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C. Instruments of little sustaining power.

Plucked strings.

When the usual orchestral string quartet (Vns I, Vns II, Violas,
'Cellos, D. basses) does not make use of the bow, but plucks the
strings with the finger, it becomes to my mind a new and independent

group with its own particular quality of tone. Associated
with the harp, which produces sound in a similar manner, I consider
it separately under the heading of plucked strings.

Note. In this group may be classed the guitar, zither, balalaika; instruments
plucked with a quill, such as the domra,[3] the mandoline etc., all of which may
be used in an orchestra, but have no place in the scope of the present book.

Pizzicato.

Although capable of every degree of power from ff to pp, pizzicato
playing has but small range of expression, and is used chiefly
as a colour effect. On open strings it is resonant and heavy, on
stopped strings shorter and duller; in the high positions it is rather
dry and hard.

Table D on page 31 indicates the range in which pizzicato may
be used on each stringed instrument.

In the orchestra, pizzicato comes into operation in two distinct
ways a) on single notes, b) on double notes and chords. The
fingers of the right hand playing pizz. are far less agile than the bow;
pizz. passages therefore can never be performed as quickly as those
played arco. Moreover, the speed of pizzicato playing depends upon
the thickness of the strings; on the double basses, for instance,
it must always be much slower than on the violins.

In pizzicato chords it is better to avoid open strings, which
produce a more brilliant tone than of covered strings. Chords of
four notes allow of greater freedom and vigour of attack, as
there is no danger of accidentally touching a wrong note. Natural
harmonics played pizz. create a charming effect; the tone is weak
however, and they are chiefly successful on the violoncello.

Harp.

In the orchestra, the harp is almost entirely an harmonic or
accompanying instrument. The majority of scores require only
one harp part, but in recent times composers have written for two
or even three harps which are sometimes compressed into the one part.

Note. Full orchestras should include three or even four harps. My operas
Sadko, The Legend of the Invisible City of Kitesh, and The Golden Cockerel
are designed for two harps, Mlada for three.

The special function of the harp lies in the execution of chords,
and the florid figures springing from them. As only four notes
at the most can be played by each hand, the notes of a chord
should be written close together, with not too great a space between
one hand and the other. The chords must always be broken
(arpeggiato); should the composer wish otherwise he should
notify it (non arpeggiato). In the middle and lower octaves the
resonance of the strings is slightly prolonged, and dies away gradually.
In changes of harmony the player stops the vibration of
the strings with his hands, but, in quick modulations, this method
is not feasible, and the mixture of one chord with another produces
a discordant effect. It follows that more or less rapid figures can
only be realised clearly and neatly in the upper register of the harp,
where the strings are shorter and harder in tone.

As a general rule, in the whole range of the harp:

only the notes of the first to the fourth octave are used; the extreme
notes in both compasses may be employed in special circumstances,
and for doubling in octaves.

The harp is essentially a diatonic instrument, since all chromatic
passages depend on the manipulation of the pedals. For this reason
the harp does not lend itself to rapid modulation, and the orchestrator
is advised to bear this fact in mind. But the difficulty may
be obviated by using two harps alternately. [4]

Note. I would remind the reader that the harp is not capable of double
sharps or double flats. For this reason, certain modulations from one key to
another one, adjacent to it can only be accomplished enharmonically. For
instance, the transition from C flat, G flat or D flat, major to their minor subdominant
chords or keys is not possible owing to double flats. It is therefore

necessary to start enharmonically from the keys of B, F sharp or C sharp,
major. Similarly, on account of double sharps, it is impossible to change from
A sharp, D sharp or G sharp, minor to their respective dominant major chords
or keys; B flat, E flat and A flat, minor must be the starting-points.

The technical operation known as glissando is peculiar to the harp
alone. Taking for granted that the reader is conversant with the
methods of acquiring different scales by means of double-notched
pedals, it will be sufficient to remark that glissando scales produce
a discordant medley of sound owing to the length of time the
strings continue to vibrate, and therefore, as a purely musical
effect, glissando can only be used in the upper octaves, quite piano,
where the sound of the strings is sufficiently clear, yet not too
prolonged. Forte glissando scales, entailing the use of the lower
and middle strings are only permissible as embellishments. Glissando
passages in chords of the seventh and ninth, enharmonically
obtained, are much more common, and as the above reservations
do not apply, every dynamic shade of tone is possible. Chords in
harmonics can only consist of three notes written close together,
two for the left hand and one for the right.

The tender poetic quality of the harp is adapted to every dynamic
shade, but it is never a very powerful instrument, and the
orchestrator should treat it with respect.

At least three, if not four harps in unison are necessary, if
they are to be heard against a full orchestra playing forte. The
more rapidly a glissando passage is played, the louder it will sound.
Harmonic notes on the harp have great charm but little resonance,
and are only possible played quite softly. Speaking generally, the
harp, like the string quartet, pizzicato, is more an instrument of
colour than expression.