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Melody in stringed instruments.

Instances of the melodic use of stringed instruments are innumerable.
The reader will find many examples in the present
treatise. With the exception of the double basses, — dull
in tone and of little flexibility, chiefly employed in unison or in
octaves with the violoncellos, — each of the other stringed instruments,
taken independently, is qualified to assume full responsibility
for the melodic line.

a) Violins.

Melody in the soprano-alto register and an extra-high compass
usually falls to the lot of the 1st Violins, sometimes to the 2nd Violins
or to both in unison, a process which produces fuller resonance
without impairing quality of tone.

Examples:

• The Tsar's Bride 84. -- Pianissimo melody (Vns I) of a troubled
  dramatic character. Harmonic accompaniment (Vns II and Violas
  tremolando — middle parts; the Violincellos forming the bass).
• Antar, before 70. — Descending melodic phrase, Vns I con sordini
  piano.
• No. 1. Shéhérazade 2nd movement B. A piano melody (Vns I)
  graceful in character.
• Antar 12. Light graceful melody, oriental in style; a dance
  measure (Vns I con sord.), the mutes producing a dull ethereal
  quality of tone.
• No. 2. The Legend of the Invisible City of Kitesh 283.
• No. 3. Spanish Capriccio J. Vns I in the upper register
  doubling the high register of the wood-wind. Choice resonance.

b) Violas.

Melody in the alto-tenor register and a still higher compass is
assigned to the violas. Cantabile melodies however are not so
frequently written for violas as for violins and 'cellos, partly because
the viola tone is slightly nasal in quality and better fitted for
short characteristic phrases, partly because the number of viola
players in an orchestra is smaller. Melodies confided to the violas
are generally doubled by other strings or by the wood-wind.

Examples:

• No. 4. Pan Voyevoda, duet in Act II 145. A long cantabile
  melody in the violas, dolce, in unison with the mezzo soprano voice.
• No. 5. The Golden Cockerel 193. — Flowing cantabile.
• No. 6. Sadko. Symphonic tableau 12. — Muted violas. A short
  dance theme, piano in D♭ major. (The same theme in Eng. horn

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  in the 6th scene of the opera Sadko is slightly more penetrating
  in tone).

c) Violoncellos.

Violoncellos, representing the tenor-bass range + an extra-high
compass are more often entrusted with tense passionate cantabile
melody than with distinctive figures or rapid phrases. Such melodies
are usually laid out for the top string (A) which possesses
a wonderfully rich "chest" quality.

Examples:

• Antar 56. Cantabile on the A string.
• Antar 63. The same melody in D♭ maj. on the D string
  (doubled by the bassoons).
• No. 7. Pan Voyevoda 134, nocturne, "Moonlight". A broad
  melody dolce ed espressivo, afterwards doubled by the first violins
  an octave higher.
• No. 8. Snegourotchka 231. At the fifth bar, a melody on the
  A string cantabile ed espressivo, imitating the first clarinet.
• No. 9. Snegourotchka 274. Melodic phrase with embellishments.

d) Double basses.

Owing to its register — basso profondo + a still lower compass, —
and its muffled resonance, the double bass is little capable of
broad cantabile phrases and only in unison or in octaves with the
'cellos. In my own compositions there is no phrase of any importance
given to the double bass without the support of 'cellos or bassoons.

Examples:

• * No. 10. Legend of Kitesh 306. Double bass solo, doubled
  first by the double bassoon, later by the bassoon. This example
  affords an instance of the rare use of the alto clef (in the last
  few notes).
• * No. 11. The Golden Cockerel 120. — D. basses + D. bassoons.

Grouping in unison.

a) Vns I + Vns II. — It goes without saying that this combination
entails no alteration in colour; it gains in power and richness of
tone by reason of the increased number of players, and is usually
attended by doubling of the melody in some departments of the
wood-wind. The large number of violins prevents the wood-wind
predominating, and the tone quality remains that of the string
quartet, enriched and amplified.

Examples:

• No. 12. Shéhérazade, beginning of the third movement. Cantabile
  for Vns I and II on the D string, then on the A.
• The May Night, overture D. Quick piano melody, beginning cantabile and divided later in octaves (Vns I/Vns II ] 8) with florid embellishment.
• No. 13. The Golden Cockerel 170. — Vns I + II muted.

b) Violins + Violas. — The combination of violins and violas
presents no special characteristics, as in the preceding case. The
violins remain predominant, and the resonance is rich and full.

Examples:

• No. 14. Sadko 208. — Vns I + II + Violas (G string). Quiet
  cantabile melody pp, in unison with the altos and tenors of the
  chorus.
• The Golden Cockerel 142. — Same combination.

c) Violas + 'Cellos. — Produces a rich full resonance, the 'cello
quality predominating.

Examples:

• No. 15. Snegourotchka 5. — Apparition of Spring. Violas +
  'Cellos + Eng. horn. The same melody, mezzo-forte cantabile as in
  Ex. 9; but in a brighter key, a third higher, its resonance is more
  brilliant and tense. The addition of the Eng. horn makes no
  essential difference to the compound tone; the 'cellos stand out
  above the rest.
• No. 16. The Golden Cockerel 71. Violas + 'Cellos muted.

d) Violins + 'Cellos. — A combination similar to the preceding
one. The 'cello tone prevails and the resonance is fuller.

Examples:

• Nr. 17. Snegourotchka 288. "Spring descends upon the lake."
  Vns I + Vns II + 'Cellos + Eng. horn. The same cantabile as in
  Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the
  principal colour being that of the 'cellos. Still more powerful in
  resonance.
• No. 18. The May Night. Act III L. Chorus of Roussâlki.
  The combination of the solo 'cello with the violins gives the latter
  a touch of the 'cello timbre.

e) Vns I + II + Violas + 'Cellos. — Combining violins, violas and
'cellos in unison is not possible except in the alto-tenor register;
this process unites the full resonance of the instruments into an
ensemble of complex quality, very tense and powerful in forte passages,
extremely full and rich in piano.

Examples:

• No. 19. Shéhérazade, 2nd movement P. — Energetic phrase ff.
• Mlada, Lithuanian dance, before 36.
• Mlada, Act. III. 40. — Cleopatra's dance. Cantabile embellished
  in oriental fashion.

f) Violoncellos + D. basses. — A combination of rich full resonance,
used occasionally for phrases in the very low register.

Examples:

• No. 20. Sadko 260. — A persistent forte figure, severe in
  character.
• No. 21. Legend of Kitesh 240. — A pianissimo phrase, sinister
  and horrible in character.

Stringed instruments doubling in octaves.

a) Vns I and Vns II in octaves.
This is a very common process used for all kinds of melodic
figures, in particular those in the very high register. It has already
been stated that the E string diminishes in fulness of tone

the higher it ascends from the limits of the soprano voice. Moreover,
melodic figures in the very high register of the violins become
too isolated from the rest of the ensemble unless doubled in octaves.
Such doubling secures expression, fulness of tone and firmness of
timbre. The reader will find numerous examples of violins in
octaves; a few are added below, chiefly broad and expressive phrases.

Examples:

• No. 22. The Tsar's Bride 166. Cantabile, piano.
• The Tsar's Bride 206. Cantabile, mezzo-piano; the lower part
  is in unison with the soprano voice.
• Shéhérazade, 3rd movement J. Cantabile in G major; dolce and
  cantabile (the same as Ex. 12).
• No. 23. The Legend of Tsar Saltan 227. Melody with reiterated
  notes, dolce, espress. e cantabile.
• Sadko, Symphonic tableau 12. Vns I/Vns II ] 8 muted. A short dance
  phrase pianissimo, given first to the violas, then to the violins
  (cf. Ex. 6).
• No. 24. Sadko, opera 207. Perhaps an unique example of
  its kind; violins playing in the very extremity of the high register.

  Note. This passage is difficult but nevertheless quite playable. One or two
  desks of the 1st Violins are sufficient to double the melody in the upper octave,
  all the other 1st Violins can play the octave below. In this way the piercing
  quality of the highest notes will be diminished, the melody will acquire a clearer
  and more pleasant sound, and the expressive tone quality of the lower octave
  will be strengthened.

• * The Golden Cockerel 156.
• " " " 165.
• * Antar, 1st movement 11.
• * No. 25. Ivan the Terrible, Act III 63.

b) Violins divisi in octaves.
First and second violins divided in two parts and progressing
in octaves will deprive the melody of resonance, since the number
players is diminished by half, the consequences being specially
noticeable in small orchestras. Nevertheless the method can be
used occasionally when the strings are doubled by the wood-wind,
and when the melody falls in a sufficiently high register.

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Examples:

• Snegourotchka 166. Vns I/Vns II ] 8 mezzo-forte espressivo. Partial
  doubling of Coupava's song (Sopr.). One flute and one oboe double
  the melody.
• No. 26. Snegourotchka 283. — Chorus of Flowers — 2 Vns soli/Vns I + Fl. I ] 8.
  Pianissimo cantabile in two octaves, progressing with the women's
  chorus (Sopr. I), and given out earlier by the Eng. horn. The flute
  and all the 1st Violins except two play in the lower octave, the
  two solo violins, only, in the upper. The solo desk will be sufficiently
  prominent owing to the general pianissimo.

c) Violins and Violas in octaves.
First and second Violins progressing with the Violas in octaves
is a common method, especially when the lower octave in the
melody happens to go below the open G string on the violins.

1. Vns (I or II)/ Violas ] 8.

Example:

• Snegourotchka 137, finale of Act I. Quick melody, piano.

  2. Vns I + II/Violas ] 8 and 3. Vns I/Vns II + Violas ] 8.

These two distributions are not exactly the same. The first
should be used to obtain greater brilliance in the upper part, the
second to give the lower part a fuller and more cantabile quality.

Examples:

• No. 27. Sadko, before 181. — Vns I + II/Violas ] 8. Quick animated
  passage, forte, introducing reiterated notes.
• No. 28. Snegourotchka 137, finale to Act I — Vns I/Vns II + Violas ] 8.
  Cantabile phrase, transmitted to the flute and clarinet (cf. Ex. 8).

d) Violas and Violoncellos in octaves.
Of special use when the Violins are otherwise employed.

Example:

• * Legend of Kitesh 59, Violas/Cellos ] 8, doubled by bassoons.

e) Violins and Violoncellos in octaves.
Used in very expressive passages where the 'cellos have to play
on the A orDstrings. This method produces a more resonant
tone than the preceding one; instances of it are frequent.

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Examples:

• No. 29. Antar 43. — Vns I + Vns II/'Cellos]8. Cantabile of Eastern
  origin.
• Shéhérazade, 3rd movement H. — Vns I/'Cello]8. Cantabile mezzo-forte
  appassionato (cf. Ex. 1).
• * No. 30. Shérérazade, 3rd movement, before P — Vns I/Vns II + 'Cellos ] 8
  and Vns I + II/'Cellos ] 8. The first arrangement is rarely found.
• Pan Voyevoda 134, nocturne "Moonlight" — Vns I/'Cellos ] 8. Cantabile
  melody given first to 'cellos alone (cf. Ex. 7).
• The May Night, Act III B,C,D — Vns I + Vns II/'Cello ] 8. A forte melodic
  phrase.

f) Violoncellos and Double basses in octaves.
The bass is usually constructed in this manner. Examples of
it are to be found everywhere. Sometimes the double bass part
is simplified in comparison with the 'cello part.

Example:

• Snegourotchka 9, Fairy Spring's Aria.

g) Violas and Double basses in octaves.
This combination seldom arises and is only used when the
'cellos are otherwise employed.

Example:

• No. 31. Legend of Kitesh 223.

h) Parts progressing in octaves, each part doubled in unison.
Melodies situated in the middle orchestral range may be allotted
to 1st and 2nd Vns, in octaves with Violas and 'Cellos. This arrangement
is constantly found, and produces a beautiful quality of tone,
somewhat severe in character.

Examples:

• Snegourotchka 58, 60, 65 and 68. The same melody, played
  twice pianissimo, not doubled, then twice (mezzo-forte and forte),
  doubled in the wood-wind.

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• Mlada, Act II, the beginning of the Lithuanian dance. A lively
  piano theme.
• Ivan the Terrible, Act II 28.

Note I. It may be of use to point out that melodies lying in
the extreme upper register, e. g. those exceeding the middle of the
5th octave, are generally doubled an octave below, whilst those
situated in the extreme low register (below the middle of the
1st octave) are doubled an octave higher.

Example:

• Sadko 207 (cf. Ex. 24).

Note II. Progression in octaves of divided strings of the same
kind is generally to be avoided:

Violas I, 'Cellos I, D. basses I/Violas II, 'Cellos II, D. basses II ] 8,

for in such cases the parts are played on strings which do not
correspond, and unity of tone is impaired. This, however, does
not apply to violins.

Note III. The following distribution is occasionally found:

Violas + 'Cellos I/D. basses + 'Cellos II ] 8.

Melody in double octaves.

a)Vns I/Vns II/Violas]8 or Vns I/Vns II/'Cellos]8 may be used for full cantabile melodies
extremely tense in character, and in forte passages for choice.

Example:

• No. 32. Antar 65. — Vns I/Vns II/Violas + 'Cellos ] 8.

b) Violas/'Cellos/D. basses ] 8 or Vns I + II/Violas + 'Cellos/D. basses ] 8 or Vns I + II + Violas/'Cellos/D. basses ] 8
are employed when the low register of each instrument in brought
into play, and also to suit phrases of a rough and severe character.

Examples:

• Legend of Kitesh 66, opening of the 2nd Act.
• No. 33. Snegourotchka 215. Tumblers' dance.

Note. The lack of balance in the distribution:

Vn I + II + Violas/ 'Cellos /D. basses ] 8

is not of any great importance, for, in such cases, the partial harmonics
of one octave support the tone of the other, and vice versa.

Doubling in three and four octaves.

The distribution Vns I/Vns II/Violas/'Cellos/D. basses ] 8 is very seldom found, and as a rule,
only when supported by wind instruments.

Examples:

• The Legend of Kitesh 150 (allargando).
• * Shéhérazade, 4th movement, commercing at the 10th bar.

  Vns I/ Vns II/ Violas + 'Cellos/ D. basses ]8.

Melody in thirds and sixths.

In confiding a melody in thirds to the strings it is frequently
necessary to use the same quality of tone in both parts, but in the
case of a melody in sixths different timbres may be employed. In
writing thirds doubled in octaves, the first and second violins should
be used. In spite of the difference in the quantity of players, the
thirds will not sound unequal. The same arrangement may obtain
in the viola and 'cello groups, but it is useless in the case of
melody in sixths.

Examples:

• * No. 34. Legend of Kitesh 34 — Vns I div.) 3/Vns II div.) 3 ] 8.
• * Legend of Kitesh 39 — Vns I/Violas ] 6.
• Cf. also Legend of Kitesh 223: Vns I/Vns II} 3/Vns I/Vns II } 3 ] 8 (Ex. 31).

Distribution in octaves, thirds, and sixths is usually regulated by
the normal register of the respective instruments, so as to avoid

any suggestion of mannerism resulting from the disturbance of
balance. But such a departure from the recognised order may be
permitted in special cases. For instance, in the following example
of writing in sixths the upper part is allotted to the 'cellos, the
lower part to the violins on the G string; this arrangement produces
a quality of tone distinctly original in character.

Example:

• No. 35. Spanish Capriccio D — 'Cellos/Vns I + II ] 6.