Shéhérazade, 3rd movement J. Cantabile in G major; dolce and
    cantabile (the same as Ex. 12).
  • No. 23. The Legend of Tsar Saltan 227. Melody with reiterated
    notes, dolce, espress. e cantabile.
  • Sadko, Symphonic tableau 12. Vns I/Vns II ] 8 muted. A short dance
    phrase pianissimo, given first to the violas, then to the violins
    (cf. Ex. 6).
  • No. 24. Sadko, opera 207. Perhaps an unique example of
    its kind; violins playing in the very extremity of the high register.

    Note. This passage is difficult but nevertheless quite playable. One or two
    desks of the 1st Violins are sufficient to double the melody in the upper octave,
    all the other 1st 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.

  • * The Golden Cockerel 156.
  • " " " 165.
  • * Antar, 1st movement 11.
  • * No. 25. Ivan the Terrible, Act III 63.

b) Violins divisi in octaves.
First and second violins divided in two parts and progressing
in octaves will deprive the melody of resonance, since the number
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.

    42

    Page 42

    Examples:

  • Snegourotchka 166. Vns I/Vns II ] 8 mezzo-forte espressivo. Partial
    doubling of Coupava's song (Sopr.). One flute and one oboe double
    the melody.
  • No. 26. Snegourotchka 283. — Chorus of Flowers — 2 Vns soli/Vns I + Fl. I ] 8.
    Pianissimo cantabile in two octaves, progressing with the women's
    chorus (Sopr. I), and given out earlier by the Eng. horn. The flute
    and all the 1st 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 pianissimo.

c) Violins and Violas in octaves.
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 G string on the violins.

1. Vns (I or II)/ Violas ] 8.

    Example:

  • Snegourotchka 137, finale of Act I. Quick melody, piano.

    2. Vns I + II/Violas ] 8 and 3. Vns I/Vns II + Violas ] 8.

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 cantabile quality.

    Examples:

  • No. 27. Sadko, before 181. — Vns I + II/Violas ] 8. Quick animated
    passage, forte, introducing reiterated notes.
  • No. 28. Snegourotchka 137, finale to Act I — Vns I/Vns II + Violas ] 8.
    Cantabile phrase, transmitted to the flute and clarinet (cf. Ex. 8).

d) Violas and Violoncellos in octaves.
Of special use when the Violins are otherwise employed.

    Example:

  • * Legend of Kitesh 59, Violas/Cellos ] 8, doubled by bassoons.

e) Violins and Violoncellos in octaves.
Used in very expressive passages where the 'cellos have to play
on the A orDstrings. This method produces a more resonant
tone than the preceding one; instances of it are frequent.

    43

    Page 43

    Examples:

  • No. 29. Antar 43. — Vns I + Vns II/'Cellos]8. Cantabile of Eastern
    origin.
  • Shéhérazade, 3rd movement H. — Vns I/'Cello]8. Cantabile mezzo-forte
    appassionato     (cf. Ex. 1).
  • * No. 30. Shérérazade, 3rd movement, before P — Vns I/Vns II + 'Cellos ] 8
    and Vns I + II/'Cellos ] 8. The first arrangement is rarely found.
  • Pan Voyevoda 134, nocturne "Moonlight" — Vns I/'Cellos ] 8. Cantabile
    melody given first to 'cellos alone (cf. Ex. 7).
  • The May Night, Act III B,C,D — Vns I + Vns II/'Cello ] 8. A forte melodic
    phrase.

f) Violoncellos and Double basses in octaves.
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.

    Example:

  • Snegourotchka 9, Fairy Spring's Aria.

g) Violas and Double basses in octaves.
This combination seldom arises and is only used when the
'cellos are otherwise employed.

    Example:

  • No. 31. Legend of Kitesh 223.

h) Parts progressing in octaves, each part doubled in unison.
Melodies situated in the middle orchestral range may be allotted
to 1st and 2nd Vns, in octaves with Violas and 'Cellos. This arrangement
is constantly found, and produces a beautiful quality of tone,
somewhat severe in character.

    Examples:

  • Snegourotchka 58, 60, 65 and 68. The same melody, played
    twice pianissimo, not doubled, then twice (mezzo-forte and forte),
    doubled in the wood-wind.
    • 44

    Page 44
  • Mlada, Act II, the beginning of the Lithuanian dance. A lively
    piano theme.
  • Ivan the Terrible, Act II 28.

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
5th octave, are generally doubled an octave below, whilst those
situated in the extreme low register (below the middle of the
1st octave) are doubled an octave higher.

    Example:

  • Sadko 207 (cf. Ex. 24).

Note II. Progression in octaves of divided strings of the same
kind is generally to be avoided:

Violas I, 'Cellos I, D. basses I/Violas II, 'Cellos II, D. 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 III. The following distribution is occasionally found:

Violas + 'Cellos I/D. basses + 'Cellos II ] 8.

Melody in double octaves.

a)Vns I/Vns II/Violas]8 or Vns I/Vns II/'Cellos]8 may be used for full cantabile melodies
extremely tense in character, and in forte passages for choice.

    Example:

  • No. 32. Antar 65. — Vns I/Vns II/Violas + 'Cellos ] 8.

b) Violas/'Cellos/D. basses ] 8 or Vns I + II/Violas + 'Cellos/D. basses ] 8 or Vns I + II + Violas/'Cellos/D. basses ] 8
are employed when the low register of each instrument in brought
into play, and also to suit phrases of a rough and severe character.

    Examples:

  • Legend of Kitesh 66, opening of the 2nd Act.
  • No. 33. Snegourotchka 215. Tumblers' dance.
45

Page 45

Note. The lack of balance in the distribution:

Vn I + II + Violas/ 'Cellos /D. basses ] 8

is not of any great importance, for, in such cases, the partial harmonics
of one octave support the tone of the other, and vice versa.

Doubling in three and four octaves.

The distribution Vns I/Vns II/Violas/'Cellos/D. basses ] 8 is very seldom found, and as a rule,
only when supported by wind instruments.

    Examples:

  • The Legend of Kitesh 150 (allargando).
  • * Shéhérazade, 4th movement, commercing at the 10th bar.

    Vns I/ Vns II/ Violas + 'Cellos/ D. basses ]8.

Melody in thirds and sixths.

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 Kitesh 34 — Vns I div.) 3/Vns II div.) 3 ] 8.
  • * Legend of Kitesh 39 — Vns I/Violas ] 6.
  • Cf. also Legend of Kitesh 223: Vns I/Vns II} 3/Vns I/Vns II } 3 ] 8 (Ex. 31).

Distribution in octaves, thirds, and sixths is usually regulated by
the normal register of the respective instruments, so as to avoid

46

Page 46
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 G string; this arrangement produces
a quality of tone distinctly original in character.

    Example:

  • No. 35. Spanish Capriccio D — 'Cellos/Vns I + II ] 6.

Melody in the wood-wind.

* The choice of instruments for characteristic and expressive
melody is based on their distinctive qualities, discussed minutely
in the foregoing 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 Fantasia C; No. 36. Tsar Saltan 216;
    Snegourotchka 54.
  • 2. Flute: Antar 4; Servilia 80; Snegourotchka 79, 183; A
    Fairy Tale L; The Christmas Night 163; No. 37. Shéhérazade,
    4th movement, before A (Fl. à 2 in the low register).
    Flute (double tonguing): Pan Voyevoda 72; Shéhérazade, 4th movement,
    after V; No. 38. Ivan the Terrible, Act III, after 10.
  • 3. Bass flute: No. 39. Legend of Kitesh 44.
  • 4. Oboe: No. 40. Shéhérazade, 2nd movement A; The May Night,
    Act III Kk; No. 41. Snegourotchka 50; Snegourotchka 112, 239;
    The Tsar's Bride 108 (cf. Ex. 284), No. 42 and 43. The Golden
    Cockerel 57 and 97.
  • 5. Eng. horn: Snegourotchka 97, 283 (cf. Ex. 26); No. 44. Spanish
    Capriccio E; No. 45. The Golden Cockerel 61.
    • 47

    Page 47
  • 6. Small Clarinet: No. 46. Mlada, Act II 33; Mlada, Act III 37.
  • 7. Clarinet: Serbian Fantasia G; Spanish Capriccio A; Snegourotchka
    90, 99, 224, 227, 231 (cf. Ex. 8); The May Night,
    Act I, before X; Shéhérazade, 3rd movement D; A Fairy Tale
    M; The Tsar's Bride 50, 203; The Golden Cockerel 97 (lowest
    register, cf. Ex. 43).
  • 8. Bass clarinet: No. 47 and 48. Snegourotchka 243 and 246-247.
  • 9. Bassoon: Antar 59; No. 49. Vera Scheloga 36; Shéhérazade,
    2nd movement, beginning (cf. Ex. 40); No. 50. The Golden Cockerel
    249; No. 51. Mlada, Act III, after 29; cf. also Ex. 78.
  • 10. Double bassoon: Legend of Kitesh, before 84, 289; cf. also
    Ex. 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.

Combination in unison.

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.
    Snegourotchka 113.
  • 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
    Kitesh 330; also 339 and 342.
  • 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: Snegourotchka 19; No. 54. Snegourotchka
    48

    Page 48
    115. Cf. also Legend of Kitesh 68, 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; * Sadko
    58 (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, after 49.
  • f) Bassoon + Oboe, and
  • g) Bassoon + Flute.
    The combinations f and g, as well as Bassoon + Clarinet + Oboe,
    and Bassoon + Clarinet + Flute are very seldom found except in
    certain orchestral tutti, 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
    Fete, the beginning; No. 55. Snegourotchka 301; The May Night,
    Act III Qqq.

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

49

Page 49
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.

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.

Combination in octaves.

When the melody is entrusted to two wood-wind instruments
in octaves, the usual arrangement producing natural resonance is: [ILLUSTRATION]

8[ Fl. Fl. Fl. Ob. Ob. Cl/Ob. Cl. Fag. Cl. Fag. Fag.]8.

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 vice versa. The lack of proper relationship between
the different tone qualities then becomes apparent.

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

50

Page 50
is certainly not to be recommended, as the instrmnents, playing
in different registers will not correspond one with the other. Nevertheless
this method may be safely employed when stringed instruments,
arco or pizzicato double the two members of the woodwind,
and especially in the middle compass. The process is most
satisfactory for repeated notes or sustained passages.

Instruments of the same branch playing in octaves, e. g.

[ILLUSTRATION]

8 [Fag. Cl. Ob. Small cl. Flute Picc./C-Fag. Cl. basso Eng. horn Clar. Alto Fl. Fl.]8

always produce a good effect.

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.

[ILLUSTRATION]

8[Picc. Picc. Picc./ Fl. Ob. Cl]8.

[ILLUSTRATION]

8[ Fag. Bass cl. Cl. Cl. Fag. Fag./C-Fag. Fag. Fag. Bass cl. Fag. Bass cl.]8.

* Mixed qualities of tone may be employed in doubling in octaves, the above remarks still holding good.

Doubling in two, three and four octaves.

In such cases the student should follow the above-mentioned
rules, and should take care not to infringe the natural order:

In 3 octaves: [ILLUSTRATION]

Fl. Ob. Fl. Fl./Ob. Cl. Cl. Ob./Cl. Fag. Fag. Fag.]8.

In 4 octaves: [ILLUSTRATION]

Fl./Ob./Cl./Fag.]8.

Mixed timbres may also be employed.

Examples of melody doubled in five octaves are extremely rare;
in such cases the strings participate in the process.

52

Page 52

Melody in thirds and sixths.

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:

[ILLUSTRATION]

Fl. Fl. Ob. Cl. Ob./Ob. Cl. Cl. Fag. Fag.]3 (6)

If this order is inverted, e. g. [ILLUSTRATION]

Ob. Cl. Fag./Fl. Fl. Cl.] 3 (6)

, 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:
illustration

When the doubled parts progress in thirds or sixths, the following method is advisable:

[ILLUSTRATION]

Fl. + Ob./Fl. + Ob.]3 (6) or Fl. + Cl./Fl. + Cl.] 3 (6) etc., as well as:

[ILLUSTRATION]

Fl. + Ob./Fl. + Cl.]3 (6) or Ob. + Fl./Fl. + Cl.] 3 (6) etc.

In the case of tripling the following arrangement may be adopted:

[ILLUSTRATION]

Fl. + Ob. + Cl./Fl. + Ob. + Cl.]3 (6) or Ob. + 2 Fl./Ob. + 2 Cl.]3 (6) etc.

53

Page 53

Thirds and sixths together.

illustration Apart from the Obvious distribution:
[ILLUSTRATION]

Fl./Ob./Cl. or Ob./Cl./Fag.

, there are certain
complicated methods which involve doubling:
[ILLUSTRATION]

Upper part. Ob. + Fl. Middle " Fl. + Cl. Lower " Ob. + Cl.

The following is a complex instance somewhat vague in character:

Melody in the brass.

The natural scale, the only one which brass instruments had
at their disposal prior to the invention of valves was:

illustration
giving, in two part harmony:
illustration
 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.

    54

    Page 54

    Examples:

  • Servilia 20 — Trumpets.
  • The Christmas Night 182 — Horn, Trumpets.
  • Verra Scheloga, beginning of Overture, and after 45 — Horn,
    Trumpets.
  • Ivan the Terrible, Act III 3 — Cornet.
  • Snegourotchka 155 — Trumpets.
  • No. 70. Legend of Kitesh 65 and elsewhere — 3 Trumpets,
    4 Horns.
  • Pan Voyevoda 191-2 Trombones, Trumpet.
  • * The Golden Cockerel 20 — 2 Horns and [ILLUSTRATION]

    Trumpets/Horns] 8

     (cf. further
    on).

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. Sadko 342 — Trumpet.
  • Sadko, before 181 — Trombones (cf. Ex. 27).
  • No. 72. Snegourotchka 71 — Trumpet.
  • Russian Easter Fete M — Trombone.
  • Spanish Capriccio E — Alternative use in the horn of open
    and stopped notes (cf. Ex. 44).
  • Ivan the Terrible, Act II, before 17 — Bass trumpet, and
    3 Horns a little further on.
  • Mlada, Act II 33 — Bass trumpet (cf. Ex. 46).

The genial and poetic tone of the horn in piano passages
affords greater scope in the choice of melodies and phrases that
may be entrusted to this instrument.

    Examples:

  • The May Night, Overture 13.
  • The Christmas Night 1.
  • Snegourotchka 86.
  • Pan Voyevoda 37.
  • No. 73. Antar 40.
55

Page 55

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, 2nd movement D.

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.

Brass in unison, in octaves, thirds and sixths.

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 solo, 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:

  • Snegourotchka 5 — 4 Horns (cf. Ex. 15).
  • Snegourotchka 199 — 4 Horns and 2 Trumpets.
  • Sadko 175 — 1, 2, 3 Trumpets.
  • No. 75. Sadko 305 [1] — 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, 4th movement p. 204 — 3 Trombones.
  • Mlada; Lithuanian dance — 6 Horns (cf. Ex. 61).
56

Page 56

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:

[ILLUSTRATION]

Trumpet Trumpet Trombone 2 Trombones 2 Trumpets 2 Horns 2 Horns Trombone Tuba Trombone + Tuba 2 Trombones Tuba

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:
[ILLUSTRATION]

2 Horns/1 Trombone] 8 or 4 Horns/2 Trombones] 8.

 
[1]

The composer has emended the score in the following manner: from
the fifth to the ninth bar after 305, and also from the fifth to the ninth bar
after 306, the three clarinets play in unison, the trumpet being marked forte
instead of fortissimo; in the example, the first of these passages is corrected
according to, the composer's alteration.(Editor's note.)

Melody in different groups of instruments
combined together.

A. Combination of wind and brass in unison.

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 forte passages. The
trumpet is the instrument most frequently doubled: Trumpet + Cl.,
Trumpet + Ob., Trumpet + Fl., as well as Trumpet + Cl. + Ob. + Fl.;

57

Page 57
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 Kitesh 56 — Trombone + Eng. horn.
  • * Mlada, Act III, before 34 — 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.

B. Combination of wind and brass in octaves.

Doubling the horns in octaves by clarinets, oboes or flutes often
replaces the combination

[ILLUSTRATION]

1 Trumpet/1 Horn (or 2 Horns) ]8.

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 it there are two horns playing the lower
octave in unison, three or four wind instruments will be necessary
above, especially in forte passages:
[ILLUSTRATION]

8[2 Ob. or 2 Cl. or 2 Fl./1 Horn as well as 1 Ob. + 1 Cl./1 Horn]8;2 Fl. + 2 Cl./2 Horns]8.

 To double a trumpet in the upper octave three or four wind instruments
are required, but in the top register two flutes will suffice.

illustration illustration

Wood-wind instruments should not be used to double a trombone
in the octave above; trumpets are more suitable.

58

Page 58

* Mention should also be made of mixed timbres (wood and brass) in progression in octaves.

When it is desired to distribute the melody over three or four
octaves, it is difficult to achieve perfect balance of tone.

C. Combination of strings and wind.

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:

[ILLUSTRATION]

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.;

59

Page 59

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:

  • Snegourotchka 5 — 'Cellos + Violas + Eng. horn (cf. Ex. 15).
  • " 28 — Violas + Ob. + Eng. horn.
  • " 116 — Vns I + II + Ob. + Cl.
  • " 288 — Vns I + II-'Cellos + Eng. horn (cf. Ex. 17)
  • No. 80. The May Night, Act III Bb — Violas + Cl.
  • No. 81. Sadko 311 — Vns + Ob.
  • No. 82. " 77 — Violas + Eng. horn.
  • No. 83. " 123 — Violas + Eng. horn.
  • Servilia 59 — Vns G string + Fl.
  • Tsar Saltan 30 — Vns I + II + 2 Cl.
  • No. 84. Tsar Saltan 30, 10th bar. — 'Cellos + Violas + 3 Cl.
    + Fag.
  • Tsar Saltan 156-159 — Vns detached + Fl. legato.
  • The Tsar's Bride 10 Violas + 'Cellos + Fag.
  • Antar, 4th movement 63 — 'Cellos + 2 Fag.
  • Shéhérazade, 3rd movement H — 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:

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 woodwind
to progress in octaves, the lower part only being doubled
by one of the string groups; [ILLUSTRATION]

Picc./Fl. + Vns]8 Fl./Ob. (cl.) + Vns]8.

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: [ILLUSTRATION]

'Cellos + Fag./D. basses] 8.

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. [2]

61

Page 61
 
[2]

The process of doubling strings and wood-wind in octaves: [ILLUSTRATION]

Fl./Vns]8

,
[ILLUSTRATION]

Ob./'Cellos] 8

, 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.)

D. Combination of strings and brass.

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; [ILLUSTRATION]

'Cellos/D. basses + Trombones/Tuba

(for
heavy massive effects).

The combination of horns and 'cellos, frequently employed, produces
a beautifully blended, soft quality of tone.

    Examples:

  • Tsar Saltan 29 — Vns I + II + Horn.
  • * No. 92. The Golden Cockerel 98 — Violas con sord. + Horn.

E. Combination of the three groups.

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: Vns + Ob. (Fl., Cl.) + Trumpet; Violas (or 'Cellos) + Cl.
(Eng. horn) + Horn; [ILLUSTRATION]

'Cellos/D. basses

+ 2 Fag. + 3 Trombones + Tuba.

Such groupings are used for preference in loud passages or for
a heavy piano effect.

previous sectionChapter II.MELODY. Principles of orchestration
next section