Principles of orchestration with musical examples drawn from his own works |
I. |
B. |
C. |
II. |
C. Combination of strings and wind. |
III. |
IV. |
V. |
VI. |
Chapter II.MELODY. Principles of orchestration | ||
C. Combination of strings and wind.
In commencing this section of the work I consider it necessary
to lay down the following fundamental rules which apply equally
to melody, harmony, counterpoint and polyphonic writing.
All combinations of strings and wood-wind are good; a wind
instrument progressing in unison with a stringed instrument increases
the resonance of the latter and amplifies its tone, while
the quality of the strings softens that of the wood-wind. In such
combinations the strings will predominate provided that the two
instruments are of equal power, e. g. when violins are coupled with
an oboe, a bassoon with the 'cellos. If several wind instruments
play in unison with one group of strings, the latter will be overpowered.
As a rule all combinations refine the characteristics of
each instrument taken separately, the wood-wind losing more than
the strings.
Doubling in unison.
The best and most natural combinations are between instruments
Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
whose registers correspond the nearest:
Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
D. basses + Bass cl., D. basses + Fag. ; D. basses + C-fag.
The object of these combinations is: a) to obtain a new timbre
of definite colour; b) to strengthen the resonance of the strings;
c) to soften the quality of the wood-wind.
- Snegourotchka 5 — 'Cellos + Violas + Eng. horn (cf. Ex. 15).
- " 28 — Violas + Ob. + Eng. horn.
- " 116 — Vns I + II + Ob. + Cl.
- " 288 — Vns I + II-'Cellos + Eng. horn (cf. Ex. 17)
- No. 80. The May Night, Act III Bb — Violas + Cl.
- No. 81. Sadko 311 — Vns + Ob.
- No. 82. " 77 — Violas + Eng. horn.
- No. 83. " 123 — Violas + Eng. horn.
- Servilia 59 — Vns G string + Fl.
- Tsar Saltan 30 — Vns I + II + 2 Cl.
- No. 84. Tsar Saltan 30, 10th bar. — 'Cellos + Violas + 3 Cl.
+ Fag. - Tsar Saltan 156-159 — Vns detached + Fl. legato.
- The Tsar's Bride 10 Violas + 'Cellos + Fag.
- Antar, 4th movement 63 — 'Cellos + 2 Fag.
- Shéhérazade, 3rd movement H — Violas + Ob. + Eng. horn.
Examples:
Parts doubled in octaves.
Examples of strings in octaves doubled by wood-wind also in
octaves are numerous, and do not require special description; they
are used according to the rules already laid down. The following
are examples of melody distributed over 1, 2, 3 and 4 octaves:
- No. 85. Ivan the Terrible, beginning of Overture — [ILLUSTRATION]
Vns I + II + 2 Cl./Violas + 'Cellos + 2 Fag.]8.
- No. 86 Sadko 3 — [ILLUSTRATION]
'Cellos + Bass cl./D. basses + C-fag.]8.
- Sadko 166 — [ILLUSTRATION]
'Cellos + Fag./D. basses + C-fag.]8.
- " 235 — [ILLUSTRATION]
Violas + 2 Cl./'Cellos + D. basses + 2 Fag.]8.
- The Tsar's Bride 14 — [ILLUSTRATION]
'Cellos + Fag./D. basses + Fag.]8.
- The Tsar's Bride 81 — [ILLUSTRATION]
Vns I/Vns II div. + Fl./ + Ob.]8.
- " " " 166 — [ILLUSTRATION]
Vns I + Fl./Vns II + Ob.]8
(cf. Ex. 22).
Examples:
- Servilia 93 — [ILLUSTRATION]
Vns + 3 Fl./Violas + 2 Ob./'Cellos + 2 Fag.]8.
- No. 87. Kashtcheï 105 — [ILLUSTRATION]
Vns I + Picc./Vns II + Fl. + Ob./Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.]8.
- Shéhérazade, 3rd movement M — [ILLUSTRATION]
Vns I + Fl./Vns II + Ob./'Cellos + Engl. horn]8.
In three and four octaves:
- Servilia 44 — [ILLUSTRATION]
Fl. + Ob. + Cl. + Vns/Fl. + Ob. + Cl. + Vns div]3.
- No. 88. Servilia 111 — Strings and wood-wind in thirds.
- No. 89. " 125 — same combination, in thirds and sixths.
- Kashtcheï 90 — The same.
Examples of melody in thirds and sixths:
It is necessary to pay more attention to cases where, of the two Picc./Fl. + Vns]8 Fl./Ob. (cl.) + Vns]8.
parts in octaves, only one is doubled. When this method is applied
to a melody in the soprano register it is better to allow the woodwind
to progress in octaves, the lower part only being doubled
by one of the string groups; [ILLUSTRATION]
- Tsar Saltan 102 — [ILLUSTRATION]
2 Fl. + Picc/Vns I + II + Ob.] 8
(cf. Ex. 133) - * No. 90. Shéhérazade, 4th movement U — [ILLUSTRATION]
2 Cl./'Cellos + 2 Horns] 8.
Examples:
In the case of a melody in the low register demanding a sweet 'Cellos + Fag./D. basses] 8.
soft tone, the violoncellos and double basses should be made to
progress in octaves, the former doubled by a bassoon, the latter
not doubled at all: [ILLUSTRATION]
obliged to use this method on account of the very low register of
the double bass, especially if a double bassoon is not included in
his orchestral scheme. [2]
- No. 91. Tsar Saltan 92 — [ILLUSTRATION]
Violas + Fag./Cellos + Fag./D. Basses ] 8.
Example:
The process of doubling strings and wood-wind in octaves: [ILLUSTRATION] Fl./Vns]8 Ob./'Cellos] 8
[ILLUSTRATION]
to be recommended, as the tone quality of the two groups is so widely different.
As a result of the ever-increasing tendency to profusion of colour, this method
has recently come into fashion again, notably among the younger French
composers. (Editor's note.)
Chapter II.MELODY. Principles of orchestration | ||