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Principles of orchestration

with musical examples drawn from his own works
Rimsky-Korsakov, Nikolay (1844-1908)
  
[title page]
  
CONTENTS
  
Editor's Preface.
  
Extract from the Author's Preface (1891).
  
Extract from the Preface to the last edition.

collapse sectionI. 
Chapter I.GENERAL REVIEW OF ORCHESTRAL GROUPS.
collapse sectionB. 
B. Wind instruments.
  
Wood-wind.
  
Brass.
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C. Instruments of little sustaining power.
  
Plucked strings.
  
Pizzicato.
  
Harp.
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Percussion instruments producing determinate sounds, keyed instruments.
  
Kettle-drums.
  
Piano and Celesta.
  
Glockenspiel, Bells, Xylophone.
  
Percussion instruments producing indefinite sounds.
  
Comparison of resonance in orchestral groups and combination of different tone qualities.
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Chapter II.MELODY.
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Melody in stringed instruments.
  
a) Violins.
  
b) Violas.
  
c) Violoncellos.
  
d) Double basses.
  
Grouping in unison.
  
Stringed instruments doubling in octaves.
  
Melody in double octaves.
  
Doubling in three and four octaves.
  
Melody in thirds and sixths.
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Melody in the wood-wind.
  
Combination in unison.
  
Combination in octaves.
  
Doubling in two, three and four octaves.
  
Melody in thirds and sixths.
  
Thirds and sixths together.
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Melody in the brass.
  
Brass in unison, in octaves, thirds and sixths.
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Melody in different groups of instruments combined together.
  
A. Combination of wind and brass in unison.
  
B. Combination of wind and brass in octaves.
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C. Combination of strings and wind.
  
Doubling in unison.
  
Parts doubled in octaves.
  
D. Combination of strings and brass.
  
E. Combination of the three groups.
collapse sectionIII. 
Chapter III.HARMONY.
  
General observations.
  
Number of harmonic parts — Duplication.
  
Distribution of notes in chords.
  
String harmony.
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Wood-wind harmony.
  
Four-part and three-part harmony.
  
Harmony in several parts.
  
Duplication of timbres.
  
Remarks.
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Harmony in the brass.
  
Four-part writing.
  
Three-part writing.
  
Writing in several parts.
  
Duplication in the brass.
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Harmony in combined groups.
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A. Combination of wind and brass.
  
1. In unison (juxtaposition or contrast of tone qualities).
  
2. Overlaying (superposition), crossing, enclosure of parts.
  
B. Combination of strings and wind.
  
C. Combination of the three groups.
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Chapter IV. COMPOSITION OF THE ORCHESTRA.
  
Different ways of orchestrating the same music.
  
Full Tutti.
  
Tutti in the wind.
  
Tutti pizzicato.
  
Tutti in one, two and three parts.
  
Soli in the strings.
  
Limits of orchestral range.
  
Transference of passages and phrases.
  
Chords of different tone quality used alternately.
  
Amplification and elimination of tone qualities.
  
Repetition of phrases, imitation, echo.
  
Sforzando-piano and piano-sforzando chords.
  
Method of emphasising certain notes and chords.
  
Crescendo and diminuendo.
  
Diverging and converging progressions.
  
Tone quality as a harmonic force. Harmonic basis.
  
Artificial effects.
  
Use of percussion instruments for rhythm and colour.
  
Economy in orchestral colour.
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Chapter V. COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA. THE STAGE BAND.
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Orchestral accompaniment of solo voices.
  
General remarks.
  
Transparence of accompaniment. Harmony.
  
Doubling voices in the orchestra.
  
Recitative and declamation.
  
Orchestral accompaniment of the chorus.
  
Solo voice with chorus.
  
Instruments on the stage and in the wings.
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Chapter VI (Supplementary). VOICES.
  
Technical Terms.
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Soloists.
  
Range and register.
  
Vocalisation.
  
Vowels.
  
Flexibility.
  
Colour and character of voices.
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Voices in combination.
  
Duet.
  
Trios, quartets etc.
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Chorus.
  
Range and register.
  
>Melody.
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A. Mixed chorus.
  
Chorus in unison.
  
Progression in octaves.
  
Voices (divisi); harmonic use of the mixed chorus.
  
B. Men's chorus and women's chorus.

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Duplication of timbres.

    A.

  • If the wood-wind is in pairs it is a good plan to mix the
    doubled timbres as much as possible:
    illustration

    Excellent
    illustration

    also

    In chords of four-part harmony the classical method may be
    adopted:

    illustration

    78

    Page 78

    In this case, though the high C in the flute is fairly powerful,
    the resonance of the G and E in the oboes is softened by the
    duplication of the 2nd flute and 1st clarinet, while the C in the
    2nd 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.

    • B.

  • Wood-wind in three's admit of perfectly balanced mixed
    timbres in chords of three-part harmony:
    illustration

    These timbres may even originate from three-fold duplication:

    illustration

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