Chapter II
.
MELODY.
Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and the melody is detached by means of strongly accentuated dynamic shades; naturally, by selection and contrast of timbres, strengthening of resonance by doubling, tripling, etc., or crossing of parts (violoncellos above the violas and violins, clarinets or oboes above the flutes, bassoons above the clarinets etc.).
Melody planned in the upper parts stands out from the very fact of position alone, and likewise, to a less degree when it is situated in the low register. In the middle of the orchestral range it is not so prominent and the methods referred to above come into operation. They may also be employed for two part melody (in thirds and sixths) and for polyphonic writing.
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]].[C]--_Pianissimo_ melody (Vns I) of a troubled dramatic character. Harmonic accompaniment (Vns II and Violas _tremolando_--middle parts; the Violoncellos forming the bass).
[Footnote C: The present volume is divided into two parts, text (pp. 1-152) and musical examples (pp. 1-333). The first page of the second
## part lists the standard full-score editions of Rimsky-Korsakov's works
that are referred to throughout the book. These references to specific passages are always indicated by boxed numbers or boxed letters corresponding to the ones marking the sub-divisions of the particular score. On the other hand, references in the text to the 312 musical examples in the second part of the book are always indicated as "No. 1," "No. 2," etc. Thus, "_The Tsar's Bride_ [[84]]" indicates that the reader should look at section [[84]] of the score of _The Tsar's Bride_ as published by Belaieff in Leipzig, the music of which is not reprinted here; whereas "No. 1. _Shéhérazade_ 2nd movement [[B]]" indicates that the reader should look at the first musical example in the second part of the present book, which comes from the section marked [[B]] in the second movement of the score of _Shéhérazade_ as published by Belaieff.]
_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[flat]_ major. (The same theme in Eng. horn 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[flat]_ 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:_
No. 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 of 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.
_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_ or _D_ strings. This method produces a more resonant tone than the preceding one; instances of it are frequent.
_Examples:_
No. 29. _Antar_ [[43]].--Vns I + Vns II/'Cellos] 8. _Cantabile_ of Eastern origin.
_Shéhérazade_, 3rd movement [[H]].--Vns I/'Cellos] 8. _Cantabile mezzo-forte appassionato_ (cf. Ex. 1).
* No. 30. _Shéhérazade_, 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/'Cellos] 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.
_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.
_Examples:_
_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] 8/Vns II/Violas] 8 or Vns I] 8/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] 8./Vns II/Violas + 'Cellos] 8.
b) Violas] 8/'Cellos/D. basses] 8 or Vns I + II] 8/Violas + 'Cellos/D. basses] 8 or Vns I + II + Violas] 8/'Cellos/D. basses] 8 are employed when the low register of each instrument is 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:
Vns I + II +Violas ] 8
'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] 8/8/8/8 is very seldom found, and as a rule, only when supported by wind instruments.
_Examples:_
_The Legend of Kitesh_ [[150]] (_allargando_).
* _Shéhérazade_, 4th movement, commencing at the 10th bar.
Vns I ] Vns II ] Violas + 'Cellos ] 8. D. basses ]
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.
Melody in the wood-wind.
* The choice of instruments for characteristic and expressive melody is based on their distinctive qualities, discussed minutely in the foregoing chapter. To a large extent the question is left to the orchestrator's own personal taste. Only the best methods of using the wood-wind in unison or octaves, and distributing a melody in thirds, sixths and mixed intervals, from the standpoint of resonance and tone quality will be indicated in this section of the work. Examples of the use of solo wood-wind are to be found in any score; the following are typical instances:
_Examples of solo wood-wind:_
1. _Piccolo: Serbian Fantasia_ [[C]]; No. 36. _Tsar Saltan_ [[216]]; _Snegourotchka_ [[54]].
2. _Flute: Antar_ [[4]]; _Servilia_ [[80]]; _Snegourotchka_ [[79]], [[183]]; _A Fairy Tale_ [[L]]; _The Christmas Night_ [[163]]; No. 37. _Shéhérazade_, 4th movement, before [[A]] (_Fl. à 2_ in the low register).
_Flute_ (double tonguing): _Pan Voyevoda_ [[72]]; _Shéhérazade_, 4th movement, after [[V]]; No. 38. _Ivan the Terrible_, Act III, after [[10]].
3. _Bass flute_: No. 39. _Legend of Kitesh_ [[44]].
4. _Oboe_: No. 40. _Shéhérazade_, 2nd movement [[A]]; _The May Night_, Act III [[Kk]]; No. 41. _Snegourotchka_ [[50]]; _Snegourotchka_ [[112]], [[239]]; _The Tsar's Bride_ [[108]] (cf. Ex. 284), No. 42 and 43. _The Golden Cockerel_ [[57]] and [[97]].
5. _Eng. horn: Snegourotchka_ [[97]], [[283]] (cf. Ex. 26); No. 44. _Spanish Capriccio_ [[E]]; No. 45. _The Golden Cockerel_ [[61]].
6. _Small Clarinet_: No. 46. _Mlada_, Act II [[33]]; _Mlada_, Act III [[37]].
7. _Clarinet: Serbian Fantasia_ [[G]]; _Spanish Capriccio_ [[A]]; _Snegourotchka_ [[90]], [[99]], [[224]], [[227]], [[231]] (cf. Ex. 8); _The May Night_, Act I, before [[X]]; _Shéhérazade_, 3rd movement [[D]]; _A Fairy Tale_ [[M]]; _The Tsar's Bride_ [[50]], [[203]]; _The Golden Cockerel_ [[97]] (lowest register, cf. Ex. 43).
8. _Bass clarinet_: No. 47 and 48. _Snegourotchka_ [[243]] and [[246-247]].
9. _Bassoon: Antar_ [[59]]; No. 49. _Vera Scheloga_ [[36]]; _Shéhérazade_, 2nd movement, beginning (cf. Ex. 40); No. 50. _The Golden Cockerel_ [[249]]; No. 51. _Mlada_, Act III, after [[29]]; cf. also Ex. 78.
10. _Double bassoon: Legend of Kitesh_, before [[84]], [[289]]; cf. also Ex. 10 (D. bassoon + D. bass solo).
The normal order of wood-wind instruments and that which produces the most natural resonance is the following: _Flutes_, _Oboes_, _Clarinets_, _Bassoons_ (the order used in orchestral full scores). Departure from this natural order, e.g. placing bassoons above clarinets and oboes, or flutes below oboes and clarinets, and especially below the bassoons, creates a far-fetched, unnatural tone, useful, however, in certain cases to attain certain special effects. I do not advise the student to make too free a use of this proceeding.
Combination in unison.
The combination of two different wood-wind instruments in unison yields the following tone qualities:
a) _Flute + Oboe._ A quality fuller than that of the flute, sweeter than that of the oboe. Played softly, the flute will predominate in the low, the oboe in the upper register. Example: No. 52. _Snegourotchka_ [[113]].
b) _Flute + Clarinet._ A quality fuller than that of the flute, duller than that of the clarinet. The flute will predominate in the lower, the clarinet in the higher register. Examples: No. 53. _Legend of Kitesh_ [[330]]; also [[339]] and [[342]].
c) _Oboe + Clarinet._ A fuller quality than that of either instrument heard separately. The dark, nasal tone of the oboe will prevail in the low register, the bright, "chest" quality of the clarinet in the high compass. Examples: _Snegourotchka_ [[19]]; No. 54. _Snegourotchka_ [[115]]. Cf. also _Legend of Kitesh_ [[68]], [[70]], [[84]]--2 Ob. + 3 Cl. (Ex. 199-201).
d) _Flute + Oboe + Clarinet._ Very full in quality. The flute predominates in the low register, the oboe in the middle, and the clarinet in the high compass. Examples: _Mlada_, Act I [[1]]; * _Sadko_ [[58]] (2 Fl. + 2 Ob. + Small Cl.).
e) _Bassoon + Clarinet._ Very full quality. The gloomy character of the clarinet prevails in the lower register, the sickly quality of the bassoon in the higher. Example: _Mlada_, Act II, after [[49]].
f) _Bassoon + Oboe_, and
g) _Bassoon + Flute._
The combinations _f_ and _g_, as well as _Bassoon + Clarinet + Oboe_, and _Bassoon + Clarinet + Flute_ are very seldom found except in certain orchestral _tutti_, where they produce increased resonance without creating a fresh atmosphere. But in such combinations, the range of which is practically restricted to the limits of the third octave, the low notes of the flute will predominate in the lower third of this register, and the high notes of the bassoon in the middle third. The clarinet, weak in the middle compass will not stand out prominently in this particular combination.
h) _Bassoon + Clarinet + Oboe + Flute._ This combination is equally rare. The colour is rich, and difficult to define in words. The tone of each instrument will be separated from the others more or less in the manner detailed above. Examples: _Russian Easter Fête_, the beginning; No. 55. _Snegourotchka_ [[301]]; _The May Night_, Act III [[Qqq]].
The process of combining two or more qualities of tone in unison, while endowing the music with greater resonance, sweetness and power, possesses the disadvantage of restricting the variety of colour and expression. Individual timbres lose their characteristics when associated with others. Hence such combinations should be handled with extreme care. Phrases or melodies demanding diversity of expression alone should be entrusted to solo instruments of simple timbres. The same applies to the coupling of two instruments of the same kind, such as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone will lose nothing of its individuality, and will gain in power, but its capacity for expression will be diminished accordingly. An instrument enjoys greater independence and freedom when used as a solo than when it is doubled. The use of doubling and mixed timbres is naturally more frequent in loud passages than in soft ones, also where expression and colour is broad rather than individual or intimate in character.
I cannot refrain from mentioning how greatly I dislike the method of duplicating all the wood-wind, in order to balance a group of strings, reinforced out of all reason, to suit the ever-growing dimensions of concert halls. I am convinced that, artistically speaking, a limit should be set to the size of both concert room and orchestra. The music performed at these super-concerts must be specially composed on a plan of its own--a subject which cannot be considered here.
Combination in octaves.
When the melody is entrusted to two wood-wind instruments in octaves, the usual arrangement producing natural resonance is:
8 [Fl. Fl. Fl. Ob. Ob. Cl. [Ob. Cl. Fag. Cl. Fag. Fag.] 8.
The combination of flute and bassoon in octaves is rare on account of the widely separated registers of the two instruments. Deviation from the natural order, such as placing the bassoon above the clarinet or oboe, the clarinet above the oboe or flute etc., creates an unnatural resonance occasioned by the confusion of registers, the instrument of lower compass playing in its high register and _vice versa_. The lack of proper relationship between the different tone qualities then becomes apparent.
_Examples:_
No. 56. _Spanish Capriccio_ [[O]]--Fl./Ob.] 8.
No. 57. _Snegourotchka_ [[254]]--Fl./Eng. horn] 8.
* No. 58. _Shéhérazade_, 3rd movement [[E]]--Fl./Cl.] 8.
_Sadko_ [[195]]--Fl./Eng. horn] 8.
_Pan Voyevoda_ [[132]]--Fl./Cl.] 8.
_Tsar Saltan_ [[39]]--Cl./Fag.] 8.
No. 59. _Vera Scheloga_ [[30]]--Cl./Fag.] 8, likewise any number of examples in the scores of various composers.
The use of two instruments of the same colour in octaves, e.g. 2 flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided is certainly not to be recommended, as the instruments, playing in different registers will not correspond one with the other. Nevertheless this method may be safely employed when stringed instruments, _arco_ or _pizzicato_ double the two members of the wood-wind, and especially in the middle compass. The process is most satisfactory for repeated notes or sustained passages.
_Examples:_
_The May Night_, Act I [[T]]--Cl. I/Cl. II] 8.
* _Sadko_, after [[159]]--Ob. I/Ob. II] 3, doubled by _pizz._ strings.
* _Servilia_, after [[21]]--Fag. I/Fag. II] 8 + _pizz._ strings.
Instruments of the same branch playing in octaves, e.g.
8 [Fag. Cl. Ob. Small cl. Flute Picc.] [C-Fag. Cl. basso Eng. horn Clar. Alto Fl. Fl. ] 8
always produce a good effect.
_Examples:_
_Snegourotchka_ [[5]]--Picc./Fl.] 8 (cf. Ex. 15).
_The Tsar's Bride_ [[133]]--Picc./Fl.] 8.
_Tsar Saltan_ [[216]]--Picc./Fl.] 8 (cf. Ex. 36).
_Sadko_, after [[59]] Small cl./Cl.] 8.
_Legend of Kitesh_ [[240]]--Fag./C-Fag.] 8 (cf. Ex. 21).
No 60. _Mlada_, Act III, before [[44]]--Ob./Eng. horn] 8.
As in the strings, so in the wood-wind it is advisable to double in octaves any melody situated in the extremely high or low compass; an octave lower in the first case, an octave higher in the second. Thus the piccolo will be doubled by the flute, oboe or clarinet an octave lower; the double bassoon will be doubled by bassoon, clarinet or bass clarinet an octave higher.
8 [Picc. Picc. Picc.] [Fl. Ob. Cl. ] 8.
8 [Fag. Bass cl. Cl. Cl. Fag. Fag. ] [C-Fag. Fag. Fag. Bass cl. Fag. Bass cl.] 8.
_Examples:_
* _Tsar Saltan_ [[39]]--Picc./Ob.] 8.
* No. 61. _Mlada_, Act II, Lithuanian dance [[32]]--Picc./Small cl.] 8.
_Sadko_ [[150]]--Picc./Small cl.] 8.
* Mixed qualities of tone may be employed in doubling in octaves, the above remarks still holding good.
_Examples:_
_Pan Voyevoda_ [[134]]--Cl. + Ob./Cl. + Eng. horn] 8 (cf. Ex. 7).
No. 62. _Servilia_ [[168]]--2 Fl. + Ob./2 Cl. + Eng. horn] 8.
No. 63. _The Tsar's Bride_ [[120]]--3 Fl. + Ob./2 Cl. + Fag. + Eng. horn] 8.
_Mlada_, Act III [[41]]--Fl. + Bass fl./Cl. + Bass cl.] 8.
Doubling in two, three and four octaves.
In such cases the student should follow the above-mentioned rules, and should take care not to infringe the natural order:
Fl. Ob. Fl. Fl. ] 8 In 3 octaves: Ob. Cl. Cl. Ob. ] Cl. Fag. Fag. Fag.] 8.
Fl. ] 8 In 4 octaves: Ob. ] Cl. ] 8 Fag.] 8.
Mixed timbres may also be employed.
_Examples:_
No. 64. _Spanish Capriccio_ [[P]]--melody in 4 octaves: Picc./2 Fl./2 Ob. + Cl./Fag.] 8/8/8.
_The Tsar's Bride_ [[141]]--melody in 3 octaves.
* _Legend of Kitesh_ [[212]]--2 Cl./Bass cl./D. bassoon] 8/8.
* No. 65. _Antar_, (1st version) 3rd movement, the beginning--Picc. + 2 Fl./2 Ob. + 2 Cl./2 Fag.] 8/8; also [[C]], melody in 4 octaves (piccolo in the upper octaves).
* _Mlada_, Act III, after [[42]]--Fl./Ob./Eng. horn] 8/8.
No. 66. _Shéhérazade_, 3rd movement [[G]]--Picc./Cl. I/Cl. II] 8/8.
Examples of melody doubled in five octaves are extremely rare; in such cases the strings participate in the process.
Melody in thirds and sixths.
Melodic progression in thirds and sixths demands either two instruments of the same colour (2 Fl., 2 Ob., 2 Cl., 2 Fag.), or instruments of different colours in the normal order of register:
Fl. Fl. Ob. Cl. Ob. ] Ob. Cl. Cl. Fag. Fag.] 3 (6).
If this order is inverted, e.g. Ob. Cl. Fag./Fl. Fl. Cl.] 3 (6), a strained and forced resonance is created. For progressions in thirds, the best method, from the standpoint of equality in tone is to use instruments of the same kind in pairs; for progressions in sixths instruments of different kinds are more suitable, but both courses are good and useful. They may also be employed for progressions in thirds and sixths, or thirds, fifths and sixths mixed, as for example:
[Music]
_Examples:_
_Legend of Kitesh_ [[24]]--different wind instruments in turn.
_The May Night_, Act III [[G]]--Cl./Cl.] 3.
_Sadko_ [[279-280]]--Fl./Fl.] 3 (6).
No. 67. _Spanish Capriccio_, before [[V]]--various wood-wind in thirds and sixths.
_Servilia_ [[228]]--Fl./Fl.] 3 and Cl./Cl.] 3.
_The Golden Cockerel_ [[232]]--2 Fl./2 Ob.] 6.
* _Sadko_ [[43]]--All wood-wind in turn, simple timbres.
When the doubled parts progress in thirds or sixths, the following method is advisable:
Fl. + Ob. ] Fl. + Cl. Fl. + Ob. ] 3 (6) or Fl. + Cl. ] 3 (6) etc., as well as:
Fl. + Ob. ] Ob. + Fl. ] Fl. + Cl. ] 3 (6) or Fl. + Cl. ] 3 (6) etc.
In the case of tripling the following arrangement may be adopted:
Fl. + Ob. + Cl. ] Ob. + 2 Fl. ] Fl. + Ob. + Cl. ] 3 (6) or Ob. + 2 Cl. ] 3 (6) etc.
_Examples:_
* No. 68. _The Christmas Night_ [[187]]--Ob. + Cl./Ob. + Cl.] 3.
* _Legend of Kitesh_ [[202-203]] different mixed timbres.
Thirds and sixths together.
[Music]
Apart from the obvious distribution:
Fl. Ob. Ob. or Cl., Cl. Fag.
there are certain complicated methods which involve doubling:
Upper part. Ob. + Fl. Middle " Fl. + Cl. Lower " Ob. + Cl.
The following is a complex instance somewhat vague in character:
No. 69. Legend of Kitesh [[35]]--Ob./Ob./Cl. + Cl. and Fl./Fl./Ob. + Ob.
Melody in the brass.
The natural scale, the only one which brass instruments had at their disposal prior to the invention of valves was:
[Music]
giving, in two part harmony:
[Music]
With the help of rhythm, these component parts have given rise to a whole series of themes and phrases named fanfares, trumpet calls or flourishes, best adapted to the character of brass instruments.
In modern music, thanks to the introduction of valves, this scale is now possible in all keys for every chromatic brass instrument, without it being necessary to change the key, and the addition of a few notes foreign to the natural scale has enriched the possibilities of these flourishes and fanfares, and endowed them with greater variety of expression.
These phrases, either as solos, or in two or three parts, fall specially to the lot of the trumpets and horns, but they may also be given to the trombones. The full, clear, ringing notes of the middle and upper register of horns and trumpets are best suited to figures of this description.
_Examples:_
_Servilia_ [[20]]--Trumpets.
_The Christmas Night_ [[182]]--Horn, Trumpets.
_Vera Scheloga_, beginning of Overture, and after [[45]]--Horn, Trumpets.
_Ivan the Terrible_, Act III [[3]]--Cornet.
_Snegourotchka_ [[155]]--Trumpets.
No. 70. _Legend of Kitesh_ [[65]] and elsewhere.--3 Trumpets, 4 Horns.
_Pan Voyevoda_ [[191]]--2 Trombones, Trumpet.
* _The Golden Cockerel_ [[20]]--2 Horns and Trumpets/Horns] 8 (cf. further on).
After fanfare figures, those melodies best suited to the brass quality are those of an unmodulated diatonic character, rousing and triumphant in the major key, dark and gloomy in the minor.
_Examples:_
No. 71. _Sadko_ [[342]]--Trumpet.
_Sadko_, before [[181]]--Trombones (cf. Ex. 27).
No. 72. _Snegourotchka_ [[71]]--Trumpet.
_Russian Easter Fête_ [[M]]--Trombone.
_Spanish Capriccio_ [[E]]--Alternative use in the horn of open and stopped notes (cf. Ex. 44).
_Ivan the Terrible_, Act II, before [[17]]--Bass trumpet, and 3 Horns a little further on.
_Mlada_, Act II [[33]]--Bass trumpet (cf. Ex. 46).
The genial and poetic tone of the horn in _piano_ passages affords greater scope in the choice of melodies and phrases that may be entrusted to this instrument.
_Examples:_
_The May Night_, Overture [[13]].
_The Christmas Night_ [[1]].
_Snegourotchka_ [[86]].
_Pan Voyevoda_ [[37]].
No. 73. _Antar_ [[40]].
Melodies involving chromatic or enharmonic writing are much less suitable to the character of brass instruments. Nevertheless such melodies may sometimes be allotted to the brass, as in the music of Wagner, and the modern Italian realists, who, however, carry the proceeding to extremes. Vigourous phrases in the form of a fanfare, although introducing chromatic notes sound singularly beautiful on the brass.
_Example:_
No. 74. _Shéhérazade_, 2nd movement [[D]].
As a general rule, brass instruments lack the capacity to express passion or geniality. Phrases charged with these sentiments become sickly and insipid when confided to the brass. Energetic power, free or restrained, simplicity and eloquence constitute the valuable qualities of this group.
Brass in unison, in octaves, thirds and sixths.
As, from its very nature, the brass is not called upon to realise a wide range of expression, kindred instruments of one group may be employed _solo_, as well as in unison. The combination of 3 trombones or 4 horns in unison is frequently met with, and produces extreme power and resonance of tone.
_Examples:_
_Snegourotchka_ [[5]]--4 Horns (cf. Ex. 15).
_Snegourotchka_ [[199]]--4 Horns and 2 Trumpets.
_Sadko_ [[175]]--1, 2, 3 Trumpets.
No. 75. _Sadko_ [[305]][13]--3 Trombones.
[Footnote 13: The composer has emended the score in the following manner: from the fifth to the ninth bar after [[305]], and also from the fifth to the ninth bar after [[306]], the three clarinets play in unison, the trumpet being marked _forte_ instead of _fortissimo_; in the example, the first of these passages is corrected according to the composer's alteration. (Editor's note.)]
No. 76. _The May Night_, beginning of Act III--1, 2, 3, 4 Horns.
_Legend of Kitesh_, end of Act I--4 Horns (cf. Ex. 70).
No. 77. _Shéhérazade_, 4th movement p. 204--3 Trombones.
_Mlada_; Lithuanian dance--6 Horns (cf. Ex. 61).
Owing to the resonant power of the entire group, the equality and even gradation of tone between the dark colour of the deep compass and the bright quality of the upper register, the use of brass instruments of the same kind in octaves, thirds or sixths invariably leads to satisfactory results. For the same reason the employment of brass instruments of different kinds, arranged according to normal order of register:
Trumpet Trumpet Trombone 2 Trombones 2 Trumpets 2 Horns 2 Horns Trombone Tuba Trombone + Tuba 2 Trombones Tuba
is likewise successful whether the instruments are doubled or not. Another possible method, though not so reliable, is to combine horns (above) with trombones, exclusively in octaves:
2 Horns ] 4 Horns ] 1 Trombone] 8 or 2 Trombones] 8.
_Examples:_
_Sadko_, before [[120]]--Trumpet/Trumpet] 8.
_Sadko_ [[5]]--2 Trumpets/4 Horns] 8.
_Snegourotchka_ [[222]]--2 Trombones/Trombone + Tuba] 8.
_Ivan the Terrible_, Act III [[10]] 1 Trombone + Trumpet/2 Trombones] 8 (cf. Ex. 38)
_The Golden Cockerel_ [[125]]--Trumpet/Trombone] 8.
Cf. also _Snegourotchka_ [[325-326]]--Trombone/Trombone] 8 (Ex. 95).
Melody in different groups of instruments combined together.
A. Combination of wind and brass in unison.
The combination of a wood-wind and brass instrument produces a complex resonance in which the tone of the brass predominates. This resonance is naturally more powerful than that of each instrument taken separately, but slightly sweeter than the brass instrument alone. The tone of the wood-wind blends with that of the brass, softens and rarefies it, as in the process of combining two wood-wind instruments of different colour. Instances of such doubling are fairly numerous, especially in _forte_ passages. The trumpet is the instrument most frequently doubled: Trumpet + Cl., Trumpet + Ob., Trumpet + Fl., as well as Trumpet + Cl. + Ob. + Fl.; the horn, less often: Horn + Cl., Horn + Fag. Trombones and Tuba may also be doubled: Trombone + Fag., Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon with the brass, in corresponding registers, presents the same characteristics.
_Examples:_
_Legend of Kitesh_ [[56]]--Trombone + Eng. horn.
* _Mlada_, Act III, before [[34]]--3 Trombones + Bass cl.
As a rule, the addition of a wind to a brass instrument yields a finer legato effect than when the latter instrument plays alone.
B. Combination of wind and brass in octaves.
Doubling the horns in octaves by clarinets, oboes or flutes often replaces the combination
1 Trumpet ] 1 Horn (or 2 Horns) ] 8.
This is done when it is a question of introducing a rich tone into the upper octave which the trumpet is not capable of imparting. If a single horn is used, the upper part is allotted to 2 clarinets, 2 oboes, or 2 flutes. But if there are two horns playing the lower octave in unison, three or four wind instruments will be necessary above, especially in _forte_ passages:
8 [2 Ob. or 2 Cl. or 2 Fl. [1 Horn
as well as
1 Ob. + 1 Cl.] 2 Fl. + 2 Cl.] 1 Horn ] 8; 2 Horns ] 8.
To double a trumpet in the upper octave three or four wind instruments are required, but in the top register two flutes will suffice.
[Music] [Music]
Wood-wind instruments should not be used to double a trombone in the octave above; trumpets are more suitable.
Examples of doubling in octaves:
* _Snegourotchka_ [[71]]--Ob. + Cl./Horn] 8.
* _Legend of Tsar Saltan_, before [[180]]--Ob. + Cl./Ob. + Cl.] 6/Horn/Horn] 6] 8.
* Mention should also be made of mixed timbres (wood and brass) in progression in octaves.
_Examples:_
_Mlada_, Act III, beginning of Scene III--Trombone + Bass cl./Tuba + C-fag.] 8.
No. 78. _Mlada_, Act III after [[25]]--2 Cl. + 2 Horns + Trombone/Bass cl. + 2 Horns + Trombone] 8 (low register).
No. 79. _Mlada_, Act III, before [[35]]--general unison.
When it is desired to distribute the melody over three or four octaves, it is difficult to achieve perfect balance of tone.
_Examples:_
* _Shéhérazade_, 4th movement, 15th bar after [[W]]--Picc./2 Fl. + 2 Ob./2 Trumpets] 8/8.
* _Legend of Tsar Saltan_ [[228]]--Picc./2 Fl. + 2 Ob./Trumpet + Eng. horn] 8/8.
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 whose registers correspond the nearest:
Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.); 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.
_Examples:_
_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.
_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:
_Examples:_
No. 85. _Ivan the Terrible_, beginning of Overture--Vns I + II + 2 Cl./Violas + 'Cellos + 2 Fag.] 8.
No. 86. _Sadko_ [[3]]--'Cellos + Bass cl./D. basses + C-fag.] 8.
_Sadko_ [[166]]--'Cellos + Fag./D. basses + C-fag.] 8.
" [[235]]--Violas + 2 Cl./'Cellos + D. basses + 2 Fag.] 8.
_The Tsar's Bride_ [[14]]--'Cellos + Fag./D. basses + Fag.] 8.
_The Tsar's Bride_ [[81]]--Vns I/Vns II div. + Fl./+ Ob.] 8.
" " " [[166]]--Vns I + Fl./Vns II + Ob.] 8 (cf. Ex. 22).
In three and four octaves:
_Servilia_ [[93]]--Vns + 3 Fl./Violas + 2 Ob./'Cellos + 2 Fag.] 8/8.
No. 87. _Kashtcheï_ [[105]]--Vns I + Picc./Vns II + Fl. + Ob./Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.] 8/8.
_Shéhérazade_, 3rd movement [[M]]--Vns I + Fl./Vns II + Ob./'Cellos + Engl. horn] 8/8.
_Examples of melody in thirds and sixths:_
_Servilia_ [[44]]--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.
It is necessary to pay more attention to cases where, of the two 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 wood-wind to progress in octaves, the lower part only being doubled by one of the string groups; Picc./Fl. + Vns] 8. Fl./Ob. (Cl.) + Vns] 8.
_Examples:_
_Tsar Saltan_ [[102]]--2 Fl. + Picc./Vns I + II + Ob.] 8 (cf. Ex. 133).
* No. 90. _Shéhérazade_, 4th movement [[U]]--2 Cl./'Cellos + 2 Horns] 8.
In the case of a melody in the low register demanding a sweet 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: 'Cellos + Fag./D. basses] 8. Sometimes a composer is 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.[14]
[Footnote 14: The process of doubling strings and wood-wind in octaves: Fl./Vns] 8, Ob./'Cellos] 8, etc. often used by the classics to obtain balance of tone, is not 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.)]
_Example:_
No. 91. _Tsar Saltan_ [[92]]--Violas + Fag./'Cellos + Fag./D. basses] 8/8.
D. Combination of strings and brass.
Owing to the dissimilarity between the quality of string and brass tone, the combination of these two groups in unison can never yield such a perfect blend as that produced by the union of strings and wood-wind. When a brass and a stringed instrument progress in unison, each can be heard separately, but the instruments in each group which can be combined with the greatest amount of success are those whose respective registers correspond the most nearly; Violin + Trumpet; Viola + Horn; 'Cellos/D. basses + Trombones/Tuba (for heavy massive effects).
The combination of horns and 'cellos, frequently employed, produces a beautifully blended, soft quality of tone.
_Examples:_
_Tsar Saltan_ [[29]]--Vns I + II + Horn.
* No. 92. _The Golden Cockerel_ [[98]]--Violas _con sord._ + Horn.
E. Combination of the three groups.
The combination of members of the three groups in unison is more common, the presence of the wood-wind imparting a fuller and more evenly blended tone. The question as to which group will predominate in timbre depends upon the number of instruments employed. The most natural combinations, and those most generally in use are: Vns + Ob. (Fr., Cl.) + Trumpet; Violas (or 'Cellos) + Cl. (Eng. horn) + Horn; 'Cellos/D. basses + 2 Fag. + 3 Trombones + Tuba.
Such groupings are used for preference in loud passages or for a heavy _piano_ effect.
_Examples:_
No. 93-94. _Snegourotchka_ [[218]] and [[219]]--Vns I + II + Cl. + Horn and Vns I + II + Cl. + Trumpet.
_Servilia_ [[168]]--Violas + Trombones/'Cellos + Trombone + Bass Cl./D. basses + Tuba + Fag.] 8/8 (cf. Ex. 62).
No. 95. _Snegourotchka_ [[325]]--'Cellos + Violas + Fag. + Trombone/D. basses + Fag. + Tuba] 8.
_Pan Voyevoda_ [[224]]--Vns + Fag. + Horn + Vn. + Cl. + Trumpet. (Stopped notes in the brass.)
* _Mlada_, Act III, after [[23]]--Violas + 2 Cl. + Bass trumpet.
* No. 96. _Ivan the Terrible_, Act III, before [[66]]--Bass Cl. + Horn /D. basses + C-fag. + Tuba] 8.
* _Ivan the Terrible_, Overture, 4th bar after [[9]]--Violas + 'Cellos + Eng. horn + 2 Cl. + Bass Cl. + 2 Fag. + 4 Horns. (The melody simplified in the horns.)
##