Chapter II.MELODY. Principles of orchestration | ||
Doubling in unison.
The best and most natural combinations are between instruments
Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
whose registers correspond the nearest:
[ILLUSTRATION]
Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
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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.
- 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.
Examples:
Chapter II.MELODY. Principles of orchestration | ||