University of Virginia Library

Comparison of resonance in orchestral groups and
combination of different tone qualities.

In comparing the resonance of the respective groups of sound-sustaining
instruments we arrive at the following approximate conclusions:

In the most resonant group, the brass, the strongest instruments
are the trumpets, trombones and tuba. In loud passages the horns
are only one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba
= 2 Horns. Wood-wind instruments, in forte passages, are twice
as weak as the horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes
= 2 Bassoons; but, in piano passages, all wind-instruments, wood
or brass are of fairly equal balance.

It is more difficult to establish a comparison in resonance between
wood-wind and strings, as everything depends on the number of the
latter, but, in an orchestra of medium formation, it may be taken for
granted that in piano passages, the whole of one department (all
1st Violins or all 2nd Violins etc.) is equivalent in strength to one wind
instrument, (Violins I = 1 Flute etc.), and, in forte passages, to two
wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1 Clarinet, etc.).

It is still harder to form a comparison with instruments of little
sustaining power, for too great a diversity in production and emission
of sound exists. The combined force of groups of sustained resonance
easily overpowers the strings played pizz. or col legno, the piano
played softly, or the celesta. As regards the glockenspiel, bells, and
xylophone, their emphatic tone will easily prevail over other groups in
combination. The same may be said of the kettle-drums with their
ringing, resounding quality, and also of other subsidiary instruments.

The influence of the timbre of one group on another is noticeable
when the groups are doubled; for instance, when the wood-wind
timbre is closely allied to the strings on the one hand, and to the
brass on the other. Re-enforcing both, the wind thickens the strings

and softens the brass. The strings do not blend so well with the
brass, and when the two groups are placed side by side, each is
heard too distinctly. The combination of the three different timbres
in unison produces a rich, mellow and coherent tone.

All, or several wind instruments in combination will absorb one
department of added strings:

   

2 Fl. + 2 Ob. + Vns I,

or: 2 Ob. + 2 Cl. + Violas,

or: 2 Cl. + 2 Fag. + 'Cellos.

One department of strings added to the wood-wind in unison
produces a sweet coherent quality, the wood-wind timbre still
predominating; but the addition of one wind instrument to all or
part of the strings in unison, only thickens the resonance of the
latter, the wood-wind timbre being lost in the process:

   

Vns I + Vns II + 1 Ob.,

or: Violas + 'Cellos + 1 Cl.

or: 'Cellos + D. basses + 1 Fag.

Muted strings do not combine so well with wood-wind, as the
two tone qualities remain distinct and separate. Uniting plucked
strings and percussion with instruments of sustained resonance
results in the following: wind instruments, wood and brass, strengthen
and clarify pizzicato strings, harp, kettle-drums and percussion
generally, the latter lending a touch of relief to the tone of the
wood-wind. Uniting plucked strings and percussion with bowed
instruments does not produce such a satisfactory blend, both qualities
being heard independently. The combination of plucked strings
with percussion alone, is excellent; the two blend perfectly, and the
consequent increase in resonance yields an admirable effect.

The relationship which exists between string harmonics and the
flute or piccolo constitutes a link between the two groups in the
upper range of the orchestra. Moreover, the timbre of the viola
may be vaguely compared to the middle register of the bassoon
and the lowest compass of the clarinet; hence, in the medium
orchestral range, a point of contact is established between the
quartet of strings and the wood-wind.

The bassoon and horn provide the connection between woodwind
and brass, these two instruments being somewhat analogous

in character when played piano or mezzo-forte; the flute also, in its
lowest register, recalls the pianissimo trumpet tone. Stopped
and muted notes in horns and trumpets are similar in quality to
the oboe and Eng. horn, and blend tolerably well with the latter
instrument.

Concluding this survey of orchestral groups I add a few remarks
which seem to me of special importance.

The principal part in music is undertaken by three instrumental
groups of sustained resonance, representing the three primary elements,
melody, harmony and rhythm. Instruments of little sustaining
power, though sometimes used independently, are chiefly employed
for ornament and colour; instruments producing indeterminate sounds
play no melodic or harmonic part, their functions being purely
rhythmical.

By glancing at the order in which the six orchestral groups are
placed, strings, wood-wind, brass, plucked strings, percussion producing
definite, and those producing indefinite sounds, the reader
will be able to determine the part played by each in the art of
orchestration, from the secondary standpoint of colour and expression.
As regards expression, the strings come first, and the expressive
capacity of the other groups diminishes in the above order, colour
being the only attribute of the last group of percussion instruments.

The same order obtains from the standpoint of general effect in
orchestration. We can listen to strings for an almost indefinite
period of time without getting tired, so varied are their characteristics
(vide the number of string quartets, suites, serenades etc. written
for strings alone). The addition of a single group of strings will
add lustre to a passage for wind instruments. On the other hand,
the quality of wind instruments soon becomes wearisome; the same
may be said of plucked strings, and also percussion of every kind
which should only be employed at reasonable intervals in orchestral
composition.

It cannot be denied that the constant use of compound timbres,
in pair's, in three's etc. eliminates characteristics of tone, and produces
a dull, neutral texture, whereas the employment of simple,
elementary combinations gives infinitely greater scope for variety in
colour.