Limits of orchestral range.
It is seldom that the entire orchestral conception is centred in
the upper register of the orchestra (the 5th and 6th octaves), still
more rarely is it focussed wholly in the lowest range (octaves 1
and —1) where the proximity of harmonic intervals creates a bad
effect. In the first case the flutes and piccolo should be used along
with the upper notes of the violins, soli or divisi; in the second
case the double bassoon and the low notes of the bassoons, bass
clarinet, horns, trombones and tuba are brought into play. The
first method gives brilliant colour, the second combination is dark
and gloomy. The contrary would be fundamentally impossible.
Examples:
| Pan Voyevoda 122, 137 |
} low
register. |
| Servilia 168, 8th bar. (cf. Ex. 62) |
| No.232. The Golden Cockerel 220; cf. also 218, 219 |
| * Snegourotchka, before 25 |
} high
register. |
| * Legend of Kitesh, before 34 |
| * No.233. The Golden Cockerel 133, 117 |
| * No.234. Shéhérazade, 2nd movement pp. 59-62 |
The upper and lower parts of a passage can seldom be widely
separated without the intermediate octaves being filled in, for this
is contrary to the first principles of proper distribution of chords.
Nevertheless the unusual resonance thus produced serves for strange
and grotesque effects. In the first of the following examples the
piccolo figure doubled by the harp and the sparkling notes of the
glockenspiel is set about four octaves apart from the bass, which
is assigned to a single Double bass and Tuba. But in the 3rd octave,
the augmented fourths and diminished fifths in the two flutes help
to fill up the intermediate space and lessen the distance between
the two extreme parts, thus forming some sort of link between
them. The general effect is fanciful.
Examples:
- No.235. Snegourotchka 255.
- * No.236. " 315, 5th and 6th bars.
- " 274 (cf. Ex. 9).
- A Fairy Tale A.
- The Golden Cockerel 179, 9th bar. (cf. Ex. 229).
