NIKOLAY NIKOLAY RIMSKYRIMSKY-KOR KORSAK SAKOV OV Principles of Orchestration With musical examples drawn from his own works
Edited by MAXIMILIAN STEINBERG
English translatin by E!"AR! AGATE
#VOL$ME I%
[Édition Russe de Musique, Paris, 1922]
2
&ONTENTS Vl'(e I Te)t
Editor's Preface E!tract fro" t#e $ut#or's preface %1&91 E!tract fro" t#e Preface to t#e (ast edition
page VII— II 1 )
,General reie. reie. / r0hestral r0hestral gr'*s &ha*ter I+ ,General
$* +tringed instru"ents -* .ind instru"ents/ .ood0ind -rass * Instru"ents of (itt(e sustaining poer/ P(uc3ed strings Pi44icato 6arp Percussion instru"ents producing deter"inate sounds, 3e7ed instru"ents 8ett(e0dru"s Piano and e(esta Glockenspiel , -e((s, 7(op#one Percussion instru"ents producing indefinite sounds o"parison of resonance in orc#estra( groups, and co";ination of different tone qua(ities
12 21 2 25 25 29 : 2 2
,Meldy &ha*ter II+ ,Meldy
Me(od7 in stringed instru"ents
9 >: >> >) >) >
2
&ONTENTS Vl'(e I Te)t
Editor's Preface E!tract fro" t#e $ut#or's preface %1&91 E!tract fro" t#e Preface to t#e (ast edition
page VII— II 1 )
,General reie. reie. / r0hestral r0hestral gr'*s &ha*ter I+ ,General
$* +tringed instru"ents -* .ind instru"ents/ .ood0ind -rass * Instru"ents of (itt(e sustaining poer/ P(uc3ed strings Pi44icato 6arp Percussion instru"ents producing deter"inate sounds, 3e7ed instru"ents 8ett(e0dru"s Piano and e(esta Glockenspiel , -e((s, 7(op#one Percussion instru"ents producing indefinite sounds o"parison of resonance in orc#estra( groups, and co";ination of different tone qua(ities
12 21 2 25 25 29 : 2 2
,Meldy &ha*ter II+ ,Meldy
Me(od7 in stringed instru"ents
9 >: >> >) >) >
3
o";ination in unison o";ination in octa=es ?ou;(ing in to, t#ree and four octa=es Me(od7 in t#irds and si!t#s @#irds and si!t#s toget#er Me(od7 in t#e ;rass -rass in unison, in octa=es, t#irds and si!t#s
>5 >9 )1 )2 ) ) ))
0IV0
Me(od7 in different groups of instru"ents co";ined toget#er $* o";ination of ind and ;rass in unison -* o";ination of ind and ;rass in octa=es * o";ination of strings and ind ?* o";ination of strings and ;rass E* o";ination of t#e t#ree groups
) ) )5 )& 1 1
,1ar(ny &ha*ter III+ ,1ar(ny
> 5 9 51 52 5 55 5& &2 &2 &> &> &) && && && 9: 9> 9)
4
&ha*ter IV+ ,&(*sitin / the r0hestra
?ifferent a7s of orc#estrating t#e sa"e "usic Bu(( Tutti Tutti in t#e ind Tutti pizzicato Tutti in one, to and t#ree parts Soli in t#e strings
Di"its of orc#estra( range @ransference of passages and p#rases #ords of different tone qua(it7 used a(ternate(7 $"p(ification and e(i"ination of tone qua(ities Repetition of p#rases, i"itation, ec#o Sforzando-piano and piano-sforzando c#ords Met#od of e"p#asising certain notes and c#ords Crescendo and diminuendo ?i=erging and con=erging progressions @one qua(it7 as a #ar"onic force* 6ar"onic ;asis $rtificia( effects se of percussion instru"ents for r#7t#" and co(our Econo"7 in orc#estra( co(our
95 1:1 1: 1: 1:> 1:> 1: 1:5 1:& 1:9 11: 111 111 112 11 11> 11 115 11&
0V0
&ha*ter V+ ,&(binatin / the h'(an i0e .ith r0hestra+ The Stage
band
Crc#estra( acco"pani"ent of so(o =oices
119 119 12: 122 12) 12 12& 129
&ha*ter VI 2S'**le(entary3+,Vi0es
@ec#nica( ter"s +o(oists Range and register Voca(isation
12 1 1 1>
5
Voe(s B(e!i;i(it7 o(our and c#aracter of =oices Voices in co";ination ?uet @rios, quartets etc* #orus Range and register Me(od7 $* Mi!ed c#orus #orus in unison Progression in octa=es Voices divisiF #ar"onic use of t#e "i!ed c#orus -* Men's c#orus and .o"en's c#orus
1 15 15 19 19 1>1 1>2 1>2 1>> 1>) 1>) 1>) 1> 1>&
6 0VII0
Editr4s 5re/a0e+
Ri"s3708orsa3o= #ad (ong ;een engrossed in #is treatise on orc#estration* .e #a=e in our possession a t#ic3 note ;oo3 of so"e 2:: pages in fine #and riting, dating fro" t#e 7ears 1&501&5>, containing a "onograp# on t#e question of acoustics, a c(assification of ind instru"ents and a detai(ed description of t#e construction and fingering of t#e different 3inds of f(ute, t#e o;oe, c(arinet and #orn*[1] In #is GMe"oirs of "7 "usica( (ifeG %1 st edition, p* 12: t#e fo((oing passage occurs/ GI #ad p(anned to de=ote a(( "7 energies to t#e co"pi(ation of a fu(( treatise on orc#estration* @o t#is end I "ade se=era( roug# copies, Hotting don e!p(anator7 notes detai(ing t#e tec#nique of different instru"ents* .#at I intended to present to t#e or(d on t#is su;Hect, as to inc(ude everything * @#e riting of t#is treatise, or, to ;e "ore e!act, t#e s3etc# for it too3 up "ost of "7 ti"e in t#e 7ears 1&5 and 1&5>* $fter reading t#e or3s of @7nda(( and 6e("#o(t4, I fra"ed an introduction to "7 or3, in #ic# I endea=oured to e!pound t#e (as of acoustics as app(ied to t#e princip(es go=erning t#e construction of "usica( instru"ents* M7 "anua( as to ;egin it# a detai(ed (ist of instru"ents, c(assified in groups and ta;u(ated, inc(uding a description of t#e =arious s7ste"s in use at t#e present da7* I #ad not 7et t#oug#t of t#e second part of t#e ;oo3 #ic# as to ;e de=oted to instru"ents in co";ination* -ut I soon rea(ised t#at I #ad gone too far* .it# ind instru"ents in particu(ar, t#e different s7ste"s ere innu"era;(e, and eac# "anufacturer fa=oured #is on pet t#eor7* -7 t#e addition of a certain 3e7 t#e "a3er endoed #is instru"ent it# t#e possi;i(it7 of a ne tri((, and 0VIII0 "ade so"e difficu(t passages "ore p(a7a;(e t#an on an instru"ent of anot#er 3ind* G@#ere as no end to suc# co"p(ications* In t#e ;rass, I found instru"ents it# t#ree, four, and fi=e =a(=es, t#e "ec#anis" =ar7ing according to t#e "a3e* C;=ious(7, I cou(d not #ope to co=er so (arge a fie(dF ;esides, of #at =a(ue ou(d suc# a treatise ;e to t#e student +uc# a "ass of detai(ed description of t#e =arious s7ste"s, t#eir ad=antages and dra;ac3s, cou(d not ;ut fai( to confuse t#e reader on(7 too eager to (earn* Aatura((7 #e ou(d is# to 3no #at instru"ent to e"p(o7, t#e e!tent of its capa;i(ities etc*, and getting no satisfactor7 infor"ation #e ou(d t#ro "7 "assi=e or3 aside* Bor t#ese reasons "7 interest in t#e ;oo3 gradua((7 aned, and fina((7 I ga=e up t#e tas3*G In 1&91 Ri"s3708orsa3o=, no an artist of standing, t#e co"poser of Snegourotchka , Mlada, andShéhérazade , a "aster of t#e orc#estra( tec#nique #e #ad ;een teac#ing for tent7 7ears, returned to #is #and;oo3 on instru"entation* 6e ou(d
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see" to #a=e "ade notes at different ti"es fro" 1&91 to 1&9, during #ic# period, after t#e first perfor"ance of Mlada, #e ga=e up co"position for a #i(e* @#ese notes, occasiona((7 referred to in #is Memoirs, are in t#ree =o(u"es of "anuscript0paper* @#e7 contain t#e unfinis#ed preface of 1&91, a paragrap# fu(( of c(ear, t#oug#tfu( riting, and reprinted in t#is ;oo3*[2] $s t#e aut#or te((s us in #is Memoirs %p* 295, t#e progress of #is or3 as #a"pered ;7 certain trou;(eso"e e=ents #ic# ere #appening at t#e ti"e* ?issatisfied it# #is roug# draft, #e destro7ed t#e greater part of it, and once "ore a;andoned #is tas3* In 1&9> #e co"posed The Christmas Night F t#is as t#e ;eginning of #is "ost ferti(e period* 6e ;eca"e entire(7 engrossed in co"position, "a3ing p(ans for a fres# opera as soon as t#e one in #and as co"p(eted* It as not unti( 19:) t#at #is t#oug#ts returned to t#e treatise on orc#estration, #is "usica( output re"aining in a;e7ance t#roug# no fau(t of #is on* +ince 1&91 t#e p(an of t#e or3 #ad ;een entire(7 re"ode((ed, as pro=ed ;7 t#e roug# drafts sti(( e!tant* @#e aut#or #ad gi=en up t#e idea of descri;ing different instru"ents fro" t#eir tec#nica(0I0 standpoint, and as "ore an!ious to de(( upon t#e =a(ue of tone qua(ities and t#eir =arious co";inations* $"ong t#e aut#or's papers se=era( for"s of t#e ;oo3 #a=e ;een found, eac# ide(7 differing in detai( fro" t#e ot#er* $t (ast, in t#e su""er of 19:) Ri"s3708orsa3o= ;roug#t #is p(ans to a #ead, and out(ined t#e si! c#apters #ic# for" t#e foundation of t#e present =o(u"e* -ut t#e or3 suffered a furt#er interruption, and t#e s3etc#es ere once "ore (aid aside* In #is Memoirs, Ri"s3708orsa3o= e!p(ains t#e fact ;7 (ac3 of interest in t#e or3 and a genera( fee(ing of eariness/ G@#e treatise re"ained in a;e7ance* @o start it#, t#e for" of t#e ;oo3 as not a success, and I aaited t#e production of Kitesh, in order to gi=e so"e e!a"p(es fro" t#at or3G %p* :* @#en ca"e t#e autu"n of 19:* @#e co"poser e!perienced anot#er rus# of creati=e energ7F #is opera, The Golden Cockerel "ade rapid strides, and 3ept #i" ;us7 a(( t#at inter and t#e fo((oing su""er* .#en it as finis#ed, in t#e autu"n of 19:5, #is t#oug#ts re=erted to t#e treatise on orc#estration* -ut t#e or3 "ade (itt(e progress* @#e aut#or #ad #is dou;ts as to t#e adequac7 of t#e p(an #e #ad adopted, and, in spite of t#e entreaties of #is pupi(s and friends, #e cou(d not ;ring #i"se(f to ;roac# t#e (atter part of t#e ;oo3* @oards t#e end of 19:5 Ri"s3708orsa3o= as constant(7 ai(ing in #ea(t#, and t#is "ateria((7 affected #is energ7* 6e spent t#e greater part of #is ti"e reading o(d notes and c(assif7ing e!a"p(es* $;out t#e 2:t# of Ma7 #e set out for #is su""er residence in Diou;ens3, and #a=ing Hust reco=ered fro" a t#ird se=ere attac3 of inf(a""ation of t#e (ungs, ;egan to or3 on t#efirst c#apter of t#e treatise in its present, fina( for"* @#is c#apter as finis#ed on June 5K2:, a;out > o'c(oc3 in t#e afternoonF t#e sa"e nig#t, t#e co"poser as sei4ed it# a fourt# attac3 #ic# pro=ed fata(*
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@#e #onour fe(( on "e to prepare t#is (ast or3 of Ri"s3708orsa3o= for pu;(ication* Ao t#at rinciples of !rchestration #as appeared in print I t#in3 it necessar7 to de=ote a fe ords to t#e essentia( features of t#e ;oo3, and to t#e (a;our i"posed upon "e in "7 capacit7 as editor* Cn t#e first point I i(( sa7 ;ut (itt(e* @#e reader i(( o;ser=e fro" t#e ontents t#at t#e or3 differs fro" ot#ers, not "ere(7 ;7 00 reason of its "usica( e!a"p(es, ;ut "ore especia((7 in t#e s7ste"atic arrange"ent of "ateria(, not according to orc#estra( di=ision in groups %t#e "et#od adopted ;7
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@sc#ai3o=s37F t#ose of -orodin and <(a4ouno= ere to ;e added (ater* @#e idea of c#oosing e!a"p(es so(e(7 fro" #is on or3s on(7 ca"e to Ri"s3708orsa3o= ;7 degrees* @#e reasons for t#is decision are part(7 e!p(ained in t#e unfinis#ed preface of 19:), ;ut ot#er "oti=es "a7 ;e "entioned* If Ri"s3708orsa3o= #ad c#osen #is e!a"p(es fro" t#e or3s of t#ese four co"posers, #e ou(d #a=e #ad to gi=e so"e account of t#eir indi=idua(, and often strong(7 "ar3ed pecu(iarities of st7(e* @#is ou(d #a=e ;een a difficu(t underta3ing, and t#en, #o to Hustif7 t#e e!c(usion of .est0European co"posers, Ric#ard .agner, for e!a"p(e, #ose orc#estration Ri"s3708orsa3o= so great(7 ad"ired -esides, t#e (atter cou(d #ard(7 fai( to rea(ise t#at #is on co"positions afforded sufficient "ateria( to i((ustrate e=er7 concei=a;(e "anner of scoring, e!a"p(esemanating from one great general principle * @#is is not t#e p(ace to criticise #is "et#odF Ri"s370 8orsa3o='s Gsc#oo(G is #ere disp(a7ed, eac# "a7 e!a"ine it for #i"se(f* @#e ;ri((iant, #ig#(70co(oured orc#estration of Russian co"posers, and t#e scoring of t#e 7ounger Brenc# "usicians are (arge(7 de=e(op"ents of t#e "et#ods of Ri"s3708orsa3o=, #o, in turn, (oo3ed upon <(in3a as #is spiritua( fat#er* @#e ta;(e of e!a"p(es found a"ong t#e aut#or's papers as far fro" co"p(eteF so"e portions ere ;ad(7 e!p(ained, ot#ers, not at a((* @#e co"poser #ad not "entioned #ic# "usica( quotations ere to ;e printed in t#esecond =o(u"e, and #ic# e!a"p(es ere to indicate t#e stud7 of t#e fu(( scoreF furt#er, no (i"it as fi!ed to t#e (engt# of quotation* $(( t#is as t#erefore (eft to t#e editor's discretion* I se(ected t#e e!a"p(es on(7 after "uc# dou;t and #esitation, finding it difficu(t to 3eep to t#ose stipu(ated ;7 t#e co"poser, as e=er7 page of t#e "aster's or3s a;ounds in appropriate instances of t#is or t#at "et#od of scoring* I as guided ;7 t#e fo((oing considerations #ic# agreed it# t#e opinions of t#e aut#or #i"se(f/ in t#e first p(ace t#e e!a"p(es s#ou(d ;e as si"p(e as possi;(e, so as not to distract0II0 t#e student's attention fro" t#e point under discussionF second(7, it as necessar7 t#at one e!a"p(e s#ou(d ser=e to i((ustrate se=era( sections of t#e ;oo3, and (ast(7, t#e "aHorit7 of quotations s#ou(d ;e t#ose "entioned ;7 t#e aut#or* @#ese a"ount to 21>, in t#e second =o(u"eF t#e re"aining 9& ere added ;7 "e* @#e7 are dran, as far as possi;(e, fro" Ri"s3708orsa3o='s dra"atic "usic, since operatic fu((0scores are (ess accessi;(e t#an t#ose of s7"p#onic or3s*[] $t t#e end of Vo(* II I #a=e added t#ree ta;(es s#oing different a7s of scoring fu(( c#ordsF a(( "7 additions to t#e te!t are "ar3ed it# asteris3s* I consider t#at t#e carefu( stud7 of t#e e!a"p(es contained in t#e second =o(u"ei(( ;e of t#e greatest use to t#e student "ithout replacing t#e need for t#e stud7 of ot#er co"posers' scores* -road(7 spea3ing, t#e present or3 s#ou(d ;e studied toget#er it# t#e reading of fu(( scores in genera(*
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$ fe ords re"ain to ;e said regarding Ri"s3708orsa3o='s intention to point out t#e fau(t7 passages in #is orc#estra( or3s, an intention e!pressed in #is preface to t#e (ast edition* @#e co"poser often referred to t#e instructiona( =a(ue of suc# e!a"inations* 6is purpose #oe=er as ne=er ac#ie=ed* It is not for "e to se(ect t#ese e!a"p(es, and I s#a(( on(7 "ention to #ic# ere pointed out ;7 t#e co"poser #i"se(f/ 1* The $egend of Tsar Saltan 22: , 5t# ;ar—t#e t#e"e in t#e ;rass is not sufficient(7 pro"inent t#e tro";ones ;eing tacet %a "ista3e easi(7 rectifiedF 2* The Golden Cockerel 2 , ;ars 1:0 1>, if t#e "ar3s of e!pression are o;ser=ed in t#e ;rass, t#e counter0"e(od7 on t#e =io(as and =io(once((os dou;(ed ;7 t#e ood0ind i(( #ard(7 ;e #eard* E!a"p(e 5) "a7 a(so ;e "entioned, to #ic# t#e note on page , in t#e te!t, refers* I i(( confine "7se(f to t#ese e!a"p(es* In conc(usion I desire to e!press "7 deep gratitude to Mada"e Ri"s3708orsa3o= for #a=ing entrusted "e it# t#e tas3 of editing t#is or3, t#ere;7 pro=iding "e it# t#e opportunit7 of perfor"ing a dut7 sacred to t#e "e"or7 of a "aster, #e(d so deep(7 in re=erence* St% eters&urgh , ?ece";er 1912*
M$IMIDI$A +@EIA-ER<*
11 010
E)tra0t /r( the A'thr4s 5re/a0e 267863+
Cur epoc#, t#e post0.agnerian age, is t#e age of ;ri((iance and i"aginati=e qua(it7 in orc#estra( tone co(ouring* -er(io4, <(in3a, Dis4t, .agner, "odern Brenc# co"posers— ?e(i;es, -i4et and ot#ersF t#ose of t#e ne Russian sc#oo(—-orodin, -a(a3ire=, <(a4ouno= and @sc#ai3o=s37—#a=e ;roug#t t#is side of "usica( art to its 4enit#F t#e7 #a=e ec(ipsed, as co(ourists, t#eir predecessors, .e;er, Me7er;eer and Mende(sso#n, to #ose genius, ne=ert#e(ess, t#e7 are inde;ted for t#eir on progress* In riting t#is ;oo3 "7 c#ief ai" #as ;een to pro=ide t#e e((0infor"ed reader it# t#e funda"enta( princip(es of "odern orc#estration fro" t#e standpoint of ;ri((iance and i"agination, and I #a=e de=oted considera;(e space to t#e stud7 of tona( resonance and orc#estra( co";ination* I #a=e tried to s#o t#e student #o to o;tain a certain qua(it7 of tone, #o to acquire unifor"it7 of structure and requisite poer* I #a=e specified t#e c#aracter of certain "e(odic figures and designs pecu(iar to eac# instru"ent or orc#estra( group, and reduced t#ese questions ;rief(7 and c(ear(7 to genera( princip(esF in s#ort I #a=e endea=oured to furnis# t#e pupi( it# "atter and "ateria( as carefu((7 and "inute(7 studied as possi;(e* Ae=ert#e(ess I do not c(ai" to instruct #i" as to #o suc# infor"ation s#ou(d ;e put to artistic use, nor to esta;(is# "7 e!a"p(es in t#eir rig#tfu( p(ace in t#e poetic (anguage of "usic* Bor, Hust as a #and;oo3 of #ar"on7, counterpoint, or for" presents t#e student it# #ar"onic or po(7p#onic "atter, princip(es of construction, for"a( arrange"ent, and sound tec#nica( "et#ods, ;ut i(( ne=er endo #i" it# t#e ta(ent for co"position, so a treatise on orc#estration can de"onstrate #o to produce a e((0sounding c#ord020 of certain tone0qua(it7, unifor"(7 distri;uted, #o to detac# a "e(od7 fro" its #ar"onic setting, correct progression of parts, and so(=e a(( suc# pro;(e"s, ;ut i(( ne=er ;e a;(e to teac# t#e art of poetic orc#estration* @o orc#estrate is to create, and t#is is so"et#ing #ic# cannot ;e taug#t* It is a great "ista3e to sa7/ t#is co"poser scores e((, or, t#at co"position is e(( orc#estrated, for orc#estration is part of the very soul of the "ork * $ or3 is t#oug#t out in ter"s of t#e orc#estra, certain tone0co(ours ;eing insepara;(e fro" it in t#e "ind of its creator and nati=e to it fro" t#e #our of its ;irt#* ou(d t#e essence of .agner's "usic ;e di=orced fro" its orc#estration Cne "ig#t as e(( sa7 t#at a picture is e(( dra"n in co(ours*
12
More t#an one c(assica( and "odern co"poser #as (ac3ed t#e capacit7 to orc#estrate it# i"agination and poerF t#e secret of co(our #as re"ained outside t#e range of #is creati=e facu(t7* ?oes it fo((o t#at t#ese co"posers do not kno" ho" to orc#estrate Man7 a"ong t#e" #a=e #ad greater 3no(edge of t#e su;Hect t#an t#e "ere co(ourist* .as -ra#"s ignorant of orc#estration $nd 7et, no#ere in #is or3s do e find e=idence of ;ri((iant tone or picturesque fanc7* @#e trut# is t#at #is t#oug#ts did not turn toards co(ourF #is "ind did not e!act it* @#e poer of su;t(e orc#estration is a secret i"possi;(e to trans"it, and t#e co"poser #o possesses t#is secret s#ou(d =a(ue it #ig#(7, and ne=er de;ase it to t#e (e=e( of a "ere co((ection of for"u( (earned ;7 #eart* 6ere I "a7 "ention t#e case of or3s scored ;7 ot#ers fro" t#e co"poser's roug# directions* 6e #o underta3es suc# or3 s#ou(d enter as deep(7 as #e "a7 into t#e spirit of t#e co"poser, tr7 to rea(ise #is intentions, and de=e(op t#e" in a(( t#eir essentia( features* @#oug# one's on persona(it7 ;e su;ordinate to t#at of anot#er, suc# orc#estration is ne=ert#e(ess creati=e or3* -ut on t#e ot#er #and, to score a co"position ne=er intended for t#e orc#estra, is an undesira;(e practice* Man7 "usicians #a=e "ade t#is "ista3e and persist in it*[>] In an7 case t#is is t#e (oest for" of in 00stru"entation, a3in to co(our p#otograp#7, t#oug# of course t#e process "a7 ;e e(( or ;ad(7 done* $s regards orc#estration it #as ;een "7 good fortune to ;e(ong to a first0rate sc#oo(, and I #a=e acquired t#e "ost =aried e!perience* In t#e first p(ace I #a=e #ad t#e opportunit7 of #earing a(( "7 or3s perfor"ed ;7 t#e e!ce((ent orc#estra of t#e +t* Peters;urg# Cpera* +econd(7, #a=ing e!perienced (eanings toards different directions, I #a=e scored for orc#estras of different si4es, ;eginning it# si"p(e co";inations %"7 opera The May Night is ritten for natura( #orns and tru"pets, and ending it# t#e "ost ad=anced* In t#e t#ird p(ace, I conducted t#e c#oir of t#e Mi(itar7 Marine for se=era( 7ears and as t#erefore a;(e to stud7 ind0instru"ents* Bina((7 I for"ed an orc#estra of =er7 7oung pupi(s, and succeeded in teac#ing t#e" to p(a7, quite co"petent(7, t#e or3s of -eet#o=en, Mende(sso#n, <(in3a, etc* $(( t#is #as ena;(ed "e to present t#is or3 to t#e pu;(ic as t#e resu(t of (ong e!perience* $s a starting0point I (a7 don t#e fo((oing funda"enta( a!io"s/ I* 'n the orchestra there is no such thing as ugly (uality of tone% II* !rchestral "riting should &e easy to play F a co"poser's or3 stands t#e ;est c#ance #en t#e parts are e(( ritten*[)]
13
III* ) "ork should &e "ritten for the size of orchestra that is to perform it , not for so"e i"aginar7 ;od7, as "an7 co"posers persist in doing, introducing ;rass instru"ents in unusua( 3e7s upon #ic# t#e "usic is i"practica;(e ;ecause it is not p(a7ed in t#e 3e7 t#e co"poser intends* It is difficu(t to de=ise an7 "et#od of (earning orc#estration it#out a "aster* $s a genera( ru(e it is ;est to ad=ance ;7 degrees fro" t#e si"p(est scoring to t#e "ost co"p(icated* @#e student i(( pro;a;(7 pass t#roug# t#e fo((oing p#ases/ 1* t#e p#ase during #ic# #e puts #is entire fait# in percussion instru0>0"ents, ;e(ie=ing t#at ;eaut7 of sound e"anates entire(7 fro" t#is ;ranc# of t#e orc#estra—t#is is t#e ear(iest stageF 2* t#e period #en #e acquires a passion for t#e #arp, using it in e=er7 possi;(e c#ordF * t#e stage during #ic# #e adores t#e ood0ind and #orns, using stopped notes in conHunction it# strings, "uted or pizzicatoF >* t#e "ore ad=anced period, #en #e #as co"e to recognise t#at t#e string group is t#e ric#est and "ost e!pressi=e of a((* .#en t#e student or3s a(one #e "ust tr7 to a=oid t#e pitfa((s of t#e first t#ree p#ases* @#e ;est p(an is to stud7 fu((0scores, and (isten to an orc#estra, score in #and* -ut it is difficu(t to decide #at "usic s#ou(d ;e studied and #eard* Music of a(( ages, certain(7, ;ut, principa((7, t#at #ic# is fair(7 "odern* Bair(7 "odern "usic i(( teac# t#e student #o to score—c(assica( "usic i(( pro=e of negati=e =a(ue to #i"* .e;er, Mende(sso#n, Me7er;eer %The rophet , -er(io4, <(in3a, .agner, Dis4t, and "odern Brenc# and Russian co"posers—t#ese i(( pro=e #is ;est guides* It is use(ess for a -er(io4 or a
14
E)tra0t /r( the 5re/a0e t the last editin+
M7 ai" in underta3ing t#is or3 is to re=ea( t#e princip(es of "odern orc#estration in a so"e#at different (ig#t t#an t#at usua((7 ;roug#t to ;ear upon t#e su;Hect* I #a=e fo((oed t#ese princip(es in orc#estrating "7 on or3s, and, is#ing to i"part so"e of "7 ideas to 7oung co"posers, I #a=e quoted e!a"p(es fro" "7 on co"positions, or gi=en references to t#e", endea=ouring to s#o, in a(( sincerit7, #at is successfu( and #at is not* Ao one can 3no e!cept t#e aut#or #i"se(f t#e purpose and "oti=es #ic# go=erned #i" during t#e co"position of a certain or3, and t#e practice of e!p(aining t#e intentions of a co"poser, so pre=a(ent a"ongst annotators, #oe=er re=erent and discreet, appears to "e far fro" satisfactor7* @#e7 i(( attri;ute a too c(ose(7 p#i(osop#ic, or e!cessi=e(7 poetic "eaning to a p(ain and si"p(e fact* +o"eti"es t#e respect #ic# great co"posers' na"es co""and i(( cause inferior e!a"p(es to ;e quoted as goodF cases of care(essness or ignorance, easi(7 e!p(ained ;7 t#e i"perfections of current tec#nique, gi=e rise to #o(e pages of (a;orious e!position, in defence, or e=en in ad"iration of a fau(t7 passage* @#is ;oo3 is ritten for t#ose #o #a=e a(read7 studied instru"entation fro"
00
15
&ha*ter I+
A+ Stringed Instr'(ents+ @#e fo((oing is t#e for"ation of t#e string quartet and t#e nu";er of p(a7ers required in present da7 orc#estras, eit#er in t#e t#eatre or concert0roo"* Bu(( orc#estra
Mediu" orc#estra
+"a(( orc#estra
Vio(ins I
1
12
&
G II
1>
1:
Vio(as
12
&
>
Vio(once((os
1:
&01:
>0
20
?ou;(e ;asses
In (arger orc#estras, t#e nu";er of first =io(ins "a7 a"ount to 2: and e=en 2>, t#e ot#er strings ;eing increased proportionate(7* -ut suc# a great quantit7 of strings o=erpoers t#e custo"ar7 ood0ind section, and entai(s re0inforcing t#e (atter* +o"eti"es orc#estras contain (ess t#an & first =io(insF t#is is a "ista3e, as t#e ;a(ance ;eteen strings and ind is co"p(ete(7 destro7ed* In riting for t#e orc#estra it is ad=isa;(e to re(7 on a "ediu"0si4ed ;od7 of strings* P(a7ed ;7 a (arger orc#estra a or3 i(( ;e #eard to greater ad=antageF p(a7ed ;7 a s"a((er one, t#e #ar" done i(( ;e "ini"ised*050 .#ene=er a group of strings is ritten for "ore t#an fi=e parts—it#out ta3ing dou;(e notes or c#ords into consideration—t#ese parts "a7 ;e increased ;7 di=iding eac# one into to, t#ree and four sections, or e=en "ore % divisi* , etc*, t#e (oerF or e(se t#e "usician on t#e rig#t0#and of eac# des3 p(a7s t#e top (ine, t#e one on t#e (eft t#e ;otto" (ine* ?i=iding ;7 t#rees is (ess eas7, as t#e nu";er of p(a7ers in one group is not a(a7s di=isi;(e ;7 t#ree, and #ence t#e difficu(t7 of o;taining proper ;a(ance* Ae=ert#e(ess t#ere are cases #ere t#e co"poser s#ou(d not #esitate to e"p(o7 t#is "et#od of di=iding t#e strings, (ea=ing it to t#e conductor to ensure equa(it7 of tone* It is a(a7s as e(( to "ar3 #o t#e passage is to ;e di=ided in t#e scoreF Vn s I, 1, 2,
16
des3s, 'e((os di=* N , and so on* ?i=ision into four and "ore parts is rare, ;ut "a7 ;e used in piano passages, as it great(7 reduces =o(u"e of tone in t#e group of strings* Note% In s"a(( orc#estras passages su;0di=ided into "an7 parts are =er7 #ard to
rea(ise, and t#e effect o;tained is ne=er t#e one required* +tring parts "a7 ;e di=ided t#us/ a
O
Vns I di=* Vns II di=*
&
O
Vns II di=* Vio(as di=*
c
O
Vio(as di=* 'e((os di=*
d
O
'e((os di=* ?* ;asses di=*
Possi;(e co";inations (ess frequent(7 used are/ e
O
Vns I di=* Vio(as di=*
f
O
Vns II di=* 'e((os di=*
g
O
Vio(as di=* ?* ;asses di=* etc*
Note% It is e=ident t#at t#e tone qua(it7 in & and e i(( ;e si"i(ar* +ti(( & is prefera;(e
since t#e nu";er of Vn s II %1>01:0 and Vio(as %120&0> is practica((7 t#e sa"e, t#e respecti=e r(es of t#e to groups are "ore c(ose(7 a((ied, and fro" t#e fact t#at second =io(ins genera((7 sit nearer to t#e =io(as t#an t#e first, t#ere;7 guaranteeing greater unit7 in poer and e!ecution* @#e reader i(( find a(( "anner of di=isions in t#e "usica( e!a"p(es gi=en in Vo(* II* .#ere necessar7, so"e e!p(anation as to t#e "et#od of di=iding strings i(( fo((o in due course* I de(( on t#e su;Hect #ere in order to s#o #o t#e usua( co"position of t#e string quartet "a7 ;e a(tered*0&0 +tringed instru"ents possess "ore a7s of producing sound t#an an7 ot#er orc#estra( group* @#e7 can pass, ;etter t#an ot#er instru"ents fro" one s#ade of e!pression to anot#er, t#e =arieties ;eing of an infinite nu";er* +pecies of ;oing suc# as legato, detac#ed, staccato, spiccato, portamento, martellato , (ig#t staccato, saltando, attac3 at t#e nut and at t#e point, and V V V %don ;o and up ;o, in e=er7 degree of tone, fortissimo, pianissimo, crescendo, diminuendo , sforzando, morendo —a(( t#is ;e(ongs to t#e natura( rea(" of t#e string quartet* @#e fact t#at t#ese instru"ents are capa;(e of p(a7ing dou;(e notes and fu(( c#ords across t#ree and four strings—to sa7 not#ing of su;0di=ision of parts—renders t#e" not on(7 "e(odic ;ut a(so #ar"onic in c#aracter*[5] Bro" t#e point of =ie of acti=it7 and f(e!i;i(it7 t#e =io(in ta3es pride of p(ace a"ong stringed instru"ents, t#en, in order, co"e t#e =io(a, 'ce((o and dou;(e ;ass* In practice t#e notes of e!tre"e (i"it in t#e string quartet s#ou(d ;e fi!ed as fo((os/
17
6ig#er notes gi=en in @a;(e $, s#ou(d on(7 ;e used it# caution, t#at is to sa7 #en t#e7 are of (ong =a(ue, in tremolando, s(o, f(oing "e(odies, in not too rapid sequence of sca(es, and in passages of repeated notes* +3ips s#ou(d a(a7s ;e a=oided* Note% In quic3 passages for stringed instru"ents (ong c#ro"atic figures are ne=er
suita;(eF t#e7 are difficu(t to p(a7 and sound indistinct and "udd(ed* +uc# passages are ;etter a((otted to t#e ood0ind* $ (i"it s#ou(d ;e set to t#e use of a #ig# note on an7 one of t#e t#ree (oer strings on =io(ins, =io(as and 'ce((os* @#is note s#ou(d ;e t#e one in t#e fourt# position, eit#er t#e octa=e note or t#e nint# of t#e open string*090 Ao;i(it7, ar"t#, and equa(it7 of tone fro" one end of t#e sca(e to t#e ot#er are qua(ities co""on to a(( stringed instru"ents, and render t#e" essentia((7 superior to instru"ents of ot#er groups* Burt#er, eac# string #as a distincti=e c#aracter of its on, difficu(t to define in ords* @#e top string on t#e =io(in % * is ;ri((iant in c#aracter, t#at of t#e =io(a % ) is "ore ;iting in qua(it7 and s(ig#t(7 nasa(F t#e #ig#est string on t#e 'ce((o % ) is ;rig#t and possesses a Gc#est0=oiceG ti";re* @#e ) and + strings on t#e =io(in and t#e + string on t#e =io(as and 'ce((os are so"e#at seeter and ea3er in tone t#an t#e ot#ers* o=ered strings % G, on t#e =io(in %G and C , on t#e =io(a and 'ce((o are rat#er #ars#* +pea3ing genera((7, t#e dou;(e ;ass is equa((7 resonant t#roug#out, s(ig#t(7 du((er on t#e to (oer strings % * and ), and "ore penetrating on t#e upper ones % + and G* Note% E!cept
in t#e case of peda( notes, t#e dou;(e ;ass rare(7 p(a7s an independent part, usua((7 "o=ing in octa=es or in unison it# t#e 'ce((os, or e(se dou;(ing t#e ;assoons* @#e qua(it7 of t#e dou;(e ;ass tone is t#erefore se(do" #eard ;7 itse(f and t#e c#aracter of its different strings is not so noticea;(e *
@#e rare a;i(it7 to connect sounds, or a series of sounds, t#e =i;ration of stopped strings co";ined it# t#eir a;o=e0na"ed qua(ities—ar"t# and no;i(it7 of tone— renders t#is group of instru"ents far and aa7 t#e ;est orc#estra( "ediu" of "e(odic e!pression* $t t#e sa"e ti"e, t#at portion of t#eir range situated ;e7ond t#e (i"its of t#e #u"an =oice, e*g* notes on t#e =io(in #ig#er t#an t#e e!tre"e top note of t#e soprano =oice, fro"
18
upards, and notes on t#e dou;(e ;ass ;e(o t#e range of t#e ;ass =oice, descending fro"
%ritten sound
(ose in e!pression and ar"t# of tone* Cpen strings are c(earer and "ore poerfu( ;ut (ess e!pressi=e t#an stopped strings* o"paring t#e range of eac# stringed instru"ent it# t#at of t#e #u"an =oice, e "a7 assign/ to t#e =io(in, t#e soprano and01:0 contra(to =oice p(us a "uc# #ig#er rangeF to t#e =io(a, t#e contra(to and tenor =oice p(us a "uc# #ig#er registerF to t#e 'ce((o, t#e tenor and ;ass =oices p(us a #ig#er registerF to t#e dou;(e ;ass, t#e ;ass =oice p(us a (oer range* @#e use of #ar"onics, t#e "ute, and so"e specia( de=ices in ;oing produce great difference in t#e resonance and tone qua(it7 of a(( t#ese instru"ents* 6ar"onics, frequent(7 used toda7, a(ter t#e ti";re of a stringed instru"ent to a =er7 apprecia;(e e!tent* o(d and transparent in soft passages, co(d and ;ri((iant in (oud ones, and offering ;ut (itt(e c#ance for e!pression, t#e7 for" no funda"enta( part of orc#estra( riting, and are used si"p(7 for orna"ent* Cing to t#eir (ac3 of resonant poer t#e7 s#ou(d ;e used sparing(7, and, #en e"p(o7ed, s#ou(d ne=er ;e o=erpoered ;7 ot#er instru"ents* $s a ru(e #ar"onics are e"p(o7ed on sustained notes, tremolando, or #ere and t#ere for ;ri((iant effectsF t#e7 are rare(7 used in e!tre"e(7 si"p(e "e(odies* Cing to a certain tona( affinit7 it# t#e f(ute t#e7 "a7 ;e said to for" a 3ind of (in3 ;eteen string and ood0ind instru"ents* $not#er radica( c#ange is effected ;7 t#e use of "utes* .#en "uted, t#e c(ear, singing tone of t#e strings ;eco"es du(( in soft passages, turns to a s(ig#t #iss or #ist(e in (oud ones, and t#e =o(u"e of tone is a(a7s great(7 reduced* @#e position of t#e ;o on t#e string i(( affect t#e resonance of an instru"ent* P(a7ing it# t#e ;o c(ose to t#e ;ridge % sul ponticello , c#ief(7 used tremolando, produces a "eta((ic soundF p(a7ing on t#e finger0;oard % sul tasto ,flautando creates a du((, =ei(ed effect*
19
Note% $not#er a;so(ute(7 different sound resu(ts fro" p(a7ing it# t#e ;ac3 or ood of t#e ;o % col legno * @#is produces a sound (i3e a !7(op#one or a #o((o pizzicato* It is
discussed under t#e #eading of instru"ents of (itt(e sustaining poer*
-(ac3 (ines on eac# string denote t#e genera( range in orc#estra( riting, t#e dotted (ines gi=e t#e registers, (o, "ediu", #ig#, =er7 #ig#*
@#e fi=e sets of strings it# nu";er of p(a7ers gi=en a;o=e produce a fair(7 e=en ;a(ance of tone* If t#ere is an7 surp(us of strengt# it "ust ;e on t#e side of t#e first =io(ins, =io(ins, as t#e7 "ust ;e #eard distinct(7 on account of t#e i"portant part t#e7 p(a7 in t#e #ar"onic sc#e"e* -esides t#is, an e!tra des3 of first =io(ins is usua( in a(( orc#estras, and as a genera(0120 ru(e t#e7 possess a "ore poerfu( tone t#an second =io(ins* @#e (atter, it# t#e =io(as, p(a7 a secondar7 part, and do not stand out so pro"inent(7* @#e 'ce((os and dou;(e ;asses are #eard "ore distinct(7, and in t#e "aHorit7 of cases for" t#e ;ass in octa=es*
20
In conc(usion it "a7 ;e said t#at t#e group of strings, as a "e(odic e(e"ent, is a;(e to perfor" a(( "anner of passages, rapid and interrupted p#rases of e=er7 description, diatonic or c#ro"atic in c#aracter* apa;(e of sustaining notes it#out difficu(t7, of p(a7ing c#ords of t#ree and four notesF adapted to t#e infinite =ariet7 of s#ades of e!pression, and easi(7 di=isi;(e into nu"erous sundr7 parts, t#e string group in an orc#estra "a7 ;e considered as an #ar"onic e(e"ent particu(ar(7 ric# in resource*
B+ "ind instr'(ents+ "d-.ind+
$part fro" t#e =ar7ing nu";er of p(a7ers, t#e for"ation of t#e string group, it# its fi=e constituent parts re"ains constant, satisf7ing t#e de"ands of an7 orc#estra( fu(( score* Cn t#e ot#er #and t#e group of ood0ind instru"ents =aries ;ot# as regards nu";er of parts and t#e =o(u"e of tone at its co""and, and #ere t#e co"poser "a7 c#oo c# oose se at i((* i((* @#e @#e group group "a7 "a7 ;e di=ide di=idedd into into t#ree t#ree ge gener nera( a( c(as c(asse ses/ s/ o ood od0 0ind ind instru"ents in pair's, in t#ree's and in four's, %see ta;(e on page on page 1* 1* $ra;ic nu"era(s denote t#e nu";er of p(a7ers on eac# instru"entF ro"an figures, t#e parts %1st, 2nd etc** Instru"ents #ic# do not require additiona( p(a7ers, ;ut are ta3en o=er ;7 one or t#e ot#er e!ecutant in p(ace of #is usua( instru"ent, i nstru"ent, are enc(osed in ;rac3ets* $s a ru(e t#e first f(ute, first o;oe, first c(arinet and first ;assoon ne=er c#ange instru"entsF considering t#e i"portance of t#eir parts it is not ad=isa;(e for t#e" to turn fro" one "out#0piece to anot#er* @#e parts ritten for picco(o, ;ass f(ute, Eng(is# #orn, s"a(( c(arinet, ;ass c(arinet and dou;(e ;assoon are ta3en ;7 t#e second and t#ird p(a7ers in eac# group, #o are "ore accusto"ed to using t#ese instru"ents of a specia( nature*010 .ood0ind in pair's
.ood0ind in t#ree's
.ood0ind in four's
%II—Picco(o* 2 B(utes I* II*
%III—Picco(o* B(utes I* II* III* %II—-ass f(ute* 2 C;oes I* II* 1 Eng* #orn %III* %II—+"a(( c(arinet* (arinets I* II* III* %III—-ass c(arinet* 2 -assoons I* II*
1 Picco(o %IV* B(utes I* II* III* %III—-ass f(ute* C;oes I* II* III* 1 Eng* #orn %IV* %II—+"a(( c(arinet* (arinets I* II* III* 1 -ass c(arinet %IV* -assoons I* II* III*
2 C;oes I* II* %II—Eng* #orn* 2 (arinets I* II* %II—-ass c(arinet* 2 -assoons I* II*
21
1 ?ou;(e ;assoon %III*
1 ?ou;(e ;assoon %IV*
@#e for"ation of t#e first c(ass "a7 ;e a(tered ;7 t#e per"anent addition of a picco(o part* +o"eti"es a co"poser rites for to picco(os or to Eng* #orns etc* it#out increasing t#e origina( nu";er of p(a7ers required %in t#ree's or four's* Note '% o"posers using t#e first c(ass in t#e course of a ;ig or3 %oratorio, opera, s7"p#on7, etc* "a7 introduce specia( instru"ents, ca((ed e,tras, for a (ong or s#ort
period of ti"eF eac# of t#ese instru"ents in=o(=es in= o(=es an e!tra p(a7er not required t#roug#out t#e entire or3* Me7er;eer as fond of doing t#is, ;ut ot#er co"posers, <(in3a for e!a"p(e, refrain fro" increasing t#e nu";er of perfor"ers ;7 e"p(o7ing e,tras %Eng* #orn part art in oussl.n* .agn gner er uses a(( t#re #ree c(ass asses in t#e t#e a;o= o=ee ta;( ta;(ee %in %in pair's/ Tannh/user —in t#ree's/Tristan —in four's/ The ing * * Note ''% Mlada ''% Mlada is t#e on(7 or3 of "ine in=o(=ing for"ation ;7 four's* 'van the Terri&le, Sadko, The The $ege $egend nd of Tsar Salt Saltan an, The The $ege $egend nd of the the 'nvi 'nvisi si&l &lee City ity of Kiteshand The Golden Cockerel a(( a(( ;e(ong to t#e second c(ass, and in "7 ot#er or3s, ood0ind in pair's is used it# a =ar7ing nu";er of e!tras* The Christmas Night , it#
its to o;oes, and to ;assoons, t#ree f(utes and t#ree c(arinets, for"s an inter"ediate c(ass* onsidering t#e instru"ents it co"prises, t#e string group offers a fair =ariet7 of co(our, and contrast in co"pass, ;ut t#is di=ersit7 of range and ti";re is su;t(e and not easi(7 discerned* In t#e ood0ind depart"ent, #oe=er, t#e difference in register and qua(it7 of f(utes, o;oes, c(arinets and ;assoons is stri3ing to a degree* $s a ru(e, ood0 ind instru"ents are (ess f(e!i;(e t#an01>0 stringsF t#e7 (ac3 t#e =ita(it7 and poer, and are (ess capa;(e of different s#ade of e!pression* In eac# ind instru"ent I #a=e defined t#e scope of greatest greatest e,pre e,pression ssion , t#at is to sa7 t#e range in #ic# t#e instru"ent is ;est qua(ified to ac#ie=e t#e =arious grades of tone, % forte forte, piano, cresc%, dim% , sforzando, morendo, etc*—t#e register #ic# ad"its of t#e "ost e,pressive p(a7ing, in t#e truest sense of t#e ord* Cutside t#is range, a ind instru"ent is "ore nota;(e for ric#ness of co(our t#an for e!pression* I a" pro;a;(7 t#e originator of t#e ter" Gscope of greatest e!pressionG* It does not app(7 to t#e picco(o and dou;(e ;assoon #ic# represent t#e to e!tre"es of t#e orc#estra( co"pass* @#e7 do not possess suc# a register and ;e(ong to t#e ;od7 of #ig#(70co(oured ;ut non0e!pressi=e instru"ents* @#e four 3inds of ind instru"ents/ f(utes, o;oes, c(arinets and ;assoons "a7 ;e genera((7 considered to ;e of equa( poer* @#e sa"e cannot ;e said of instru"ents #ic# fu(fi( a specia( purpose/ picco(o, ;ass f(ute, Eng* #orn, s"a(( c(arinet, ;ass c(arinet and dou;(e ;assoon* Eac# of t#ese instru"ents #as four registers/ (o, "idd(e, #ig# and
22
e!tre"e(7 #ig#, eac# of #ic# is c#aracterised ;7 certain differences of qua(it7 and poer* It is difficu(t to define t#e e!act (i"its of eac# registerF adHacent registers a("ost ;(end toget#er and t#e passage fro" one to anot#er is scarce(7 noticea;(e* -ut #en t#e instru"ent Hu"ps fro" one register to anot#er t#e difference in poer and qua(it7 of tone is =er7 stri3ing* @#e four fa"i(ies of ind instru"ents "a7 ;e di=ided into to c(asses/ a instru"ents of nasa( qua(it7 and dar3 resonance—o;oes and ;assoons %Eng* #orn and dou;(e ;assoonF and ; instru"ents of Gc#est0=oiceG qua(it7 and ;rig#t tone—f(utes and c(arinets %picco(o, ;ass f(ute, s"a(( c(arinet, ;ass c(arinet* @#ese c#aracteristics of co(our and resonance—e!pressed in too si"p(e and rudi"entar7 a for"—are specia((7 noticea;(e in t#e "idd(e and upper registers* @#e (oer register of t#e o;oes and ;assoons is t#ic3 and roug#, 7et sti(( nasa( in qua(it7F t#e =er7 #ig# co"pass is s#ri((, #ard and dr7* @#e c(ear resonance of t#e f(utes and c(arinets acquires so"et#ing nasa( and dar3 in t#e (oer co"passF in t#e =er7 #ig# register it ;eco"es so"e#at piercing* Nte t Table B+
In t#e fo((oing @a;(e - t#e top note in eac# register ser=es as t#e ;otto" note in t#e ne!t, as t#e (i"its to eac# register are not defined a;so(ute(7* @#e note G fi!es t#e register of f(utes and o;oes, C for t#e c(arinets and ;assoons* In t#e =er7 #ig# co"pass t#ose notes are on(7 gi=en #ic# can rea((7 ;e usedF an7t#ing #ig#er and not printed as actua( notes are eit#er too difficu(t to produce or of no artistic =a(ue* @#e nu";er of sounds o;taina;(e in t#e #ig#est co"pass is indefinite, and depends, part(7 on t#e qua(it7 of t#e instru"ent itse(f, part(7 on t#e position and app(ication of t#e (ips* @#e signs > < are not to ;e "ista3en for crescendo and diminuendoF t#e7 indicate #o t#e resonance of an instru"ent increases or di"inis#es in re(ation to t#e c#aracteristic qua(it7 of its ti";re* @#e scope of greatest e!pression for eac# t7pica( instru"ent is "ar3ed t#us, |_______| under t#e notesF t#e range is t#e sa"e in eac# instru"ent of t#e sa"e t7pe*
23
01&0
Note% It is a difficu(t "atter to define tone qua(it7 in ordsF e "ust encroac# upon t#e do"ain of sig#t,
fee(ing, and e=en taste* @#oug# ;orroed fro" t#ese senses, I #a=e no dou;t as to t#e appropriateness of "7 co"parisons, ;ut, as a genera( ru(e definitions dran fro" ot#er sources are too e(e"entar7 to ;e app(ied to
24
"usic* Ao conde"nator7 "eaning #oe=er s#ou(d ;e attac#ed to "7 descriptions, for in using t#e ter"s t#ic3, piercing, s#ri((, dr7, etc* "7 o;Hect is to e!press artistic fitness in ords, rat#er t#an "ateria( e!actitude* Instru"enta( sounds #ic# #a=e no "usica( "eaning are c(assed ;7 "e in t#e categor7 of useless sounds, and I refer to t#e" as suc#, gi=ing "7 reasons* .it# t#e e!ception of t#ese, t#e reader is ad=ised to consider a(( ot#er orc#estra( ti";res ;eautifu( fro" an artistic point of =ie, a(t#oug# it is necessar7, at ti"es, to put t#e" to ot#er uses*
Burt#er on, a ta;(e of ind instru"ents is appended, out(ining t#e appro!i"ate (i"it of range, defining different qua(ities of tone and indicating t#e scope of greatest e!pression %t#e picco(o and dou;(e ;assoon e!cepted* B(utes and c(arinets are t#e "ost f(e!i;(e ood0ind instru"ents %t#e f(utes in particu(ar, ;ut for e!pressi=e poer and su;t(et7 in nuances t#e c(arinet supersedes t#e"F t#is instru"ent can reduce =o(u"e of tone to a "ere ;reat#* @#e nasa( instru"ents, o;oe and ;assoon, are (ess "o;i(e and supp(eF t#is is accounted for ;7 t#eir dou;(e reed, ;ut, #a=ing to effect a(( sorts of sca(es and rapid passages in co""on it# t#e f(utes and c(arinets, o;oes and ;assoons "a7 ;e considered "e(odic instru"ents in t#e rea( sense of t#e ord, on(7 of a "ore canta&ile and peacefu( c#aracter* In =er7 quic3 passages t#e7 often dou;(e t#e f(utes, c(arinets or strings* @#e four fa"i(ies are equa((7 capa;(e of legato and staccato p(a7ing and c#anging fro" one to t#e ot#er in different a7s, ;ut distinct and penetrating staccato passages are ;etter suited to t#e o;oes and ;assoons, #i(e t#e f(utes and c(arinets e!ce( in e((0 sustained legato p#rases* o"posite legato passages s#ou(d ;e a((otted to t#e first to instru"ents, co"posite staccato passages to t#e (atter pair, ;ut t#ese genera( directions s#ou(d not deter t#e orc#estrator fro" adopting t#e opposite p(an* In co"paring t#e tec#nica( indi=idua(ities of t#e ood0ind t#e fo((oing funda"enta( differences s#ou(d ;e noted/ a @#e rapid repetition of a sing(e note ;7 sing(e tonguing is co""on to a(( ind instru"entsF repetition of a sing(e note ;7 "eans of dou;(e tonguing is on(7 possi;(e on t#e f(ute, a reed(ess instru"ent* ; Cn account of its construction t#e c(arinet is not e(( adapted to sudden (eaps fro" one octa=e to anot#erF t#ese s3ips are easier on f(utes, o;oes and ;assoons*0190 c )rpeggios and rapid a(ternation of to inter=a(s legato sound e(( on f(utes and c(arinets, ;ut not on o;oes and ;assoons* .ood0ind p(a7ers cannot "anage e!tre"e(7 (ong sustained passages, as t#e7 are co"pe((ed to ta3e ;reat#F care "ust ;e ta3en t#erefore to gi=e t#e" a (itt(e rest fro" ti"e to ti"e* @#is is unnecessar7 in t#e case of string p(a7ers*
25
In t#e endea=our to c#aracterise t#e ti";re of eac# instru"ent t7pica( of t#e four fa"i(ies, fro" a ps7c#o(ogica( point of =ie, I do not #esitate to "a3e t#e fo((oing genera( re"ar3s #ic# app(7 genera((7 to t#e "idd(e and upper registers of eac# instru"ent/ a B(ute*—o(d in qua(it7, specia((7 suita;(e, in t#e "aHor 3e7, to "e(odies of (ig#t and gracefu( c#aracterF in t#e "inor 3e7, to s(ig#t touc#es of transient sorro* ; C;oe*—$rt(ess and ga7 in t#e "aHor, pat#etic and sad in t#e "inor* c (arinet*—P(ia;(e and e!pressi=e, suita;(e, in t#e "aHor, to "e(odies of a Ho7fu( or conte"p(ati=e c#aracter, or to out;ursts of "irt#F in t#e "inor, to sad and ref(ecti=e "e(odies or i"passioned and dra"atic passages* d -assoon*—In t#e "aHor, an at"osp#ere of seni(e "oc3er7F a sad, ai(ing qua(it7 in t#e "inor* In t#e e!tre"e registers t#ese instru"ents con=e7 t#e fo((oing i"pressions to "7 "ind/ a B(ute— ; C;oe— c (arinet— d -assoon—
$o" register
0ery high register
?u((, co(d .i(d Ringing, t#reatening +inister
-ri((iant 6ard, dr7 Piercing @ense*
Note% It
is true t#at no "ood or fra"e of "ind, #et#er it ;e Ho7fu( or sad, "editati=e or (i=e(7, care(ess or ref(ecti=e, "oc3ing or distressed can ;e aroused ;7 one sing(e iso(ated ti";reF it depends "ore upon t#e genera( "e(odic (ine, t#e #ar"on7, r#7t#", and d7na"ic s#ades of e!pression, upon t#e #o(e for"ation of a gi=en piece of "usic* @#e c#oice of instru"ents and ti";re to ;e adopted depends on t#e position #ic# "e(od7 and #ar"on7 occup7 in t#e se=en0octa=e sca(e of t#e orc#estraF for e!a"p(e, a "e(od7 of (ig#t c#aracter in t#e tenor register cou(d not ;e gi=en to t#e f(utes, or a sad, p(ainti=e p#rase in t#e #ig# soprano register confided to t#e ;assoons* -ut t#e ease it# #ic# tone co(our can ;e adapted to e!pression "ust not ;e forgotten, and in t#e first of t#ese to cases it "a7 ;e conceded t#at t#e "oc3ing c#aracter of t#e ;assoon cou(d easi(7 and quite natura((7 assu"e a (ig#t0#earted aspect, and02:0 in t#e second case, t#at t#e s(ig#t(7 "e(anc#o(7 ti";re of t#e f(ute is so"e#at re(ated to t#e fee(ing of sorro and distress it# #ic# t#e passage is to ;e per"eated* @#e case of a "e(od7 coinciding in c#aracter it# t#e instru"ent on #ic# it is p(a7ed is of specia( i"portance, as t#e effect produced cannot fai( to ;e successfu(* @#ere are a(so "o"ents #en a co"poser's artistic fee(ing pro"pts #i" to e"p(o7 instru"ents, t#e c#aracter of #ic# is at =ariance it# t#e ritten "e(od7 %for eccentric, grotesque effects, etc**
@#e fo((oing re"ar3s i((ustrate t#e c#aracteristics, ti";re, and e"p(o7"ent of specia( instru"ents/
26
@#e dut7 of t#e picco(o and s"a(( c(arinet is, principa((7, to e!tend t#e range of t#e ordinar7 f(ute and c(arinet in t#e #ig# register* @#e #ist(ing, piercing qua(it7 of t#e picco(o in its #ig#est co"pass is e!traordinari(7 poerfu(, ;ut does not (end itse(f to "ore "oderate s#ades of e!pression* @#e s"a(( c(arinet in its #ig#est register is "ore penetrating t#an t#e ordinar7 c(arinet* @#e (o and "idd(e range of t#e picco(o and s"a(( c(arinet correspond to t#e sa"e register in t#e nor"a( f(ute and c(arinet, ;ut t#e tone is so "uc# ea3er t#at it is of (itt(e ser=ice in t#ose regions* @#e dou;(e ;assoon e!tends t#e range of t#e ordinar7 ;assoon in t#e (o register* @#e c#aracteristics of t#e ;assoon's (o co"pass are sti(( furt#er accentuated in t#e corresponding range of t#e dou;(e ;assoon, ;ut t#e "idd(e and upper registers of t#e (atter are ;7 no "eans so usefu(* @#e =er7 deep notes of t#e dou;(e ;assoon are re"ar3a;(7 t#ic3 and dense in qua(it7, =er7 poerfu( in piano passages* Note% Aoada7s,
#en t#e (i"its of t#e orc#estra( sca(e are considera;(7 e!tended %up to t#e #ig# C of t#e 5t# octa=e, and don to t#e (o C , 1 ft* contra octa=e, t#e picco(o for"s an indispensa;(e constituent of t#e ind0groupF si"i(ar(7, it is recognised t#at t#e dou;(e ;assoon is capa;(e of supp(7ing =a(ua;(e assistance* @#e s"a(( c(arinet is rare(7 e"p(o7ed and on(7 for co(our effects*
@#e Eng(is# #orn, or a(to o;oe %o;oe in 1 is si"i(ar in tone to t#e ordinar7 o;oe, t#e (ist(ess, drea"7 qua(it7 of its ti";re ;eing seet in t#e e!tre"e* In t#e (o register it is fair(7 penetrating* @#e ;ass c(arinet, t#oug# strong(7 rese";(ing t#e ordinar7 c(arinet, is of dar3er co(our in t#e (o register and (ac3s t#e si(=er7 qua(it7 in t#e upper notesF it is incapa;(e of Ho7fu( e!pression* @#e ;ass f(ute is an instru"ent se(do" used e=en toda7F it possesses t#e sa"e features as t#e f(ute, ;ut it is co(der in 0210 co(our, and cr7sta((ine in t#e "idd(e and #ig# regions* @#ese t#ree particu(ar instru"ents, apart fro" e!tending t#e (o registers of t#e instru"ents to #ic# t#e7 ;e(ong, #a=e t#eir on distincti=e pecu(iarities of ti";re, and are often used in t#e orc#estra, as so(o instru"ents, c(ear(7 e!posed* Note% Cf
t#e si! specia( instru"ents referred to a;o=e, t#e picco(o and dou;(e ;assoon ere t#e first to ;e used in t#e orc#estraF t#e (atter, #oe=er, as neg(ected after -eet#o=en's deat# and did not reappear unti( toards t#e end of t#e 19t# centur7* @#e Eng* #orn and ;ass c(arinet ere e"p(o7ed initia((7 during t#e first #a(f of t#e sa"e centur7 ;7 -er(io4, Me7er;eer, and ot#ers, and for so"e ti"e retained t#eir position as e,tras, to ;eco"e, (ater on, per"anent orc#estra( factors, first in t#e t#eatre, t#en in t#e concert roo"* Ver7 fe atte"pts #a=e ;een "ade to introduce t#e s"a(( c(arinet into t#e orc#estra %-er(io4 etc*F t#is instru"ent toget#er it# t#e ;ass f(ute is used in "7 opera0;a((et Mlada %1&92, and a(so in "7 "ost recent co"positions, The Christmas Night , and SadkoF t#e ;ass f(ute i(( a(so ;e found inThe $egend of the 'nvisi&le City of Kitesh, and in t#e re=ised =ersion of G 'van the Terri&leG*
Cf (ate 7ears t#e #a;it of "uting t#e ood0ind #as co"e into fas#ion* @#is is done ;7 inserting a soft pad, or a piece of ro((ed0up c(ot# into t#e ;e(( of t#e instru"ent* Mutes deaden t#e tone of o;oes, Eng* #orns, and ;assoons to suc# an e!tent t#at it is possi;(e for t#ese instru"ents to attain t#e e!tre"e (i"it of pianissimo p(a7ing* @#e "uting of c(arinets is unnecessar7, as t#e7 can p(a7 quite soft(7 enoug# it#out artificia( "eans* It
27
#as not 7et ;een disco=ered #o to "ute t#e f(utesF suc# a disco=er7 ou(d render great ser=ice to t#e picco(o* @#e (oest notes on t#e ;assoon,
and on t#e o;oe and Eng* #orn
are i"possi;(e #en t#e instru"ents are "uted* Mutes #a=e no effect in t#e #ig#est register of ind instru"ents* Brass+
@#e for"ation of t#e group of ;rass instru"ents, (i3e t#at of t#e ood0ind is not a;so(ute(7 unifor", and =aries in different scores* @#e ;rass group "a7 ;e di=ided into t#ree genera( c(asses corresponding to t#ose of t#e ood0ind %in pair's, in t#ree's, and in four's* 0220
> 6orns I, II, III, IV* @ro";ones* 1 @u;a*
6orns I, II, III, IV* @ro";ones I, II, III* 1 @u;a[&]*
or & 6orns I, II, III, IV, V, VI, VII, VIII* @ro";ones I, II, III* 1 @u;a*
@#e directions are t#e sa"e as in t#e preceding ta;(e for ood0ind* It is e=ident t#at in a(( t#ree c(asses t#e for"ation "a7 =ar7 as t#e co"poser is#es* In "usic for t#e
28
t#eatre or concert roo" page after page "a7 ;e ritten it#out t#e use of tru"pets, tro";ones and tu;a, or so"e instru"ent "a7 ;e introduced, te"porari(7 as an e,tra* In t#e a;o=e ta;(e I #a=e gi=en t#e "ost t7pica( for"ations, and t#ose #ic# are t#e "ost co""on at t#e present da7* Note '% -esides t#e instru"ents gi=en a;o=e, Ric#ard .agner used so"e ot#ers in The ing ,
nota;(7 t#e quartet of tenor and ;ass tu;as, and a contra;ass tro";one* +o"eti"es t#ese additions eig# too #ea=i(7 on t#e ot#er groups, and at ot#er ti"es t#e7 render t#e rest of t#e ;rass ineffecti=e* Bor t#is reason co"posers #a=e dou;t(ess refrained fro" e"p(o7ing suc# instru"ents, and .agner #i"se(f did not inc(ude t#e" in t#e score of arsifal * +o"e present0da7 co"posers %Ric#ard +trauss, +cria;ine rite for as "an7 as fi=e tru"pets* Note ''% Bro"
t#e "idd(e of t#e 19t# centur7 onard t#e natura( ;rass disappeared fro" t#e orc#estra, gi=ing p(ace to =a(=e instru"ents* In "7 second opera, The May Night I used natura( #orns and tru"pets, c#anging t#e 3e7s, and riting t#e ;est notes GstoppedGF t#is as purpose(7 done for practise*
@#oug# far (ess f(e!i;(e t#an t#e ood0ind, ;rass instru"ents #eig#ten t#e effect of ot#er orc#estra( groups ;7 t#eir poerfu( resonance* @ru"pets, tro";ones, and tu;as are a;out equa( in020 strengt#F cornets #a=e not quite t#e sa"e forceF #orns, in forte passages, are a;out one #a(f as strong, ;ut piano, t#e7 #a=e t#e sa"e eig#t as ot#er ;rass instru"ents p(a7ed soft(7* @o o;tain an equa( ;a(ance, t#erefore, t#e "ar3s of e!pression in t#e #orns s#ou(d ;e one degree stronger t#an in t#e rest of t#e ;rassF if t#e tru"pets and tro";ones p(a7 pp, t#e #orns s#ou(d ;e "ar3ed p* Cn t#e ot#er #and, to o;tain a proper ;a(ance in forte passages, to #orns are needed to one tru"pet or one tro";one* -rass instru"ents are so si"i(ar in range and ti";re t#at t#e discussion of register is unnecessar7* $s a genera( ru(e qua(it7 ;eco"es "ore ;ri((iant as t#e #ig#er register is approac#ed, and vice versa, it# a decrease in tone* P(a7ed pp t#e resonance is seetF p(a7ed ff t#e tone is #ard and Gcrac3(ingG* -rass instru"ents possess a re"ar3a;(e capacit7 for se((ing fro" pianissimo to fortissimo, and reducing t#e tone in=erse(7, t#e sf 2 p effect ;eing e!ce((ent* @#e fo((oing re"ar3s as to c#aracter and tone qua(it7 "a7 ;e added/ a 1* Trumpets % 3♭-)* (ear and fair(7 penetrating in tone, stirring and rousing in forte passagesF in piano p#rases t#e #ig# notes are fu(( and si(=er7, t#e (o notes trou;(ed, as t#oug# t#reatening danger* 2* )lto trumpet %in 1 * $n instru"ent of "7 on in=ention, first used ;7 "e in t#e opera0;a((et Mlada* In t#e deep register %notes 2 to in t#e tru"pet sca(e it possesses a fu((er, c(earer, and finer tone* @o ordinar7 tru"pets it# an a(to tru"pet produce greater s"oot#ness and equa(it7 in resonance t#an t#ree ordinar7 tru"pets* +atisfied it# t#e ;eaut7 and usefu(ness of t#e a(to tru"pet, I #a=e consistent(7 ritten for it in "7 (ater or3s, co";ined it# ood0ind in t#ree's*
29
Note% @o o;=iate t#e difficu(t7 of using t#e a(to tru"pet in ordinar7 t#eatres and so"e
concert roo"s, I #a=e not ;roug#t into p(a7 t#e (ast four notes of its (oest register or t#eir neig#;ouring c#ro"aticsF ;7 t#is "eans t#e a(to tru"pet part "a7 ;e p(a7ed ;7 an ordinar7 tru"pet in 3♭ or )* * Small trumpet %in * ♭-+* In=ented ;7 "e and used for t#e first ti"e in Mlada to rea(ise t#e =er7 #ig#02>0tru"pet notes it#out difficu(t7* In tona(it7 and range t#e instru"ent is si"i(ar to t#e soprano cornet in a "i(itar7 ;and* Note% @#e s"a(( tru"pet, % 3♭-) sounding an octa=e #ig#er t#an t#e ordinar7
tru"pet #as not 7et appeared in "usica( (iterature* ; Cornets %in 3♭-)* Possessing a qua(it7 of tone si"i(ar to t#e tru"pet, ;ut softer and ea3er* It is a ;eautifu( instru"ent t#oug# rare(7 e"p(o7ed toda7 in t#eatre or concert roo"* E!pert p(a7ers can i"itate t#e cornet tone on t#e tru"pet, and vice versa* c 4orn %in 1 * @#e tone of t#is instru"ent is soft, poetica(, and fu(( of ;eaut7* In t#e (oer register it is dar3 and ;ri((iantF round and fu(( in t#e upper* @#e "idd(e notes rese";(e t#ose of t#e ;assoon and t#e to instru"ents ;(end e(( toget#er* @#e #orn, t#erefore, ser=es as a (in3 ;eteen t#e ;rass and ood0ind* In spite of =a(=es t#e #orn #as ;ut (itt(e "o;i(it7 and ou(d see" to produce its tone in a (anguid and (a47 "anner* d Trom&one% ?ar3 and t#reatening in t#e deepest register, ;ri((iant and triu"p#ant in t#e #ig# co"pass* @#e piano is fu(( ;ut so"e#at #ea=7, t#e forte poerfu( and sonorous* Va(=e tro";ones are "ore "o;i(e t#an s(ide tro";ones, ;ut t#e (atter are certain(7 to ;e preferred as regards no;i(it7 and equa(it7 of sound, t#e "ore so fro" t#e fact t#at t#ese instru"ents are rare(7 required to perfor" quic3 passages, oing to t#e specia( c#aracter of t#eir tone* e Tu&a% @#ic3 and roug# in qua(it7, (ess c#aracteristic t#an t#e tro";one, ;ut =a(ua;(e for t#e strengt# and ;eaut7 of its (o notes* Di3e t#e dou;(e ;ass and dou;(e ;assoon, t#e tu;a is e"inent(7 usefu( for dou;(ing, an octa=e (oer, t#e ;ass of t#e group to #ic# it ;e(ongs* @#an3s to its =a(=es, t#e tu;a is fair(7 f(e!i;(e*
30
Aatura( sounds are gi=en in #ite notes* @#e upper (ines indicate t#e scope of greatest e!pression* @#e group of ;rass instru"ents, t#oug# unifor" in resonance t#roug#out its constituent parts, is not so e(( adapted to e!pressi=e p(a7ing %in t#e e!act sense of t#e ord as t#e ood0ind group* Ae=ert#e(ess, a scope of greatest e!pression "a7 ;e distinguis#ed02002)0 in t#e "idd(e registers* In co"pan7 it# t#e picco(o and dou;(e ;assoon it is not gi=en to t#e s"a(( tru"pet % * ♭-+ and tu;a to p(a7 it# an7 great a"ount of e!pression* @#e rapid and r#7t#"ica( repetition of a note ;7 sing(e tonguing is possi;(e to a(( "e";ers of t#e ;rass, ;ut dou;(e tonguing can on(7 ;e done on instru"ents it# a s"a(( "out#0piece, tru"pets and cornets* @#ese to instru"ents can e!ecute rapid tremolandoit#out difficu(t7* @#e re"ar3s on ;reat#ing, in t#e section de=oted to t#e ood0ind, app(7 it# equa( force to t#e ;rass* @#e use of stopped notes and "utes a(ters t#e c#aracter of ;rass tone* +topped notes can on(7 ;e e"p(o7ed on tru"pets, cornets and #ornsF t#e s#ape of tro";ones and tu;as pre=ents t#e #and fro" ;eing inserted into t#e ;e((* @#oug# "utes are app(ied indiscri"inate(7 to a(( ;rass instru"ents in t#e orc#estra, tu;as rare(7 possess t#e"*
31
+topped and "uted notes are si"i(ar in qua(it7* Cn t#e tru"pet, "uting a note produces a ;etter tone t#an stopping it* In t#e #orn ;ot# "et#ods are e"p(o7edF sing(e notes are stopped in s#ort p#rases, "uted in (onger ones* I do not propose to descri;e t#e difference ;eteen t#e to operations in detai(, and i(( (ea=e t#e reader to acquire t#e 3no(edge for #i"se(f, and to for" an opinion as to its i"portance fro" #is on persona( o;ser=ation* +ufficient to sa7 t#at t#e tone is deadened ;7 ;ot# "et#ods, assu"ing a i(d Gcrac3(ingG c#aracter in forte passages, tender and du(( in piano* Resonance is great(7 reduced, t#e si(=er7 tone of t#e instru"ent so (ost and a ti";re rese";(ing t#at of t#e o;oe and Eng* #orn is approac#ed* +topped notes %con sordino are "ar3ed
Q underneat# t#e note, so"eti"es
o
fo((oed ;7 , denoting t#e resu"ption of open sounds, senza sordini* -rass instru"ents, #en "uted, produce an effect of distance*
&+ Instr'(ents / little s'staining *.er+ 5l'09ed strings+
.#en t#e usua( orc#estra( string quartet %Vns I, Vns II, Vio(as, 'e((os, ?* ;asses does not "a3e use of t#e ;o, ;ut p(uc3s t#e strings it# t#e finger, it ;eco"es to "7 "ind a ne and inde0250 pendent group it# its on particu(ar qua(it7 of tone* $ssociated it# t#e #arp, #ic# produces sound in a si"i(ar "anner, I consider it separate(7 under t#e #eading of p(uc3ed strings* Note% In t#is group "a7 ;e c(assed t#e guitar, 4it#er, ;a(a(a3aF instru"ents p(uc3ed it# a qui((, suc# as
t#e do"ra,[9] t#e "ando(ine etc*, a(( of #ic# "a7 ;e used in an orc#estra, ;ut #a=e no p(ace in t#e scope of t#e present ;oo3*
5i::i0at+
$(t#oug# capa;(e of e=er7 degree of poer fro" ff to pp, pizzicato p(a7ing #as ;ut s"a(( range of e!pression, and is used c#ief(7 as a co(our effect* Cn open strings it is resonant and #ea=7, on stopped strings s#orter and du((erF in t#e #ig# positions it is rat#er dr7 and #ard*
32
@a;(e ? on page 1 indicates t#e range in #ic# pizzicato "a7 ;e used on eac# stringed instru"ent* In t#e orc#estra, pizzicato co"es into operation in to distinct a7s/ a on sing(e notes, ; on dou;(e notes and c#ords* @#e fingers of t#e rig#t #and p(a7ing pizz% are far (ess agi(e t#an t#e ;oF pizz% passages t#erefore can ne=er ;e perfor"ed as quic3(7 as t#ose p(a7ed arco* Moreo=er, t#e speed of pizzicato p(a7ing depends upon t#e t#ic3ness of t#e stringsF on t#e dou;(e ;asses, for instance, it "ust a(a7s ;e "uc# s(oer t#an on t#e =io(ins* In pizzicato c#ords it is ;etter to a=oid open strings, #ic# produce a "ore ;ri((iant tone t#an of co=ered strings* #ords of four notes a((o of greater freedo" and =igour of attac3, as t#ere is no danger of accidenta((7 touc#ing a rong note* Aatura( #ar"onics p(a7ed pizz% create a c#ar"ing effectF t#e tone is ea3 #oe=er, and t#e7 are c#ief(7 successfu( on t#e =io(once((o* 1ar*+
In t#e orc#estra, t#e #arp is a("ost entire(7 an #ar"onic or acco"pan7ing instru"ent* @#e "aHorit7 of scores require on(7 one #arp part, ;ut in recent ti"es co"posers #a=e ritten for to or e=en t#ree #arps, #ic# are so"eti"es co"pressed into t#e one part*02&0 Note% Bu(( orc#estras s#ou(d inc(ude t#ree or e=en four #arps* M7 operas Sadko, The $egend of the 'nvisi&le City of Kitesh , and The Golden Cockerel are designed for to #arps, Mlada for t#ree*
@#e specia( function of t#e #arp (ies in t#e e!ecution of c#ords, and t#e f(orid figures springing fro" t#e"* $s on(7 four notes at t#e "ost can ;e p(a7ed ;7 eac# #and, t#e notes of a c#ord s#ou(d ;e ritten c(ose toget#er, it# not too great a space ;eteen one #and and t#e ot#er* @#e c#ords "ust a(a7s ;e ;ro3en % arpeggiato F s#ou(d t#e co"poser is# ot#erise #e s#ou(d notif7 it %non arpeggiato * In t#e "idd(e and (oer octa=es t#e resonance of t#e strings is s(ig#t(7 pro(onged, and dies aa7 gradua((7* In c#anges of #ar"on7 t#e p(a7er stops t#e =i;ration of t#e strings it# #is #ands, ;ut, in quic3 "odu(ations, t#is "et#od is not feasi;(e, and t#e "i!ture of one c#ord it# anot#er produces a discordant effect* It fo((os t#at "ore or (ess rapid figures can on(7 ;e rea(ised c(ear(7 and neat(7 in t#e upper register of t#e #arp, #ere t#e strings are s#orter and #arder in tone* $s a genera( ru(e, in t#e #o(e range of t#e #arp/
33
on(7 t#e notes of t#e first to t#e fourt# octa=e are usedF t#e e!tre"e notes in ;ot# co"passes "a7 ;e e"p(o7ed in specia( circu"stances, and for dou;(ing in octa=es* @#e #arp is essentia((7 a diatonic instru"ent, since a(( c#ro"atic passages depend on t#e "anipu(ation of t#e peda(s* Bor t#is reason t#e #arp does not (end itse(f to rapid "odu(ation, and t#e orc#estrator is ad=ised to ;ear t#is fact in "ind* -ut t#e difficu(t7 "a7 ;e o;=iated ;7 using to #arps a(ternate(7*[1:] Note% I ou(d re"ind t#e reader t#at t#e #arp is not capa;(e of dou;(e s#arps or
dou;(e f(ats* Bor t#is reason, certain "odu(ations fro" one 3e7 to anot#er one, adHacent to it can on(7 ;e acco"p(is#ed en#ar"onica((7* Bor instance, t#e transition fro" C f(at, G f(at or + f(at, "aHor to t#eir "inor su;do"inant c#ords or 3e7s is not possi;(e oing to dou;(e f(ats* It is t#erefore0290 necessar7 to start en#ar"onica((7 fro" t#e 3e7s of 3, 1 s#arp or C s#arp, "aHor* +i"i(ar(7, on account of dou;(e s#arps, it is i"possi;(e to c#ange fro" ) s#arp, + s#arp or Gs#arp, "inor to t#eir respecti=e do"inant "aHor c#ords or 3e7sF 3 f(at, * f(at and ) f(at, "inor "ust ;e t#e starting0points* @#e tec#nica( operation 3non as glissando is pecu(iar to t#e #arp a(one* @a3ing for granted t#at t#e reader is con=ersant it# t#e "et#ods of acquiring different sca(es ;7 "eans of dou;(e0notc#ed peda(s, it i(( ;e sufficient to re"ar3 t#at glissando sca(es produce a discordant "ed(e7 of sound oing to t#e (engt# of ti"e t#e strings continue to =i;rate, and t#erefore, as a purely musical effect, glissando can on(7 ;e used in t#e upper octa=es, quite piano, #ere t#e sound of t#e strings is sufficient(7 c(ear, 7et not too pro(onged* 1orte glissando sca(es, entai(ing t#e use of t#e (oer and "idd(e strings are on(7 per"issi;(e as e";e((is#"ents* <(issando passages in c#ords of t#e se=ent# and nint#, en#ar"onica((7 o;tained, are "uc# "ore co""on, and as t#e a;o=e reser=ations do not app(7, e=er7 d7na"ic s#ade of tone is possi;(e* #ords in #ar"onics can on(7 consist of t#ree notes ritten c(ose toget#er, to for t#e (eft #and and one for t#e rig#t* @#e tender poetic qua(it7 of t#e #arp is adapted to e=er7 d7na"ic s#ade, ;ut it is ne=er a =er7 poerfu( instru"ent, and t#e orc#estrator s#ou(d treat it it# respect* $t (east t#ree, if not four #arps in unison are necessar7, if t#e7 are to ;e #eard against a fu(( orc#estra p(a7ing forte* @#e "ore rapid(7 a glissando passage is p(a7ed, t#e (ouder it i(( sound* 6ar"onic notes on t#e #arp #a=e great c#ar" ;ut (itt(e resonance, and are
34
on(7 possi;(e p(a7ed quite soft(7* +pea3ing genera((7, t#e #arp, (i3e t#e string quartet, pizzicato, is "ore an instru"ent of co(our t#an e!pression*
5er0'ssin instr'(ents *rd'0ing deter(inate s'nds; 9eyed instr'(ents+ Kettle-dr'(s+
8ett(e0dru"s, indispensa;(e to e=er7 t#eatre and concert orc#estra occup7 t#e "ost i"portant p(ace in t#e group of percussion instru"ents* $ pair of 3ett(e0dru"s % Timpani , in t#e tonic and do"inant 3e7s, as t#e necessar7 attri;ute of an orc#estra up to, and 0 :0 inc(uding -eet#o=en's ti"e, ;ut, fro" t#e "idd(e of t#e 19 t# centur7 onard, in estern Europe and in Russia, an e=er0increasing need as fe(t for t#e presence of t#ree or e=en four 3ett(e0dru"s, during t#e #o(e course or part of a or3* If t#e e!pensi=e c#ro"atic dru", per"itting instant tuning is rare(7 "et it#, sti((, in t#e "aHorit7 of good orc#estras, t#ree scre dru"s are genera((7 to ;e found* @#e co"poser can t#erefore ta3e it for granted t#at a good ti"panist, #a=ing t#ree 3ett(e0dru"s at #is co""and, i(( ;e a;(e to tune at (east one of t#e" during a pause of so"e (engt#* @#e (i"its of possi;(e c#ange in -eet#o=en's ti"e as considered to ;e/
In t#ese da7s it is difficu(t to define t#e precise e!tent of #ig# co"pass in t#e 3ett(e0 dru"s, as t#is depends entire(7 on t#e si4e and qua(it7 of t#e s"a((est one, of #ic# t#ere are "an7 3inds, ;ut I ad=ise t#e co"poser to se(ect/
Aote* $ "agnificent 3ett(e0dru" of =er7 s"a(( si4e as "ade for "7 opera0;a((etM(adaF t#is instru"ent ga=e t#e ?♭ of t#e fourt# octa=e*
8ett(e0dru"s are capa;(e of e=er7 d7na"ic s#ade of tone, fro" t#undering fortissimo to a ;are(7 percepti;(e pianissimo* In tremolando t#e7 can e!ecute t#e "ost gradua( crescendo, diminuendo , t#e sfp and morendo* @o deaden t#e sound, a piece of c(ot# is genera((7 p(aced on t#e s3in of t#e dru", according to t#e instruction/timpani coperti %"uff(ed dru"s*
35
@#e ;(ac3 notes are dr7 and #ard, it#out resonance, and s#ou(d on(7 ;e used #en dou;(ed it# t#e ood0ind*
36
Recent(7, ;e((s #a=e ;een "ade of suspended "eta( p(ates possessing t#e rare qua(it7 of a fair(7 pure tone, and #ic# are sufficient(7 porta;(e to ;e used on t#e concert
5ian and &elesta+
@#e use of a piano in t#e orc#estra %apart fro" pianoforte concertos ;e(ongs a("ost entire(7 to t#e Russian sc#oo(*[11] @#e o;Hect is to0fo(d/ t#e qua(it7 of tone, eit#er a(one, or co";ined it#020 t#at of t#e #arp, is "ade to i"itate a popu(ar instru"ent, t#e gu4(i, %as in <(in3a, or a soft pea( of ;e((s* .#en t#e piano for"s part of an orc#estra, not as a so(o instru"ent, an uprig#t is prefera;(e to a grand, ;ut toda7 t#e piano is gradua((7 ;eing superseded ;7 t#e ce(esta, first used ;7 @sc#ai3o=s37* In t#e ce(esta, s"a(( stee( p(ates ta3e t#e p(ace of strings, and t#e #a""ers fa((ing on t#e" produce a de(ig#tfu( sound, =er7 si"i(ar to t#e glockenspiel * @#e ce(esta is on(7 found in fu(( orc#estrasF #en it is not a=ai(a;(e it s#ou(d ;e rep(aced ;7 an uprig#t piano, and not t#e glockenspiel *
37
Gl09ens*iel; Bells; Xyl*hne+
@#e glockenspiel %campanelli "a7 ;e "ade of stee( ;ars, or p(a7ed it# a 3e7;oard* @#e first t7pe is t#e "ore satisfactor7 and possesses greater resonance* @#e use of t#e glockenspiel is si"i(ar to t#e ce(esta, ;ut its tone is "ore ;ri((iant and penetrating* -ig ;e((s in t#e s#ape of #o((o discs or "eta( tu;es,[12] or rea( c#urc# ;e((s of "oderate si4e "a7 ;e considered "ore as t#eatrica( properties t#an orc#estra( instru"ents* @#e !7(op#one is a species of #ar"onica co"posed of strips or c7(inders of ood, struc3 it# to (itt(e #a""ers* It produces a c(attering sound, ;ot# poerfu( and piercing* @o co"p(ete t#is cata(ogue of sounds "ention s#ou(d ;e "ade of t#e strings p(a7ing col legno , t#at is it# t#e ood or ;ac3 of t#e ;o* @#e sound produced is si"i(ar to t#e !7(op#one, and gains in qua(it7 as t#e nu";er of p(a7ers is increased* $ ta;(e is appended s#oing t#e range of t#e ce(esta, glockenspiel and !7(op#one*
5er0'ssin instr'(ents *rd'0ing inde/inite s'nds+ Instru"ents in t#is group, suc# as triang(e, castanets, (itt(e ;e((s, ta";ourine, sitc# or rod % ute%
&(*arisn / resnan0e in r0hestral gr'*s and 0(binatin / di//erent tne <'alities+ In co"paring t#e resonance of t#e respecti=e groups of sound0sustaining instru"ents e arri=e at t#e fo((oing appro!i"ate conc(usions/ In t#e "ost resonant group, t#e ;rass, t#e strongest instru"ents are t#e tru"pets, tro";ones and tu;a* In (oud passages t#e #orns are on(7 one0#a(f as strong, 1 @ru"pet S 1 @ro";one S 1 @u;a S 2 6orns* .ood0ind instru"ents, in forte passages, are tice as ea3 as t#e #orns, 1 6orn S 2 (arinets S 2 C;oes S 2 B(utes S 2 -assoonsF ;ut, in piano passages, a(( ind0instru"ents, ood or ;rass are of fair(7 equa( ;a(ance*
38
It is "ore difficu(t to esta;(is# a co"parison in resonance ;eteen ood0ind and strings, as e=er7t#ing depends on t#e nu";er of t#e (atter, ;ut, in an orc#estra of "ediu" for"ation, it "a7 ;e ta3en for granted t#at in piano passages, t#e #o(e of one depart"ent %all 1st Vio(ins or all 2nd Vio(ins etc* is equi=a(ent in strengt# to one ind instru"ent, %Vio(ins I S 1 B(ute etc*, and, in forte passages, to to ind instru"ents, %Vio(ins I S 2 B(utes S 1 C;oe Q 1 (arinet, etc** It is sti(( #arder to for" a co"parison it# instru"ents of (itt(e sustaining poer, for too great a di=ersit7 in production and e"ission of sound e!ists* @#e co";ined force of groups of sustained resonance easi(7 o=erpoers t#e strings p(a7ed pizz% or col legno , t#e piano p(a7ed soft(7, or t#e ce(esta* $s regards t#e glockenspiel , ;e((s, and !7(op#one, t#eir e"p#atic tone i(( easi(7 pre=ai( o=er ot#er groups in co";ination* @#e sa"e "a7 ;e said of t#e 3ett(e0dru"s it# t#eir ringing, resounding qua(it7, and a(so of ot#er su;sidiar7 instru"ents* @#e inf(uence of t#e ti";re of one group on anot#er is noticea;(e #en t#e groups are dou;(edF for instance, #en t#e ood0ind ti";re is c(ose(7 a((ied to t#e strings on t#e one #and, and to t#e ;rass on t#e ot#er* Re0inforcing ;ot#, t#e ind thickens t#e strings0>0 and softens t#e ;rass* @#e strings do not ;(end so e(( it# t#e ;rass, and #en t#e to groups are p(aced side ;7 side, eac# is #eard too distinct(7* @#e co";ination of t#e t#ree different ti";res in unison produces a ric#, "e((o and co#erent tone* $((, or se=era( ind instru"ents in co";ination i(( a;sor; one depart"ent of added strings/ or/ or/
2 B(* 2 C;* 2 (*
Q Q Q
2 C;* 2 (* 2 Bag*
Q Q Q
Vns I, Vio(as, 'e((os*
Cne depart"ent of strings added to t#e ood0ind in unison produces a seet co#erent qua(it7, t#e ood0ind ti";re sti(( predo"inatingF ;ut t#e addition of one ind instru"ent to a(( or part of t#e strings in unison, on(7 t#ic3ens t#e resonance of t#e (atter, t#e ood0ind ti";re ;eing (ost in t#e process/ or/ or/
Vns I Vio(as 'e((os
Q Q Q
Vns II 'e((os ?* ;asses
Q Q Q
1 C;*, 1 (* 1 Bag*
Muted strings do not co";ine so e(( it# ood0ind, as t#e to tone qua(ities re"ain distinct and separate* niting p(uc3ed strings and percussion it# instru"ents of sustained resonance resu(ts in t#e fo((oing/ ind instru"ents, ood and ;rass,
39
strengt#en and c(arif7 pizzicato strings, #arp, 3ett(e0dru"s and percussion genera((7, t#e (atter (ending a touc# of re(ief to t#e tone of t#e ood0ind* niting p(uc3ed strings and percussion it# ;oed instru"ents does not produce suc# a satisfactor7 ;(end, ;ot# qua(ities ;eing #eard independent(7* @#e co";ination of p(uc3ed strings it# percussion a(one, is e!ce((entF t#e to ;(end perfect(7, and t#e consequent increase in resonance 7ie(ds an ad"ira;(e effect* @#e re(ations#ip #ic# e!ists ;eteen string #ar"onics and t#e f(ute or picco(o constitutes a (in3 ;eteen t#e to groups in t#e upper range of t#e orc#estra* Moreo=er, t#e ti";re of t#e =io(a "a7 ;e =ague(7 co"pared to t#e "idd(e register of t#e ;assoon and t#e (oest co"pass of t#e c(arinetF #ence, in t#e "ediu" orc#estra( range, a point of contact is esta;(is#ed ;eteen t#e quartet of strings and t#e ood0ind* @#e ;assoon and #orn pro=ide t#e connection ;eteen ood0ind and ;rass, t#ese to instru"ents ;eing so"e#at ana(ogous0)0 in c#aracter #en p(a7ed piano or mezzo forteF t#e f(ute a(so, in its (oest register, reca((s t#e pianissimo tru"pet tone* +topped and "uted notes in #orns and tru"pets are si"i(ar in qua(it7 to t#e o;oe and Eng* #orn, and ;(end to(era;(7 e(( it# t#e (atter instru"ent* onc(uding t#is sur=e7 of orc#estra( groups I add a fe re"ar3s #ic# see" to "e of specia( i"portance* @#e principa( part in "usic is underta3en ;7 t#ree instru"enta( groups of sustained resonance, representing t#e t#ree pri"ar7 e(e"ents, "e(od7, #ar"on7 and r#7t#"* Instru"ents of (itt(e sustaining poer, t#oug# so"eti"es used independent(7, are c#ief(7 e"p(o7ed for orna"ent and co(ourF instru"ents producing indeter"inate sounds p(a7 no "e(odic or #ar"onic part, t#eir functions ;eing pure(7 r#7t#"ica(* -7 g(ancing at t#e order in #ic# t#e si! orc#estra( groups are p(aced, strings, ood0 ind, ;rass, p(uc3ed strings, percussion producing definite, and t#ose producing indefinite sounds, t#e reader i(( ;e a;(e to deter"ine t#e part p(a7ed ;7 eac# in t#e art of orc#estration, fro" t#e secondar7 standpoint of co(our and e!pression* $s regards e!pression, t#e strings co"e first, and t#e e!pressi=e capacit7 of t#e ot#er groups di"inis#es in t#e a;o=e order, co(our ;eing t#e on(7 attri;ute of t#e (ast group of percussion instru"ents* @#e sa"e order o;tains fro" t#e standpoint of genera( effect in orc#estration* .e can (isten to strings for an a("ost indefinite period of ti"e it#out getting tired, so =aried are t#eir c#aracteristics %vide t#e nu";er of string quartets, suites, serenades etc* ritten for strings a(one* @#e addition of a sing(e group of strings i(( add (ustre to a passage for ind instru"ents* Cn t#e ot#er #and, t#e qua(it7 of ind instru"ents soon ;eco"es
40
eariso"eF t#e sa"e "a7 ;e said of p(uc3ed strings, and a(so percussion of e=er7 3ind #ic# s#ou(d on(7 ;e e"p(o7ed at reasona;(e inter=a(s in orc#estra( co"position* It cannot ;e denied t#at t#e constant use of co"pound ti";res, in pair's, in t#ree's etc* e(i"inates c#aracteristics of tone, and produces a du((, neutra( te!ture, #ereas t#e e"p(o7"ent of si"p(e, e(e"entar7 co";inations gi=es infinite(7 greater scope for =ariet7 in co(our* 5 %2: June 19:&*
00
&ha*ter II+
41
MEDC?L*
.#et#er it ;e (ong or s#ort, a si"p(e t#e"e or a "e(odic p#rase, "e(od7 s#ou(d a(a7s stand out in re(ief fro" t#e acco"pani"ent* @#is "a7 ;e done ;7 artificia( or natura( "eansF artificia((7, #en t#e question of tone qua(it7 does not co"e into consideration, and t#e "e(od7 is detac#ed ;7 "eans of strong(7 accentuated d7na"ic s#adesF natura((7, ;7 se(ection and contrast of ti";res, strengt#ening of resonance ;7 dou;(ing, trip(ing, etc*, or crossing of parts %=io(once((os a;o=e t#e =io(as and =io(ins, c(arinets or o;oes a;o=e t#e f(utes, ;assoons a;o=e t#e c(arinets etc** Me(od7 p(anned in t#e upper parts stands out fro" t#e =er7 fact of position a(one, and (i3eise, to a (ess degree #en it is situated in t#e (o register* In t#e "idd(e of t#e orc#estra( range it is not so pro"inent and t#e "et#ods referred to a;o=e co"e into operation* @#e7 "a7 a(so ;e e"p(o7ed for to part "e(od7 %in t#irds and si!t#s and for po(7p#onic riting*
Meldy in stringed instr'(ents+ Instances of t#e "e(odic use of stringed instru"ents are innu"era;(e* @#e reader i(( find "an7 e!a"p(es in t#e present treatise* .it# t#e e!ception of t#e dou;(e ;asses,—du(( in tone and of (itt(e f(e!i;i(it7, c#ief(7 e"p(o7ed in unison or in octa=es it# t#e =io(once((os,—eac# of t#e ot#er stringed instru"ents, ta3en independent(7, is qua(ified to assu"e fu(( responsi;i(it7 for t#e "e(odic (ine* a3 Vilins+
Me(od7 in t#e soprano0a(to register and an e!tra0#ig# co"pass usua((7 fa((s to t#e (ot of t#e 1st Vio(ins, so"eti"es to t#e 2nd Vio(ins or to ;ot# in unison, a process #ic# produces fu((er resonance it#out i"pairing qua(it7 of tone*
*,amples5 The Tsar6s 3ride &> *[] — ianissimo "e(od7 %Vns I of a
050trou;(ed
dra"atic c#aracter* 6ar"onic acco"pani"ent %Vns II and Vio(as tremolando —"idd(e partsF t#e Vio(once((os for"ing t#e ;ass*
42
)ntar , ;efore 5: *—?escending "e(odic p#rase, Vns I con sordini piano *
Ao* 1* Shéhérazade 2nd "o=e"ent - * $ piano "e(od7 %Vns I gracefu( in c#aracter* )ntar 12 * Dig#t gracefu( "e(od7, orienta( in st7(eF a dance "easure %Vn s I con sord%,
t#e "utes producing a du(( et#erea( qua(it7 of tone* Ao* 2* The $egend of the 'nvisi&le City of Kitesh 2& * Ao* * Spanish Capriccio J * Vns I in t#e upper register dou;(ing t#e #ig# register of t#e ood0ind* #oice resonance* b3 Vilas+
Me(od7 in t#e a(to0tenor register and a sti(( #ig#er co"pass is assigned to t#e =io(as* Canta&ile "e(odies #oe=er are not so frequent(7 ritten for =io(as as for =io(ins and 'ce((os, part(7 ;ecause t#e =io(a tone is s(ig#t(7 nasa( in qua(it7 and ;etter fitted for s#ort c#aracteristic p#rases, part(7 ;ecause t#e nu";er of =io(a p(a7ers in an orc#estra is s"a((er* Me(odies confided to t#e =io(as are genera((7 dou;(ed ;7 ot#er strings or ;7 t#e ood0ind* *,amples5
Ao* >* an 0oyevoda, duet in $ct II 1>) * $ (ong canta&ile "e(od7 in t#e =io(as, dolce, in unison it# t#emezzo soprano =oice* Ao* )* The Golden Cockerel 19 *—B(oing canta&ile * Ao* * Sadko% +7"p#onic ta;(eau 12 *—Muted =io(as* $ s#ort dance t#e"e, piano in +♭ "aHor* %@#e sa"e t#e"e in Eng* #orn 0&0 in t#e t# scene of t#e opera Sadko is s(ig#t(7 "ore penetrating in tone* 03 Viln0ells+
Vio(once((os, representing t#e tenor0;ass range Q an e!tra0#ig# co"pass are "ore often entrusted it# tense passionate canta&ile "e(od7 t#an it# distincti=e figures or rapid p#rases* +uc# "e(odies are usua((7 (aid out for t#e top string % ) #ic# possesses a onderfu((7 ric# Gc#estG qua(it7* *,amples5 )ntar ) * Canta&ile on t#e ) string* )ntar * @#e sa"e "e(od7 in +♭ "aH* on t#e + string %dou;(ed ;7 t#e ;assoons*
43
Ao* 5* an 0oyevoda 1> , nocturne, GMoon(ig#tG* $ ;road "e(od7 dolce ed espressivo, afterards dou;(ed ;7 t#e first =io(ins an octa=e #ig#er* Ao* &* Snegourotchka 21 * $t t#e fift# ;ar, a "e(od7 on t#e ) string canta&ile ed espressivo, i"itating t#e first c(arinet* Ao* 9* Snegourotchka 25> * Me(odic p#rase it# e";e((is#"ents* d3 !'ble basses+
Cing to its register— &asso profondo Q a sti(( (oer co"pass,—and its "uff(ed resonance, t#e dou;(e ;ass is (itt(e capa;(e of ;road canta&ile p#rases and on(7 in unison or in octa=es it# t#e 'ce((os* In "7 on co"positions t#ere is no p#rase of an7 i"portance gi=en to t#e dou;(e ;ass it#out t#e support of 'ce((os or ;assoons* *,amples5
T Ao* 1:* $egend of Kitesh : * ?ou;(e ;ass so(o, dou;(ed first ;7 t#e dou;(e ;assoon, (ater ;7 t#e ;assoon* @#is e!a"p(e affords an instance of t#e rare use of t#e a(to c(ef %in t#e (ast fe notes* T Ao* 11* The Golden Cockerel 12: *—?* ;asses Q ?* ;assoons*090
Gr'*ing in 'nisn+ a Vns I Q Vns II*—It goes it#out sa7ing t#at t#is co";ination entai(s no a(teration in co(ourF it gains in poer and ric#ness of tone ;7 reason of t#e increased nu";er of p(a7ers, and is usua((7 attended ;7 dou;(ing of t#e "e(od7 in so"e depart"ents of t#e ood0ind* @#e (arge nu";er of =io(ins pre=ents t#e ood0ind predo"inating, and t#e tone qua(it7 re"ains t#at of t#e string quartet, enric#ed and a"p(ified*
*,amples5
Ao* 12* Shéhérazade , ;eginning of t#e t#ird "o=e"ent* Canta&ile for Vns I and II on t#e + string, t#en on t#e )* The May Night , o=erture ? * Uuic3 piano "e(od7, ;eginning canta&ile and di=ided
(ater in octa=es Vns I
&
44
%
]
Vns II
it# f(orid e";e((is#"ent* Ao* 1* The Golden Cockerel 15: *—Vns I Q II "uted* ; Vio(ins Q Vio(as*—@#e co";ination of =io(ins and =io(as presents no specia( c#aracteristics, as in t#e preceding case* @#e =io(ins re"ain predo"inant, and t#e resonance is ric# and fu((* *,amples5
Ao* 1>* Sadko 2:& *—Vns I Q II Q Vio(as %G string* Uuiet canta&ile "e(od7 pp, in unison it# t#e a(tos and tenors of t#e c#orus* @#e Golden Cockerel 1>2 *—+a"e co";ination* c Vio(as Q 'e((os*—Produces a ric# fu(( resonance, t#e 'ce((o qua(it7 predo"inating* *,amples5
Ao* 1)* Snegourotchka ) *—$pparition of +pring* Vio(as Q 'e((os Q Eng* #orn* @#e sa"e "e(od7, mezzo-forte canta&ile as in E!* 9F ;ut in a ;rig#ter 3e7, a t#ird #ig#er, its resonance is "ore ;ri((iant and tense* @#e addition of t#e Eng* #orn "a3es no essentia( difference to t#e co"pound toneF t#e 'ce((os stand out a;o=e t#e rest* Ao* 1* The Golden Cockerel 51 * Vio(as Q 'e((os "uted*0>:0 d Vio(ins Q 'e((os*—$ co";ination si"i(ar to t#e preceding one* @#e 'ce((o tone pre=ai(s and t#e resonance is fu((er* *,amples5
Ao* 15* Snegourotchka 2&& * G+pring descends upon t#e (a3eG* Vns I Q Vns II Q 'e((os Q Eng* #orn* @#e sa"e canta&ile as in E!* 9, and 1)* @#e Eng* #orn is a;sor;ed in t#e "usica( te!ture, t#e principa( co(our ;eing t#at of t#e 'ce((os* +ti(( "ore poerfu( in resonance* Ao* 1&* The May Night% $ct III D * #orus of ouss.lki* @#e co";ination of t#e so(o 'ce((o it# t#e =io(ins gi=es t#e (atter a touc# of t#e 'ce((o ti";re* e Vns I Q II Q Vio(as Q 'e((os*—o";ining =io(ins, =io(as and 'ce((os in unison is not possi;(e e!cept in t#e a(to0tenor registerF t#is process unites t#e fu(( resonance of t#e
45
instru"ents into an ensem&le of co"p(e! qua(it7, =er7 tense and poerfu( in forte passages, e!tre"e(7 fu(( and ric# in piano* *,amples5
Ao* 19* Shéhérazade , 2nd "o=e"ent P *—Energetic p#rase ff * Mlada, Dit#uanian dance, ;efore * Mlada, $ct III* >: *—(eopatra's dance* Canta&ile e";e((is#ed in orienta( fas#ion*
f Vio(once((os Q ?* ;asses*—$ co";ination of ric# fu(( resonance, used occasiona((7 for p#rases in t#e =er7 (o register* *,amples5
Ao* 2:* Sadko 2: *—$ persistent forte figure, se=ere in c#aracter* Ao* 21* $egend of Kitesh 2>: *—$ pianissimo p#rase, sinister and #orri;(e in c#aracter*
Stringed instr'(ents d'bling in 0taes+ a Vns I and Vns II in octa=es* @#is is a =er7 co""on process used for a(( 3inds of "e(odic figures, in particu(ar t#ose in t#e =er7 #ig# register* It #as a(read7 ;een stated t#at t#e * string di"inis#es in fu(ness of tone0>10 t#e #ig#er it ascends fro" t#e (i"its of t#e soprano =oice* Moreo=er, "e(odic figures in t#e =er7 #ig# register of t#e =io(ins ;eco"e too iso(ated fro" t#e rest of t#e ensem&le un(ess dou;(ed in octa=es* +uc# dou;(ing secures e!pression, fu(ness of tone and fir"ness of ti";re* @#e reader i(( find nu"erous e!a"p(es of =io(ins in octa=esF a fe are added ;e(o, c#ief(7 ;road and e!pressi=e p#rases* *,amples5
Ao* 22* The Tsar6s 3ride 1 * Canta&ile# piano% The Tsar6s 3ride 2: * Canta&ile# mezzo-piano F t#e (oer part is in unison it# t#e
soprano =oice* Shéhérazade , rd "o=e"ent J * Canta&ile in G "aHorF dolce and canta&ile %t#e sa"e
as E!* 12* Ao* 2* The $egend of Tsar Saltan 225 * Me(od7 it# reiterated notes, dolce# espress% e canta&ile *
46
Sadko , +7"p#onic ta;(eau 12 *
Vns I Vns II
]
&
"uted* $ s#ort dance p#rase pianissimo, gi=en first to t#e =io(as, t#en to t#e =io(ins %cf* E!* * Ao* 2>* Sadko, opera 2:5 * Per#aps an unique e!a"p(e of its 3indF =io(ins p(a7ing in t#e =er7 e!tre"it7 of t#e #ig# register* Note% @#is passage is difficu(t ;ut ne=ert#e(ess quite p(a7a;(e* Cne or to des3s of
t#e 1st Vio(ins are sufficient to dou;(e t#e "e(od7 in t#e upper octa=e, a(( t#e ot#er 1st Vio(ins can p(a7 t#e octa=e ;e(o* In t#is a7 t#e piercing qua(it7 of t#e #ig#est notes i(( ;e di"inis#ed, t#e "e(od7 i(( acquire a c(earer and "ore p(easant sound, and t#e e!pressi=e tone qua(it7 of t#e (oer octa=e i(( ;e strengt#ened* TThe Golden Cockerel 1) * T G G G 1) * T )ntar , 1st "o=e"ent 11 * T Ao* 2)* 'van the Terri&le, $ct III * ; Vio(ins divisi in octa=es* Birst and second =io(ins di=ided in to parts and progressing in octa=es i(( depri=e t#e "e(od7 of resonance, since t#e nu";er of p(a7ers is di"inis#ed ;7 #a(f, t#e consequences ;eing specia((7 noticea;(e in s"a(( orc#estras* Ae=ert#e(ess t#e "et#od can ;e used occasiona((7 #en t#e strings are dou;(ed ;7 t#e ood0ind, and #en t#e "e(od7 fa((s in a sufficient(7 #ig# register*0>20 *,amples5 Snegourotchka 1 *—
Vns I Vns II
]
&
mezzo-forte espressivo * Partia( dou;(ing of oupa=a's song %+opr** Cne f(ute and one
o;oe dou;(e t#e "e(od7* Ao* 2* Snegourotchka 2& *—#orus of B(oers—
47
2 Vns so(i Vns I Q B(* I
]
&*
ianissimo canta&ile in to octa=es, progressing it# t#e o"en's c#orus %+opr* I, and
gi=en out ear(ier ;7 t#e Eng* #orn* @#e f(ute and a(( t#e 1st Vio(ins e!cept to p(a7 in t#e (oer octa=e, t#e to so(o =io(ins, on(7, in t#e upper* @#e so(o des3 i(( ;e sufficient(7 pro"inent oing to t#e genera( pianissimo* c Vio(ins and Vio(as in octa=es* Birst and second Vio(ins progressing it# t#e Vio(as in octa=es is a co""on "et#od, especia((7 #en t#e (oer octa=e in t#e "e(od7 #appens to go ;e(o t#e open G string on t#e =io(ins*
]
Vns %I or II Vio(as
1*
&*
*,ample5 Snegourotchka 15 , fina(e of $ct I* Uuic3 "e(od7, piano*
2*
Vns I Q II Vio(as
]
Vns I Vns II Q Vio(as
& and *
]
&*
@#ese to distri;utions are not e!act(7 t#e sa"e* @#e first s#ou(d ;e used to o;tain greater ;ri((iance in t#e upper part, t#e second to gi=e t#e (oer part a fu((er and "ore canta&ile qua(it7* *,amples5
Ao* 25* Sadko, ;efore 1&1 *— Vns I Q II Vio(as
]
&*
Uuic3 ani"ated passage, forte, introducing reiterated notes* Ao* 2&* Snegourotchka 15 , fina(e to $ct I— Vns I Vns II Q Vio(as Canta&ile p#rase, trans"itted to t#e f(ute and c(arinet %cf* E!* &*
d Vio(as and Vio(once((os in octa=es*
]
&*
48
Cf specia( use #en t#e Vio(ins are ot#erise e"p(o7ed* *,ample5
T $egend of Kitesh )9 ,
]
Vio(as e((os
&,
dou;(ed ;7 ;assoons* e Vio(ins and Vio(once((os in octa=es* sed in =er7 e!pressi=e passages #ere t#e 'ce((os #a=e to p(a7 on t#e ) or + strings* @#is "et#od produces a "ore resonant tone t#an t#e preceding oneF instances of it are frequent*0>0 *,amples5
Ao* 29* )ntar > *— Vns I Q Vns II 'e((os
]
&*
Canta&ile of Eastern origin* Shéhérazade , rd "o=e"ent 6 *—
]
Vns I 'e((os
&*
Canta&ile mezzo-forte appassionato %cf* E!* 1*
T Ao* :* Shéhérazade , rd "o=e"ent, ;efore P — Vns I Vns II Q 'e((os
]
& and
Vns I Q II 'e((os
]
@#e first arrange"ent is rare(7 found* an 0oyevoda 1> , nocturne GMoon(ig#tG—
Vns I 'e((os Canta&ile "e(od7 gi=en first to 'ce((os a(one %cf* E!* 5*
]
&*
&*
49
The May Night , $ct III -, , ? —
Vns I Q Vns II 'e((os
]
&*
$ forte "e(odic p#rase* f Vio(once((os and ?ou;(e ;asses in octa=es* @#e ;ass is usua((7 constructed in t#is "anner* E!a"p(es of it are to ;e found e=er7#ere* +o"eti"es t#e dou;(e ;ass part is si"p(ified in co"parison it# t#e 'ce((o part* *,ample5 *,ample5 Snegourotchka 9 , Bair7 +pring's )ria*
g Vio(as and ?ou;(e ;asses in octa=es* @#is co";ination se(do" arises and is on(7 used #en t#e 'ce((os are ot#erise e"p(o7ed* *,ample5 *,ample5
Ao* 1* $egend of of Kitesh 22 * # Parts progressing in octa=es, eac# part dou;(ed in unison* Me(odies situated in t#e "idd(e orc#estra( range "a7 ;e a((otted to 1st and and 2nd Vns, in octa=es it# Vio(as and 'e((os* @#is arrange"ent is constant(7 found, and produces a ;eautifu( qua(it7 of tone, so"e#at se=ere in c#aracter* *,amples5 *,amples5 Snegourotchka )& , : , ) and & * @#e sa"e "e(od7, p(a7ed tice pianissimo, not
dou;(ed, t#en tice %mezzo-forte and forte, dou;(ed in t#e ood0ind*0>>0 Mlada, $ct II, t#e ;eginning of t#e Dit#uanian dance* $ (i=e(7 piano t#e"e* 'van the Ter Terri&le ri&le, $ct II 2& * Note '% It "a7 ;e of use to point out t#at "e(odies (7ing in t#e e!tre"e upper register,
e*g* t#ose e!ceeding e!ceeding t#e "idd(e of t#e ) t# octa=e, are genera((7 dou;(ed an octa=e ;e(o, ;e(o, #i(st t#ose situated in t#e e!tre"e (o register %;e(o t#e "idd(e of t#e 1 st octa=e are dou;(ed an octa=e #ig#er* *,amples5 *,amples5
50
2>* Sadko 2:5 %cf* E!* 2>* Note ''% Progression in octa=es of di=ided strings of the same kind is genera((7 to ;e
a=oided/ Vio(as I Vio(as II,
'e((os I 'e((os II,
]
?* ;asses I ?* ;asses II
&,
for, in suc# cases t#e parts are p(a7ed on strings #ic# do not correspond, and unit7 of tone is i"paired* @#is, #oe=er, does not app(7 to =io(ins* Note '''% @#e fo((oing distri;ution is occasiona((7 found/
Vio(as Q 'e((os I
]
?* ;asses Q 'e((os II
&*
Meldy in d'ble 0taes+
a
Vns I Vns II Vio(as
%
&
]
&
Vns I Vns II 'e((os
or
%
&
]
&
"a7 ;e used for fu(( canta&ile "e(od e(odie iess e!tre !tre" "e(7 e(7 tens tensee in c# c#ar arac acte terr, an andd in forte passages for c#oice* *,ample5 *,ample5
Ao* 2* )ntar ) *— Vns I Vns II Vio(as Q 'e((os
; Vio(as 'e((os ?* ;asses
%
]
Vns I Q II or Vio(as Q'e((os & ?* ;asses &
%
]
%
&*
]
&*
Vns I Q II Q Vio(as or 'e((os & ?* ;asses &
%
&
]&
are e"p(o7ed #en t#e (o register of eac# instru"ent is ;roug#t into p(a7, and a(so to suit p#rases of a roug# and se=ere c#aracter* *,amples5 *,amples5 $egend of Kitesh , opening of t#e 2 nd $ct*
51
Ao* * Snegourotchka 21) * @u";(ers' dance*0>)0 Note% @#e (ac3 of ;a(ance in t#e distri;ution/
Vns I Q II QVio(as 'e((os ?* ;asses
%
&
]
&
is not of an7 great i"portance, for, in suc# cases, t#e partia( #ar"onics of one octa=e support t#e tone of t#e ot#er, and vice versa* !'bling in three and /'r 0taes+
@#e distri;ution
] & ] & ] & ] &
Vns I Vns II Vio(as 'e((os ?* ;asses
is =er7 se(do" found, and as a ru(e, on(7 #en supported ;7 ind instru"ents* *,amples5 *,amples5 The $egend of Kitesh 1): %allargando*
T Shéhérazade , >t# "o=e"ent, co""encing at t#e 1:t# ;ar* Vns I Vns II Vio(as Q 'e((os ?* ;asses
] ] ]
&*
Meldy in thirds and si)ths+
In confiding a "e(od7 in t#irds to t#e strings it is frequent(7 necessar7 to use t#e sa"e qua(it7 of tone in ;ot# parts, ;ut in t#e case of a "e(od7 in si!t#s different different ti";res "a7 ;e e"p(o7ed* In riting t#irds dou;(ed in octa=es, t#e first and second =io(ins s#ou(d ;e used* In spite of t#e difference in t#e quantit7 of p(a7ers, t#e t#irds i(( not sound unequa(* @#e sa"e arrange"ent "a7 o;tain in t#e =io(a and 'ce((o groups, ;ut it is use(ess in t#e case of "e(od7 in si!t#s* *,amples5 *,amples5
52
T Ao* >* $egend of Kitesh > — Vns I div% Vns II div%
]
&*
T $egend of Kitesh 9 —
]
Vns I Vio(as
*
f* a(so $egend of Kitesh 22 / Vns I Vns II Vns I Vns II
]
& %E!* 1*
?istri;ution in octa=es, t#irds, and si!t#s is usua((7 regu(ated ;7 t#e nor"a( register of t#e respecti=e instru"ents, so as to a=oid 0>0 an7 suggestion of "anneris" resu(ting fro" t#e distur;ance of ;a(ance* -ut suc# a departure fro" t#e recognised order "a7 ;e per"itted in specia( cases* Bor instance, in t#e fo((oing e!a"p(e of riting in si!t#s t#e upper part is a((otted to t#e 'ce((os, t#e (oer part to t#e =io(ins on t#e G stringF t#is arrange"ent produces a qua(it7 of tone distinct(7 origina( in c#aracter* *,ample5
Ao* )* Spanish Capriccio ? — 'e((os Vns I Q II
]
*
Meldy in the .d-.ind+ T @#e c#oice of instru"ents for c#aracteristic and e!pressi=e "e(od7 is ;ased on t#eir distincti=e qua(ities, discussed "inute(7 in t#e foregoing c#apter * @o a (arge e!tent t#e question is (eft to t#e orc#estrator's on persona( taste* Cn(7 t#e ;est "et#ods of using t#e ood0ind in unison or octa=es, and distri;uting a "e(od7 in t#irds, si!t#s and "i!ed inter=a(s, fro" t#e standpoint of resonance and tone qua(it7 i(( ;e indicated in t#is section of t#e or3* E!a"p(es of t#e use of so(o ood0ind are to ;e found in an7 scoreF t#e fo((oing are t7pica( instances/ *,amples of solo "ood-"ind5
53
1* iccolo5 Ser&ian 1antasia F Ao* * Tsar Saltan 21 F Snegourotchka )> * 2* 1lute5
)ntar > F Servilia &: F Snegourotchka 59 , 1& F )
1airy
Tale D F The
Christmas Night 1 F Ao* 5* Shéhérazade , >t# "o=e"ent, ;efore $ % 1l% 7 8 in t#e (o
register* 1lute %dou;(e tonguing/ an 0oyevoda 52 F Shéhérazade , > t# "o=e"ent, after V F Ao*
&* 'van the Terri&le, $ct III, after 1: * * 3ass flute/ Ao* 9* $egend of Kitesh >> * >* !&oe/ Ao* >:* Shéhérazade , 2nd "o=e"ent $ F The May Night , $ct III 83 F Ao* >1* Snegourotchka ): FSnegourotchka 112 , 29 F The Tsar6s 3ride 1:& %cf* E!* 2&>, Ao* >2 and >* The Golden Cockerel )5 and 95 * )* *ng% horn5 Snegourotchka 95 , 2& %cf* E!* 2F Ao* >>* Spanish Capriccio E F Ao* >)* The Golden Cockerel 1 *0>50 * Small Clarinet / Ao* >* Mlada, $ct II F Mlada, $ct III 5 * 5* Clarinet5 Ser&ian 1antasia < F Spanish Capriccio $ F Snegourotchka 9: , 99 , 22> , 225 , 21 %cf* E!* &FThe May Night , $ct I, ;efore F Shéhérazade , rd "o=e"ent ? F ) 1airy Tale M F The Tsar6s 3ride ): , 2: F The Golden Cockerel 95 %(oest register, cf* E!* >* &* 3ass clarinet / Ao* >5 and >&* Snegourotchka 2> and 2>02>5 * 9* 3assoon5 )ntar )9 F Ao* >9* 0era Scheloga F Shéhérazade , 2nd "o=e"ent, ;eginning %cf* E!* >:F Ao* ):* The Golden Cockerel 2>9 F Ao* )1* Mlada, $ct III, after 29 F cf* a(so E!* 5&* 1:* +ou&le &assoon5 $egend of Kitesh , ;efore &> , 2&9 F cf* a(so E!* 1: %?* ;assoon Q ?* ;ass so(o* @#e nor"a( order of ood0ind instru"ents and t#at #ic# produces t#e "ost natura( resonance is t#e fo((oing/ 1lutes, !&oes, Clarinets , 3assoons %t#e order used in orc#estra( fu(( scores* ?eparture fro" t#is natura( order, e*g* p(acing ;assoons a;o=e c(arinets and o;oes, or f(utes ;e(o o;oes and c(arinets, and especia((7 ;e(o t#e ;assoons, creates a far0fetc#ed, unnatura( tone, usefu(, #oe=er, in certain cases to attain certain specia( effects* I do not ad=ise t#e student to "a3e too free a use of t#is proceeding* &(binatin in 'nisn+
54
@#e co";ination of to different ood0ind instru"ents in unison 7ie(ds t#e fo((oing tone qua(ities/ a 1lute 9 !&oe% $ qua(it7 fu((er t#an t#at of t#e f(ute, seeter t#an t#at of t#e o;oe* P(a7ed soft(7, t#e f(ute i(( predo"inate in t#e (o, t#e o;oe in t#e upper register* E!a"p(e/ Ao* )2* Snegourotchka 11 * ; 1lute 9 Clarinet% $ qua(it7 fu((er t#an t#at of t#e f(ute, du((er t#an t#at of t#e c(arinet* @#e f(ute i(( predo"inate in t#e (oer, t#e c(arinet in t#e #ig#er register* E!a"p(es/ Ao* )* $egend of Kitesh : F a(so 9 and >2 * c !&oe 9 Clarinet% $ fu((er qua(it7 t#an t#at of eit#er instru"ent #eard separate(7* @#e dar3, nasa( tone of t#e o;oe i(( pre=ai( in t#e (o register, t#e ;rig#t, Gc#estG qua(it7 of t#e c(arinet in t#e #ig# co"pass* E!a"p(es/Snegourotchka 19 F Ao* )>* Snegourotchka 0 >&0 11) * f* a(so $egend of Kitesh & , 5: , &> —2 C;* Q (* %E!* 19902:1* d 1lute 9 !&oe 9 Clarinet% Ver7 fu(( in qua(it7* @#e f(ute predo"inates in t#e (o register, t#e o;oe in t#e "idd(e, and t#e c(arinet in t#e #ig# co"pass* E!a"p(es/ Mlada, $ct I 1 F T Sadko )& %2 B(* Q 2 C;* Q +"a(( (** e 3assoon 9 Clarinet% Ver7 fu(( qua(it7* @#e g(oo"7 c#aracter of t#e c(arinet pre=ai(s in t#e (oer register, t#e sic3(7 qua(it7 of t#e ;assoon in t#e #ig#er* E!a"p(e/ Mlada, $ct II, after >9 * f 3assoon 9 !&oe, and g 3assoon 9 1lute% @#e
co";inations f and g , as e(( as 3assoon 9 Clarinet 9 !&oe, and 3assoon 9 Clarinet 9 1lute are =er7 se(do" found e!cept in certain orc#estra( tutti, #ere t#e7 produce increased resonance it#out creating a fres# at"osp#ere* -ut in suc# co";inations, t#e range of #ic# is practica((7 restricted to t#e (i"its of t#e t#ird octa=e, t#e (o notes of t#e f(ute i(( predo"inate in t#e (oer t#ird of t#is register, and t#e #ig# notes of t#e ;assoon in t#e "idd(e t#ird* @#e c(arinet, ea3 in t#e "idd(e co"pass i(( not stand out pro"inent(7 in t#is particu(ar co";ination* # 3assoon 9 Clarinet 9 !&oe 9 1lute% @#is co";ination is equa((7 rare* @#e co(our is ric#, and difficu(t to define in ords* @#e tone of eac# instru"ent i(( ;e separated fro" t#e ot#ers "ore or (ess in t#e "anner detai(ed a;o=e* E!a"p(es/ ussian *aster 1:te, t#e ;eginningF Ao* ))* Snegourotchka :1 F The May Night , $ct III Uqq *
55
@#e process of co";ining to or "ore qua(ities of tone in unison, #i(e endoing t#e "usic it# greater resonance, seetness and poer, possesses t#e disad=antage of restricting t#e =ariet7 of co(our and e!pression* Indi=idua( ti";res (ose t#eir c#aracteristics #en associated it# ot#ers* 6ence suc# co";inations s#ou(d ;e #and(ed it# e!tre"e care* P#rases or "e(odies de"anding di=ersit7 of e!pression a(one s#ou(d ;e entrusted to so(o instru"ents of si"p(e ti";res* @#e sa"e app(ies to t#e coup(ing of to instru"ents of t#e sa"e 3ind, suc# as 2 f(utes, 2 o;oes, 2 c(arinets, 2 ;assoons* @#e qua(it7 of tone i(( (ose not#ing of its indi=idua(it7, and i(( gain in poer, ;ut its capacit7 for e!pression i(( ;e di"inis#ed according(7* $n0>90 instru"ent enHo7s greater independence and freedo" #en used as a so(o t#an #en it is dou;(ed* @#e use of dou;(ing and "i!ed ti";res is natura((7 "ore frequent in (oud passages t#an in soft ones, a(so #ere e!pression and co(our is ;road rat#er t#an indi=idua( or inti"ate in c#aracter* I cannot refrain fro" "entioning #o great(7 I dis(i3e t#e "et#od of dup(icating a(( t#e ood0ind, in order to ;a(ance a group of strings, reinforced out of a(( reason, to suit t#e e=er0groing di"ensions of concert #a((s* I a" con=inced t#at, artistica((7 spea3ing, a (i"it s#ou(d ;e set to t#e si4e of ;ot# concert roo" and orc#estra* @#e "usic perfor"ed at t#ese super0concerts "ust ;e specia((7 co"posed on a p(an of its on—a su;Hect #ic# cannot ;e considered #ere* &(binatin in 0taes+
.#en t#e "e(od7 is entrusted to to ood0ind instru"ents in octa=es, t#e usua( arrange"ent producing natura( resonance is/ &
[
B(* C;*
B(* (*
B(* Bag*
C;* (*
C;* Bag*
(* Bag*
]
&
@#e co";ination of f(ute and ;assoon in octa=es is rare on account of t#e ide(7 separated registers of t#e to instru"ents* ?e=iation fro" t#e natura( order, suc# as p(acing t#e ;assoon a;o=e t#e c(arinet or o;oe, t#e c(arinet a;o=e t#e o;oe or f(ute etc*, creates an unnatura( resonance occasioned ;7 t#e confusion of registers, t#e instru"ent of (oer co"pass p(a7ing in its #ig# register and vice versa* @#e (ac3 of proper re(ations#ip ;eteen t#e different tone qua(ities t#en ;eco"es apparent* *,amples5
Ao* )* Spanish Capriccio C — B(* C;*
]
&*
56
Ao* )5* Snegourotchka 2)> — B(* Eng* #orn
]
&*
T Ao* )&* Shéhérazade , rd "o=e"ent E —
]
B(* (*
&*
Sadko 19) —
]
B(* Eng* #orn
&*
an 0oyevoda 12 —
]
B(* (*
&*
Tsar Saltan 9 —
(* Bag*
]
&*
]
&,
Ao* )9* 0era Scheloga : — (* Bag*
(i3eise an7 nu";er of e!a"p(es in t#e scores of =arious co"posers* @#e use of to instru"ents of t#e sa"e co(our in octa=es, e*g* 2 f(utes, 2 c(arinets or 2 ;assoons etc*, if not e!act(7 to ;e a=oided 0):0 is certain(7 not to ;e reco""ended, as t#e instru"ents, p(a7ing in different registers i(( not correspond one it# t#e ot#er* Ae=ert#e(ess t#is "et#od "a7 ;e safe(7 e"p(o7ed #en stringed instru"ents, arco or pizzicato dou;(e t#e to "e";ers of t#e ood0ind, and especia((7 in t#e "idd(e co"pass* @#e process is "ost satisfactor7 for repeated notes or sustained passages* *,amples5 The May Night , $ct I @ —
57
]
(* I (* II
&*
T Sadko, after 1)9 —
]
C;* I C;* II
, dou;(ed ;7 pizz% strings*
T Servilia , after 21 — Bag* I Bag* II
]
& Q pizz% strings*
Instru"ents of t#e sa"e ;ranc# p(a7ing in octa=es, e*g* &
[
Bag* 0Bag*
(* (* ;asso
C;* Eng* #orn
+"a(( c(* (ar*
B(ute $(to B(*
Picc* B(*
a(a7s produce a good effect* *,amples5 Snegourotchka ) —
Picc* B(*
]
& %cf* E!* 1)*
The Tsar6s 3ride 1 —
Picc* B(*
]
&*
Tsar Saltan 21 —
Picc* B(*
]
& %cf* E!* *
Sadko , after )9
+"a(( c(* (* $egend of Kitesh 2>: —
]
&*
]
&
58
]
Bag* 0Bag*
& %cf* E!* 21*
Ao :* Mlada, $ct III, ;efore >> —
]
C;* Eng* #orn
&*
$s in t#e strings, so in t#e ood0ind it is ad=isa;(e to dou;(e in octa=es an7 "e(od7 situated in t#e e!tre"e(7 #ig# or (o co"passF an octa=e (oer in t#e first case, an octa=e #ig#er in t#e second* @#us t#e picco(o i(( ;e dou;(ed ;7 t#e f(ute, o;oe or c(arinet an octa=e (oerF t#e dou;(e ;assoon i(( ;e dou;(ed ;7 ;assoon, c(arinet or ;ass c(arinet an octa=e #ig#er*
[
& &
[
Picc* B(*
Bag* 0Bag*
-ass c(* Bag*
Picc* C;* (* Bag*
Picc* (* (* -ass c(*
Bag* Bag*
]
&
Bag* -ass c(*
]
&
*,amples5
T Tsar Saltan 9 — Picc* C;*
]
&*
T Ao* 1* Mlada, $ct II, Dit#uanian dance 2 — Picc* +"a(( c(*
]
&*
]
&*
0)10
Sadko 1): —
Picc* +"a(( c(*
T Mi!ed qua(ities of tone "a7 ;e e"p(o7ed in dou;(ing in octa=es, t#e a;o=e re"ar3s sti(( #o(ding good* *,amples5 an 0oyevoda 1> —
59
(* Q C;* (* Q Eng* #orn
]
& %cf* E!* 5*
Ao* 2* Servilia 1& — 2 B(* Q C;* 2 (* Q Eng* #orn
]
&*
Ao* * The Tsar6s 3ride 12: — B(* Q C;* 2 (* Q Bag* Q Eng* #orn
]
&*
Mlada, $ct III >1 —
B(* Q -ass f(* (* Q -ass c(*
]
&*
!'bling in t.; three and /'r 0taes+
In suc# cases t#e student s#ou(d fo((o t#e a;o=e0"entioned ru(es, and s#ou(d ta3e care not to infringe t#e natura( order/ In octa=es/
B(* C;* (*
C;* (* Bag*
B(* (* Bag*
B(* C;* Bag*
B(* C;* (* Bag*
In > octa=es/
] & ] & ] &*
Mi!ed ti";res "a7 a(so ;e e"p(o7ed* *,amples5
Ao* >* Spanish Capriccio P —"e(od7 in > octa=es/ Picc* 2 B(* 2 C;* Q (*
] & ] &*
] & ] & ] &*
60
Bag* The Tsar6s 3ride 1>1 —"e(od7 in octa=es*
T $egend of Kitesh 212 — 2 (* -ass c(* ?* ;assoon
] & ] &*
T Ao* )* )ntar , %1st =ersion rd "o=e"ent, t#e ;eginning— Picc* Q 2 B(* 2 C;* Q 2 (* 2 Bag*
] & ] &F
a(so , "e(od7 in > octa=es %picco(o in t#e upper octa=es* T Mlada, $ct III, after >2 — B(* C;* Eng* #orn
] & ] &*
Ao* * Shéhérazade , rd "o=e"ent < — Picc* (* I (* II
] & ] &*
E!a"p(es of "e(od7 dou;(ed in fi=e octa=es are e!tre"e(7 rareF in suc# cases t#e strings participate in t#e process*0)20 Meldy in thirds and si)ths+
Me(odic progression in t#irds and si!t#s de"ands eit#er to instru"ents of t#e sa"e co(our %2 B(*, 2 C;*, 2 (*, 2 Bag*, or instru"ents of different co(ours in t#e nor"a( order of register/ B(* C;*
B(* (*
C;* (*
If t#is order is in=erted, e*g*
(* Bag*
C;* Bag*
]
%*
61
C;* B(*
(* B(*
]
Bag* (*
%,
a strained and forced resonance is created* Bor progressions in t#irds, t#e ;est "et#od, fro" t#e standpoint of equa(it7 in tone is to use instru"ents of t#e sa"e 3ind in pairsF for progressions in si!t#s instru"ents of different 3inds are "ore suita;(e, ;ut ;ot# courses are good and usefu(* @#e7 "a7 a(so ;e e"p(o7ed for progressions in t#irds and si!t#s, or t#irds, fift#s and si!t#s "i!ed, as for e!a"p(e/
*,amples5 *,amples5 $egend of Kitesh 2> —different ind instru"ents in turn* The May Night , $ct III < —
(* (*
]
*
Sadko 25902&: —
B(* B(*
]
%*
Ao* 5* Spanish Capriccio , ;efore V —=arious ood0ind in t#irds and si!t#s* Servilia 22& —
B(* B(*
]
(* (*
and
]
*
The Golden Cockerel 22 —
2 B(* 2 C;*
]
*
T Sadko > —$(( ood0ind in turn, si"p(e ti";res* .#en t#e dou;(ed parts progress in t#irds or si!t#s, t#e fo((oing "et#od is ad=isa;(e/
62
B(* Q C;* B(* Q C;* B(* Q C;* B(* Q (*
] ]
%
B(* Q (* or B(* Q (*
%
C;* Q B(* or B(* Q (*
] ]
% etc*, as e(( as/ % etc*
In t#e case of trip(ing t#e fo((oing arrange"ent "a7 ;e adopted/ B(* Q C;* Q (* B(* Q C;* Q (*
]
C;* Q 2 B(* or C;* Q 2 (*
%
]
% etc*
*,amples5 *,amples5
T Ao* &* The Christmas Night 1&5 — C;* Q (* C;* Q (*
]
T $egend of of Kitesh 2:202: different "i!ed ti";res* 0)0 Thirds and si)ths tgether+ tgether+
$part fro" t#e o;=ious distri;ution/ B(* C;* (*
C;* (* Bag*,
or
t#ere are certain co"p(icated "et#ods #ic# in=o(=e dou;(ing/ pper Midd(e Doer
C;* Q B(* B(* Q (* C;* Q (*
part* G G
@#e fo((oing is a co"p(e! instance so"e#at =ague in c#aracter/ Ao* 9* Degend 9* Degend of 8ites# ) — C;* C;* Q (*
and
B(* B(* Q C;*
*
63
(*
C;*
Meldy in the brass+ @#e natura( sca(e, t#e on(7 one #ic# ;rass instru"ents instru"ents #ad at t#eir disposa( prior to t#e in=ention of =a(=es as/
gi=ing, in to part #ar"on7/
.it# t#e #e(p of r#7t#", t#ese co"ponent parts #a=e gi=en rise to a #o(e series of t#e"es and p#rases na"ed fanfares, tru"pet ca((s or f(ouris#es, ;est adapted to t#e c#aracter of ;rass instru"ents* In "odern "usic, t#an3s to t#e introduction of =a(=es, t#is sca(e is no possi;(e in a(( 3e7s for e=er7 c#ro"atic ;rass instru"ent, it#out it ;eing necessar7 to c#ange t#e 3e7, and t#e addition of a fe notes foreign to t#e natura( sca(e #as enric#ed t#e possi;i(ities of t#ese f(ouris#es and fanfares, and endoed t#e" it# greater =ariet7 of e!pression* @#ese p#rases, eit#er as so(os, or in to or t#ree parts, fa(( specia((7 to t#e (ot of t#e tru"pets tru"pets and #orns, ;ut t#e7 "a7 a(so ;e gi=en to t#e tro";ones* tro";ones* @#e fu((, c(ear, ringing ringing notes of t#e "idd(e and upper register of #orns and tru"pets are ;est suited to figures of t#is description*0)>0 *,amples5 *,amples5 Servilia 2: —@ru"pets*
@ru"pets* The Christmas Night 1&2 —6orn, @ru"pets* 0era Scheloga , ;eginning of C=erture, and after >) —6orn, @ru"pets* @ru"pets* 'van the Ter Terri&le ri&le, $ct III —ornet* Snegourotchka 1)) —@ru"pets*
64
Ao* 5:* $egend of Kitesh ) and e(se#ere*— @ru"pets, > 6orns* an 0oyevoda 191 —2 @ro";ones, @ru"pet*
T The Golden Cockerel 2: —2 6orns and @ru"pets 6orns
]
& %cf* furt#er on*
$fter fanfare figures, t#ose "e(odies ;est suited to t#e ;rass qua(it7 are t#ose of an un"odu(ated diatonic c#aracter, rousing and triu"p#ant in t#e "aHor 3e7, dar3 and g(oo"7 in t#e "inor* *,amples5
Ao* 51* Sadko >2 —@ru"pet* Sadko , ;efore 1&1 —@ro";ones %cf* E!* 25*
Ao* 52* Snegourotchka 51 —@ru"pet* ussian *aster 1:te M —@ro";one* Spanish Capriccio E —$(ternati=e use in t#e #orn of open and stopped notes %cf* E!*
>>* 'van the Terri&le, $ct II, ;efore 15 —-ass tru"pet, and 6orns a (itt(e furt#er on* Mlada, $ct II —-ass tru"pet %cf* E!* >*
@#e genia( and poetic tone of t#e #orn in piano passages affords greater scope in t#e c#oice of "e(odies and p#rases t#at "a7 ;e entrusted to t#is instru"ent* *,amples5 The May Night , C=erture 1 * The Christmas Night 1 * Snegourotchka & * an 0oyevoda 5 *
Ao* 5* )ntar >: *0))0 Me(odies in=o(=ing c#ro"atic or en#ar"onic riting are "uc# (ess suita;(e to t#e c#aracter of ;rass instru"ents* Ae=ert#e(ess suc# "e(odies "a7 so"eti"es ;e a((otted to
65
t#e ;rass, as in t#e "usic of .agner, and t#e "odern Ita(ian rea(ists, #o, #oe=er, carr7 t#e proceeding to e!tre"es* Vigourous p#rases in t#e for" of a fanfare, a(t#oug# introducing c#ro"atic notes sound singu(ar(7 ;eautifu( on t#e ;rass* *,ample5
Ao* 5>* Shéhérazade , 2nd "o=e"ent ? * $s a genera( ru(e, ;rass instru"ents (ac3 t#e capacit7 to e!press passion or genia(it7* P#rases c#arged it# t#ese senti"ents ;eco"e sic3(7 and insipid #en confided to t#e ;rass* Energetic poer, free or restrained, si"p(icit7 and e(oquence constitute t#e =a(ua;(e qua(ities of t#is group* Brass in 'nisn; in 0taes; thirds and si)ths+
$s, fro" its =er7 nature, t#e ;rass is not ca((ed upon to rea(ise a ide range of e!pression, 3indred instru"ents of one group "a7 ;e e"p(o7ed solo, as e(( as in unison* @#e co";ination of tro";ones or > #orns in unison is frequent(7 "et it#, and produces e!tre"e poer and resonance of tone* *,amples5 Snegourotchka ) —> 6orns %cf* E!* 1)* Snegourotchka 199 —> 6orns and 2 @ru"pets* Sadko 15) —1, 2, @ru"pets*
Ao* 5)* Sadko :) [1] — @ro";ones* Ao* 5* The May Night , ;eginning of $ct III—1, 2, , > 6orns* $egend of Kitesh, end of $ct I—> 6orns %cf* E!* 5:*
Ao* 55* Shéhérazade , >t# "o=e"ent p* 2:>— @ro";ones* MladaF Dit#uanian dance— 6orns %cf* E!* 1*0)0
Cing to t#e resonant poer of t#e entire group, t#e equa(it7 and e=en gradation of tone ;eteen t#e dar3 co(our of t#e deep co"pass and t#e ;rig#t qua(it7 of t#e upper register, t#e use of ;rass instru"ents of t#e sa"e 3ind in octa=es, t#irds or si!t#s in=aria;(7 (eads to satisfactor7 resu(ts* Bor t#e sa"e reason t#e e"p(o7"ent of ;rass instru"ents of different 3inds, arranged according to nor"a( order of register/ @ru"pet
@ru"pet
@ro";one
2 @ro";ones
2 @ru"pets
2 6orns
66
2 6orns
@ro";one
@ro";one Q @u;a
@u;a
2 @ro";ones
@u;a
is (i3eise successfu( #et#er t#e instru"ents are dou;(ed or not* $not#er possi;(e "et#od, t#oug# not so re(ia;(e, is to co";ine #orns %a;o=e it# tro";ones, e!c(usi=e(7 in octa=es/
]
2 6orns 1 @ro";one
&
or
]
> 6orns 2 @ro";ones
&*
*,amples5 Sadko , ;efore 12: —
]
@ru"pet @ru"pet
&*
Sadko ) —
]
2 @ru"pets > 6orns
&*
Snegourotchka 222 —
2 @ro";ones @ro";one Q @u;a
]
&*
'van the Terri&le, $ct III 1:
1 @ro";one Q @ru"pet 2 @ro";ones
]
& %cf* E!* &*
The Golden Cockerel 12) —
@ru"pet @ro";one
]
&*
f* a(so Snegourotchka 2)02 — @ro";one @ro";one
]
& %E!* 9)*
Meldy in di//erent gr'*s / instr'(ents 0(bined tgether+ A+ &(binatin / .ind and brass in 'nisn+
67
@#e co";ination of a ood0ind and ;rass instru"ent produces a co"p(e! resonance in #ic# t#e tone of t#e ;rass predo"inates* @#is resonance is natura((7 "ore poerfu( t#an t#at of eac# instru"ent ta3en separate(7, ;ut s(ig#t(7 seeter t#an t#e ;rass instru"ent a(one* @#e tone of t#e ood0ind ;(ends it# t#at of t#e ;rass, softens and rarefies it, as in t#e process of co";ining to ood0ind instru"ents of different co(our* Instances of suc# dou;(ing are fair(7 nu"erous, especia((7 in forte passages* @#e tru"pet is t#e instru"ent "ost frequent(7 dou;(ed/ @ru"pet Q(*, @ru"pet Q C;*, @ru"pet Q B(*, as e(( as @ru"pet Q (* Q C;* Q B(*F0)50 t#e #orn, (ess often/ 6orn Q (*, 6orn QBag* @ro";ones and @u;a "a7 a(so ;e dou;(ed/ @ro";one Q Bag*, @u;a Q Bag* o";ining t#e Eng* #orn, ;ass c(arinet and dou;(e ;assoon it# t#e ;rass, in corresponding registers, presents t#e sa"e c#aracteristics* *,amples5 $egend of Kitesh ) —@ro";one Q Eng* #orn*
T Mlada, $ct III, ;efore > — @ro";ones Q -ass c(* $s a ru(e, t#e addition of a ind to a ;rass instru"ent 7ie(ds a finer (egato effect t#an #en t#e (atter instru"ent p(a7s a(one* B+ &(binatin / .ind and brass in 0taes+
?ou;(ing t#e #orns in octa=es ;7 c(arinets, o;oes or f(utes often rep(aces t#e co";ination 1 @ru"pet 1 6orn %or 2 6orns
]
&*
@#is is done #en it is a question of introducing a ric# tone into t#e upper octa=e #ic# t#e tru"pet is not capa;(e of i"parting* If a sing(e #orn is used, t#e upper part is a((otted to 2 c(arinets, 2 o;oes, or 2 f(utes* -ut if t#ere are to #orns p(a7ing t#e (oer octa=e in unison, t#ree or four ind instru"ents i(( ;e necessar7 a;o=e, especia((7 in forte passages/ &
[
2 C;* or 2 (* or 2 B(* 1 6orn
as e(( as
2 C;* Q 1 (* 1 6orn
]
&F
2 B(* Q 2 (* 2 6orns
] &*
@o dou;(e a tru"pet in t#e upper octa=e t#ree or four ind instru"ents are required, ;ut in t#e top register to f(utes i(( suffice*
68
.ood0ind instru"ents s#ou(d not ;e used to dou;(e a tro";one in t#e octa=e a;o=eF tru"pets are "ore suita;(e* E)a(*les / d'bling in 0taes=
T Snegourotchka 51 — C;* Q (* 6orn
]
&*
T $egend of Tsar Saltan, ;efore 1&: — C;* Q (* C;* Q (* 6orn 6orn
] ]
]
&*
0)&0
T Mention s#ou(d a(so ;e "ade of "i!ed ti";res %ood and ;rass in progression in octa=es*
*,amples5 Mlada, $ct III, ;eginning of +cene III—
@ro";one Q -ass c(* @u;a Q 0fag*
]
Ao* 5&* Mlada, $ct III after 2) — 2 (* Q 2 6orns Q @ro";one -ass c(* Q 2 6orns Q @ro";one Ao* 59* Mlada, $ct III, ;efore ) —genera( unison*
]
& %(o register*
&*
69
.#en it is desired to distri;ute t#e "e(od7 o=er t#ree or four octa=es, it is difficu(t to ac#ie=e perfect ;a(ance of tone* *,amples5
T Shéhérazade , >t# "o=e"ent, 1)t# ;ar after . — Picc* 2 B(* Q 2 C;* 2 @ru"pets
] & ] &*
T $egend of Tsar Saltan 22& — Picc* 2 B(* Q 2 C;* @ru"pet Q Eng* #orn
] & ] &* &+ &(binatin / strings and .ind+
In co""encing t#is section of t#e or3 I consider it necessar7 to (a7 don t#e fo((oing funda"enta( ru(es #ic# app(7 equa((7 to "e(od7, #ar"on7, counterpoint and po(7p#onic riting* $(( co";inations of strings and ood0ind are goodF a ind instru"ent progressing in unison it# a stringed instru"ent increases t#e resonance of t#e (atter and a"p(ifies its tone, #i(e t#e qua(it7 of t#e strings softens t#at of t#e ood0ind* In suc# co";inations t#e strings i(( predo"inate pro=ided t#at t#e to instru"ents are of equa( poer, e*g* #en =io(ins are coup(ed it# an o;oe, a ;assoon it# t#e 'ce((os* If se=era( ind instru"ents p(a7 in unison it# one group of strings, t#e (atter i(( ;e o=erpoered* $s a ru(e a(( co";inations refine t#e c#aracteristics of eac# instru"ent ta3en separate(7, t#e ood0ind (osing "ore t#an t#e strings* +ou&ling in unison%
@#e ;est and "ost natura( co";inations are ;eteen instru"ents #ose registers correspond t#e nearest/ Vns Q B(* %-ass f(*, picc*, Vns Q C;*, Vns Q (* %s"a(( (*F Vio(as Q C;* %Eng* #orn, Vio(as Q (*, Vio(as Q Bag* 'e((os Q (* %-ass c(*, 'e((os Q Bag*F0)90 ?* ;asses Q -ass c(*, ?* ;asses Q Bag*F ?* ;asses Q 0fag*
70
@#e o;Hect of t#ese co";inations is/ a to o;tain a ne ti";re of definite co(ourF ; to strengt#en t#e resonance of t#e stringsF c to soften t#e qua(it7 of t#e ood0ind* *,amples5 Snegourotchka ) —'e((os Q Vio(as Q Eng* #orn %cf* E!* 1)*
G 2& —Vio(as Q C;* Q Eng* #orn* G 11 —Vns I Q II Q C;* Q (* G 2&& —Vns I Q II Q 'e((os Q Eng* #orn %cf* E!* 15* Ao* &:* The May Night , $ct III -; —Vio(as Q (* Ao* &1* Sadko 11 —Vns Q C;* Ao* &2* G 55 —Vio(as Q Eng* #orn* Ao* &* G 12 —Vio(as Q Eng* #orn* Servilia )9 —Vns G string Q B(* Tsar Saltan : —Vns I Q II Q 2 (*
Ao* &>* Tsar Saltan : , 1:t# ;ar*—'e((os Q Vio(as Q (* Q Bag* Tsar Saltan 1)01)9 —Vns detac#ed Q B(* legato * The Tsar6s 3ride 1: Vio(as Q 'e((os Q Bag* )ntar , >t# "o=e"ent —'e((os Q 2 Bag* Shéhérazade , rd "o=e"ent 6 —Vio(as Q C;* Q Eng* #orn* arts dou&led in octaves%
E!a"p(es of strings in octa=es dou;(ed ;7 ood0ind a(so in octa=es are nu"erous, and do not require specia( descriptionF t#e7 are used according to t#e ru(es a(read7 (aid don* @#e fo((oing are e!a"p(es of "e(od7 distri;uted o=er 1, 2, and > octa=es/ *,amples5
Ao* &)* 'van the Terri&le, ;eginning of C=erture—
71
Vns I Q II Q 2 (* Vio(as Q 'e((os Q 2 Bag*
]
&*
Ao* &* Sadko — 'e((os Q -ass c(* ?* ;asses Q 0fag*
]
&*
]
&*
Sadko 1 —
'e((os Q Bag* ?* ;asses Q 0fag* G 2) — Vio(as Q 2 (* 'e((os Q ?* ;asses Q 2 Bag*
]
&*
The Tsar6s 3ride 1> —
'e((os Q Bag* ?* ;asses Q Bag*
]
&*
]
&*
0:0
G G G &1 — Vns I Vns II
Q B(* Q C;*
di=*
G G G 1 — Vns I Q B(* Vns II Q C;*
]
& %cf* E!* 22*
In t#ree and four octa=es/ Servilia 9 —
Vns Q B(* Vio(as Q 2 C;* 'e((os Q 2 Bag* Ao* &5* Kashtche; 1:) —
] & ] &*
72
Vns I Q Picc* Vns II Q B(* Q C;* Vio(as Q 'e((os Q 2 (* Q Eng* #orn Q Bag*
] & ] &*
Shéhérazade , rd "o=e"ent M —
Vns I Q B(* Vns II Q C;* 'e((os Q Eng(* #orn
] & ] &* *,amples of melody in thirds and si,ths5
Servilia >> —
B(* Q C;* Q (* Q Vns B(* Q C;* Q (* Q Vns
di=*
]
*
Ao* &&* Servilia 111 —+trings and ood0ind in t#irds* Ao* &9* G 12) —sa"e co";ination, in t#irds and si!t#s* Kashtche; 9: —@#e sa"e*
It is necessar7 to pa7 "ore attention to cases #ere, of t#e to parts in octa=es, on(7 one is dou;(ed* .#en t#is "et#od is app(ied to a "e(od7 in t#e soprano register it is ;etter to a((o t#e ood0ind to progress in octa=es, t#e (oer part on(7 ;eing dou;(ed ;7 one of t#e string groupsF Picc* B(* Q Vns
]
&*
B(* C;* %(* Q Vns
]
&*
*,amples5 Tsar Saltan 1:2 —
2 B(* Q Picc* Vns I Q II Q C;*
]
& %cf* E!* 1*
T Ao* 9:* Shéhérazade , >t# "o=e"ent — 2 (* 'e((os Q 2 6orns
]
&*
73
In t#e case of a "e(od7 in t#e (o register de"anding a seet soft tone, t#e =io(once((os and dou;(e ;asses s#ou(d ;e "ade to progress in octa=es, t#e for"er dou;(ed ;7 a ;assoon, t#e (atter not dou;(ed at a((/ 'e((os Q Bag* ?* ;asses
]
&*
+o"eti"es a co"poser is o;(iged to use t#is "et#od on account of t#e =er7 (o register of t#e dou;(e ;ass, especia((7 if a dou;(e ;assoon is not inc(uded in #is orc#estra( sc#e"e* [1>] 010
*,ample5
Ao* 91* Tsar Saltan 92 — Vio(as Q Bag* 'e((os Q Bag* ?* ;asses
] & ] &* !+ &(binatin / strings and brass+
Cing to t#e dissi"i(arit7 ;eteen t#e qua(it7 of string and ;rass tone, t#e co";ination of t#ese to groups in unison can ne=er 7ie(d suc# a perfect ;(end as t#at produced ;7 t#e union of strings and ood0ind* .#en a ;rass and a stringed instru"ent progress in unison, eac# can ;e #eard separate(7, ;ut t#e instru"ents in eac# group #ic# can ;e co";ined it# t#e greatest a"ount of success are t#ose #ose respecti=e registers correspond t#e "ost near(7F Vio(in Q @ru"petF Vio(a Q 6ornF 'e((os ?* ;asses
Q
@ro";ones @u;a
%for #ea=7 "assi=e effects* @#e co";ination of #orns and 'ce((os, frequent(7 e"p(o7ed, produces a ;eautifu((7 ;(ended, soft qua(it7 of tone* *,amples5 Tsar Saltan 29 —Vns I Q II Q 6orn*
T Ao* 92* The Golden Cockerel 9& —Vio(as con sord% Q 6orn* E+ &(binatin / the three gr'*s+
74
@#e co";ination of "e";ers of t#e t#ree groups in unison is "ore co""on, t#e presence of t#e ood0ind i"parting a fu((er and "ore e=en(7 ;(ended tone* @#e question as to #ic# group i(( predo"inate in ti";re depends upon t#e nu";er of instru"ents e"p(o7ed* @#e "ost natura( co";inations, and t#ose "ost genera((7 in use are/ Vns Q C;* %Br*, (* Q @ru"petF Vio(as %or 'e((os Q (* %Eng* #orn Q 6ornF 'e((os Q 2 Bag* Q @ro";ones Q @u;a* ?* ;asses +uc# groupings are used for preference in (oud passages or for a #ea=7 piano effect* *,amples5
Ao* 909>* Snegourotchka 21& and 219 —Vns I Q II Q (* Q 0206orn Vns I Q II Q (* Q @ru"pet*
and
Servilia 1& —
Vio(as Q @ro";ones 'e((os Q @ro";one Q -ass (* ?* ;asses Q @u;a Q Bag*
] & ] &
%cf* E!* 2*
Ao* 9)* Snegourotchka 2) — 'e((os Q Vio(as Q Bag* Q @ro";one ?* ;asses Q Bag* Q @u;a
]
&*
an 0oyevoda 22> —Vns Q Bag* Q 6orn Q Vn* Q (* Q @ru"pet* %+topped notes in
t#e ;rass* T Mlada, $ct III, after 2 —Vio(as Q 2 (* Q -ass tru"pet* T Ao* 9* 'van the Terri&le, $ct III, ;efore — -ass (* Q 6orn ?* ;asses Q 0fag* Q @u;a
]
&*
T 'van the Terri&le, C=erture, >t# ;ar after 9 —Vio(as Q 'e((os Q Eng* #orn Q 2 (* Q -ass (* Q 2 Bag* Q > 6orns* %@#e "e(od7 si"p(ified in t#e #orns*
75
00
&ha*ter III+ 6$RMCAL*
General bseratins+ @#e art of orc#estration de"ands a ;eautifu( and e((0;a(anced distri;ution of c#ords for"ing t#e #ar"onic te!ture* Moreo=er, transparence, accurac7 and purit7 in t#e "o=e"ent of eac# part are essentia( conditions if satisfactor7 resonance is to ;e o;tained* Ao perfection in resonance can accrue fro" fau(t7 progression of parts* Note% @#ere are peop(e #o consider orc#estration si"p(7 as t#e art of se(ecting
instru"ents and tone qua(ities, ;e(ie=ing t#at if an orc#estra( score does not sound e((, it is entire(7 due to t#e c#oice of instru"ents and ti";res* -ut unsatisfactor7 resonance is often so(e(7 t#e outco"e of fau(t7 #and(ing of parts, and suc# a co"position i(( continue to sound ;ad(7 #ate=er c#oice of instru"ents is "ade* +o, on t#e ot#er #and, it often #appens t#at a passage in #ic# t#e c#ords are proper(7 distri;uted, and t#e progression of parts correct(7 #and(ed, i(( sound equa((7 e(( if p(a7ed ;7 strings, ood0ind or ;rass*
76
@#e co"poser s#ou(d picture to #i"se(f t#e e!act #ar"onic for"ation of t#e piece #e intends to orc#estrate* If, in #is roug# s3etc#, t#ere e!ist an7 uncertain(7 as to t#e nu";er or "o=e"ent of #ar"onic parts, #e is ad=ised to sett(e t#is at once* It is (i3eise essentia( for #i" to for" a c(ear idea as to t#e construction and "usica( e(e"ents of t#e piece, and to rea(ise t#e e!act nature and (i"itations of t#e t#e"es, p#rases and ideas #e is going to e"p(o7* E=er7 transition fro" one order of #ar"onic riting to anot#er, fro" four0part #ar"on7 to t#ree, or fro" fi=e0part #ar"on7 to unison etc*, "ust coincide it# t#e introduction of a ne idea, a fres# t#e"e or p#raseF ot#erise t#e orc#estrator i(( encounter "an7 unforeseen and insur"ounta;(e difficu( 0>0ties* Bor e!a"p(e, if, during a passage ritten in four parts a c#ord in fi=e0part #ar"on7 is introduced, a fres# instru"ent "ust needs ;e added to p(a7 t#is particu(ar fift# part, and t#is addition "a7 easi(7 da"age t#e resonance of t#e c#ord in question, and render t#e reso(ution of a discord or t#e correct progression of parts i"possi;(e*
N'(ber / har(ni0 *arts,!'*li0atin+
In t#e =er7 (arge "aHorit7 of cases #ar"on7 is ritten in four partsF t#is app(ies not on(7 to sing(e c#ords or a succession of t#e", ;ut a(so to t#e for"ation of t#e #ar"onic ;asis* 6ar"on7 #ic# at first sig#t appears to co"prise ), , 5 and & parts, is usua((7 on(7 four part #ar"on7 it# e!tra parts added* @#ese additions are not#ing "ore t#an t#e dup(ication in t#e adHacent upper octa=e of one or "ore of t#e t#ree upper parts for"ing t#e origina( #ar"on7, t#e ;ass ;eing dou;(ed in t#e (oer octa=e on(7* @#e fo((oing diagra"s i(( e!p(ain "7 "eaning/ )% Close part-"riting%
3%
77
Note% In ide(70spaced #ar"on7 on(7 t#e soprano and a(to parts "a7 ;e dou;(ed in octa=es* ?up(icating
t#e tenor part is to ;e a=oided, as c(ose riting is t#ere;7 produced, and dou;(ing t#e ;ass part creates an effect of #ea=iness* @#e ;ass part s#ou(d ne=er "i! it# t#e ot#ers/
0)0
-a d/
Cn account of t#e distance ;eteen t#e ;ass and t#e t#ree ot#er parts, on(7 partia( dup(ication is possi;(e*
Note% Aotes
in unison resu(ting fro" correct dup(ication need not ;e a=oided, for a(t#oug# t#e tone in suc# cases is not a;so(ute(7 unifor", t#e ear i(( ;e satisfied it# t#e correct progression of parts*
78
onsecuti=e octa=es ;eteen t#e upper parts are not per"issi;(e/
-ad/
onsecuti=e fift#s resu(ting fro" t#e dup(ication of t#e t#ree upper parts "o=ing in c#ords of si!t#s are of no i"portance/
@#e ;ass of an in=ersion of t#e do"inant c#ord s#ou(d ne=er ;e dou;(ed in an7 of t#e upper parts/
-ad/
@#is app(ies a(so to ot#er c#ords of t#e se=ent# and di"inis#ed se=ent#/ 00
-ad /
79
@#e ru(es of #ar"on7 concerning sustained and peda( passages app(7 it# equa( force to orc#estra( riting* $s regards passing and au!i(iar7 notes, échappées , considera;(e (icence is per"itted in rapid passages of different te!ture/
Cne te!ture/
$ different one/
Cne te!ture/ $ differe nt one/
$ certain figure and its essentia(s, in si"p(ified for", "a7 proceed concurrent(7, as in t#e fo((oing e!a"p(e/ Cne te!ture/
$ different one/
$ t#ird/
pper and inner peda( notes are "ore effecti=e on t#e orc#estra t#an in pianoforte or c#a";er "usic, oing to t#e greater =ariet7 of tone co(our/
80
050
In Vo(* II of t#e present or3 "an7 e!a"p(es of t#e a;o=e "et#ods i(( ;e found* !istrib'tin / ntes in 0hrds+
@#e nor"a( order of sounds or t#e natura( #ar"onic sca(e/
"a7 ser=e as a guide to t#e orc#estra( arrange"ent of c#ords* It i(( ;e seen t#at t#e ide(70spaced inter=a(s (ie in t#e (oer part of t#e sca(e, gradua((7 ;eco"ing c(oser as t#e upper register is approac#ed/
@#e ;ass s#ou(d rare(7 (ie at a greater distance t#an an octa=e fro" t#e part direct(7 a;o=e it %tenor #ar"on7* It is necessar7 to "a3e sure t#at t#e #ar"onic notes are not (ac3ing in t#e upper parts/
@o ;e a=oided/
@#e use of si!t#s in t#e upper parts, and t#e practice of dou;(ing t#e upper note in octa=es are so"eti"es effecti=e "et#ods/
81
0&0
.#en correct progression increases t#e distance ;eteen t#e top and ;otto" notes of t#e upper parts, t#is does not "atter/
-ut it ou(d ;e distinct(7 ;ad to fi(( in t#e second c#ord t#us/
Aot good/
6ence it fo((os t#at t#e distri;ution of inter"ediate parts is a question of t#e greatest i"portance* Aot#ing is orse t#an riting c#ords, t#e upper and (oer parts of #ic# are separated ;7 ide, e"pt7 inter=a(s, especia((7 in forte passagesF in piano passages suc# distri;ution "a7 ;e possi;(e* Progression in contrar7 "otion, t#e upper and (oer parts di=erging ;7 degrees gi=es rise to t#e gradua( addition of e!tra parts occup7ing t#e "idd(e register/
82
+c#e"atic E!a"p(e/
.#en t#e =oices con=erge, t#e "idd(e parts are e(i"inated one ;7 one/
+c#e"atic E!a"p(e/
090
String har(ny+ It is an incontro=erti;(e ru(e t#at t#e resonance of different #ar"onic parts "ust ;e equa((7 ;a(anced, ;ut t#is ;a(ance i(( ;e (ess noticea;(e in s#ort s#arp c#ords t#an in t#ose #ic# are connected and sustained* -ot# t#ese cases i(( ;e studied separate(7* In t#e first case, in order to increase t#e nu";er of #ar"onic parts, eac# instru"ent in t#e string group "a7 ;e pro=ided it# dou;(e notes or c#ords of t#ree and four notes* In t#e second case, t#e resources are (i"ited to dou;(e notes unis, or di=ision of parts* $* Short chords% #ords of t#ree or four notes can on(7 ;e e!ecuted rapid(7 on t#e strings* Note% It is true t#at t#e to upper notes of a c#ord can ;e sustained and #e(d a (ong
ti"eF t#is, #oe=er, in=o(=es co"p(ications and i(( ;e considered (ater* +#ort c#ords, arco, on(7 sound e(( #en p(a7ed forte % sf , and #en t#e7 can ;e supported ;7 ind instru"ents* In t#e e!ecution of dou;(e notes and c#ords of t#ree and
83
four notes on t#e strings, ;a(ance, perfect distri;ution of tone, and correct progression of parts are of "inor i"portance* .#at "ust ;e considered ;efore e=er7t#ing is t#e resonance of t#e c#ords t#e"se(=es, and t#e degree of ease it# #ic# t#e7 can ;e p(a7ed* @#ose co"prising notes on t#e gut strings are t#e "ost poerfu(* #ords p(a7ed on se=era( strings are usua((7 assigned to 1 stand 2nd =io(ins and =io(as, t#e different notes ;eing di=ided ;eteen t#e" according to ease in e!ecution and t#e de"ands of resonance* Cn account of its (o register t#e 'ce((o is rare(7 ca((ed upon to p(a7 c#ords on t#ree or four strings, and is usua((7 a((otted t#e (oest note of t#e c#ord in co"pan7 it# t#e dou;(e ;ass* #ords on t#e (atter instru"ent are e=en "ore unco""on, ;ut it "a7 supp(7 t#e octa=e on an unco=ered string* *,amples5
Ao* 95* Snegourotchka 151 F cf* a(so ;efore 1>: and ;efore 2:: * T Spanish Capriccio , ;efore V %cf* E!* 5* Shéhérazade , 2nd "o=e"ent P %cf* E!* 19*
T Ao* 9&* Tsar Saltan 1) F cf* a(so 1>1 and ;efore 1&2 *05:0 Iso(ated c#ords "a7 ;e added to a "e(odic figure in t#e upper part, accentuating, sforzando, certain r#7t#"ica( "o"ents* *,ample5
Ao* 99* Snegourotchka , ;efore 12 F cf* a(so 2 * -* Sustained and tremolando chords% #ords sustained for a s#orter or (onger period of ti"e, or tre"o(ando passages, often used as a su;stitute, de"and perfect ;a(ance of tone* @a3ing for granted t#at t#e different "e";ers of t#e string group are equa( in poer, t#e parts ;eing ritten according to t#e usua( order of register, %cf* #ap* I, it is patent t#at a passage in c(ose four0part #ar"on7, it# t#e ;ass in octa=es i(( a(so ;e unifor"(7 resonant* .#en it is necessar7 to introduce notes to fi(( up t#e e"pt7 "idd(e register, t#e upper parts ;eing fart#er distant fro" t#e ;ass, dou;(ed notes on t#e =io(ins or =io(as s#ou(d ;e used, or on ;ot# instru"ents toget#er* @#e "et#od of di=iding strings, #ic# is so"eti"es adopted, s#ou(d ;e a=oided in suc# cases, as certain parts of t#e c#ord i(( ;e di=ided and ot#ers i(( notF ;ut, on t#e ot#er #and, if a passage in si! and se=en0part #ar"on7 ;e ritten entire(7 for strings di=ided in t#e sa"e "anner, t#e ;a(ance of tone i(( ;e co"p(ete(7 satisfactor7, e*g*, di=*
O
Vns I Vns I
84
O O
di=* di=*
Vns II Vns II Vio(as I Vio(as II
If t#e #ar"on7 in t#e t#ree upper parts, t#us strengt#ened, is ritten for di=ided strings, t#e 'ce((os and ;asses, p(a7ing non divisi i(( pro=e a trif(e #ea=7F t#eir tone "ust t#erefore ;e eased, eit#er ;7 "ar3ing t#e parts don or reducing t#e nu";er of p(a7ers* In t#e case of sustained c#ords or forte tremolando on to strings, t#e progression of parts is not a(a7s according to ru(e, t#e inter=a(s c#osen ;eing t#ose #ic# are t#e easiest to p(a7* *,amples5
Ao* 1::* The Christmas Night 11 —Bu(( divisi * Ao* 1:1* G G G 21: *— Vio(as di=* 'e((os di=*
> part #ar"on7*
0510
Ao* 1:2* Snegourotchka 1&501&& —Bour0part #ar"on7, Vns I, Vns II, Vio(as and Vio(once((os* G 2> —> +o(o 'ce((os divisi * Shéhérazade , 2nd "o=e"ent, ;eginning*—> ?* ;ass so(i di=* %cf* E!* >:* The Tsar6s 3ride 159 —#ords on a(( strings %cf* E!* 2>*
Ao* 1:* $egend of Kitesh & —6ar"onic ;asis in t#e strings* G G G 2>: —%f* E!* 21* G G G 2& —6ar"onic ;asis in t#e strings %cf* E!* 2* Ao* 1:>* The Golden Cockerel > —-asis in t#e strings* G G G 12) —ndu(ating r#7t#" in t#e strings as #ar"onic ;asis %cf* E!* 251* In a forte or sfp c#ord, #ere one or to of t#e upper notes is #e(d, eit#er sustained or tremolando, t#e ;a(ance of tone "ust sti(( ;e "aintained, as in t#e fo((oing e!a"p(e/
85
"d-.ind har(ny+ -efore entering upon t#is section of t#e or3 I ou(d re"ind t#e reader of t#e genera( princip(es (aid don in t#e ;eginning of t#e c#apter* 6ar"onic te!ture, co"posed of p(ain c#ords or orna"enta( designs, si"p(e or contrapunta( in c#aracter, "ust possess a resonance equa((7 distri;uted t#roug#out* @#is "a7 ;e o;tained ;7 t#e fo((oing "eans/0520 1* Instru"ents for"ing c#ords "ust ;e used continuous(7 in t#e sa"e a7 during a gi=en passage, t#at is to sa7 t#e7 "ust ;e dou;(ed or not t#roug#out, e!cept #en one of t#e #ar"onic parts is to ;e "ade pro"inent/ @o ;e a=oided/
2* @#e nor"a( order of register "ust ;e fo((oed, e!cept in t#e case of crossing or enc(osure of parts, #ic# i(( ;e discussed (ater on/
86
@o ;e a=oided/
* orresponding or adHacent registers s#ou(d ;e "ade to coincide e!cept for certain co(our effects/ @#e second f(ute i(( sound too ea3 and t#e o;oes too piercing*
@o ;e a=oided/
>* oncords %octa=es, t#irds and si!t#s and not discords %fift#s, fourt#s, seconds and se=ent#s, s#ou(d ;e gi=en to instru"ents of t#e sa"e 3ind or co(our, e!cept #en discords are to ;e e"p#asised* @#is ru(e s#ou(d ;e specia((7 o;ser=ed in riting for t#e o;oe it# its penetrating qua(it7 of tone/ @o ;e a=oided/
>'r-*art and three-*art har(ny+
6ar"onic riting for t#e ood0ind "a7 ;e considered fro" to points of =ie/ a instru"ents in pairs, 2 B(*, 2 C;*, 2 (*, 2 Bag*F and ; instru"ents in t#ree's, B(*, 2 C;*, Eng* #orn, (*, 2 Bag*, 0fag* $* 'n
pairs% @#ere are t#ree a7s of distri;ution/ 1* Superposition or overlaying %strict(7 fo((oing t#e nor"a( order of register,0 50 2* Crossing , and * *nclosure of parts* @#e (ast to "et#ods in=o(=e a certain
distur;ance of t#e natura( order of register/
C=er(a7ing
rossing
Enc(osure
87
* In c#oosing one of t#ese t#ree "et#ods t#e fo((oing points "ust not ;e forgotten/ a t#e register of a particu(ar iso(ated c#ordF t#e soft and ea3 register of an instru"ent s#ou(d not ;e coup(ed it# t#e poerfu( and piercing range of anot#er/ C=er(a7ing*
rossing*
Enc(osure*
C;oe too piercing*
Do notes of t#e f(ute too ea3*
-assoon too pro"inent*
; In a succession of c#ords t#e genera( progression of parts "ust ;e consideredF one tone qua(it7 s#ou(d ;e de=oted to t#e stationar7 and anot#er to t#e "o=ing parts/
.#en c#ords are in ide(70di=ided four0part #ar"on7 notes "a7 ;e a((otted in pairs to to different tone qua(ities, ad#ering to t#e nor"a( order of register/
etc*
$n7 ot#er distri;ution i(( resu(t unquestiona;(7 in a grie=ous (ac3 of re(ations#ip ;eteen registers/ @o ;e a=oided/
05>0
etc*
88
If one tone qua(it7 is to ;e enc(osed, it "ust ;e ;eteen to different ti";res/
etc*
It is possi;(e to (end four distinct ti";res to a c#ord in ide(70di=ided four0part #ar"on7, t#oug# suc# a c#ord i(( possess no unifor"it7 in co(ourF ;ut t#e #ig#er t#e registers of t#e different instru"ents are p(aced, t#e (ess percepti;(e ;eco"es t#e space #ic# separates t#e"/
Bair(7 good
-ad
-etter
-etter
+ti( ;etter
+ti(( s(ig#t(7 ;etter
Note% In Mozart and Salieri , #ic# is on(7 scored for 1
B(*, 1 C;*, 1 (* and 1 Bag*, ood0ind c#ords in four0part #ar"on7 are of necessit7 de=oted to t#ese four different ti";res*
@#e sa"e ru(es app(7 to riting in t#ree0part #ar"on7, #ic# is t#e "ost custo"ar7 for" #en it is a question of esta;(is#ing a #ar"onic ;asis, t#e (oest register of #ic# is entrusted to anot#er group of instru"ents %strings arco or pizz%, for e!a"p(e* #ords in t#ree0part #ar"on7 are genera((7 gi=en to to instru"ents of one ti";re and a t#ird instru"ent of anot#er, ;ut ne=er to t#ree different ti";res* C=er(a7ing of parts is t#e ;est course to adopt/
05)0
89
@#e use of crossing and enc(osure of parts %#ic# in a a7 a"ount to t#e sa"e t#ing "ust depend on t#e "anner of t#eir progression/ Enc(osure/
-*
a(so/
C=er(a7ing of parts is t#e ;est "et#od to fo((o in riting c(ose four0part #ar"on7F t#ree instru"ents of t#e sa"e ti";re it# a fourt# instru"ent of anot#er* rossing and enc(osure of parts "a7 a(so ;e e"p(o7ed* orrespondence of ti";res and t#e progression of re"ote parts "ust ;e 3ept in "ind/
@#e "et#od of using t#ree instru"ents of t#e sa"e ti";re in ide(70di=ided t#ree0 part #ar"on7 is inferior/
90
Aot good
-etter
-etter
Aot good
-etter
-etter
050
-ut if t#e t#ird instru"ent is of (o register %-ass B(*, Eng* #orn, -ass c(*, or 0fag*, t#e resonance i(( ;e satisfactor7/
In c#ords of four0part #ar"on7, t#ree instru"ents of t#e sa"e ti";re s#ou(d ;e co";ined it# a fourt# instru"ent of anot#er/
1ar(ny in seeral *arts+
In riting c#ords of ), , 5 and & part0#ar"on7, #et#er t#e7 are independent, or constitute t#e #ar"onic ;asis, t#e student s#ou(d fo((o t#e princip(es out(ined in t#e pre=ious c#apter , dea(ing it# t#e progression of ood0ind instru"ents in octa=es* $s t#e )t#, t#, 5 t# and &t# notes are on(7 dup(ications in octa=es of (oer notes of t#e rea( #ar"on7 %in > parts, instru"ents s#ou(d ;e c#osen #ic# co";ine a"ongst t#e"se(=es to gi=e t#e ;est octa=es* @#e process of crossing and enc(osure of parts "a7 a(so ;e used* $* .ood0ind in pairs %c(ose distri;ution/
In ide(70di=ided #ar"on7 c#ords in se=era( parts are to ;e a=oided as t#e7 i(( entai( ;ot# c(ose and e!tended riting/
91
Note% In
t#e "aHorit7 of cases t#is distri;ution is e"p(o7ed #en t#e to upper #ar"onic parts #a=e a specia( "e(odic dut7 to perfor"—t#is question is discussed a;o=e* 0550
-* .ood0ind in t#ree's/
C=er(a7ing of parts is t#e "ost satisfactor7 "et#od in dea(ing it# c(ose t#ree0part #ar"on7* rossing of parts is not so fa=oura;(e, as octa=es i(( ;e produced contrar7 to t#e natura( order of register/ 6ere t#e arrange"ent
is ;ad*
!'*li0atin / ti(bres+
$* If t#e ood0ind is in pairs it is a good p(an to "i! t#e dou;(ed ti";res as "uc# as possi;(e/
E!ce((ent
92
a(so/
In c#ords of four0part #ar"on7 t#e c(assica( "et#od "a7 ;e adopted/
05&0
In t#is case, t#oug# t#e #ig# C in t#e f(ute is fair(7 poerfu(, t#e resonance of t#e G and * in t#e o;oes is softened ;7 t#e dup(ication of t#e 2 nd f(ute and 1st c(arinet, #i(e t#e C in t#e 2nd c(arinets %not dou;(ed is fee;(e in co"parison it# t#e ot#er notes* In an7 case t#e to e!tre"e parts are t#e t#innest and ea3est in tone, t#e inter"ediate parts t#e fu((est and strongest* -*
@#e se ti";res "a7 e=en originate fro" t#ree0fo(d dup(ication/
Re(ar9s+
1*
Modern orc#estrators do not a((o an7 =oid in t#e inter"ediate parts in riting c(ose #ar"on7F it as per"itted to so"e e!tent ;7 t#e c(assics/
93
@#ese e"pt7 spaces create a ;ad effect especia((7 in forte passages* Bor t#is reason ide(70di=ided #ar"on7, #ic# is funda"enta((7 ;ased on t#e e!tension of inter=a(s, can ;e used ;ut se(do" and on(7 in piano passages* (ose riting is t#e "ore frequent for" in a(( #ar"on7 de=oted to t#e ood0ind, forte or piano* 2* $s a genera( ru(e a c#ord of great(7 e!tended range and in se=era( parts is distri;uted according to t#e order of t#e natura( sca(e, it# ide inter=a(s %octa=es and si!t#s, in t#e ;ass part, (esser inter=a(s %fift#s and fourt#s in t#e "idd(e, and c(ose inter=a(s %rds or 2nds in t#e upper register/ 0590
* In "an7 cases correct progression of parts de"ands t#at one of t#e" s#ou(d ;e te"porari(7 dou;(ed* In suc# cases t#e ear is reconci(ed to t#e ;rief o=ert#ro of ;a(ance for t#e sa3e of a sing(e part, and is t#an3fu( for t#e (ogica( accurac7 of t#e progression* @#e fo((oing e!a"p(e i(( i((ustrate "7 "eaning/
In t#e second ;ar of t#is e!a"p(e t#e + is dou;(ed in unison on account of t#e pro!i"it7 of t#e t#ree upper parts to t#eir corresponding parts an octa=e (oer* In t#e fourt# ;ar t#e 1 is dou;(ed in unison in ;ot# groups* >* @#e for"ation of t#e #ar"onic ;asis, #ic# is essentia((7 in four parts, does not ;7 an7 "eans de=o(=e upon t#e ood0ind a(one* Cne of t#e parts is often de=oted to t#e
94
strings, arco or pizz% More frequent(7 t#e ;ass part is treated separate(7, t#e c#ords of greater =a(ue in t#e t#ree upper parts ;eing a((otted to t#e ood0ind* @#en, if t#e upper part is assigned to a group of strings, t#ere re"ains not#ing for t#e ind e!cept t#e sustained #ar"on7 in t#e to "idd(e parts* In t#e first case t#e t#ree0part #ar"on7 in t#e ood0ind s#ou(d for" an independent #o(e, recei=ing no assistance fro" t#e ;assF in t#is "anner inter=a(s of open fourt#s and fift#s i(( ;e o;=iated* In t#e second case it is desira;(e to pro=ide t#e inter"ediate parts it# a "oderate(7 fu(( tone, c#oosing no ot#er inter=a(s e!cept seconds, se=ent#s, t#irds or si!t#s* $(( t#at #as ;een said it# regard to t#e use of ood0ind in t#e for"ation of #ar"on7, and t#e di=ision of si"p(e and "i!ed0&:0 ti";res app(ies it# equa( force to sustained c#ords, or #ar"onic progressions interc#anging rapid(7 it# staccato c#ords* In s#ort c#ords, separated ;7 rests of so"e i"portance, t#e arrange"ent and di=ision of ti";res is not so percepti;(e to t#e ear, and progression of parts attracts (ess attention* It ou(d ;e use(ess, na7, i"possi;(e to e!a"ine t#e count(ess co";inations of tone co(our, a(( t#e =arieties of dup(ication and distri;ution of c#ords* It #as ;een "7 ai" to denote t#e funda"enta( princip(es upon #ic# to or3, and to indicate t#e genera( ru(es to ;e fo((oed* Cnce #a=ing "astered t#ese, if t#e student de=ote a (itt(e ti"e to t#e stud7 of fu(( scores, and (isten to t#e" on t#e orc#estra, #e i(( soon (earn #en certain "et#ods s#ou(d ;e used and #en to adopt ot#ers* @#e pupi( is ad=ised, genera((7, to rite for ood0ind in its nor"a( order of distri;ution, to ta3e #eed t#at eac# particu(ar c#ord is co"posed entire(7 eit#er of dup(icated or non0dup(icated parts, %e!cept in certain cases resu(ting fro" progression, to use t#e "et#ods of crossing and enc(osure of ti";res it# fu(( 3no(edge of #at #e is doing, and fina((7 to concentrate #is attention on c(ose part0 riting* *,amples of "ood-"ind harmony5
a Independent c#ords* Ao* 1:)* The Christmas Night 1>& —(*, 2 Bag* Ao* 1:*GGG;eginning—C;*, (*, Bag* %crossing of parts* Snegourotchka 1 —2 (*, Bag*
G 59 , )t# ;ar*—2 C;*, 2 Bag* %cf* E!* 1* T Ao* 1:5* Snegourotchka 195 —Picc*, 2 B(* %tremolando* Ao* 1:&* G 2:> —2 B(*, 2 C;* %#ig# register* Ao* 1:9* Shéhérazade , ;eginning—@ota( ood0ind in different distri;ution*
95
T ussian *aster 1:te $ — B(* tremolando %cf* E!* 15* T Tsar Saltan >) C;*, 2 Bag* Ao* 11:* Tsar Saltan, ;efore 11) —"i!ed ti";res* Ao* 111*GG 11) , and ot#er si"i(ar passages—=er7 seet effect of ood0ind in t#ree's* GG 155 —2 C;*, 2 Bag* 0&10
Sadko , +7"p#onic @a;(eau 9 —C;*, 2 (*, Bag*
T Sadko, Cpera > —Eng* #orn, 2 (* GG;efore ) —@ota( ood0ind* Ao* 112* Sadko 52 —#ords in t#ree0part #ar"on7F si"p(e and "i!ed ti";res* T Ao* 11* The Tsar6s 3ride 12 Bu(( ind* T Ao* 11>* $egend of Kitesh, ;efore 9: —Enc(osure of parts %C;* I in t#e #ig# register* Ao* 11)*GGG;efore 11 —.ind and ;rass a(ternate(7* Ao* 11*GGG 15 —Bu(( ind e!cept o;oe, it# c#orus* $egend of Kitesh 29 —B(*, (*, Bag*
T The Golden Cockerel 12) —Various ind instru"ents, > part #ar"on7 %cf* E!* 251* GGG 21& —C;*, Eng* #orn, Bag*, 0fag*F cf* a(so 2)> * Ao* 115* The Golden Cockerel , ;efore 2 —Mi!ed ti";reF 2 Bag* for" t#e ;ass* ; 6ar"onic ;asis %so"eti"es Hoined ;7 t#e #orns* The May Night , $ct III D —2 Bag*, Eng* #orn %cf* E!* 1&* )ntar & — B(utes* Snegourotchka 2: —2 (*, #ig# register*
G;efore ): —2 B(*, Bag*
96
G 1&5 —2 C;*, 2 Bag* G 25> —2 (*, (o register %cf* E!* 9* G 2& —B(*, Eng* #orn, (*, Bag* %cf* E!* 2* Ao* 11&* Snegourotchka 292 —.ide(70di=ided #ar"on7 and dou;(ing of parts in t#e ind* Ao* 119*G 1&019 —2 B(utes* Shéhérazade , 2nd "o=e"ent - —2 (*, Bag* %sustained note in t#e #orn %cf* E!* 1* The Christmas Night 1 — (* Sadko 1 —(*, -ass (*, Bag*, 0fag*
Ao* 12:* Sadko >9 —C;*, (*, 6orn, Bag* G 99 —2 (* %cf* E!* 2&9, 29:* 0&20
Ao* 121* Sadko 1>> —(*, Bag* Ao* 122*G 19)019 —2 (*, -ass (* The Tsar6s 3ride &: —(*, Bag*
GGG 1 —#ar"onic parts in "otion, B(* and (* %cf* E!* 22* Servilia )9 —(* %(o* register, Bag*
T Ao* 12* Kashtche; the 'mmortal &: —C;*, Bag* "uted* T Ao* 12>* $egend of Kitesh% )2 —B(*, Bag* GGG )) —B(*, C;* %cf* E!* 195* GGG & —Eng* #orn, Bag*, 0fag* %cf* E!* 199* Ao* 12>*GGG 11& —"i!ed ti";re/ 2 C;*, Eng* #orn and (* GGG 1 —#ar"onic parts in "otion/ GGG;efore 1&) — B(* %(o register and 2 (* GGG 22 —B(*, C;*, (* %cf* E!* 1*
97
T Ao* 12)*GGG 2>5 —2 (*, -ass (* GGG 25 —Eng* #orn, 2 (* and -ass (*, Bag* T Ao* 12*GGG )) —Eng* #orn "uted, (*, 2 Bag* T Ao* 125* The Golden Cockerel —(*, -ass (*, Bag*, 0fag* GGG >:0>1 -ass (*, Bag*F B(*, (*F (*, -ass (* T Ao* 12&*GGG 1) —#ar"onic parts in "otion/ B(* and (*
1ar(ny in the brass+ 6ere, as in t#e ood0ind, part riting s#ou(d ;e of t#e c(ose order it# no e"pt7 spaces in t#e inter=a(s* >'r-*art .riting+
It is e=ident t#at t#e quartet of #orns presents e=er7 faci(it7 for four0part #ar"on7, perfect(7 ;a(anced in tone, it#out dou;(ing t#e ;ass in octa=es/ 0&0
Note% In
t#e diagra"s of t#e present section t#e actua( sounds of #orns and tru"pets are gi=en, as in a piano score, for t#e sa3e of si"p(icit7*
.#en it is found necessar7 to dou;(e t#e ;ass in octa=es, t#e too resonant tro";one and tu;a are se(do" used, t#e dup(ication ;eing effected ;7 t#e ;assoon, as e!p(ained furt#er on* @#e quartet of tro";ones and tu;a is not often e"p(o7ed in c(ose four0part #ar"on7F t#e t#ird tro";one and t#e tu;a usua((7 for" t#e ;ass in octa=es, and t#e t#ree upper parts are genera((7 a((otted to t#e to re"aining tro";ones reinforced ;7 a tru"pet or to #orns in unison, so as to o;tain a perfect ;a(ance of tone/
I #a=e often adopted t#e fo((oing co";ination of ;rass instru"ents, and consider it e"inent(7 satisfactor7/ 2 #orns and tu;a to for" t#e ;ass in octa=es, t#e t#ree ot#er parts gi=en to t#e tro";ones/
98
%;eautifu( fu(( resonance* [Disten] In t#e #ig#er registers, four0part #ar"on7, of #ic# t#e to upper parts are gi=en to t#e tru"pets, "a7 ;e co"p(eted ;7 to tro";ones or four #orns in pairs/
.#en tru"pets are a=ai(a;(e t#e fourt# part s#ou(d ;e a((otted to one tro";one, or to #orns in unison/
Enc(osure of parts "a7 ;e used in sing(e c#ords/
0&>0
or in progression/
Three-*art .riting+
@#e ;est co";ination is tro";ones, #orns, or tru"pets in t#ree's* If t#e instru"ents are "i!ed t#e nu";er of #orns s#ou(d ;e dou;(ed/
99
"riting in seeral *arts+
.#en t#e #o(e group is used t#e nu";er of #orns s#ou(d ;e dou;(ed/
In se=en, si!, or fi=e0part #ar"on7 certain instru"ents "ust ;e o"itted/
?iscords of t#e se=ent# or second are prefera;(7 entrusted to instru"ents of different tone co(our/ 0&)0
.#en suc# c#ords are ritten for an orc#estra #ic# on(7 inc(udes to tru"pets, it is i"possi;(e for t#e #orns to proceed in pairs* In suc# cases t#e fo((oing arrange"ent "a7 o;tain, t#e #orns ;eing "ar3ed one degree (ouder t#an t#e ot#er instru"ents, to secure ;a(ance of tone/
100
@#e sa"e "et#od s#ou(d ;e fo((oed #ene=er t#e use of #orns in pairs fai(s to produce satisfactor7 tone* .#en c#ords of ide(70di=ided #ar"on7 are distri;uted t#roug#out se=era( #ar"onic registers, t#e register occupied ;7 t#e #orns need not ;e dou;(edF t#e arrange"ent of t#e c#ord i(( rese";(e t#at of a c#ora(e ritten for dou;(e or trip(e c#oir* Bor e!a"p(e/
!'*li0atin in the brass+
?up(ication in t#e ;rass group is "ost frequent(7 effected ;7 p(acing a c#ord for #orns side ;7 side it# t#e sa"e c#ord ritten for tru"pets or tro";ones* @#e soft round qua(it7 of t#e #orns intensifies t#e tone, and "oderates t#e penetrating ti";re of t#e tru"pets and tro";ones/ 0&0
+i"i(ar Hu!taposition of tru"pets and tro";ones/
is not so co""on, as t#is unites t#e to "ost poerfu( agents in t#e group* In #and(ing an orc#estra t#e ;rass is frequent(7 e"p(o7ed to sustain notes in to or t#ree octa=esF t#is sp#ere of acti=it7 "ust not ;e ignored* @#e tenuto is genera((7 gi=en to
101
to tru"pets, or to to or four #orns in t#e octa=e, %in dou;(e octa=es* @#e octa=e is so"eti"es for"ed ;7 tru"pets and #orns acting toget#er/
@#e tro";one it# its ponderous tone rare(7 ta3es part in suc# co";inations* +ustained notes in dou;(e octa=es are usua((7 apportioned t#us/
@#e i"perfect ;a(ance arising fro" t#e dup(ication of t#e "idd(e note is co"pensated for ;7 t#e "i!ture of ti";res, #ic# (ends so"e unit7 to t#e c#ord* *,amples of harmony in the &rass5
a Independent c#ords/ Snegourotchka 5> — @ro";ones, 2 6orns*
G 1>: — @ro";ones, 2 6orns* #ords in different groups a(ternate(7 %cf* E!* 2>>* G 151 —Bu(( ;rassF furt#er on @ro";ones %cf* E!* 95* G 2)) —> 6orns %stopped*0&50 Ao* 129* Snegourotchka , ;efore 2&9 —> 6orns* G 2&9 —Bu(( ;rass* T Sadko, ;efore 9 —Bu(( ;rass %enc(osure of parts* Ao* 1:* Sadko 15) —Mi!ed ti";res %Hu!taposition 6orns Q @ru"pets* G;efore & —Bu(( ;rass e!cept @u;a* Ao* 11*G 191019 %Bu(( ;rass* Ao* 12* The Christmas Night , ;efore 1&: —Bu(( "uted ;rass* GGG 1&1 —> 6orns Q @ro";ones Q @u;a %cf* E!* 25*
102
T The Tsar6s 3ride 15& —+trings and ;rass a(ternate(7 %cf* E!* 2>2* T Ao* 1* Tsar Saltan 1:2 , 5t# ;ar*—2 @ru"pets, 2 @ro";ones Q > 6orns %Hu!taposition* GG 2: —Bu(( ;rass, t#ic3(7 scored %cf* @a;(e of c#ords Ao* II at t#e end of Vo(* II, E!* 12* T Servilia 1)> —Various ;rass instru"ents* T $egend of Kitesh 1: — @ru"pets, @ro";one and @u;a* Ao* 1>* $egend of Kitesh 199 —+#ort c#ords %Hu!taposition* T Ao* 1)* The Golden Cockerel 11) —6orns, @ro";ones %enc(osure* ; 6ar"onic ;asis/ Ao* 1* Snegourotchka 59 , t# ;ar*—> 6orns* G 21 — @ro";ones, soft and seet %cf* E!* &* )ntar >0) —> 6ornsF (ater @ro";ones %cf* E!* 2*
T Shéhérazade , 1st "o=e"ent, $ , E , 6 , 8 , M —6ar"onic ;ases of different poer and ti";re %cf* E!* 192019)* Ao* 15* Servilia 9 —Bu(( ;rass* T Ao* 1&* Tsar Saltan 125 —> "uted 6orns Q @ro";ones and @u;a con sord% pp% GG;efore 1>5 —Bu(( ;rass ff %t#e 2 C;oes and Eng* #orn are of no particu(ar i"portance* T an 0oyevoda 1 , 9t# ;ar*—> 6orns, t#en @ro";ones, 2 6orns* T Ao* 19* $egend of Kitesh 1)& —@ru"pets, @ro";ones* Ao* 1>:*GGG 2>& — @ro";ones* GGG;efore 2 —Bu(( ;rass*
0&&0
103
1ar(ny in 0(bined gr'*s+ A+ &(binatin / .ind and brass+
.ind and ;rass instru"ents "a7 ;e co";ined ;7 t#e "et#od of p(acing a c#ord in one ti";re side ;7 side it# t#e sa"e c#ord in anot#er ti";re, or ;7 an7 of t#e t#ree "et#ods a(read7 descri;ed/ o=er(a7ing, crossing and enc(osure of parts* 6+ In unison (juxtaposition or contrast of tone qualities).
@#is c(ass of co";ination possesses t#e sa"e features as co";inations in t#e "e(odic (ine %cf* #ap* II* .ood0ind reinforces t#e ;rass, softens it and reduces its c#aracteristic qua(ities* $rrange"ents suc# as t#e fo((oing are possi;(e/ 2 @ru"pets Q 2 B(*F @ru"pets Q B(*F
2 @ru"pets Q 2 C;*F @ru"pets Q C;*F
2 @ru"pets Q 2 (* @ru"pets Q (*
$(so
as e(( as/ 2 6orns Q 2 Bag*F 6orns Q Bag*F
2 6orns Q 2 (*F 6orns Q (*F and/
2 6orns Q 2 Bag* Q 2 (* etc* @#e co";inations @ro";ones Q Bag*, or @ro";ones Q (* are =er7 rare* $ c#ord scored for fu(( ;rass dou;(ed ;7 t#e sa"e c#ords scored for fu(( ood0ind %in pairs produces a "agnificent and unifor" tone* *,amples5 Snegourotchka 1) —2 6orns Q 2 (* and 2 6orns Q 2 C;* %cf* E!* 2*
Ao* 1>1* The Tsar6s 3ride ): —> 6orns Q 2 (*, 2 Bag*
104
Ao* 1>2*GGG 1>2 —Ju!taposition of fu(( ind and ;rass* 'van the Terri&le, $ct II : —Ju!taposition and enc(osure %cf* @a;(e of c#ords II, E!*
&* Ao* 1>* The Christmas Night 1) —> 6orns Q B(*, (*, Bag* 0&90 T Ao* 1>>* Sadko, ;efore 59 —6orn, @ru"pet Q dou;(ed ood0ind*[1)] Ao* 1>)*G 2>2 —Bu(( ;rass Q B(*, (* $egend of Kitesh, ;eginning—6orn, @ro";ones Q (*, Bag* %cf* a(so ) — E!* 2>9*
T Ao* 1>* $egend of Kitesh 1: —Eng* #orn, 2 (*, Bag* legato Q > 6orns non (egato* GGG 2> —Bu(( ;rass Q ind* T Ao* 1>5* The Golden Cockerel 2 — @ru"pets Q C;* 6orn Q (*
]
&*
+topped or "uted notes in tru"pets and #orns rese";(e t#e o;oe and Eng* #orn in qua(it7F t#e co";ination of t#ese instru"ents produces a "agnificent tone* *,amples5
Ao* 1>&* ussian *aster 1:te, p* 11*—6orn %Q, @ru"pets %(o register Q C;*, (* T The Christmas Night , ;efore 1)> —Bu(( "uted ;rass Q ind* T Ao* 1>9* Tsar Saltan 129 —2 C;*, Eng* #orn, Q @ru"pets "uted % (* at t#e ;otto"* T Ao* 1):*GG 11 15t# ;ar*—+a"e co";ination it# added #orns* T Ao* 1)1* )ntar 5 —C;*, Eng* #orn, 2 Bag* Q > 6orns %Q* $ ;eautifu( dar3 tone is deri=ed fro" t#e co";ination of "idd(e notes in stopped #orns and deep notes in t#e c(arinet/
If ;assoons are su;stituted for c(arinets t#e effect (oses part of its c#aracter*
105
*,amples5
T Kashtche; the 'mmortal 29 , 11t# ;ar,—2 C;*, 2 (* Q > 6orns %Q* GGG 1:5 , t# ;ar*—2 (*, Bag* Q 6orns %Q* T The Christmas Night , p* 2>9—(*, Bag* Q 6orns %Q* T Mlada, $ct III 19 — 6orns %Q Q Bag* and 6orns % Q Q C;* %cf* E!* 2)9* 09:0
?+ Overlayin (superposition)! crossin! enclosure of parts.
It #as a(read7 ;een stated t#at t#e ;assoon and #orn are t#e to instru"ents ;est capa;(e of reconci(ing t#e groups of ood0ind and ;rass* Bour0part #ar"on7 gi=en to to ;assoons and to #orns, especia((7 in soft passages, 7ie(ds a fine(70;a(anced tone reca((ing t#e effect of a quartet of #orns, ;ut possessing s(ig#t(7 greater transparence* In forte passages t#e #orns o=er#e(" t#e ;assoons, and it is iser to e"p(o7 four #orns a(one* In t#e for"er case crossing of parts is to ;e reco""ended for t#e purposes of ;(end, t#e concords ;eing gi=en to t#e #orns, t#e discords to t#e ;assoons/ and not/
-assoons "a7 a(so ;e ritten inside t#e #orns, ;ut t#e in=erse process is not to ;e reco""ended/
[Disten] @#e sa"e insetting of parts "a7 ;e used for sustained tru"pet notes in octa=es* In soft passages, t#irds p(a7ed in t#e (o register of t#e f(utes, so"eti"es co";ined it# c(arinets, produce a ;eautifu( "7sterious effect ;eteen tru"pets in octa=es* In a c#ain of consecuti=e c#ords it is ad=isa;(e to entrust t#e stationar7 parts to t#e ;rass, t#e "o=ing parts to t#e ood0ind* (arinets, on account of t#eir tone qua(it7 s#ou(d rare(7 ;e set inside t#e #orns, ;ut, in t#e upper register, and in t#e #ig#er #ar"onic parts, a c#ord of four #orns, % piano, "a7
106
;e co"p(eted ;7 c(arinets as effecti=e(7 as ;7 o;oes or f(utesF t#e ;assoon "a7 t#en dou;(e t#e ;ase an octa=e ;e(o/
P(a7ed forte, t#e #orns are "ore poerfu( t#an t#e ood0indF ;a(ance "a7 ;e esta;(is#ed ;7 dou;(ing t#e upper #ar"onic parts/ 0910
*,amples5
a +uperposition* T Sadko, +7"p#onic @a;(eau 1 , 9 —B(*, C;*, (*, 6orn %;asis* G;efore 1> —2 B(*, (*, 6orns* Gfina( c#ord—B(*, (*, 6orn* T )ntar 22 —B(*, (*, 6orns %;asis* Ao* 1)2* )ntar ) — B(*, > 6orns %;asis* T Snegourotchka :: —Bu(( ind and #orns* T Shéhérazade —Bina( c#ords of 1st and >t# "o=e"ents* T ussian *aster 1:te ? —B(*, (*, 6ornF (ater tru"pets and tro";ones in Hu!taposition %cf* E!* 2>&* T Ao* 1)* The Christmas Night 212 , 1:t# ;ar*—.ind and 6ornsF tru"pets and tro";ones added (ater* GGG 21)
107
B(* Q (* 6orns
]
&*
T Sadko, Cpera 1) —Ju!taposition and +uperposition* Ao* 1)>* Sadko & —+a"e distri;ution* Ao* 1))* Servilia 5 B( Q 2 C;*, (* > 6orns* T Ao* 1)* $egend of Kitesh, ;efore 1)5 — B(utes, @ro";ones* GGGfina( c#ord %cf* @a;(e III of c#ords, E!* 1)* T The Golden Cockerel , ;efore 219 —Mi!ed ti";re of ood0ind, > 6orns* ; rossing* T The Christmas Night , ;efore ) —6orn, Bag* GGG 1:5 —(ar*, 6orn, Bag* T $egend of Tsar Saltan, ;efore 2 —6orn, Bag* T The Golden Cockerel 22: — @ro";ones, 2 Bag*, 0fag* %cf* E!* 22* T Ao* 1)5* )ntar , ;efore : —.ood0ind, 6orns, t#en @ru"pets*0920 c Enc(osure/ Ao* 1)&* 'van the Terri&le, $ct I —B(utes it#in #ornsF (ater #orns it#in ;assoons* Ao* 1)9* Snegourotchka 1& — @ru"pet B(*, 2 (* @ru"pet T Sadko, s7"p#onic ta;(eau — (* Q Bag* > 6orns (* Q Bag*
108
T )ntar ;efore 5 — Bag* 2 6orns %Q (* T Sadko, Cpera 1:) —6ar"onic ;asisF o;oes it#in tru"pets %cf* E!* 2:* T Ao* 1:* Sadko, Cpera, ;efore 1)) —B(utes it#in tru"pets* T The Tsar6s 3ride, end of C=erture—-assoons it#in #orns %cf* @a;(e III of c#ords, E!* 1>* T Ao* 11* Tsar Saltan ): —@ru"pets it#in ood0ind dou;(ed* Ao* 12*GG )9 —B(utes it#in tru"petsF c(arinets it#in #orns* T Ao* 1* $egend of Kitesh &2 —C;oes and c(arinets it#in tru"pets* @#e re(ations#ip #ic# #as ;een s#on to e!ist ;eteen stopped #orns and o;oe or Eng* #orn aut#ori4es t#e si"u(taneous use of t#ese instru"ents in one and t#e sa"e c#ord, p(a7ed p or sfp/
*,amples5
T The Christmas Night 5) — 6orns %Q Q C;oe* The Tsar6s 3ride 12 —C;*, Eng* #orn, 6orn %Q %cf* E!* 2>:*
T $egend of Kitesh 2>> —(*, 2 B(*, Q 2 C;*, Eng* #orn, 6orn % Q* T Ao* 1>* $egend of Kitesh, ;efore 2) — 2 C;*, Eng* #orn 6orns %Q
]
T f* a(so Tsar Saltan, ;efore 11) — 6orn %Q 2 B(* Q 2 Bag*
%E!* 11:*
&*
109
If tru"pets and tro";ones ta3e part in a c#ord, f(utes, o;oes and c(arinets are ;etter used to for" t#e #ar"onic part a;o=e t#e tru"pets* @#e fo((oing s#ou(d ;e t#e arrange"ent/090
*,amples5
T Sadko, s7"p#onic ta;(eau 2: * T Ao* 1)* The May Night , $ct I Ee — @ro";ones, 2 C;* Q 2 (* Q 2 Bag* GGGp* 2)*—Bina( c#ord, C "aH* %cf* @a;(e I of c#ords, E!* 1* T Ao* 1* Snegourotchka 19& F cf* a(so 2:: and ;efore 21: * T Shéhérazade , 1st "o=e"ent E , 2nd "o=e"ent P , rd "o=e"ent M , >t# "o=e"ent p* 2: %cf* E!* 19), 19,21:, 55*
110
Ao* 15* The Christmas Night 2:) F cf* a(so 11 , 212 , 1>t# ;ar* %E!* 1::, 1)* T Mlada, end of $ct I %cf* #ord @a;(e II, E!* 1* $ct II 2: * Ao* 1&019* Sadko, Cpera, ;efore 2>9 , :2 F cf* a(so E!* 12:*09>0 Ao* 15:* Sadko, Cpera 2>> —#ord of ide(7 e!tended rangeF ;assoons at t#e (i"it of (o co"pass* GG 1>2 , 29 F cf* a(so %E!* &* T The Tsar6s 3ride 159 %cf* E!* 2>* )ntar ) —$(ternation of notes in #orns and ood0ind on tro";one c#ords %cf* E!*
2* General o&servations% It is not a(a7s possi;(e to secure proper ;a(ance in scoring
for fu(( ood0ind* Bor instance, in a succession of c#ords #ere t#e "e(odic position is constant(7 c#anging, distri;ution is su;ordinate to correct progression of parts* In practice, #oe=er, an7 inequa(it7 of tone "a7 ;e counter;a(anced ;7 t#e fo((oing acoustic p#eno"enon/ in e=er7 c#ord t#e parts in octa=es strengt#en one anot#er, t#e #ar"onic sounds in t#e (oest register coinciding it# and supporting t#ose in t#e #ig#est* In spite of t#is fact it rests entire(7 it# t#e orc#estrator to o;tain t#e ;est possi;(e ;a(ance of toneF in difficu(t cases t#is "a7 ;e secured ;7 Hudicious d7na"ic grading, "ar3ing t#e ood0ind one degree (ouder t#an t#e ;rass* B+ &(binatin / strings and .ind+
1* .e frequent(7 "eet it# t#e co";ination of strings and ood0ind in t#e (ig#t of co"parison of one ti";re it# anot#er, eit#er in (ong sustained notes, or tremolando in t#e strings* $part fro" t#e co"p(ete or partia( dou;(ing of t#e string quartet %to "et#ods frequent(7 used, t#e genera( and "ost natura( arrange"ent is/ B(* C;* %(*
Q Vns di=*F
(ar* Bag*
Q 'e((os Q Vio(as di=*, etc*
*,amples5
T Sadko, +7"p#onic @a;(eau ;efore > , and > , 9t# ;ar* T Shéhérazade , 1st "o=e"ent M Vns so(i Q 2 C;* %2 B(*, (* T )ntar 5 —+tring quartet divisi Q ood0ind %cf* E!* 1)1*
111
T Ao* 151* )ntar )5 —Vns II, Vio(as di=* Q B(*, 6orn %f(orid acco"pani"ent in t#e (ar** T $egend of Kitesh 29) —t#e sa"eF r#7t#"ic "otion in t#e ind, sustained #ar"on7 in t#e strings %cf* E!* 21*09)0 2* Cing to t#e co"p(ete a;sence of an7 affinit7 in tone qua(it7, t#e co";ination of strings it# ;rass is se(do" e"p(o7ed in Hu!taposition, crossing, or enc(osure of parts* @#e first "et#od "a7 ;e used #oe=er #en t#e #ar"on7 is for"ed ;7 t#e strings tremolando, and t#e ;rass is e"p(o7ed in sustaining c#ords, a(so #en t#e strings p(a7 s#ort disconnected c#ords, sforzando* $not#er possi;(e e!ception "a7 ;e "entionedF t#e sp(endid effect of #orns dou;(ed ;7 di=ided =io(as or 'ce((os* *,amples5 Snegourotchka 2>2 —Bu(( ;rass Q strings tremolando %cf* 1st @a;(e of c#ords, E!* *
T $egend of Kitesh, ;efore 2>: —t#e sa"e %6orn, @ru"pet Q* T Sadko, Cpera, ;efore > —6orn Q Vio(as div%, @ro";ones Q 'e((os div%[1] &+ &(binatin / the three gr'*s+
@#e co";ination of strings, ood0ind and ;rass instru"ents, set side ;7 side, produces a fu((, round and fir" tone* *,amples5
Ao* 152* The Tsar6s 3ride, ;efore 1>) —C;*, Bag* Q 6orns Q +trings* GGGfina( c#ord %cf* @a;(e I of c#ords, E!* )* T Ao* 15* Sadko, end of 1 st ta;(eau—s#ort c#ords* Dast c#ords of t#e 1st, rd and 5t# ta;(eau! %cf* @a;(e I and III, Vo(* II, E!* 9, 1:, 1&* T Ao* 15>* The Christmas Night 22 —.ind Q -rass c% sord% Q tremolo strings* $egend of Kitesh 12 %cf* E!* 2):* Snegourotchka —end of opera, %cf* @a;(e III in Vo(* II, E!* 15 and a #ost of ot#er
e!a"p(es*090 General !&servations% -a(ance and correct distri;ution of tone is "uc# "ore
i"portant in dea(ing it# (ong sustained c#ords or t#ose of r#7t#"ic designF in t#e case
112
of s#ort, disconnected c#ords resonance is a "inor consideration, ;ut one #ic# s#ou(d not ;e entire(7 neg(ected* I #a=e endea=oured to out(ine t#e genera( princip(es to ;e fo((oed, ;ut I do not profess to dea( it# a(( t#e count(ess cases #ic# "a7 arise in t#e course of orc#estration* I #a=e gi=en a fe e!a"p(es of e((0sounding c#ordsF for furt#er infor"ation I ad=ise t#e reader to stud7 fu(( scores it# care, as t#is is t#e on(7 "et#od to acquire perfect 3no(edge of t#e distri;ution and dou;(ing of =arious instru"ents*
0950
113
&ha*ter IV+ CMPC+I@ICA CB @6E CR6E+@R$*
!i//erent .ays / r0hestrating the sa(e ('si0+ @#ere are ti"es #en t#e genera( tone, c#aracter and at"osp#ere of a passage, or a gi=en "o"ent in an orc#estra( or3 point to one, and on(7 one particu(ar "anner of scoring* @#e fo((oing si"p(e e!a"p(e i(( ser=e for e!p(anation* @a3e a s#ort p#rase #ere a f(ouris# or fanfare ca(( is gi=en out a;o=e a tremolando acco"pani"ent, it# or it#out c#ange in #ar"on7* @#ere is no dou;t t#at an7 orc#estrator ou(d assign t#e tremolo to t#e strings and t#e fanfare to a tru"pet, ne=er vice versa* -ut ta3ing t#is for granted, t#e co"poser or orc#estrator "a7 sti(( ;e (eft in dou;t* Is t#e fanfare f(ouris# suita;(e to t#e range of a tru"pet +#ou(d it ;e ritten for to or t#ree tru"pets in unison, or dou;(ed ;7 ot#er instru"ents an an7 of t#ese "et#ods ;e e"p(o7ed it#out da"aging t#e "usica( "eaning @#ese are questions #ic# I s#a(( endea=our to anser* If t#e p#rase is too (o in register for t#e tru"pets it s#ou(d ;e gi=en to t#e #orns %instru"ents a((ied to t#e tru"petF if t#e p#rase is too #ig# it "a7 ;e entrusted to t#e o;oes and c(arinets in unison, t#is co";ination possessing t#e c(osest rese";(ance to t#e tru"pet tone ;ot# in c#aracter and poer* @#e question #et#er one tru"pet or to s#ou(d ;e e"p(o7ed "ust ;e decided ;7 t#e degree of poer to ;e =ested in t#e gi=en passage* If a ;ig sonorous effect is required t#e instru"ents "a7 ;e dou;(ed, trip(ed, or e=en "u(tip(ied ;7 fourF in t#e opposite case one so(o ;rass instru"ent, or to of t#e ood0ind i(( suffice %1 C;* Q 1 (** @#e question #et#er t#e tremolo in t#e strings s#ou(d ;e supported09&0 ;7 sustained #ar"on7 in t#e ood0ind depends upon t#e purpose in =ie* $ co"poser rea(ises #is intentions ;efore#and, ot#ers #o orc#estrate #is "usic can on(7 proceed ;7 conHecture* +#ou(d t#e co"poser desire to esta;(is# a strong(70"ar3ed difference ;eteen t#e #ar"onic ;asis and t#e "e(odic out(ine it is ;etter not to e"p(o7 ood0ind #ar"on7, ;ut to o;tain proper ;a(ance of tone ;7 carefu((7 distri;uting #is d7na"ic "ar3s of e!pression, pp, p, f and ff * If, on t#e contrar7, t#e co"poser desires a fu(( round tone as #ar"onic ;asis and (ess s#o of ;ri((iance in t#e #ar"onic parts, t#e use of #ar"on7 in t#e ood0ind is to ;e reco""ended* @#e fo((oing "a7 ser=e as a guide to t#e scoring of ood0ind c#ords/ t#e #ar"onic ;asis s#ou(d differ fro" t#e "e(od7 not on(7 in fu((ness and intensit7 of tone, ;ut a(so in co(our* If t#e fanfare figure is a((otted to t#e ;rass %tru"pets or #orns t#e #ar"on7 s#ou(d ;e gi=en to t#e ood0indF if t#e p#rase is gi=en to t#e ood0ind %o;oes and c(arinets t#e
114
#ar"on7 s#ou(d ;e entrusted to t#e #orns* @o so(=e a(( t#ese questions successfu((7 a co"poser "ust #a=e fu(( 3no(edge of t#e purpose #e #as in =ie, and t#ose #o orc#estrate #is or3 s#ou(d ;e per"eated it# #is intentions* 6ere t#e question arises, #at s#ou(d t#ose intentions ;e @#is is a "ore difficu(t su;Hect* @#e ai" of a co"poser is c(ose(7 a((ied to t#e for" of #is or3, to t#e aest#etic "eaning of its e=er7 "o"ent and p#rase considered apart, and in re(ation to t#e co"position as a #o(e* @#e c#oice of an orc#estra( sc#e"e depends on t#e "usica( "atter, t#e co(ouring of preceding and su;sequent passages* It is i"portant to deter"ine #et#er a gi=en passage is a co"p(e"ent to or a contrast it# #at goes ;efore and co"es after, #et#er it for"s a c(i"a! or "ere(7 a step in t#e genera( "arc# of "usica( t#oug#t* It ou(d ;e i"possi;(e to e!a"ine a(( suc# possi;(e t7pes of re(ations#ip, or to consider t#e r=le p(a7ed ;7 eac# passage quoted in t#e present or3* @#e reader is t#erefore ad=ised not to pa7 too "uc# attention to t#e e!a"p(es gi=en, ;ut to stud7 t#e" and t#eir ;earing on t#e conte!t in t#eir proper p(ace in t#e fu(( scores* Ae=ert#e(ess I s#a(( touc# upon a fe of t#ese points in t#e course of t#e fo((oing out(ine* @o ;egin it#, 7oung and ine!perienced co"posers do not a(a7s possess a c(ear idea of #at t#e7 is# to do* @#e7 can i"pro=e in t#is direction ;7 reading 0990 good scores and ;7 repeated(7 (istening to an orc#estra, pro=ided t#e7 concentrate t#e "ind to t#e fu((est possi;(e e!tent* @#e searc# after e!tra=agant and daring effects in orc#estration is quite a different t#ing fro" "ere capriceF the "ill to achieve is not sufficient> there are certain things "hich should not &e achieved *
@#e si"p(est "usica( ideas, "e(odic p#rases in unison and octa=es, or repeated t#roug#out se=era( octa=es, c#ords, of #ic# no sing(e part #as an7 "e(odic "eaning are scored in =arious a7s according to register, d7na"ic effect and t#e qua(it7 of e!pression or tone co(our t#at "a7 ;e desired* In "an7 cases, one idea i(( ;e orc#estrated in a different a7 e=er7 ti"e it recurs* Dater on I s#a(( frequent(7 touc# upon t#is "ore co"p(icated question* *,amples5
T Snegourotchka )& F ) and ;efore & —sustained note in unison* @#ere are feer possi;(e a7s of scoring "ore co"p(e! "usica( ideas, #ar"onico0 "e(odic p#rases, po(7p#onic designs etc*F so"eti"es t#ere are ;ut to "et#ods to ;e fo((oed, for eac# of t#e pri"ar7 e(e"ents in "usic, "e(od7, #ar"on7, and counterpoint
115
possesses its on specia( require"ents, regu(ating t#e c#oice of instru"ents and tone co(our* @#e "ost co"p(icated "usica( ideas so"eti"es ad"it of on(7 one "anner of scoring, it# a fe #ard(7 noticea;(e =ariations in detai(* @o t#e fo((oing e!a"p(e, =er7 si"p(e in structure I add an a(ternati=e "et#od of scoring/ *,ample5
Ao* 15)* 0era Scheloga , ;efore ) — a actua( orc#estration, T ; —anot#er "et#od* It is o;=ious t#at t#e "et#od ; i(( produce satisfactor7 tone* -ut a rd and >t# a7 of scoring ou(d ;e (ess successfu(, and a continuation of t#is process ou(d soon (ead to t#e ridicu(ous* Bor instance if t#e c#ords ere gi=en to t#e ;rass t#e #o(e passage ou(d sound #ea=7, and t#e soprano recitati=e in t#e (o and "idd(e register ou(d ;e o=erpoered* If t#e 1 s#arp in t#e 01::0 dou;(e ;asses ere p(a7ed arco ;7 'ce((os and ;asses toget#er it ou(d sound c(u"s7, if it ere gi=en to t#e ;assoons a co"ic effect ou(d ;e produced, and if p(a7ed ;7 t#e ;rass it ou(d sound roug# and coarse, etc* @#e o;Hect of scoring t#e sa"e "usica( p#rase in different a7s is to o;tain =ariet7 eit#er in tone co(our or resonance* In eac# case t#e co"poser "a7 resort to t#e in=ersion of t#e nor"a( order of instru"ents, dup(ication of parts, or t#e to processes in co";ination* @#e first of t#ese is not a(a7s feasi;(e* In t#e preceding sections of t#e ;oo3 I #a=e tried to e!p(ain t#e c#aracteristics of eac# instru"ent and t#e part #ic# eac# group of instru"ents p(a7s in t#e orc#estra* Moreo=er "an7 "et#ods of dou;(ing are to ;e a=oidedF t#ese I #a=e "entioned, #i(e t#ere are a(so so"e instru"ents #ic# cannot ;e co";ined oing to t#e great difference in t#eir pecu(iarities* @#erefore, as regards t#e genera( co"position of t#e orc#estra, t#e student s#ou(d ;e guided ;7 t#e genera( princip(es (aid don in t#e ear(ier stages of t#e present or3* @#e ;est "eans of orc#estrating t#e sa"e "usica( idea in =arious a7s is ;7 t#e adaptation of t#e "usica( "atter* @#is can ;e done ;7 t#e fo((oing operations/ a co"p(ete or partia( transference into ot#er octa=esF ; repetition in a different 3e7F c e!tension of t#e #o(e range ;7 t#e addition of octa=es to t#e upper and (oer partsF d a(teration of detai(s %t#e "ost frequent "et#odF e =ariation of t#e genera( d7na"ic sc#e"e, e*g* repeating a p#rase piano, #ic# #as a(read7 ;een p(a7ed forte* @#ese operations are a(a7s successfu( in producing =ariet7 of orc#estra( co(our* *,amples5
Ao* 15, 155* ussian *aster 1:te $ and * The Christmas Night 1)& and 159 *
116
Ao* 15&01&1* The Tsar6s 3ride, C=erture/ ;eginning, 1 , 2 , 5 * Sadko 9901:1 and :)0:5 %cf* E!* 2&9, 29:, and 5)*
Ao* 1&201&* Tsar Saltan 1> , 15 , 2 , 2& , > * Ao* 1&501&9*GG 1&1 , 2> , 22: * T Ao* 19:0191* 'van the Terri&le, C=erture ) and 12 * 01:10
Spanish Capriccio —co"pare 1st and rd "o=e"ent*
T Ao* 192019)* Shéhérazade , 1st "o=e"ent—;eginning of t#e allegro $ , E , M * G rd "o=e"ent—;eginning $ , I * G rdG E , < , C * T Ao* 19019&* $egend of Kitesh )) , ) , 2 * T Ao* 19902:1*GGG & , 5: , &> * %f* a(so E!* 21, 21>* $egend of Kitesh 29> and 12 * T Ao* 2:202:* The Golden Cockerel 229 , 2 * @#e process of scoring t#e sa"e or si"i(ar ideas in different a7s is t#e source of nu"erous "usica( operations,crescendo, diminuendo , interc#ange of tone qua(ities, =ariation of tone co(our etc*, and incidenta((7 t#ros ne (ig#t upon t#e funda"enta( co"position of t#e orc#estra*
>'ll "utti + @#e ord tutti genera((7 "eans t#e si"u(taneous use of a(( instru"ents, ;ut t#e ord Ga((G is used re(ati=e(7, and it "ust not ;e inferred t#at e=er7 sing(e instru"ent "ust necessari(7 ;e e"p(o7ed to for" a tutti* In order to si"p(if7 t#e fo((oing i((ustrations I i(( di=ide t#e ord into to c(asses, full tutti and partial tutti,—independent(7 of #et#er t#e orc#estra is constructed in pairs, in t#ree's, or a (arger nu";er of instru"ents* I ca(( full tutti t#e co";ination of a(( "e(odic groups, strings, ind, and ;rass* -7 partial tutti I "ean passages in #ic# t#e ;rass group on(7 ta3es part, #et#er to #orns or to tru"pets participate a(one, or #et#er to #orns are co";ined it# one or t#ree tro";ones, it#out tu;a, tru"pets, or t#e to re"aining #orns, etc*/
117
[
> 6orns, **** ****
2 6orns
2 6orns
or 2 @ru"pets, etc ****** or * ****** @ro";ones
]
*
In ;ot# species of tutti fu(( ood0ind "a7 ;e e"p(o7ed or not, according to t#e register and "usica( conte!t of t#e passage* Bor instance, in t#e e!tre"e #ig# register it "a7 ;e essentia( to inc(ude t#e picco(oF in t#e (o register f(utes i(( ;e unnecessar7, and 7et t#e passage can sti(( ;e ca((ed tutti* @#e inc(usion of 3ett(e0dru"s, #arp, and ot#er instru"ents of (itt(e sustaining poer, as of t#e percussion in genera(, does not co"e under discussion*01:20 @#e =ariet7 of orc#estra( operations increases it# t#e nu";er of instru"ents for"ing a tutti, in fact, so great does it ;eco"e t#at it is i"possi;(e to consider a(( co";inations* I can on(7 gi=e a fe e!a"p(es of fu(( and partia( tutti, and (ea=e t#e reader to dra #is on conc(usions* +o"e of t#ese e!a"p(es fa(( under t#e dou;(e #eading of fu(( and partia( tutti, and t#e student is re"inded t#at t#e tutti is used essentia((7 in forte and fortissimo, rare(7 in pianissimo and piano passages* *,amples5 Snegourotchka 1 and 2 —Partia( and fu(( Tutti*
G 21 Partia( Tutti, it#out t#e tru"pets %cf* E!* &* Ao* 2:>* Snegourotchka 21 —Bu(( Tutti* G 2)02 —Bu(( Tutti and c#orus %cf* E!* &* Sadko , 22 , 29 —Bu(( Tutti %cf* E!* &*
Ao* 2:)02:* Sadko 15 , 155 —Bu(( Tutti it# c#orus, different(7 scored* Ao* 2:502:&* The Christmas Night 1&> and 1& —Bu(( Tutti, orc#estrated in different a7s, it# and it#out c#orus* T The Tsar6s 3ride, C=erture 1 , 2 , 5 —Bu(( and partia( Tutti %cf* E!* 15901&1* T GGG 1>1 —Bu(( Tutti* T GGG 155 — GG an 0oyevoda 1& and 1&& Bu(( Tutti*
118
T )ntar ) —%cf* E!* 2* T Ao* 2:9* Shéhérazade , rd "o=e"ent M F cf* a(so 1st "o=e"ent $ , E , 6 F 2nd "o=e"ent 8 , P , R F rd"o=e"ent < , C F >t# "o=e"ent < , P , . and furt#er on to L % Ao* 19, 19>, 19, , 55* T Spanish Capriccio - , B , J , P , V , 0W %cf* E!* * T ussian *aster 1:te B , J , ;efore D , L , up to t#e end* T ?rd Symphony, >t# "o=e"ent $ , 6 , + *
1st "o=e"ent ? , R0@ , F
2nd "o=e"ent $ , E F
T Sadko, +7"p#onic ta;(eau 2:02> * T Mlada, $ct III 12 %cf* E!* 2)&* T Bor e!a"p(es of Tutti c#ords, see specia( @a;(es at t#e end of Vo(* II*01:0
"utti in the .ind+ In "an7 cases t#e ood0ind and ;rass groups can for" a tutti ;7 t#e"se(=es for periods of =ar7ing (engt#* +o"eti"es t#is is effected ;7 t#e ood0ind a(one, ;ut "ore frequent(7 it# t#e support of #orns* $t ot#er ti"es t#e #orns are found a(one it#out t#e ood0ind, and, (ast(7, a tutti "a7 ;e co"prised of instru"ents of eac# group in =ar7ing nu";ers* @#e addition of 3ett(e0dru"s and t#e rest of t#e percussion is quite co""on and constitutes #at t#e
Ao* 21:0211* Snegourotchka 1>9 , 1)1 %co"pare* Tsar Saltan 1> , 15 , 2 %cf* E!* 1&201&>* an 0oyevoda )5 , 1& , 22 *
Ao* 212* 'van the Terri&le, $ct II 19 F cf* a(so $ct* III ) *
119
T Ao* 21021>* $egend of Kitesh 29> , 12 %co"pare* T Ao* 21)* The Golden Cockerel 11 F cf* a(so &2 and &> * T )ntar 5 %cf* E!* )*
"utti pi##icato. @#e quartet of strings % pizzicato, reinforced occasiona((7 ;7 t#e #arp and piano, "a7, in certain cases constitute a particu(ar 3ind of tutti, #ic# can on(7 attain an7 great degree of strengt# ;7 support fro" t#e ood0ind* .it#out t#is support it is of "ediu" poer, t#oug# sti(( fair(7 ;ri((iant in qua(it7*01:>0 *,amples5
Ao* 21* Snegourotchka , ;efore 12& F cf* a(so 1) and ;efore :) * T Ao* 215* ussian *aster 1:te 8 F cf* a(so and V * T Spanish Capriccio $ , , ;efore + , ;efore P F cf* a(so C %E!* )* Mlada, $ct II 1) *
T Sadko/ 22: %cf* E!* 29)* T $egend of Kitesh 1:1 * T Ao* 21&* The May Night , $ct I, @#e Ma7or's +ong—co";ination of strings, arco and pizz%
"utti in ne; t. and three *arts+ It often #appens t#at a "oderate(7 fu(( orc#estra( ensem&le e!ecutes a passage co"posed of one or to #ar"onic parts, in unison or in octa=es* +uc# "e(odic p#rases ca(( for "ore or (ess si"p(e orc#estration it# t#e usua( dou;(ing of parts, or, in orna"enta( riting, ad"it of contrast in tone co(ouring, occasiona((7 it# t#e addition of sustained notes* *,amples5 Snegourotchka , ;efore 1)2 , 15> , 15 * The Tsar6s 3ride 12:0121 %cf* E!* * The Golden Cockerel 21) *
120
T Ao* 2190221* $egend of Kitesh 1>2 , 1>> , 1>5 — part Tutti, it# different scoring* T $egend of Kitesh 1& , 19 — Tutti in one part*
$oli in the strings+ $(t#oug#, in an7 orc#estra( piece, nu"erous instances are to ;e found of "e(odies and p#rases entrusted to a so(o ind instru"ent %genera((7 t#e first of eac# group, ood0 ind or ;rass, so(os for stringed instru"ents, on t#e ot#er #and, are e!tre"e(7 rare* .#i(st t#e 1st =io(in and 1st 'ce((o are fair(7 frequent(7 used in t#is "anner, t#e so(o =io(a is se(do" found, and a so(o on t#e dou;(e ;ass is practica((7 un3non* P#rases de"anding particu(ar indi=idua(it701:)0 of e!pression are entrusted to so(o instru"entsF (i3eise passages t#at require e!traordinar7 tec#nique, ;e7ond t#e scope of t#e orc#estra( ran3 and fi(e* @#e co"parati=e(7 ea3 tone of t#e so(o instru"ent necessitates (ig#t, transparent acco"pani"ent* ?ifficu(t =irtuoso so(os s#ou(d not ;e ritten, as t#e7 attract too "uc# attention to a particu(ar instru"ent* +o(o stringed instru"ents are a(so used #en =igourous e!pression and tec#nica( faci(it7 are not required, ;ut si"p(7 in order to o;tain t#at singu(ar difference in co(our #ic# e!ists ;eteen a so(o stringed instru"ent and strings in unison* @o so(o instru"ents can ;e coup(ed toget#er, e*g* 2 0iolins soli, etc* and in =er7 rare cases a quartet of so(o strings "a7 ;e e"p(o7ed* *,amples5 0iolin solo5
Ao* 222022* Snegourotchka )> , 25) * The May Night , pp* >05&* Mlada, $ct I )2 F $ct III, ;efore 19 *
T ) 1airy Tale . * T Shéhérazade , 1st "o=e"ent , < F a(so t#e passages at t#e start of eac# "o=e"ent* T Spanish Capriccio 6 , 8 , R , and t#e cadence on p* &* T Ao* 22>* $egend of Kitesh 1: —Vn* so(o, on #ar"onic ;asis of strings sul ponticello and ood0ind* Snegourotchka 25> , 259 —2 Vns so(i %cf* E!* 9* 0iola solo5
Ao* 22)* Snegourotchka 212 *
121
Sadko 15 *
T Ao* 22* The Golden Cockerel 1 F cf* a(so 15> , 155 * 0ioloncello solo5 Snegourotchka 1&5 %cf* E!* 1:2* The Christmas Night , ;efore 29 , 1: * Mlada, $ct III *
T The Golden Cockerel 155 , 1&: %cf* E!* 229*01:0 +ou&le &ass solo5
T Ao* 225* Mlada, $ct II 1:012 —a specia( instance #ere t#e first string is tuned don* Solo (uartet5 The Christmas Night 222 —Vn*, Vio(a, 'e((o, ?* ;ass*
T Ao* 22&* Tsar Saltan 2>& —Vn* I, Vn* II, Vio(a, 'e((o* T @#e case of a so(o stringed instru"ent dou;(ed ;7 t#e ood0ind in unison "ust not ;e forgotten* @#e o;Hect is to attain great purit7 and a;undance of tone, it#out i"pairing t#e ti";re of t#e so(o instru"ent %especia((7 in t#e #ig# and (o registers, or to produce a certain #ig#(70co(oured effect* *,amples5
T Mlada, $ct II )2 —Vn* Q B(*F $ct IV 1 —Vio(* Q B(* Q 6arp* T The Christmas Night 212 —2 Vns Q B(* Q +"a(( (* %cf* E!* 1)* T an 0oyevoda 5 —2 Vns Q 2 C;*F 2 Vio(as Q 2 (* T $egend of Kitesh : —-ass c(* Q 0fag* %cf* E!* 1:* GGG :9 —Vn* Q B(* T Ao* 229* The Golden Cockerel 159 —Vn* Q Picc*F 'e((o Q -ass c(* T $s s#on in #ap* II, 2 Vns so(i or Vio(in so(o Q B(* %Picc* are often sufficient to dou;(e a "e(od7 in t#e upper register*
122
*,amples5 Sadko 2:5 —cf* #ap* II, p* >2 and E!* 2>*
T Ao* 2:* ussian *aster 1:te, p* 2—2 +o(o =io(ins %in #ar"onics* T Ao* 21* $egend of Kitesh 295 —2 +o(o =io(ins Q Picc*
Li(its / r0hestral range+ It is se(do" t#at t#e entire orc#estra( conception is centred in t#e upper register of t#e orc#estra %t#e )t# and t#octa=es, sti(( "ore rare(7 is it focussed #o((7 in t#e (oest range %octa=es 1 and 01 #ere t#e pro!i"it7 of #ar"onic inter=a(s creates a ;ad effect* In t#e first case t#e f(utes and picco(o s#ou(d ;e used a(ong it# t#e upper notes of t#e =io(ins, soli or divisi F in t#e second01:50 case t#e dou;(e ;assoon and t#e (o notes of t#e ;assoons, ;ass c(arinet, #orns, tro";ones and tu;a are ;roug#t into p(a7* @#e first "et#od gi=es ;ri((iant co(our, t#e second co";ination is dar3 and g(oo"7* @#e contrar7 ou(d ;e funda"enta((7 i"possi;(e* *,amples5 an 0oyevoda 122 , 15 Servilia 1& , &t# ;ar* %cf* E!* 2
Ao* 22* The Golden Cockerel 22: F cf* a(so 21& , 219
(o register*
#ig# register*
T Snegourotchka , ;efore 2) T $egend of Kitesh, ;efore > T Ao* 2* The Golden Cockerel 11 , 115 T Ao* 2>* Shéhérazade , 2nd "o=e"ent pp* )902 @#e upper and (oer parts of a passage can se(do" ;e ide(7 separated it#out t#e inter"ediate octa=es ;eing fi((ed in, for t#is is contrar7 to t#e first princip(es of proper distri;ution of c#ords* Ae=ert#e(ess t#e unusua( resonance t#us produced ser=es for strange and grotesque effects* In t#e first of t#e fo((oing e!a"p(es t#e picco(o figure dou;(ed ;7 t#e #arp and t#e spar3(ing notes of t#e glockenspiel is set a;out four octa=es apart fro" t#e ;ass, #ic# is assigned to a sing(e ?ou;(e ;ass and @u;a* -ut in t#e rd octa=e, t#e aug"ented fourt#s and di"inis#ed fift#s in t#e to f(utes #e(p to fi(( up t#e inter"ediate space and (essen t#e distance ;eteen t#e to e!tre"e parts, t#us for"ing so"e sort of (in3 ;eteen t#e"* @#e genera( effect is fancifu(*
123
*,amples5
Ao* 2)* Snegourotchka 2)) * T Ao* 2* G 1) , )t# and t# ;ars* G 25> %cf* E!* 9* ) 1airy Tale $ * The Golden Cockerel 159 , 9t# ;ar* %cf* E!* 229*
Trans/eren0e / *assages and *hrases+ $ p#rase or a figure is often transferred fro" one instru"ent to anot#er* In order to connect t#e p#rases on eac# instru"ent in01:&0 t#e ;est possi;(e a7, t#e (ast note of eac# part is "ade to coincide it# t#e first note of t#e fo((oing one* @#is "et#od is used for passages t#e range of #ic# is too ide to ;e perfor"ed on an7 one instru"ent, or #en it is desired to di=ide a p#rase into to different ti";res* *,amples5
T Snegourotchka 15 —@#e "e(od7 is transferred fro" t#e =io(ins to t#e f(ute and c(arinet %cf* E!* 2&* T G ;efore 191 —+o(o =io(in—+o(o 'ce((o* an 0oyevoda )5 —@ro";ones—@ru"petsF 6orn—C;* Q (*
$ si"i(ar operation is used in scoring passages co=ering t#e entire orc#estra( sca(e, or a great portion of it* .#en one instru"ent is on t#e point of co"p(eting its a((otted part, anot#er instru"ent ta3es up t#e passage, starting on one or to notes co""on to ;ot# parts, and so on* @#is di=ision "ust ;e carried out to ensure t#e ;a(ance of t#e #o(e passage* *,amples5 Snegourotchka , & , 11 —+trings* The Tsar6s 3ride 19: —.ood0ind* Sadko 52 —+trings %cf* E!* 112*
G 22 —+trings* The Christmas Night , ;efore 1&: —+trings, ind and c#orus %cf* E!* 12*
124
T Ao* 25* The Christmas Night , ;efore 1&1 —+tring figure* T Servilia 111 —+trings %cf* E!* &&* G 29 , )t# ;ar*—C;*—B(*F (*—-ass c(*, Bag* Ao* 2&* The Golden Cockerel , ;efore 9 —.ood0ind* T GGG ) —Bag*—Eng* #orn %Q 'e((os pizz%*
&hrds / di//erent tne <'ality 'sed alternately+ 1* @#e "ost usua( practice is to e"p(o7 c#ords on different groups of instru"ents a(ternate(7* In dea(ing it# c#ords in different registers care s#ou(d ;e ta3en t#at t#e progression of parts, t#oug# ;ro3en in passing fro" one group to anot#er, re"ains as regu(ar 01:90 as if t#ere ere no (eap fro" octa=e to octa=eF t#is app(ies specia((7 to c#ro"atic passages in order to a=oid fa(se re(ation* *,amples5
Ao* 29* 'van the Terri&le, $ct II 29 * Ao* 2>:02>1* The Tsar6s 3ride 12 , ;efore 12> * T Ao* 2>202>* GGG 15& , 159 * T Note% @#e ru(es regu(ating progression of parts "a7 so"eti"es ;e ignored, #en e!tre"e contrast of ti";re ;eteen to adHacent c#ords is intended* *,amples5
T Shéhérazade , & t# ;ar fro" t#e ;eginning, %t#e c#ro"atic progression at t#e 12t# ;ar is underta3en ;7 t#e sa"e instru"ents, t#e 2 nd c(* is t#erefore p(aced a;o=e t#e first in t#e opening—cf* E!* 1:9* T The Christmas Night , opening %cf* E!* 1:* 2* $not#er e!ce((ent "et#od consists in transferring the same chord or its inversion fro" one orc#estra( group to anot#er* @#is operation de"ands perfect ;a(ance in progression of parts as e(( as register* @#e first group stri3es a c#ord of s#ort =a(ue, t#e ot#er group ta3es possession of it si"u(taneous(7 in t#e sa"e position and distri;ution, eit#er in t#e sa"e octa=e or in anot#er* @#e d7na"ic gradations of tone need not necessari(7 ;e t#e sa"e in ;ot# groups* *,amples5
125
'van the Terri&le, co""ence"ent of t#e o=erture %cf* E!* &)*
Ao* 2>>* Snegourotchka 1>: *
A(*li/i0atin and eli(inatin / tne <'alities+ @#e operation #ic# consists in contrasting t#e resonance of to different groups %T or t#e different ti";res of one and t#e sa"e group, eit#er in sustained notes or c#ords, transfor"s a si"p(e into a co"p(e! ti";re, sudden(7, or ;7 degrees* It is used in esta;(is#ing a crescendo* .#i(e t#e first group effects t#e crescendo gradua((7, t#e second group enters piano or pianissimo, and attains its crescendo "ore rapid(7* @#e #o(e process is t#ere;7 rendered "ore tense as t#e ti";re c#anges* @#e con=erse operation— t#e transition fro" a co"p(e! to a si"p(e ti";re, ;7 t#e suppression of one of t#e groups, ;e(ongs essentia((7 to t#e diminuendo *011:0 *,amples5
Ao* 2>)* Snegourotchka 1 * G 1>: %cf* E!* 2>>* ) 1airy Tale V * Shéhérazade , 2nd "o=e"ent ? %cf* E!* 5>*
T G >t# "o=e"ent p* 221* Ao* 2>* Servilia 22& F cf* a(so >> * The Christmas Night 1) %cf* E!* 1>*
Ao* 2>5* The Tsar6s 3ride, ;efore 2:) * T Ao* 2>&* ussian *aster 1:te ? * T Ao* 2>902):* $egend of Kitesh ) , 12 *
Re*etitin / *hrases; i(itatin; e0h+
126
$s regards c#oice of ti";re, p#rases in i"itation are su;Hect to t#e (a of register* .#en a p#rase is i"itated in t#e upper register it s#ou(d ;e gi=en to an instru"ent of #ig#er range and vice versa* If t#is ru(e is ignored an unnatura( effect i(( ;e produced, as #en t#e c(arinet in its upper range rep(ies to t#e o;oe in t#e (oer co"pass etc* @#e sa"e ru(e "ust ;e fo((oed in dea(ing it# p#rases, actua((7 different, ;ut si"i(ar in c#aracterF repeated p#rases of different c#aracter s#ou(d ;e scored in a "anner "ost suita;(e to eac#* *,amples5 The Tsar6s 3ride 1)5 , 11 * $egend of Kitesh >:0>1 *
T Ao* 2)1* Spanish Capriccio + * In ec#o p#rases, t#at is to sa7 i"itation entai(ing not on(7 decrease in =o(u"e of tone ;ut a(so an effect of distance, t#e second instru"ent s#ou(d ;e ea3er t#an t#e first, ;ut t#e to s#ou(d possess so"e sort of affinit7* $n ec#o gi=en to "uted ;rass fo((oing t#e sa"e p#rase not "uted produces t#is distant effect* Muted tru"pets are e"inent(7 suited to ec#o a t#e"e in t#e o;oesF f(utes a(so "a7 i"itate c(arinets and o;oes successfu((7* $ ood0ind instru"ent cannot ;e used to ec#o t#e strings, or 01110 vice versa, on account of t#e dissi"i(arit7 in ti";re* I"itation in octa=es %it# a decrease in resonance creates an effect rese";(ing an ec#o* *,amples5 'van the Terri&le, $ct III *
Ao* 2)2* Sadko 2> * T Spanish Capriccio E *—@#is e!a"p(e is not precise(7 an ec#o ;ut rese";(es one in c#aracter %cf* E!* >>* T Shéhérazade , >t# "o=e"ent ;efore C *
$for#ando%piano and piano%sfor#ando 0hrds+ -esides t#e natura( d7na"ic process of o;taining t#ese "ar3s of e!pression, a process #ic# depends upon t#e p(a7er, t#e7 "a7 a(so ;e produced ;7 artificia( "eans of orc#estration* a $t t#e "o"ent #en t#e ood0ind ;egins a piano c#ord, t#e strings attac3 it sforzando, a co"pound c#ord for preference, eit#er arco or pizz% In t#e opposite case
127
t#e sf in t#e strings "ust occur at t#e end of t#e ood0ind c#ord* @#e first "et#od is a(so e"p(o7ed for a sf-dim%, and t#e second for a cresc%-sf effect* ; It is not so effecti=e, and t#erefore (ess frequent to gi=e t#e notes of sustained =a(ue to t#e strings, and t#e s#ort c#ords to t#e ood0ind* In suc# cases t#e tenuto c#ord is p(a7ed tremolando on t#e strings* *,amples5 0era Scheloga , ;efore ) , & , 1:t# ;ar*
T Ao* 2)* $egend of Kitesh, ;efore 1)01 * T Shéhérazade , 2nd "o=e"ent, P , 1>t# ;ar*
Methd / e(*hasising 0ertain ntes and 0hrds+ In order to stress or e"p#asise a certain note or c#ord, ;esides t#e "ar3s of e!pression and sf , c#ords of 2, , and > notes can ;e inserted into t#e "e(odic progression ;7 t#e instru"ents of t#e string quartet, eac# p(a7ing a sing(e noteF s#ort notes in t#e ood0ind "a7 a(so ;e used as e(( as a c#ain of t#ree or 01120 four grace notes, in t#e for" of a sca(e, eit#er in strings or ood0ind* @#ese unstressed notes %anacrusis, genera((7 ritten =er7 s"a((, for" a 3ind of upard g(ide, t#e donard direction ;eing (ess co""on* $s a ru(e t#e7 are connected to t#e "ain note ;7 a s(ur* In t#e strings t#e7 s#ou(d not (ead up to c#ords of t#ree or four notes, as t#is ou(d ;e a3ard for t#e ;o* *,amples5
Ao* 2)>* The Tsar6s 3ride 1>2 —$nacrusis in t#e strings* T Ao* 2))* Shéhérazade , 2nd "o=e"ent —+#ort pizz% c#ords* T GGG P —+#ort ind c#ords %cf* E!* 19*
&rescendo and diminuendo+ +#ort crescendi and diminuendi are genera((7 produced ;7 natura( d7na"ic "eansF #en pro(onged, t#e7 are o;tained ;7 t#is "et#od co";ined it# ot#er orc#estra( de=ices* $fter t#e strings, t#e ;rass is t#e group "ost faci(e in producing d7na"ic s#ades of e!pression, g(orif7ing crescendo c#ords into t#e "ost ;ri((iant sforzando c(i"a!es* (arinets specia(ise in diminuendo effects and are capa;(e of decreasing t#eir tone to a ;reat# %morendo* Pro(onged orc#estra( crescendi are o;tained ;7 t#e gradua( addition of
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ot#er instru"ents in t#e fo((oing order/ strings, ood0ind, ;rass* +iminuendo effects are acco"p(is#ed ;7 t#e e(i"ination of t#e instru"ents in t#e re=erse order %;rass, ood0 ind, strings* @#e scope of t#is or3 does not (end itse(f to t#e quotation of pro(onged crescendo anddiminuendo passages* @#e reader is referred, t#erefore, to t#e fu(( scores/ T Shéhérazade , pp* )05, 9209, 19202::* T )ntar , )1 * T The Christmas Night 1& * T Sadko 1)01 * T The Tsar6s 3ride &:0&1 * Man7 e!a"p(es of s#orter crescendi and diminuendi i(( ;e found in Vo(* II*0110
!ierging and 0nerging *rgressins+ In t#e "aHorit7 of cases, di=erging and con=erging progressions si"p(7 consist in t#e gradua( ascent of t#e t#ree upper parts, it# t#e ;ass descending* @#e distance separating t#e ;ass fro" t#e ot#er parts is trif(ing at first, and gros ;7 degrees* Cn t#e ot#er #and, in con=erging progressions, t#e t#ree upper parts, at first so far distant fro" t#e ;ass, gradua((7 approac# it* +o"eti"es t#ese progressions in=o(=e an increase or a decrease in tone* @#e inter"ediate inter=a(s are fi((ed up ;7 t#e introduction of fres# parts as t#e distance idens, so t#at t#e upper parts ;eco"e dou;(ed or tre;(ed* In con=erging progressions t#e trip(ed and dou;(ed parts are si"p(ified, as t#e dup(icating instru"ents cease to p(a7* Moreo=er, if t#e #ar"on7 a((os it, t#e group in t#e "idd(e region #ic# re"ains stationar7 is t#e group to ;e retained, or e(se t#e sustained note #ic# guarantees unit7 in t#e operation* -e(o, t#e reader i(( find dou;(e e!a"p(es of ;ot# descriptions* @#e first pair represents a di=erging progression, 1* piano, in #ic# t#e #u"an =oice ta3es partF 2* a pure(7 orc#estra( crescendo* @#e second depicts to si"i(ar di=erging progressions, first(7 a gradua( crescendo, second(7 dim%, during #ic# t#e strings ;eco"e "ore and "ore di=ided as t#e ind instru"ents cease to p(a7* E!* 2)& acco"panies t#e apparition of M(ada, E!* 2)9, its disappearance* @#e at"osp#ere and co(ouring are eird and fancifu(* @#e t#ird pair of e!a"p(es for"s instances of con=erging progressions* In t#e first %E!* 2: Princess Vo(3#o=a re(ates t#e onders of t#e sea* @#en in t#e "idd(e of a poerfu( orc#estra( crescendo t#e +ea08ing appears %E!* 21* -ot# e!a"p(es inc(ude a sustained stationar7 c#ord of t#e di"inis#ed se=ent#* @#e #and(ing of suc# progressions requires t#e greatest care*
129
*,amples5
Ao* 2)02)5* The Tsar6s 3ride 1:2 and 1:5 * Ao* 2)&02)9* Mlada, $ct III 12 and 19 * Ao* 2:021* Sadko 1:) and 119 * Sadko 52 %cf* E!* 112*
G ;efore 1) * 011>0
T The Christmas Night , ;eginning %cf* E!* 1:* T Ao* 22* )ntar , end of rd "o=e"ent* Note% $ sustained note ;eteen t#e di=erging parts does not a(a7s a((o t#e e"pt7
space to ;e "ore co"p(ete(7 fi((ed up* *,ample5
Ao* 2* The Golden Cockerel , ;efore 1: *
Tne <'ality as a har(ni0 /r0e+ 1ar(ni0 basis+
Me(odic design co"prising notes foreign to t#e #ar"on7, passing or grace notes, e";e((is#"ents etc*, does not per"it t#at a f(orid out(ine s#ou(d proceed at t#e sa"e ti"e it# anot#er one, reduced to essentia( and funda"enta( notes/
If, in t#e a;o=e e!a"p(e, t#e upper part is transposed an octa=e (oer, t#e discordant effect produced ;7 t#e contact of appoggiaturas and funda"enta( notes i(( ;e di"inis#edF t#e quic3er t#e passage is p(a7ed t#e (ess #ars# t#e effect i(( ;e, and vice versa* -ut it ou(d ;e i((0ad=ised to (a7 don an7 #ard and fast ru(e as to t#e per"issi;(e (engt# of t#ese notes* @#ere is no dou;t t#at t#e #ar"onic notes, t#e t#irds of t#e funda"enta( one % * are "ore pro"inent fro" t#eir pro!i"it7 it# t#e notes e!traneous
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to t#e #ar"on7* If t#e nu";er of parts is increased %for instance, if t#e "e(odic figure is in t#irds, si!t#s etc*, t#e question ;eco"es sti(( "ore co"p(icated, since, to t#e origina( #ar"onic sc#e"e, c#ords it# different root ;ases are added, producing fa(se re(ation* Ae=ert#e(ess, for t#e so(ution of suc# pro;(e"s, orc#estration pro=ides an e(e"ent of t#e greatest i"portance/ difference of ti";res* @#e greater t#e dissi"i(arit7 in ti";re ;eteen t#e #ar"onic ;asis on t#e one #and and t#e "e(odic design on t#e ot#er, t#e (ess discordant t#e notes e!traneous to t#e #ar"on7011)0 i(( sound* @#e ;est e!a"p(e of t#is is to ;e found ;eteen t#e #u"an =oice and t#e orc#estra, ne!t co"es t#e difference of ti";res ;eteen t#e groups of strings, ood0ind, p(uc3ed strings and percussion instru"ents* Dess i"portant differences occur ;eteen ood0ind and ;rassF in t#ese to groups, t#erefore, t#e #ar"onic ;asis genera((7 re"ains an octa=e re"o=ed fro" t#e "e(odic design, and s#ou(d ;e of inferior d7na"ic poer* *,amples of harmonic &asis in chords5
Ao* 2>* an 0oyevoda, Introduction* $egend of Kitesh, Introduction %cf* a(so E!* 12) and 1>:*
T Mlada, $ct III 1: * @#e #ar"onic ;asis "a7 ;e orna"enta( in c#aracter, in #ic# case it s#ou(d "o=e independent(7 of t#e concurrent "e(odic design* *,amples5
T Ao* 2)02* Tsar Saltan 1:01:> , 12& , 1>9 , 1201) %cf* ;e(o* #ords t#e "ost ide(7 opposed in c#aracter "a7 ;e used on a si"p(e, stationar7 #ar"onic ;asis, a ;asis, founded, for e!a"p(e, on t#e c#ord of t#e tonic or di"inis#ed se=ent#* *,amples5
Ao* 25* $egend of Kitesh 202& —.ood0ind and #arps on a string ;asis* Ao* 2&029* Kashtche; the 'mmortal , > * Ao* 25:* Mlada, $ct II, ;efore 15 , 1& ], 2: * Ao* 251* The Golden Cockerel 12) —#ords of t#e di"inis#ed se=ent#, on arpeggio ;asis %aug"ented fift#* @#e effect of a(ternating #ar"on7 produced ;eteen to "e(odic figures, e*g* one trans"itting a note, #e(d in a;e7ance, to t#e ot#er, or t#e si"u(taneous progression of a
131
figure in aug"entation and di"inution etc* ;eco"es co"pre#ensi;(e and p(easant to t#e ear #en t#e funda"enta( sustained #ar"on7 is different*0110 *,amples5 $egend of Kitesh > , , 295 %cf* E!* > and 21*
Ao* 252025>* Tsar Saltan 1:> , 1201) %cf* a(so 1>501>& * T ussian *aster 1:te, ;efore V * @#e #o(e question as to #at is a((oed and #at for;idden in t#e e"p(o7"ent of notes e!traneous to t#e #ar"on7 is one of t#e "ost difficu(t in t#e #o(e range of co"positionF t#e per"issi;(e (engt# of suc# notes is in no a7 esta;(is#ed* In a;sence of artistic fee(ing, t#e co"poser #o re(ies entire(7 on t#e difference ;eteen to ti";res i(( often find #i"se(f using t#e "ost painfu( discords* Inno=ations in t#is direction in t#e (atest post0.agnerian "usic are often =er7 questiona;(eF t#e7 depress t#e ear and deaden t#e "usica( senses, (eading to t#e unnatura( conc(usion t#at #at is good, ta3en separate(7, "ust necessari(7 ;e good in co";ination*
Arti/i0ial e//e0ts+ I app(7 t#is na"e to so"e orc#estra( operations #ic# are ;ased on certain defects of #earing and facu(t7 of perception* 6a=ing no is# to specif7 t#ose t#at a(read7 e!ist or to forete(( t#ose #ic# "a7 7et ;e in=ented, I i(( "ention, in passing, a fe #ic# #a=e ;een used ;7 "e in "7 on or3s* @o t#is c(ass ;e(ong glissando sca(es or arpeggios in t#e #arp, t#e notes of #ic# do not correspond it# t#ose p(a7ed si"u(taneous(7 ;7 ot#er instru"ents, ;ut #ic# are used fro" t#e fact t#at (ong glissandi are "ore resonant and ;ri((iant t#an s#ort ones* *,amples5 Snegourotchka 2) %cf* E!* 9)*
Ao* 25)* an 0oyevoda 12& * T Shéhérazade , rd "o=e"ent M , )t# ;ar %cf* E!* 2>&* T ussian *aster 1:te ? %cf* E!* 2>&* T En#ar"onic glissando in t#e strings s#ou(d a(so ;e "entioned* Ao* 25* The Christmas Night 1&: , 1t# ;ar—'e((os glissando*01150
132
$se / *er0'ssin instr'(ents /r rhyth( and 0l'r+ .#ene=er so"e portion of t#e orc#estra e!ecutes a r#7t#"ic figure, percussion instru"ents s#ou(d a(a7s ;e e"p(o7ed concurrent(7* $n insignificant and p(a7fu( r#7t#" is suita;(e to t#e triang(e, ta";ourine, castanets and side dru", a =igourous and straig#tforard r#7t#" "a7 ;e gi=en to t#e ;ass dru", c7";a(s and gong* @#e stro3es on t#ese instru"ents s#ou(d a("ost in=aria;(7 correspond to t#e strong ;eats of t#e ;ar, #ig#(70accented s7ncopated notes or disconnected sforzandi* @#e triang(e, side dru" and ta";ourine are capa;(e of =arious r#7t#"ic figures* +o"eti"es t#e percussion is used separate(7, independent(7 of an7 ot#er group of instru"ents* @#e ;rass and ood0ind are t#e to groups #ic# co";ine t#e "ost satisfactori(7 it# percussion fro" t#e standpoint of co(our* @#e triang(e, side dru", and ta";ourine go ;est it# #ar"on7 in t#e upper registerF c7";a(s, ;ass dru" and gong it# #ar"on7 in t#e (oer* @#e fo((oing are t#e co";inations "ost genera((7 e"p(o7ed/tremolo on t#e triang(e and ta";ourine it# tri((s in ood0ind and =io(insF tremolo on t#e side dru", or c7";a(s struc3 it# dru" stic3s, and sustained c#ords on tru"pets and #ornsF tremolo on t#e ;ass dru" or t#e gong it# c#ords on tro";ones or (o sustained notes on 'ce((os and dou;(e ;asses* It "ust not ;e forgotten t#at t#e ;ass dru", c7";a(s, gong and a tremolo on t#e side dru", p(a7ed fortissimo, is sufficient to o=erpoer an7 orc#estra(tutti* T @#e reader i(( find instances of t#e use of percussion instru"ents in an7 fu(( score, and in se=era( e!a"p(es of t#e present or3* *,amples5
T Shéhérazade pp* 1:50119, a(so "an7 passages in > t# "o=e"ent* T )ntar >: , > %cf* E!* 5, 29* T Spanish capriccio P %cf* E!* >F t#e cadences to ;e studied in t#e >t# "o=e"ent, #ere t#e7 are acco"panied ;7 =arious percussion instru"ents* T ussian *aster 1:te 8 %cf* E!* 215* T The Tsar6s 3ride 1>: * T $egend of Kitesh 190195 —G@#e -att(e of 8erHX"et4G* T an 0oyevoda 51052 *011&0
E0n(y in r0hestral 0l'r+
133
Aeit#er "usica( fee(ing nor t#e ear itse(f can stand, for (ong, t#e fu(( resources of t#e orc#estra co";ined toget#er* @#e fa=ourite group of instru"ents is t#e strings, t#en fo((o in order t#e ood0ind, ;rass, 3ett(e0dru"s, #arps, pizzicato effects, and (ast(7 t#e percussion, a(so, in point of order, triang(e, c7";a(s, ;ig dru", side dru", ta";ourine, gong* Burt#er re"o=ed stand t#e ce(esta, glockenspiel and !7(op#one, #ic# instru"ents, t#oug# "e(odic, are too c#aracteristic in ti";re to ;e e"p(o7ed o=er frequent(7* @#e sa"e "a7 ;e said of t#e piano and castanets* $ quantit7 of nationa( instru"ents not inc(uded in t#e present or3 "a7 ;e incorporated into t#e orc#estraF suc# are t#e guitar, t#e do"ra, 4it#er, "ando(ine, t#e orienta( ta";ourine, s"a(( ta";ourine etc* @#ese instru"ents are e"p(o7ed fro" ti"e to ti"e for descripti=e0aest#etic purposes* @#ese instru"ents are "ost frequent(7 used in t#e a;o=e0na"ed order* $ group of instru"ents #ic# #as ;een si(ent for so"e ti"e gains fres# interest upon its reappearance* @#e tro";ones, tru"pets and tu;a are occasiona((7 tacet for (ong periods, t#e percussion is se(do" e"p(o7ed, and practica((7 ne=er a(( toget#er, ;ut in sing(e instru"ents or in to's and t#ree's* In nationa( dances or "usic in ;a((ad st7(e, percussion instru"ents "a7 ;e used "ore free(7* $fter a (ong rest t#e re0entr7 of t#e #orns, tro";ones and tu;a s#ou(d coincide it# so"e c#aracteristic intensit7 of tone, eit#er pp or ff F piano and forte re0entries are (ess successfu(, #i(e re0introducing t#ese instru"ents mezzo-forte or mezzo-piano produces a co(our(ess and co""on0p(ace effect* @#is re"ar3 is capa;(e of ider app(ication* Bor t#e sa"e reasons it is not good to co""ence or finis# an7 piece of "usic eit#er mf or mp* @#e scope of t#e "usica( e!a"p(es in t#is or3 does not per"it of i((ustrating ;7 quotation t#e use of econo"7 in orc#estra( co(our, nor t#e re0entr7 of instru"ents t#ron into pro"inence ;7 pro(onged rests* @#e reader "ust e!a"ine t#ese questions in fu(( scores*
01190
134
&ha*ter V+ CM-IA$@ICA CB @6E 6M$A VCIE .I@6 CR6E+@R$* @6E +@$
Or0hestral a00(*ani(ent / sl i0es+ General re(ar9s+
In acco"pan7ing t#e =oice orc#estra( scoring s#ou(d ;e (ig#t enoug# for t#e singer to "a3e free use of a(( t#e d7na"ic s#ades of e!pression it#out #ardness of tone* In o=erf(oing (7rica( "o"ents, #ere fu(( =oice is required, t#e singer s#ou(d ;e e(( supported ;7 t#e orc#estra* Cpera singing "a7 ;e di=ided into to genera( c(asses, (7ric singing and dec(a"ation or recitati=e* @#e fu((, round, legato aria affords greater faci(it7 for tone production t#an f(orid "usic or recitati=e, and t#e "ore "o=e"ent and r#7t#"ic detai( contained in t#e =oca( part, t#e greater freedo" and (i;ert7 "ust t#ere ;e gi=en to t#e =oice* In suc# a case t#e (atter s#ou(d not ;e dou;(ed ;7 t#e orc#estra, neit#er s#ou(d r#7t#"ica( figures ;e ritten for an7 instru"ent corresponding it# t#ose in t#e =oca( part* In acco"pan7ing t#e =oice t#e co"poser s#ou(d ;ear t#ese points in "ind ;efore turning #is attention to t#e c#oice of orc#estra( co(our* $ confused, #ea=7 acco"pani"ent i(( o=erpoer t#e singerF an acco"pani"ent #ic# is too si"p(e in c#aracter i(( (ac3 interest, and one #ic# is too ea3 i(( not sustain t#e =oice sufficient(7* In "odern opera it is rare t#at orc#estra( riting is confined to acco"pani"ent pure and si"p(e* It frequent(7 #appens t#at t#e principa( "usica( idea, often co"p(e! in c#aracter, is contained in t#e orc#estra* @#e =oice "a7 t#en ;e said to for" t#e acco"pani"ent, e!c#anging "usica( for (iterar7 interest* It ;eco"es 012:0 su;ordinate to t#e orc#estra, as t#oug# it ere an e!tra part, su;sequent(7 added as an after0t#oug#t* -ut it is e=ident t#at great care "ust ;e ta3en it# orc#estra( riting in suc# cases* @#e scoring "ust not ;e so #ea=7 or co"p(icated as to dron t#e =oice and pre=ent t#e ords fro" ;eing #eard, t#ere;7 ;rea3ing t#e t#read of t#e te!t, and (ea=ing t#e "usica( i"ager7 une!p(ained* ertain "o"ents "a7 require great =o(u"e of orc#estra( tone, so great t#at a =oice of e=en p#eno"ena( poer is incapa;(e of ;eing #eard* E=en if t#e singer is audi;(e, suc# unequa( strugg(es ;eteen =oice and orc#estra are "ost inartistic, and t#e co"poser s#ou(d reser=e #is orc#estra( out;ursts for t#e inter=a(s during #ic# t#e =oice is si(ent, distri;uting t#e singer's p#rases and pauses in a free and natura(
135
"anner, according to t#e sense of t#e ords* If a pro(onged forte passage occurs in t#e orc#estra it "a7 ;e used concurrent(7 it# action on t#e stage* $(( artificia( reduction of tone contrar7 to t#e true fee(ing of a passage, t#e so(e o;Hect ;eing to a((o t#e =oice to co"e t#roug#, s#ou(d ;e strict(7 a=oided, as it depri=es orc#estra( riting of its distincti=e ;ri((iance* It "ust a(so ;e re"e";ered t#at too great a disparit7 in =o(u"e of tone ;eteen pure(7 orc#estra( passages and t#ose #ic# acco"pan7 t#e =oice create an inartistic co"parison* @#erefore, #en t#e orc#estra is strengt#ened ;7 t#e use of ood0 ind in t#ree's or four's, and ;rass in (arge nu";ers, t#e di=ision of tone and co(our "ust ;e "anipu(ated s3i((fu((7 and it# t#e greatest care* In pre=ious sections I #a=e frequent(7 stated t#at t#e structure of t#e orc#estra is c(ose(7 re(ated to t#e "usic itse(f* @#e scoring of a =oca( or3 pro=es t#is re(ations#ip in a stri3ing "anner, and, indeed, it "a7 ;e stipu(ated t#atonly that "hich is "ell "ritten can &e "ell orchestrated * Trans*aren0e / a00(*ani(ent+ 1ar(ny+
@#e group of strings is t#e "ost transparent "ediu" and t#e one (east (i3e(7 to o=erpoer t#e =oice* @#en co"e t#e ood0ind and t#e ;rass, t#e (atter in t#e fo((oing order/ #orns, tro";ones, tru"pets* $ co";ination of strings, pizz%, and t#e #arp for"s a setting e"inent(7 fa=oura;(e for t#e =oice* $s a genera( ru(e a singer is "ore easi(7 o=erpoered ;7 (ong sustained notes t#an ;7 s#ort detac#ed ones* +trings dou;(ed in t#e ood0ind01210 and ;rass, and ;rass dou;(ed ;7 ood0ind are co";inations (ia;(e to dron t#e singer* @#is "a7 ;e done e=en "ore easi(7 ;7 tremolando in t#e 3ett(e0dru"s and ot#er percussion instru"ents, #ic#, e=en ;7 t#e"se(=es are capa;(e of o=erpoering an7 ot#er orc#estra( group of instru"ents* ?ou;(ing of ood0ind and #orns, and t#e use of to c(arinets, to o;oes or to #orns in unison to for" one #ar"onic part is (i3eise to ;e a=oided, as suc# co";inations i(( #a=e a si"i(ar effect on t#e =oice* @#e frequent use of (ong sustained notes in t#e dou;(e ;asses is anot#er course unfa=oura;(e to t#e singerF t#ese notes in co";ination it# t#e #u"an =oice produce a pecu(iar t#ro;;ing effect* Ju!taposition of strings and ood0ind #ic# o=ereig#ts legato or dec(a"ator7 singing "a7 ne=ert#e(ess ;e e"p(o7ed if one of t#e groups for"s t#e #ar"on7 in sustained notes and t#e ot#er e!ecutes a "e(odic design, #en, for instance t#e sustaining instru"ents are c(arinet, and ;assoon, or ;assoon and #orn, and t#e "e(odic design is entrusted to =io(ins or =io(as—or in t#e opposite case, #en t#e #ar"on7 is gi=en to =io(as and 'ce((os divisi , and t#e#ar"onic figure to t#e c(arinets* +ustained #ar"on7 in t#e register of t#e second octa=e to t#e "idd(e of t#e t#ird does not o=erpoer o"en's =oices, as t#ese de=e(op outside t#is rangeF neit#er is it too #ea=7
136
for "en's =oices, #ic# a(t#oug# opening out "ithin t#e range itse(f sound an octa=e #ig#er, as in t#e case of t#e tenor =oice* $s a ru(e o"en's =oices suffer "ore t#an "en's #en t#e7 co"e in contact it# #ar"on7 in a register si"i(ar to t#eir on* @a3en separate(7, and used in "oderation, eac# group of orc#estra( instru"ents "a7 ;e considered fa=oura;(e to eac# t7pe of =oice* -ut t#e co";ination of to or t#ree groups cannot ;e so considered un(ess t#e7 eac# p(a7 an independent part and are not united toget#er at fu(( strengt#* Incessant four0part #ar"on7 is to ;e deprecated* +atisfactor7 resu(ts i(( ;e o;tained #en t#e nu";er of #ar"onic parts is gradua((7 decreased, it# so"e of t#e" sustaining peda( notes, and #en t#e #ar"on7, interspersed it# necessar7 pauses is confined to t#e (i"its of one octa=e, distri;uted o=er se=era( octa=es, or dup(icated in t#e #ig#er register* @#ese "anipu(ations a((o t#e co"poser to co"e to t#e singer's aidF in =oice0 "odu(ations, #en t#e singer passes fro" t#e can01220ta&ile to t#e dec(a"ator7 st7(e, t#e co"poser "a7 reduce or e(i"inate so"e #ar"on7 #ic# is found to ;e too #ea=7 as t#e =oca( tone di"inis#es, and con=erse(7, support t#e =oice ;7 a fu((er orc#estra( tone in ;road p#rases and c(i"a!es* Crna"enta( riting and po(7p#onic acco"pani"ent s#ou(d ne=er ;e too intricate in c#aracter, entai(ing t#e use of an unnecessar7 nu";er of instru"ents* +o"e co"p(icated figures are ;etter partia((7 entrusted to pizz% strings and #arp, as t#is co";ination #as (itt(e c#ance of o=erpoering t#e =oice* +o"e e!a"p(es of acco"pan7ing an aria are gi=en ;e(o* *,amples5 The Tsar6s 3ride, D73o's supp(e"entar7 )ria %$ct III*
GGG 1019 —) * T Snegourotchka 1&501&& , 212021 t#e to a=atinas of @sar -erende7 %cf* e!tracts, E!* 1:2, 22)* Ao* 25&* Sadko 1> * G 2:>02: —@#e Venetian's +ong* T $egend of Kitesh 90>1 , 222022 %cf* E!* 1* T The Golden Cockerel 1)01)5 , 1 *
137
B(orid singing #ic# (i"its =o(u"e of tone requires a (ig#t acco"pani"ent, si"p(e in out(ine and co(our, in=o(=ing no dup(ication of instru"ents* *,amples5
Ao* 259* Snegourotchka >20>& — Snegourotchka6s )ria %Pro(ogue, Brag"ent* T Sadko 19)0195 —6indoo +ong %cf* E!* 122* T The Christmas Night >)0): —C!ana's )ria* T The Golden Cockerel 1101 — )ria of Uueen +#X"a3#Y* !'bling i0es in the r0hestra+
Me(odic dou;(ing of =oices ;7 orc#estra( instru"ents %in unison or octa=es is of frequent occurrence, ;ut incessant dup(ication for an e!tended period of ti"e s#ou(d ;e a=oidedF it is on(7 per"issi;(e in iso(ated p#rases* @#e "ost natura( dup(ication in0 120 unison of o"ens' =oices is perfor"ed ;7 =io(ins, =io(as, c(arinets and o;oesF t#at of "ens' =oices ;7 =io(as, 'ce((os, ;assoons and #orns* ?ou;(ing in octa=es is usua((7 done in t#e upper register* @ro";ones and tru"pets o=erpoer t#e =oice and cannot ;e used for t#is purpose* ninterrupted or too frequent dup(ication s#ou(d ;e a=oided, not on(7 ;ecause t#e operation depri=es t#e singer of fu(( freedo" of e!pression, ;ut a(so ;ecause it rep(aces ;7 a "i!ed ti";re t#e rare c#aracteristic qua(ities of t#e #u"an =oice* ?ou;(ing, #en (i"ited to a fe specia( p#rases supports t#e =oice and endos it it# ;eaut7 and co(our* It is on(7 suita;(e in tempoF to app(7 it, in unison or octa=es to a passage ad% li&% is ;ot# ineffecti=e and dangerous* *,amples5 Snegourotchka ):0)2 —+negourotc#3a's $rietta %cf* E!* >1* Sadko :9011 —Vo(3#o=a's rad(e0song %cf* E!* &1*
-esides t#e question of dou;(ing t#e =oice for t#e o;Hect of co(our t#ere are instances #en t#e singer e!ecutes on(7 part of a p#rase, a((otted in its entire(7 to an orc#estra( instru"ent* *,ample5 0era Scheloga : , %cf* E!* >9*
D7rica( c(i"a!es, a piena voce , or dra"atic passages for t#e =oice situated outside its nor"a( range s#ou(d ;e supported "e(odica((7 and #ar"onica((7 ;7 t#e orc#estra, in t#e register in #ic# t#e =oice is p(aced* @#e cu("inating point in suc# passages often
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coincides it# t#e entr7 or sudden attac3 of t#e tro";ones or ot#er ;rass instru"ents, or ;7 a rus# of strings* +trengt#ening t#e acco"pani"ent in t#is "anner i(( soften t#e tone of t#e =oice* *,amples5
Ao* 2&:* The Tsar6s 3ride 2: * Servilia 120125 *
G 22 * Ao* 2&1* Sadko 1> * 0era Scheloga >1 *012>0
If t#e cu("inating point is soft in co(our and out(ine it is ;etter (eft unsupported in t#e orc#estra, ;ut so"eti"es t#e ood0ind, sustaining suc# passages it# (ig#t transparent "e(od7 or #ar"on7 "a7 produce an entrancing effect* *,amples5 Snegourotchka 1&& *
G 1& %cf* E!* 119* Ao* 2&2* The Tsar6s 3ride 21> * It is a co""on practice to support =oices in concerted nu";ers ;7 #ar"on7 and dup(icationF t#is operation "a3es for accurac7 and ;ri((iance #en app(ied to duets, trios, quartets etc* *,amples5 Snegourotchka 292029 —?uet %cf* E!* 11&* Sadko 9901:1 —?uet %cf* E!* 2&9 and 29:*
Ao* 2&* The Tsar6s 3ride 19 —se!tet* GGG 115 quartet* $egend of Kitesh >1 —quartet and se!tet %cf* E!* :)*
@#e ;eautifu( effect produced ;7 a so(o instru"ent acco"pan7ing a canta&ile aria cannot ;e denied* In suc# cases t#e instru"ents used are genera((7 t#e =io(in, =io(a, and 'ce((o, or t#e f(ute, o;oe, Eng* #orn, c(ar*, ;ass c(ar*, ;assoon, #orn and #arp* @#e
139
acco"pani"ent is often contrapunta( or co"posed of po(7p#onic designs* @#e so(o instru"ent eit#er p(a7s a(one or as t#e (eading "e(odic =oice in t#e ensem&le * In co";ination it# t#e =oice, or associated it# so"e action on t#e stage, a so(o instru"ent is a poerfu( e!pedient for "usica( c#aracterisation* Instances of t#is description are nu"erous* *,amples5 Snegourotchka ): —+oprano and o;oe %cf* E!* >1*
G 95 —ontra(to and Eng* #orn* G 2> , 2> —-aritone and ;ass c(ar* %cf* E!* >50>&* Ao* 2&>* The Tsar6s 3ride 1:& —+oprano, 'ce((o and o;oe* T The Golden Cockerel 1 —+oprano and =io(a %cf* E!* 22*012)0 It is co"parati=e(7 rare for percussion instru"ents to ta3e part in acco"pan7ing t#e =oice* @#e triang(e is occasiona((7 used, t#e c7";a(s (ess frequent(7* $n acco"pani"ent "a7 ;e for"ed ;7 a figure or a tremolo on t#e 3ett(e0dru"s* *,amples5 Snegourotchka 95 , 22> , 2>5 %De(('s 1st and rd songs* Tsar Saltan, ;efore ) *
T Ao* 2&)* The Golden Cockerel 1) F cf* a(so 11 , 195 * @#e fo((oing are e!a"p(es of poerfu( and e!pressi=e orc#estra( passages, t#e =oice tacet / Ao* 2&* The Tsar6s 3ride &1 * T $egend of Kitesh 2&2 , 29& * T Servilia 1: * Re0itatie and de0la(atin+
@#e acco"pani"ent of recitati=e and "e(odic dec(a"ator7 p#rases s#ou(d ;e (ig#t enoug# to a((o t#e =oice to co"e t#roug# it#out strain, and t#e ords to ;e #eard distinct(7* @#e "ost con=enient "et#od is to e"p(o7 sustained c#ords and tremolo on t#e strings or ood0ind, gi=ing free (atitude to t#e =oice fro" a r#7t#"ic point of =ie % a piacere*
140
$not#er e!ce((ent p(an is to rite s#ort c#ords in t#e strings co";ined it# ood0 ind in different a7s* +ustained c#ords and t#ose entai(ing c#ange of position s#ou(d occur prefera;(7 #en t#e =oice is si(ent, t#us per"itting ;ot# conductor and orc#estra to 3eep a c(oser atc# o=er t#e singer's irregu(arities of r#7t#" in a piacererecitati=es* If t#e acco"pani"ent is "ore co"p(e! in c#aracter, "e(odic, po(7p#onic or orna"enta( in design, t#e recitati=e "ust ;e sung in tempo* $n7 p#rase #ic# it is necessar7 to e"p#asise in accordance it# t#e sense of t#e ords assu"es a "ore canta&ile c#aracter, and "ust ;e reinforced ;7 t#e orc#estra* Cpera, toda7, ;esides de"anding "uc# greater care in t#e treat"ent of t#e te!t t#an in t#e past, a;ounds in constant transition fro" dec(a"ation to canta&ile , or in t#e fusion of t#e to* @#e orc#estra offers "ore =ariet7 of te!ture and "ust ;e0120#and(ed it# greater regard to its re(ations#ip to t#e ords, and t#e action on t#e stage* @#is c(ass of orc#estration can on(7 ;e studied fro" (engt#7 e!a"p(es* I refer t#e reader to operatic fu(( scores and content "7se(f it# gi=ing one or s#ort instances/ *,amples5
Ao* 2&5* Snegourotchka 1 * Ao* 2&&* The Tsar6s 3ride 12>012) * @#e fo((oing dou;(e e!a"p(es, si"i(ar fro" a "usica( point of =ie, s#o different "et#ods of #and(ing an orc#estra fro" t#e standpoint of acco"pani"ent to t#e =oice, and t#e tutti for"* *,amples5
Ao* 2&90291* Sadko 9901:1 and :)0:5 %co"pare a(so E!* 5)* 0era Scheloga 05 and 2& *
are s#ou(d ;e ta3en not to score too #ea=i(7 #en acco"pan7ing singers in t#e ings* *,amples5
T Ao* 292* Sadko 1 , 1& , 2: * T $egend of Kitesh 2&02&9 , :>0:) *
Or0hestral a00(*ani(ent / the 0hr's+ @#e c#orus, possessing "uc# greater unit7 and poer t#an t#e so(o =oice, does not de"and suc# carefu( #and(ing in t#e acco"pani"ent* Cn t#e contrar7, too great a
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refine"ent of orc#estra( treat"ent i(( pro=e #ar"fu( to t#e resonance of t#e c#orus* $s a genera( ru(e orc#estration of c#ora( or3s fo((os t#e ru(es (aid don for pure(7 instru"enta( scoring* It is o;=ious t#at d7na"ic "ar3s of e!pression "ust correspond in ;ot# ;odies, ;ut dou;(ing one orc#estra( group it# anot#er and coup(ing instru"ents of t#e sa"e 3ind in unison %2 C;*, 2 (*, > 6orns, @ro";ones etc* are ;ot# possi;(e operations, if perfor"ed according to t#e require"ents of t#e "usica( conte!t* ?ou;(ing c#ora( parts ;7 instru"ents is genera((7 a good p(an* In canta&ile passages suc#0 1250 dup(ication "a7 ;e "e(odic in c#aracter, and t#e design "ore orna"enta( in t#e orc#estra t#an in t#e c#orus* *,amples5 'van the Terri&le, $ct II 0 F $ct III 09 * The May Night , $ct I 0L F $ct III D0Ee , ?dd0Bff * Snegourotchka 105 , 1>501) , 202& * Mlada, $ct II 2201 , >)0 F $ct IV 10 * The Christmas Night )901 , 11)012 * Sadko 509 , ):0) , 590& , 15 , 155 , 1&5 , 1&9 , 21&0221 , 2 , 25:025 * The Tsar6s 3ride 290: , >:0>2 , ):0)9 , 1>1 * Tsar Saltan 5051 , 9109 , 101>) , 2:502:& * $egend of Kitesh 15 , 155015& * The Golden Cockerel 2502& , 2202> *
@#e reader i(( find instances of c#ora( acco"pani"ent in "an7 e!a"p(es re(ating to ot#er sections of t#e or3* In t#e case of so(itar7 e!c(a"ations or p#rases in recitati=e, "e(odic dou;(ing is not a(a7s suita;(e* It is ;etter to support t#e =oice si"p(7 ;7 #ar"onic dup(ication* @#e repetition of notes—required ;7 dec(a"ation—for"ing no funda"enta( part of t#e r#7t#"ica( structure of a p#rase or c#ord s#ou(d not ;e reproduced in t#e orc#estraF t#e "e(odic or #ar"onic ;asis a(one s#ou(d ;e dou;(ed* +o"eti"es t#e r#7t#"ica( structure of a c#ora( p#rase is si"p(ified in co"parison it# its orc#estra( dup(ication*
142
*,amples5
Ao* 29* The Tsar6s 3ride 9 * Ao* 29>* 'van the Terri&le, $ct I, ;efore 5) * #ora( passages, t#e "usica( conte!t of #ic# is co"p(ete in itse(f, for"ing a c#orus a cappella often re"ain undou;(ed ;7 t#e orc#estra, acco"panied so(e(7 ;7 sustained notes or an independent po(7p#onic figure*012&0 *,amples5
Ao* 29)* Sadko 219 * T Tsar Saltan 2:5 * T $egend of Kitesh 15 %cf* E!* 11* T The Golden Cockerel 2 * 6ea=ier scoring is required for a "i!ed c#orusF for a "a(e =oice c#orus t#e orc#estration s#ou(d ;e (ig#terF sti(( "ore so for o"en's =oices a(one* In scoring a certain passage t#e co"poser s#ou(d not (ose sig#t of t#e nu";er of c#oristers #e is e"p(o7ing, for scenic conditions "a7 necessitate a reduction of t#at figure* @#e appro!i"ate nu";er s#ou(d ;e "ar3ed in t#e fu(( score as a ;asis upon #ic# to or3* *,amples5
Ao* 29* 'van the Terri&le, $ct II 5 * T Sadko 15 , 2: * T $egend of Kitesh 1 %cf* E!* 19&* Note% It "ust a(so ;e re"e";ered t#at a ff passage on an en(arged orc#estra,
co"prising ood0ind in fours, and nu"erous ;rass %so"eti"es in t#ree's, is capa;(e of o=erpoering a (arge "i!ed c#orus* $ c#orus in t#e ings requires as (ig#t an acco"pani"ent as t#at e"p(o7ed for a so(o singer on t#e stage* *,amples5
T 'van the Terri&le, $ct I 2)02 , 9: F $ct III 101> * T The May Night , $ct I, ;efore F $ct III -;;0cc *
143
T Ao* 295* Sadko 1:2 * T $egend of Kitesh )>0) %cf* E!* 19 and 195* Sl i0e .ith 0hr's+
.#en an aria or recitati=e is coup(ed it# t#e c#orus great care "ust ;e ta3en in t#e c#ora( riting* $ o"an's so(o =oice stands out e(( against a "a(e =oice c#orus, (i3eise a so(o "a(e =oice against a o"en's c#orus, for in ;ot# cases, t#e ti";re of t#e so(o =oice differs fro" t#e rest* -ut t#e co";ination of so(o01290 =oice and c#orus, of t#e sa"e ti";re, or "i!ed c#orus, creates a certain a"ount of difficu(t7* In suc# cases t#e so(oist s#ou(d sing in a #ig#er register t#an t#e c#orus, t#e for"er a piena voce , t#e (atter piano* @#e so(oist s#ou(d stand as near to t#e foot(ig#ts as possi;(eF t#e c#orus up0 stage* @#e orc#estration s#ou(d ;e adapted to t#e so(oist, not to t#e c#orus* *,amples5
Ao* 29&* Snegourotchka 1> * 'van the Terri&le% $ct II 5 %cf* E!* 29*
.#en t#e c#orus sings in t#e ings t#e so(oist is a(a7s #eard distinct(7* *,amples5 'van the Terri&le, $ct I 2)02 *
T The May Night , $ct III cc * T Sadko 1:2 , 111 *
Instr'(ents n the stage and in the .ings+ @#e use of instru"ents on t#e stage or in t#e ings dates fro" distant ti"es %Mo4art, +on Giovanni , string orc#estra in $ct I, finale* In t#e "idd(e of (ast centur7 orc#estras of ;rass instru"ents, or ;rass and ood0ind co";ined, "ade t#eir appearance on t#e stage %<(in3a, Me7er;eer,
144
t#ose go=erning t#e se(ection of a "i(itar7 ;and* @#e instru"ents are p(a7ed in t#e ings, t#ose =isi;(e on t#e stage are on(7 for orna"ent* +o"eti"es stage0instru"ents "a7 ;e rep(icas of t#ose co""on to t#e period #ic# t#e opera represents, %t#e sacred #orns in Mlada, for e!a"p(e* @#e orc#estra( acco"pani"ent01:0 "ust =ar7 in poer according to t#e c#aracteristics of t#e instru"ents p(a7ed in t#e ings* It is i"possi;(e to i((ustrate t#e use of a(( t#e instru"ents "entioned ;e(o, and to out(ine suita;(e acco"pani"ents* I can on(7 gi=e a fe e!a"p(es and refer t#e reader once again to t#e passages in t#e fu(( scores* a @ru"pets/ Servilia 12 , 2) *
T $egend of Kitesh ) , )) , : * T Tsar Saltan 19 and furt#er on* ; 6orns, in t#e for" of #unting #orns/ an 0oyevoda &09 *
c @ro";ones, (ea=ing t#e orc#estra to go on t#e stage/ an 0oyevoda 191 *
d ornets/ 'van the Terri&le, $ct III , 5 *
e +acred #orns %natura( ;rass instru"ents in =arious 3e7s/ Mlada, $ct II, pp* 159 onards*
f +"a(( c(arinets and picco(os/ Ao* 2990::* Mlada, $ct III 5 , 9 * g Pipes of Pan/ instru"ents, specia((7 "ade, it# "an7 #o(es #ic# are passed o=er t#e (ips* @#ese particu(ar pipes produce a specia( en#ar"onic sca(e % 3 f(at, C , + f(at, * f(at, * , 1 s#arp, G, ), #ic# #as t#e effect of a g(issando/ Mlada, $ct III 9 , > %cf* E!* ::*
# 6arp, reproducing t#e effect of an aeo(ian #arp/ Kashtche; the 'mmortal 2 and furt#er on %cf* E!* 2&, 29*
145
i D7res* Instru"ents specia((7 "ade and tuned so as to ;e a;(e to perfor" a g(issando c#ord of t#e di"inis#ed se=ent#/ Mlada, $ct III 9 , > %cf* E!* ::*
3 Pianoforte, grand or uprig#t/ Mozart and Salieri 2202 *
(
" -ass ?ru" %it#out c7";a(s to i"itate t#e sound of cannon/ Tsar Saltan 19 and (ater*
n +"a(( 3ett(e0dru", in + f(at %rd octa=e/ Mlada, $ct III >1 and (ater %cf* E!* :*
o -e((s in =arious 3e7s/ Sadko 12& and 19 *
Ao* :1* $egend of Kitesh 1&1 and furt#er on* +ee a(so 2>1 , 2 and (ater* T Tsar Saltan 19 and furt#er on* p Crgan/ Ao* :2* Sadko 2990:: * .ood0ind and strings are co"parati=e(7 se(do" used on t#e stage or in t#e ings* In Russian opera t#e strings are e"p(o7ed in t#is a7 ;7 Ru;instein %Gorioucha , and in a sp(endid(7 c#aracteristic "anner ;7 +ero= % 4ostile o"er / in t#e (atter opera t#e * f(at c(arinet is used to i"itate t#e fife in t#e arni=a( procession*[15]
146
0120
&ha*ter VI 2S'**le(entary3+ VCIE+*
Te0hni0al Ter(s+ $"ong a(( t#e confused ter"s e"p(o7ed in singing to denote t#e co"pass, register and c#aracter of t#e #u"an =oice, t#ere are four #ic# "a7 ;e said to represent e(e"enta( t7pes/ soprano, a(to or contra(to, tenor and ;ass* @#ese na"es are used to denote t#e co"position of t#e c#orus it# su;0di=isions of firsts and seconds, to deter"ine #o t#e parts "ust ;e di=ided* %+opr* I, +opr* II etc* .#i(e t#e range of an instru"ent is e!act(7 go=erned ;7 its construction, t#e co"pass of t#e =oice, on t#e ot#er #and, depends on t#e indi=idua(it7 of t#e singer* It is t#erefore i"possi;(e to define t#e e!act (i"its of eac# of t#ese =oca( t7pes* .#en it is a question of di=iding c#oristers into 1 stand 2nd parts, t#ose it# t#e #ig#er =oices are c(assed a"ong t#e firsts and vice versa* -esides t#e principa( ter"s "entioned a;o=e, t#e na"es "e44o0soprano %;eteen sop* and a(to, and ;aritone %;eteen tenor and ;ass are a(so e"p(o7ed* Note% In t#e c#orus "e44o0sopranos are c(assed it# 2nd sopranos or 1st a(tos,
;aritones it# 2nd tenors or first ;asses, according to qua(it7 and ti";re of =oice* $part fro" t#ese deno"inations #ic# represent t#e si! principa( so(o =oices, a quantit7 of ot#ers are in use to denote eit#er co"pass, ti";re or tec#nique, suc# as (ig#t soprano, soprano giusto, (7ric soprano, dra"atic soprano, (ig#t tenor, tenorinoaltino, &aryton-martin , (7ric tenor, dra"atic tenor, &asso cantante %Gsinging ;assG, &asso profondo %deep ;ass etc* @o t#is (engt#7 (ist "ust 010 ;e added t#e ter" mezzo-carattere , of inter"ediate c#aracter %;eteen (7ric and dra"atic soprano, for e!a"p(e* If e tr7 to disco=er t#e rea( "eaning of t#ese designations it soon ;eco"es apparent t#at t#e7 are deri=ed fro" ide(7 different sources—for instance, G(ig#t sopranoG i"p(ies agi(it7 and "o;i(it7 in t#e =oiceF Gdra"atic tenorG, t#e poer to e!press strong dra"atic fee(ingF &asso profondo signifies great resonance in t#e deep register* Minute e!a"ination of a(( t#e "et#ods of attac3 and e"ission of sound (ies it#in t#e pro=ince of t#e singing "aster and to enu"erate t#e" #ere ou(d on(7 perp(e! t#e student* @#e sa"e app(ies to t#e position and e!act (i"its of register %c#est =oice, "idd(e
147
and #ead =oice in o"enF c#est =oice, "i!ed =oice and fa(setto in "en* @#e or3 of a teac#er of singing consists in equa(ising t#e =oice t#roug#out its #o(e co"pass, so t#at t#e transition fro" one register to anot#er, on a(( t#e =oe(s, "a7 ;e acco"p(is#ed i"percepti;(7* +o"e =oices are natura((7 e=en and f(e!i;(e* @#e professor of singing "ust correct fau(ts in ;reat#ing, deter"ine t#e range of t#e =oice and p(ace it, equa(ise its tone, increase its f(e!i;i(it7, instruct as to t#e pronunciation of =oe(s, "odu(ation fro" one grade of e!pression to anot#er, etc* $ co"poser s#ou(d ;e a;(e to re(7 upon f(e!i;(e and equa( =oices it#out #a=ing to trou;(e #i"se(f as to t#e a;i(ities or defects of indi=idua( singers* In t#ese da7s a part is se(do" ritten for a particu(ar artist, and co"posers and (i;rettists do not find it necessar7 to entrust a certain r(e to fioriture singers, anot#er to #ea=7 dra"atic =oices* Poetic and artistic considerations de"and greater =ariet7 of resource in t#e stud7 of opera or =oca( "usic in genera(*
Slists+ Range and register+
I ad=ise t#e co"poser to ;e guided ;7 @a;(e B* #ic# gi=es t#e appro!i"ate range of t#e si! principa( so(o =oices* $ ;rac3et under t#e notes defines t#e nor"a( octa=e, t#e register in #ic# t#e =oice is genera((7 used* .it#in t#ese (i"its t#e co"poser "a7 rite free(7 it#out fear of #ardening or tiring t#e =oice*01>0 @#e nor"a( octa=e app(ies a(so to dec(a"ator7 singing and recitati=eF t#e notes a;o=e it are e!ceptiona( and s#ou(d ;e used for t#e cu("inating points of a passage or for c(i"a!es, t#e notes ;e(o, for t#e fa(( or dec(ine of a "e(od7* E"p(o7ing =oices in unusua( registers for (ong periods of ti"e i(( ear7 ;ot# singer and (istener, ;ut t#ese registers "a7 occasiona((7 ;e used for ;rief inter=a(s so as not to confine t#e =oice too strict(7 to one octa=e* $ fe e!a"p(es are added to i((ustrate "e(od7 in different t7pes of =oices* *,amples5 The
Tsar6s
3ride 1:201:9 %for
e!tracts cf* E!* 2), 2&:, 2&>—Marfa's $ria
%+oprano* GGG 101& —0>9 %cf* e!tract, E!* 12:—+ad3o's $ria %@enor*
G 129011 —Diou;a=a's $ria %Me44o0sopr** G 191019 %cf* e!tract, E!* 11—-ass $ria*
148
V0alisatin+
$ good =oca( "e(od7 s#ou(d contain notes of at (east t#ree different =a(ues, "ini"s, crotc#ets and qua=ers %or crotc#ets, qua=ers and se"iqua=ers etc** Monoton7 in r#7t#"ic construction is unsuited to =oca( "e(od7F it is app(ica;(e to instru"enta( "usic, ;ut on(7 in certain cases* Canta&ile "e(od7 requires a fair nu";er of (ong notes, and a c#ange of s7((a;(e in a ord s#ou(d occur at a "o"ent #en t#e =oice quits a (ong sustained note* +#ort, sing(e notes, c#anging it# e=er7 s7((a;(e produce a #ar"onious effect* Cing to t#e require"ents of diction, e!tended "e(odic figures sung legato on one s7((a;(e "ust ;e used it# care on t#e part of t#e co"poserF to perfor" t#ese t#e singer "ust possess greater co""and o=er f(e!i;i(it7 and tec#nique* @#e possi;i(it7 of ta3ing ;reat# in t#e rig#t p(ace is one of t#e conditions essentia( to a(( =oca( riting* -reat# cannot ;e ta3en in t#e "idd(e of a ord, so"eti"es not e=en during t#e course of a sentence or p#rase in t#e te!tF #ence t#e =oice part "ust ;e suita;(7 interspersed it# rests*01)0 Table >+ Vi0es+ &hr's=
149 Slists=
010
Note% It "ust ;e re"e";ered t#at t#ere are so"e ords upon #ic# t#e =oice "a7
not de((, or sing "ore t#an one or to notes* @#ese ords "a7 ;e nouns, pronouns, nu"era(s, prepositions, conHunctions and ot#er parts of speec#* It ou(d ;e i"possi;(e and ridicu(ous, for instance, to rite a sustained note on suc# ords as G#oG, G#eG etc* @#e =oice "a7 de(( on certain ords #ic#, so to spea3, possess so"e poetica( co(our* [1&]
*,amples5
Ao* :* Sadko 2 —+ad3o's $ria %@enor* G :9011 %see e!tract, E!* &1* Vo(3#o=a's rad(e +ong %+oprano* Snegourotchka 9 —Bair7 +pring's $ria %Me44o0sopr**
150
G 1&501&& , 212021 %see e!tracts, E!* a=atinas of @sar -erende7 %@enor*
1:2 and 22)—t#e
to
G 2>5 —Mis3ir's $ria %-aritone* V.els+
$s regards =oca(isation on one s7((a;(e, on (ong sustained notes and in t#e #ig# register, t#e c#oice of =oe(s is a "atter of so"e i"portance* @#e difference in t#e position of t#e "out# and (ips in for"ing t#e open =oe( a and t#e c(osed =oe( ' is apparent to e=er7one* @#e series of =oe(s fro" t#e point of =ie of open sounds is/ a, i, , e, '* In o"en's =oices t#e easiest =oe( on #ig# notes is a, for "en it is * @#e =oe( i softens t#e penetrating qua(it7 of t#e top notes of a ;ass =oice, and t#e =oe( a adds to t#e e!tension of range in t#e =er7 (oest co"pass* Dengt#7 f(orid passages are often ritten on t#e interHection ah, or si"p(70150 on t#e =oe( a* Cing to t#e restrictions i"posed ;7 (iterar7 and dra"atic (as, t#e co"poser can on(7 fo((o t#e a;o=e ru(es to a (i"ited e!tent* *,amples5 Snegourotchka 29 , 1&019 %cf* E!* 119*
Ao* :>* Sadko & * >le)ibility+
Voices possess t#e greatest a"ount of f(e!i;i(it7 in t#eir nor"a( octa=e* .o"en's =oices are "ore supp(e t#an "en's, ;ut in a(( t7pes, t#e #ig#er =oice is t#e "ore agi(e, sopranos in o"en, t#e tenor =oice in "en* $(t#oug# capa;(e of perfor"ing f(orid and co"p(icated figures, different =arieties of p#rasing and t#e rapid c#ange fro" staccato to (egato, t#e #u"an =oice is infinite(7 (ess f(e!i;(e t#an a "usica( instru"ent* In passages of an7 rapidit7, diatonic sca(es and arpeggios in t#irds co"e easiest to t#e =oice* Inter=a(s ;igger t#an fourt#s in quic3 succession and c#ro"atic sca(es are e!tre"e(7 difficu(t* +3ips of an octa=e or "ore starting fro" a s#ort note s#ou(d a(a7s ;e a=oided* Preparation s#ou(d precede an7 e!tre"e(7 #ig# note eit#er ;7 (eading up to it gradua((7, or ;7 t#e c(ear (eap of a fourt#, fift# or octa=eF ;ut so"eti"es t#e =oice "a7 attac3 a #ig# note it#out an7 due preparation* *,amples5 Snegourotchka >0>& %cf* e!tract, E!* 259—+negourotc#3a's $ria %+oprano*
G 9095 —De(('s first song %ontra(to*
151
Sadko 19019 %cf* e!tract, E!* 122—6indoo song %@enor*
G 2:02: —Venetian song %-aritone* an 0oyevoda 2:02 —Maria's crad(e song %+opr* &l'r and 0hara0ter / i0es+
@#e co(ouring of t#e =oice, #et#er it ;e ;ri((iant or du((, so";re or sonorous depends upon t#e indi=idua( singer, and t#e co"poser #as no need to consider it* @#e c#ief question is interpretation and "a7 ;e so(=ed ;7 t#e Hudicious c#oice of artists* Bro" t#e01&0 point of =ie of f(e!i;i(it7 and e!pression =oices "a7 ;e di=ided into to c(asses,lyric and dramatic * @#e (atter is "ore poerfu( and of greater range, t#e for"er possesses "ore supp(eness and e(asticit7 and is "ore readi(7 disposed to different s#ades of e!pression*
soprano and ;aritone, Ric#ard .agner created a t7pe of poerfu( dra"atic soprano, of e!tensi=e range, co";ining t#e qua(it7 and scope of t#e soprano and "e44o0soprano =oicesF (i3eise a si"i(ar t7pe of tenor, possessing t#e attri;utes and co"pass of t#e tenor and ;aritone toget#er* @o de"and t#at =oices s#a(( ;e equa((7 ;ri((iant and resonant in t#e #ig# and (o register, t#at singers s#a(( ;e endoed it# a super0poerfu( ;reat#ing apparatus and an e!traordinar7 facu(t7 for resistance to fatigue %+iegfried, Parsifa(, @ristan, -rZn#i(da, 8undr7, Iso(da, is to e!act so"et#ing (itt(e s#ort of t#e "iracu(ous* +uc# =oices are to ;e found, ;ut t#ere are so"e singers it# e!ce((ent t#oug# not p#eno"ena( =oca( poers, #o, ;7 t#e constant pursuit of .agnerian parts endea=our to increase t#eir range and =o(u"e, and on(7 succeed in depri=ing t#e =oice of correct intonation, ;eaut7 of tone, and a(( su;t(et7 of nuances* I ;e(ie=e t#at (ess e!acting
152
de"ands and greater perception of #at is required, s3i(fu( and Hudicious use of t#e #ig# and (o registers of t#e =oice, a proper understanding of canta&ile riting co";ined it# orc#estration #ic# ne=er o=erpoers t#e =oca( part i(( ;e of greater ser=ice to t#e co"poser, fro" an artistic point of =ie, t#an t#e "ore e(a;orate "et#ods of Ric#ard .agner* 0190
Vi0es in 0(binatin+ @reating so(o =oices in a po(7p#onico0#ar"onic "anner is t#e ;est "et#od of preser=ing t#eir indi=idua( c#aracter in ensem&les * $ distri;ution #ic# is #o((7 #ar"onic or entire(7 po(7p#onic is se(do" found* @#e first p(an, (arge(7 used in c#ora( riting, si"p(ifies t#e "o=e"ent of t#e =oices too great(7, e(i"inating t#eir "e(odic c#aracterF t#e second "et#od is eariso"e and so"e#at distur;ing to t#e ear* $s a genera( ru(e t#e =oices are arranged according to t#e (a of nor"a( register* rossing of parts is rare and s#ou(d on(7 ;e done it# t#e intention of e"p#asising t#e "e(od7 in t#e ascending =oices a;o=e t#ose adHacent in register, e*g* t#e tenor part a;o=e contra(to, t#e "e44o0soprano a;o=e t#e soprano, etc* !'et+
@#e co";inations "ost conduci=e to t#e proper "o=e"ent of parts are t#ose of to =oices re(ated it#in an octa=e &
[
+opr*, @en*,
M*0sopr*, -ar*,
*0a(to -ass*
Mo=e"ent in tent#s, si!t#s, t#irds or octa=es %t#e (ast =er7 se(do" i(( a(a7s produce satisfactor7 ensem&le , and if t#e parts progress po(7p#onica((7, it need not #appen fre(uently t#at t#e7 are separated ;7 "ore t#an a tent#, or t#at undesira;(e crossing of parts i(( resu(t* *,amples5 Sadko 9901:1 —+opr* and @enor %cf* E!* 2&9, 29:* Servilia 1> —+opr* and @enor* 'van the Terri&le, $ct I >&0): —+opr* and @enor* Kashtche; the 'mmortal 20> * Me44o0sopr* and -aritone*
153
Vi0es related in /i/ths and /'rths; @
#
S*r+;
&+-alt;
#
&+-alt; Ten+;
@
#
Ten+ Bass+
s#ou(d progress nearer to one anot#erF it is rare for t#e" to "o=e in tent#s, co""on in si!t#s and t#irdsF t#e7 "a7 a(so proceed in unison* @#e to =oices are se(do" separated at a greater distance t#an an octa=e, and certain cases i(( require crossing of parts, #ic#, #oe=er, s#ou(d on(7 ;e for periods of s#ort duration* 01>:0 *,amples5 Snegourotchka 202> —+oprano and $(to*
T The Christmas Night 5&0&: —$(to and @enor* T $egend of Kitesh & —@enor and -ass* Voices re(ated in t#irdsF
[
+opr*, M*0sopr*,
M*0sopr*, *0a(to,
@en*, -ass,
-ar* -ass,
"a7 "o=e in unison, in t#irds and si!t#s, and ad"it =er7 (arge(7 of t#e crossing of parts* +eparation ;7 "ore t#an an octa=e "ust on(7 ;e "o"entar7, and is genera((7 to ;e a=oided* *,amples5
T The Tsar6s 3ride 15> —+opr* and Me44o0sopr* T Tsar Saltan )0 —+opr* and Me44o0sopr* In t#e case of =oices re(ated in te(ft#s/ 12
[
+opr* -ass,
inter=a(s approac#ing one anot#er do not create a good effect, for t#is transp(ants t#e deeper =oice into t#e upper register and vice versa* +inging in unison is no (onger possi;(e, and t#irds are to ;e a=oidedF t#e use of si!t#s, tent#s and t#irteent#s is reco""ended* @#e =oices i(( often ;e separated ;7 "ore t#an a te(ft# and crossing of parts is out of t#e question* *,ample5
154
T Tsar Saltan 2)>02)) * Re(ations#ip in tent#s
[
1:
+opr* -ar*
M*0sopr* -ass
or
is fair(7 co""on* @#e e!p(anations gi=en a;o=e are a(so app(ica;(e in t#is case* *,ample5 Snegourotchka 2910:: %cf* e!tract, E!* 11& +opr* and -ar*
@#e use of si"i(ar =oices in pairs/ +opr*, +opr*,
@en* @en*
entai(s singing in unison and t#irds* @#e7 s#ou(d rare(7 ;e separated ;e7ond a si!t#, ;ut crossing of parts is ine=ita;(e, as ot#erise t#e resu(tant =o(u"e of tone ou(d ;e too ea3*01>10 Note% Ct#er possi;(e co";inations/
*0a(to, -ar*,
M*0sopr*, @en*,
ca(( for no specia( re"ar3s* *,amples5
T The May Night , $ct I pp* )90>—Me44o0sopr* and @enor* T Sadko 2202> —Me44o0sopr* and @enor* $s a genera( ru(e, riting for to =oices is on(7 successfu( #en t#e progression of parts is c(ear, #en discords are prepared ;7 a co""on note, or are t#e outco"e of con=enient(7 separated "o=e"ent and correct(7 reso(=ed* E"pt7 inter=a(s of fourt#s and perfect fift#s, e(e=ent#s and te(ft#s s#ou(d ;e a=oided on t#e strong ;eats of a ;ar, especia((7 on notes of so"e =a(ue* If, #oe=er, one of t#e =oices assu"es a "e(odic c#aracter, t#e ot#er for"ing t#e #ar"onic acco"pani"ent in dec(a"ator7 st7(e, it is not a;so(ute(7 necessar7 to a=oid t#e inter=a(s "entioned a;o=e* Note% It is not it#in t#e scope of t#e present or3 to consider t#e riting of =oca(
parts in c(oser detai(* @#is question "ust ;e (eft to t#e professor of free counterpoint* It re"ains to ;e noted t#at t#e #u"an =oice acco"panied ;7 t#e orc#estra is a(a7s #eard
155
independent(7 as so"et#ing apart, so"et#ing co"p(ete in itse(f* Bor t#is reason a co"poser "a7 ne=er re(7 on t#e orc#estra to fi(( up an e"pt7 space or correct a fau(t in t#e #and(ing of =oices* $(( t#e ru(es of #ar"on7 and counterpoint, don to t#e (ast detai(, "ust ;e app(ied to =oca( riting, #ic# is ne=er dependent upon orc#estra( acco"pani"ent* Tris; <'artets et0+
$(( t#at #as ;een said regarding t#e re(ations#ip of =oices in duet app(ies it# equa( force to t#e co";ination of t#ree, four, fi=e or "ore =oices* $n ensem&le of se=era( =oices is se(do" pure(7 po(7p#onicF as a ru(e, a(t#oug# so"e parts "o=e po(7p#onica((7, progression in t#irds, si!t#s, tent#s and t#irteent#s is used for t#e re"ainder* ?ec(a"ation for so"e =oices on notes for"ing t#e #ar"on7 is a(so possi;(e* @#is =ariet7 of si"u(taneous "o=e"ent of =oca( parts renders t#e co"pre#ension of t#e tota( effect (ess difficu(t for t#e ear, and sanctions t#e distri;ution of distincti=e and suita;(e figures or tone co(ouring to certain =oices it# ot#er figures or ti";res #ic# "a7 ;e proceeding at t#e sa"e ti"e* @#e s3i(fu( arrange"ent of pauses and re0entries faci(itates t#e understanding of t#e #o(e, and gi=es desira;(e pro"inence to detai(*01>20 *,amples5 Snegourotchka 25 —@rio, Bina(e to $ct III* The Tsar6s 3ride 11011& —Uuartet in $ct II*
GGG 1&0151 —+e!tet in $ct III %cf* e!tract, E!* 2&* Servilia 1>901)2 —Uuintet in $ct III*
@#e "o=e"ent of so(o =oices is se(do" pure(7 #ar"onic in c#aracter it# predo"inance gi=en to t#e upper =oices #o"op#onica((7 treated* @#e ;(ending of a(( t#e parts into an #ar"onic #o(e, it#out an7 distincti=e predo"inant feature in an7 one part %as in a c#ora(e is e"p(o7ed for songs or ensem&les in traditiona( st7(e, pra7ers, #7"ns, etc* If t#is "et#od is adopted for t#e quartet of =oices, •
+opr*
•
$(to
•
@en*
•
-ass,
156
it i(( ;e noted t#at ide(70spaced part riting is t#e "ost natura( and suita;(e for" %especia((7 in forte passages, as t#e four =oices can sing toget#er in t#eir proper registers %(o, "idd(e and #ig#, #i(e, in c(ose part riting t#e7 "a7 find t#e"se(=es at a gi=en "o"ent in registers, #ic# are entire(7 foreign* -ut ;ot# "et#ods s#ou(d ;e e"p(o7ed, as, ot#erise, it ou(d ;e i"possi;(e to guarantee equa(it7 in e=en t#e s#ortest succession of c#ords* *,amples5 Snegourotchka 15& 67"n of @sar -erende7's su;Hects*
Ao* :)* $egend of Kitesh >1 * @#e second #a(f of t#e (ast e!a"p(e is an instance of si!0part #ar"onic ritingF t#e upper =oice stands out pro"inent(7, t#e rest for" a 3ind of acco"pani"ent*
&hr's+ Range and register+
@#e range of c#ora( =oices is s(ig#t(7 "ore (i"ited t#an t#at of so(oists* @#e e!ceptiona( register "a7 ;e considered as to notes a;o=e and ;e(o t#e nor"a( octa=e* @#e dotted (ines e!tended sti(( furt#er indicate t#e (i"its upon #ic# a co"poser "a7 re(7 in =er7 e!ceptiona( cases, as e=er7 fu(( c#orus "ust contain a fe01>0 =oices of "ore t#an a=erage co"pass, in t#is respect approac#ing t#e so(o =oice in c#aracter* In "an7 c#oruses one or to ;ass singers "a7 ;e found #o are a;(e to go sti(( (oer t#an t#e (i"it of t#e e!ceptiona( range %t#e7 are ca((ed octavists *[19] Note% @#ese unco""on(7 deep notes "ust ;e "oderate(7 e(( sustained and can on(7 ;e used #en t#e #o(e c#orus is singing quite pianoF t#e7 are #ard(7 app(ica;(e e!cept in unacco"panied c#oruses %a cappella *
@#e difference in range ;eteen t#e GfirstsG and GsecondsG in eac# t7pe "a7 ;e fi!ed as fo((os/ t#e nor"a( octa=e and t#e e!ceptiona((7 (o register s#ou(d ;e a((otted to t#e GsecondsG, t#e sa"e octa=e and t#e e!ceptiona((7 #ig# register to t#e GfirstsG* @#e co"position of t#e c#orus is appro!i"ate(7 as fo((os/ for a fu(( c#orus, 2 singers to eac# of t#e > parts sopr*, a(t*, ten* and ;assF for a c#orus of "ediu" si4e, fro" 1 to 2:, and for a s"a(( c#orus fro" & to 1: singers* @#e nu";er of o"en i(( often predo"inate, and "ore =oices are gi=en to t#e GfirstsG t#an to t#e GsecondsG*
157
Cn account of stage require"ents a c#orus "a7 #a=e to ;e di=ided into to or e=en t#ree separate parts* @#is is a great disad=antage, especia((7 it# a s"a(( c#orus, as eac# c#orister ;eco"es "ore or (ess a so(oist* @#e "et#ods of riting for operatic c#orus are =er7 nu"erous* -esides t#e pri"ar7 #ar"onico0po(7p#onic arrange"ent, containing t#e #o(e "usica( idea, t#e =oices "a7 ;e "ade to enter separate(7, singing or dec(ai"ing p#rases of =ar7ing (engt#F t#e7 "a7 progress in unison or in octa=esF one =oca( part "a7 repeat certain notes or t#e #o(e c#orus reiterate certain c#ordsF one "e(odic part "a7 predo"inate %t#e upper part for preference, t#e ot#ers for"ing an #ar"onic acco"pani"entF iso(ated e!c(a"ator7 p#rases "a7 ;e gi=en to t#e #o(e c#orus or to certain portions of it, and fina((7, t#e entire c#orus "a7 ;e treated in a pure(7 #ar"onic "anner in c#ords, it# t#e essentia( "e(odic design a((otted to t#e orc#estra* 6a=ing out(ined t#e principa( "et#ods of #and(ing t#e c#orus, I ad=ise t#e reader to stud7 =oca( and orc#estra( scores #ere #e i(( find "an7 i((ustrations i"possi;(e to dea( it# #ere*01>>0 @#ere e!ists anot#er "ost i"portant operation, t#e di=ision of t#e c#orus into different groups* @#e "ost natura( "et#od is to di=ide it into "en's c#orus and o"en's c#orus* Dess frequent co";inations are a(tos, tenors and ;asses, or sopranos, a(tos and tenors* @#ere re"ains 7et anot#er point to ;e considered, t#e su;0di=ision of eac# part into to's and t#ree's* Men's and o"en's c#oruses, considered as distinct unities "a7 a(ternate eit#er one it# t#e ot#er, or it# t#e principa( c#orus* Bor t#is reason su;0 di=ision increases t#e possi;i(ities of c#ora( riting, and, as I #a=e a(read7 re"ar3ed, it is on(7 ;7 t#e stud7 of c#ora( or3s t#at t#e student i(( acquire "aster7 o=er t#is ;ranc# of co"position, t#e funda"enta( princip(es of #ic# can on(7 ;e faint(7 out(ined in t#e course of t#e present or3* Meldy+
Me(od7 is "ore (i"ited in t#e c#orus t#an in t#e so(o =oice, ;ot# as regards range as e(( as "o;i(it7* #oristers' =oices are (ess Gsett(edG and not so #ig#(7 trained as t#ose of so(oists* +o"eti"es so(o and c#ora( "e(od7 are si"i(ar in point of range and tec#nique, ;ut "ore often t#e (atter is (ac3ing in freedo" and =ariet7 of r#7t#", restricted as it is to t#e repetition of s#ort p#rases, #i(e t#e so(o =oice de"ands ;roader "e(odic out(ine and greater freedo" in construction* In t#is respect c#ora( "e(od7 "ore c(ose(7 rese";(es instru"enta( "e(od7* Pauses for ta3ing ;reat# are not so i"portant it# c#orus singers as it# so(oistsF t#e for"er do not need to ;reat#e a(( toget#er and eac# singer "a7 ta3e a s(ig#t rest fro" ti"e to ti"e, t#us o;=iating t#e necessit7 for sudden co"p(ete si(ences* @#e question of suita;(e =oe(s is (i3eise of secondar7 i"portance*
158
@#e c#ange fro" notes of s#ort =a(ue to (ong, =oca(isation on s7((a;(es and ot#er questions "entioned a;o=e are equa((7 app(ica;(e to c#ora( "e(od7, ;ut in a "inor degree* Aot "ore t#an to or t#ree notes s#ou(d ;e ritten on one s7((a;(e e!cept for fancifu( and #i"sica( effects* *,ample5
Ao* :* The Golden Cockerel 22 F see a(so ;efore 12 *01>)0
A+ Mi)ed 0hr's+ &hr's in 'nisn+
@#e si"p(est and "ost natura( co";ination of =oices is sopranos and a(tos, or tenors and ;asses* @#ese co";inations produce a"p(e and =igourous tone, and t#e "i!ed ti";res ser=e to gi=e pro"inence to a "e(od7 in t#e upper or ;ass parts* In practice t#e ot#er =oices are often di=ided to t#ic3en t#e #ar"on7* @#e co";ination of a(tos and tenors produces a pecu(iar "i!ed tone qua(it7, so"e#at &izarre and se(do" used* *,amples5 Snegourotchka > * Sadko 2:& %cf* E!* 1>* 5rgressin in 0taes+
@#e "ost ;eautifu( and natura( co";inations are sopranos and tenors
[
&
+opr* @en*,
a(tos and ;asses &
[
$(tos -assesF
t#e7 produce a tone ;ot# ;ri((iant and poerfu(* Progression of sopranos and a(tos, or tenors and ;asses is se(do" practised* @#oug# t#e (atter co";inations "a7 occur in c#oruses for o"en and "en a(one, t#e7 can on(7 ;e used in "e(odies of restricted (engt#* @#e difference of register in #ic# t#e =oices "o=e does not per"it of t#e sa"e ;a(ance of tone o;tained ;7 =oices of a distincti=e 3ind* *,amples5
159
Snegourotchka : , 1 —arni=a( Procession*
G 11 —.edding ere"on7* Sadko 5 —#orus of
?i=iding 3indred =oices in octa=es is se(do" done,
[
&
+opr* I +opr* II
etc*, e!cept per#aps in t#e ;asses
[
&
-asses I -asses II,
#en t#e progression of parts de"and it, or it is required to dou;(e t#e ;ass part in octa=es* *,amples5 'van the Terri&le, $ct III & —Bina( c#orus %cf* E!* 12* Sadko >1 —Bina( c#orus*01>0
$ ;eautifu((7 round tone resu(ts fro" dou;(ing "en's and o"en's =oices in octa=es &
[
+opr* Q $(tos @en* Q -asses* *,ample5
Snegourotchka 2 —Bina( c#orus*
-ri((iance and =igour is ac#ie=ed #en sopranos and a(tos progress in t#irds dou;(ed in octa=es ;7 tenors and ;asses a(so in t#irds/
&
[
+opr* $(tos @en* -asses
] ] *,amples5
Mlada, $ct I 2> F $ct II, ;efore 1 *
*
160
The Golden Cockerel 2) *
Cn t#e rare occasions #en t#e #o(e c#orus progresses in dou;(e octa=es t#e usua( arrange"ent is/
Q $(tos
+opr* &
[
@en* -asses
]
&,
or e(se
&
[
+opr* $(tos -asses
Q @en*
]
&*
*,amples5 Snegourotchka 19 * Sadko 1&2 * Vi0es 2divisi 3 har(ni0 'se / the (i)ed 0hr's+
@#e pure(7 #ar"onic progression of a four0part "i!ed c#orus is "ore natura( and resonant #en t#e #ar"on7 is of t#e ide(7 di=ided order, so t#at t#e =o(u"e of tone is equa((7 distri;uted t#roug#out* *,ample5
Ao* :5* Sadko 1>> —-eginning of rd ta;(eau* @o secure a e((0;a(anced forte c#ord in c(ose part riting t#e fo((oing distri;ution is reco""ended/ +opr* I +opr* II $(tos @en* I @en* II -asses I -asses II*
[
[ [ 01>50
@#ree #ar"onic parts in t#e #ig# register %2 sopranos and a(tos are dou;(ed an octa=e (oer ;7 2 tenors and t#e 1st ;asses* @#e (oer part is underta3en ;7 t#e 2nd ;asses* In t#is "anner t#e tenors sing in t#e soprano octa=e, t#e 1 st ;asses in t#e a(to octa=e and t#e 2nd ;asses are independent* *,amples5 Snegourotchka 25 —End of t#e or3*
161
Mlada, $ct II 2: —Procession of Princes*
212* 'van the Ter Terri&le ri&le, $ct II 19 %cf* E!* 212* ?i=ision of parts can ;e adopted #en one of t#e" is entrusted it# a "e(od7, t#e re"ainder for"ing a sufficient(7 fu(( acco"pani"ent* @#e c#oice of parts to ;e di=ided depends upon t#e range of t#e upper one* .#en a #ar"onic0"e(odic p#rase is repeated in different 3e7s and registers, it "a7 ;e necessar7 to distri;ute t#e parts and di=ide t#e" in anot#er "anner, so as to "aintain proper c#ora( ;a(ance* $s an i((ustration I gi=e to e!tracts of identica( "usica( conte!t, t#e second % 1 "aHor ;eing a t#ird #ig#er t#an t#e 1 "aHor + "aHor* In t#e first e!a"p(e t#e a(tos are added to t#e sopranos to strengt#en t#e first % + "e(od7F t#e tenors and ;asses divisi for" t#e #ar"on7* In t#e second e!a"p(e t#e "e(od7 ;eing a t#ird #ig#er "a7 ;e gi=en to t#e sopranos a(oneF t#e a(tos t#erefore ta3e part in t#e #ar"on7, and consequent(7 t#e (oer parts are di=ided in a different a7* *,amples5 *,amples5 Sadko 15 and 155 %cf* E!*
2:) and 2: 2:F
co"pare
a(so
t#e
sa"e
"usic
in G "aHor 1&9 * Ao* :90 :901: 1:** 'van the Terri&le Terri&le, $ct I 55 * E!a"p(e :5 is :5 is an instance of ide(70spaced four0part riting for"ing t#e #ar"onic ;asis, it# t#e "e(odic idea in t#e orc#estra* In E!a"p(e :&, :&, t#e sa"e in "usica( conte!t, t#e "e(odic figure is gi=en to t#e sopranos, and a"ong t#e ot#er parts #ic# for" t#e #ar"on7 t#e tenors are di=ided* *,ample5 *,ample5
Ao* :&* Sadko 1)2 *01>&0 In po(7p#onic riting e!ceeding > part #ar"on7 t#e =oices s#ou(d ;e di=ided so as to o;tain t#e necessar7 nu";er of actua( parts* Cne part "a7 ;e di=ided into as "an7 as t#ree different parts, sopranos, a(tos etc* *,amples5 *,amples5
Ao* 12* 'van the Ter Terri&le ri&le, $ct III 9 —Bina( c#orus* Servilia 2 —Bina( c#orus* Mlada, $ct IV )0 —Bina( c#orus*
In fugato riting and fuga( i"itation for "i!ed c#orus t#e distri;ution is genera((7 in four parts, ;ut t#is nu";er "a7 ;e increased for cu"u(ati=e effects as in t#e e!a"p(e
162
quoted* In suc# cases t#e co"poser s#ou(d ;e carefu( as to t#e arrange"ent of t#e fina( c#ord, t#e su""it and c(i"a! of t#e passage* passage* $fter $fter t#e entr7 of t#e (ast of t#e =oices t#e progression of suc# a passage s#ou(d ;e #and(ed it# a =ie to t#e tone of t#e fina( c#ord* @#e treat"ent s#ou(d ;e suc# t#at concords produced ;7 di=ided =oices or different groups of =oices retain t#eir fu(( =a(ueF and if t#e fina( c#ord ;e a discord its effect "a7 ;e #eig#tened ;7 "eans of crossing of parts* @#e reader is ad=ised to e!a"ine carefu((7 t#e progression of parts (eading up to t#e fina( c#ord in eac# of t#e e!a"p(es gi=en a;o=e, pa7ing specia( attention to t#e distri;ution of t#ese fina( c#ords* rossing of parts "ust not ;e effected at rando"* @#e arrange"ent of c#ora( parts fo((os t#e natura( order of register and can on(7 ;e a(tered for s#ort spaces of ti"e to gi=e "o"entar7 pro"inence to so"e "e(odic or dec(a"ator7 p#rase* *,amples5 *,amples5 'van the Ter Terri&le ri&le, $ct I 59 , $ct II ) , $ct III 5 *
B+ Men4s 0hr's and .(en4s 0hr's+ In riting a t#ree0part fe"a(e c#orus t#e di=ision s#ou(d ;e eit#er +opr* I +opr* II $(tos
or
+opr* $(tos I $(tos IIF
or
@en* -ass I -ass II*
t#e sa"e for "en/ @en* I @en* II -ass
@#e c#oice of distri;ution depends upon #ic# =oice is to predo"inate, predo"inate, or t#e register in #ic# t#e group is to ;e p(aced* @#e "anner of di=id 01>90ing t#e parts "a7 c#ange, one fo((oing t#e ot#er at i((* In four0part #ar"onic riting t#e "et#od of di=ision is se(f0 e=ident/ +opr* I +opr* II $(tos I $(tos II
@en* I @en* II -ass I -ass II
@o gi=e pro"inence to a "e(od7 in t#e "idd(e part in t#ree0part #ar"on7, t#e fo((oing "et#od "a7 ;e adopted/
163
+opr* I +opr* II Q $(tos I, $(tos II
or
@en* I @en* II Q -ass I* -ass II
If, in t#ree0part riting, t#e "e(od7 #as to stand out in t#e upper part, t#e #ar"on7 "a7 ;e eit#er ide(70di=ided or c(ose* *,amples5 *,amples5 'van the Ter Terri&le ri&le, $ct I 2)02 , 201 %.o"en's c#orus* Sadko , ;efore 1&1 —Men's c#orus %cf* E!* 25* 25*
Ao* 11* Sadko 25:0252 —.o"en's —.o"en's c#orus* In four0part c#ora( riting c(ose #ar"on7 is prefera;(e, ot#erise t#e upper part i(( ;e in too #ig# a register and t#e range of t#e ;otto" part too (o* *,amples5 *,amples5 Sadko 15 —Ma(e c#orus*
29* 'van the Ter Terri&le ri&le, $ct II 0& —Be"a(e c#orus %cf* E!* 29* ?istri;ution ?istri;ution in to parts #ic# is genera((7 po(7p#onic does not ca(( for an7 specia( re"ar3sF t#e sa"e "a7 ;e said of c#orus in unison* *,amples5 *,amples5 Sadko ): —Ma(e c#orus* Mlada, ;eginning of $ct I* 'van the Terri&le Terri&le, $ct III 101) * Servilia 2 *
Be"a(e c#orus*
If "a(e and fe"a(e c#oruses are #and(ed in a pure(7 #ar"onic "anner c(ose part riting s#ou(d ;e adopted* @#is is t#e on(7 a7 to secure proper ;a(ance of tone in c#ords gi=en to =oices01):0 of t#e sa"e 3ind* +uccessions of c#ords in t#ree parts are "ore frequent t#an t#ose in fourF so"eti"es a series of c#ords is practica;(e on(7 in to parts* *,amples5 *,amples5 Snegourotchka 19 —#orus of -irds*
G 2&102&) —#orus of B(oers %cf* E!* 2* 2*
164
In fugato riting, and fuga( i"itation in t#ree parts, a((otted to a c#orus co"posed of =oices of one 3ind, t#e principa( su;Hect is gi=en to to parts, t#e counter su;Hect to oneF ;7 t#is "et#od t#e dou;(ed t#e"es i(( stand out to ;etter ad=antage* *,amples5 Sadko 2:021 *
T The Tsar6s 3ride 290: * Ma(e and fe"a(e c#oruses, apart fro" t#e part t#e7 p(a7 as indi=idua( unities, "a7 ;e introduced as separate groups in "i!ed c#oruses a(ternating it# t#e #o(e ensem&le * *,ample5 Snegourotchka 19& —67"n of @sar -erende7's +u;Hects %cf* E!* 1*
$s a genera( ru(e a fe"a(e c#orus does not contain t#e rea( #ar"onic ;ass part #en t#is part is situated in t#e (o register, so t#at no octa=es are for"ed ;eteen t#e rea( ;ass and t#e (oer c#ora( =oice* 6ar"on7 in a c#orus for o"en is genera((7 gi=en to t#e t#ree upper parts, t#e (oer part acting as acco"pan7ing ;ass* It i(( ;e noticed t#at t#is ru(e "a7 (ead to t#e e"p(o7"ent of c#ords of t#e si!t# and e"pt7 consecuti=e fourt#'s and fift#'s #ic# s#ou(d ;e a=oided* In e!a"p(e Ao* 11 %Sadko 25: , t#is is re"edied ;7 t#e #ig# position of t#e ;ass partF (ater an e"pt7 inter=a( %>K) occurs, ;ut on(7 for a "o"ent, and sti(( furt#er on anot#er suc# inter=a( is a=oided ;7 t#e union of a(( t#e =oices in t#e octa=e % 3@3* In E!* Ao* :> %Sadko & t#e #ar"onic ;ass in t#e (o register is carefu((7 o"itted, ;ut #en transferred to t#e upper register it is dou;(ed*01)10 I conc(ude t#e present c#apter it# t#e fo((oing necessar7 o;ser=ations/ 1* @#e operation of di=iding =oices undou;ted(7 ea3ens t#eir resonance, and as t#e reader i(( #a=e o;ser=ed, one of t#e principa( factors in good orc#estration is e(ual ;a(ance of tone in t#e distri;ution of c#ords* -ut in c#ora( riting t#e question is so"e#at different* @#e orc#estra, e=en after repeated re#earsa( a(a7s plays from music F t#e operatic c#orus, on t#e ot#er #and, sings ;7 #eart* @#e c#orus "aster can carr7 out t#e co"poser's instructions as to t#e di=ision of parts in one a7 or anot#er, =ar7ing and adHusting t#e nu";er of singers to eac# part* -7 "anipu(ating so"e s#ade of e!pression #e can "aintain a ;a(ance of tone ;eteen di=ided and undi=ided =oices* In orc#estra( "ateria( t#e co"poser #as to #and(e a great nu";er of ti";res, ide(7 different in c#aracter and =o(u"e of tone* In t#e c#orus t#ere are ;ut four qua(ities* $ c#orus "o=ing a;out t#e stage cannot con=e7 =ar7ing s#ades of e!pression so e!act(7 as an orc#estra seated at t#e des3* It "a7 t#erefore ;e safe(7 assu"ed t#at a co"poser is entit(ed to so"e
165
(icence in t#e question of di=iding c#ora( partsF dea(ing it# t#e orc#estra in=o(=es greater foresig#t and care* 2* In tr7ing to o;tain equa( ;a(ance in riting t#ree0part c#oruses for "a(e or fe"a(e c#orus I #a=e often resorted to t#e "et#od of dou;(ing t#e "idd(e part as reco""ended on p* 1>9* @#e c#orus "aster is at (i;ert7 to equa(ise t#e c#orus ;7 transferring =oices fro" one part to anot#er* In c#oruses di=ided into t#ree parts I #a=e noticed t#at c#orus "asters are in t#e #a;it of gi=ing t#e upper part to +opr* I, or @en* I, and t#e to (oer parts to +opr* II and @en* II di=ided* I consider t#is arrange"ent unsound, as t#e ;a(ance of parts can ne=er ;e equa(* @#e attention of c#orus "asters is ca((ed to t#e necessit7 of strengt#ening "idd(e parts, for t#e e!pedient of gi=ing pro"inence to t#e upper part concerns "e(od7 a(one and (ea=es #ar"on7 out of t#e question* * +3i(fu( "anage"ent of c#ora( parts is a fair(7 safe guarantee of c(ear and satisfactor7 perfor"ance* Misca(cu(ations in riting are a great #indrance to stud7, and t#e "ost e!perienced c#orus "a7 co"e to grief t#roug# fau(t7 progression of parts* If t#e progression of parts is correct, if discords are proper(7 prepared,01)20 sudden and re"ote "odu(ations, e=en of t#e #ars#est and "ost unco""on 3ind i(( ;e co"parati=e(7 si"p(e and "a7 ;e approac#ed it# so"e degree of confidence* @#is is a fact #ic# co"posers do not a(a7s ;ear in "ind, ;ut singers 3no it e(( and appreciate its i"portance to t#e fu((* $s an instance I quote t#e =er7 difficu(t "odu(ation #ic# occurs in E!* Ao* 19 %Sadko :2 * I dou;t #et#er it cou(d ;e sung if ritten in an7 ot#er a7* arefu( endea=our on t#e part of a co"poser is ;etter t#an use(ess strugg(e inf(icted upon t#e perfor"er* Ju(7 1st %$ug* 1t# 19:)*
>OOTNOTES [1] @#is "anuscript as gi=en to "e ;7 $(e!ander <(a4ouno=F if a Ri"s370 8orsa3o= "useu" is e=er founded it i(( ;e p(aced t#ere*
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[2] @#is preface #ad a(read7 ;een pu;(is#ed in #is Notes and )rticles on Music %+t* Peters;urg#, 1911* [] Recent(7 t#e fir" of -e(aieff #as pu;(is#ed Ri"s3708orsa3o='s s7"p#onic or3s in "iniature score, poc3et0si4e* [>] In t#e "argin of t#e M+* a question "ar3 is added #ere* %Editor's note* [)] $* <(a4ouno= #as e(( e!pressed t#e =arious degrees of e!ce((ence in scoring, #ic# #e di=ides into t#ree c(asses/ 1* .#en t#e orc#estra sounds e((, p(a7ing fro" sig#tF "agnificent, after a fe re#earsa(s* 2* .#en effects cannot ;e ;roug#t off e!cept it# t#e greatest care and attention on t#e part of conductor and p(a7ers* * .#en t#e orc#estra ne=er sounds e((* E=ident(7 t#e c#ief ai" in orc#estration is to o;tain t#e first of t#ese resu(ts* %$ut#or's note* [] $ s#ort re=ie of t#ese =arious questions for"s t#e first c#apter of t#e ;oo3* %Editor's note* [5] @o gi=e a (ist of eas7 t#ree and four0note c#ords, or to e!p(ain t#e different "et#ods of ;oing does not co"e it#in t#e scope of t#e present ;oo3* [&] Cf (ate 7ears so"eti"es to tu;as are e"p(o7ed, ;7 <(a4ouno= for instance in #is Binnis# Bantasia* %Editor's note* [$] @#e 5t# natura( #ar"onic is e=er7#ere o"itted as use(essF t#e sa"e in t#e #orns, t#e notes 11, 1, 1> and 1)* [-] @#e &♮ of t#e octa=e 01 does not e!ist on t#e tro";ones* [9] $ Russian instru"ent #ic#, (i3e t#e ;a(a(a3a, is ;etter 3non a;road* %@rans(ator's note* [1:] $ c#ro"atic #arp it#out peda(s #as no ;een in=ented in Brance %D7on's s7ste", on #ic# t#e "ost a;rupt "odu(ations are possi;(e* %@rans(ator's note* [11] Ri"s3708orsa3o='s opera Sadko and Moussorgs37's 3oris particu(ar(7 interesting in t#is respect* %@rans(ator's note*
Godounov are
[12] Recent(7, ;e((s #a=e ;een "ade of suspended "eta( p(ates possessing t#e rare qua(it7 of a fair(7 pure tone, and #ic# are sufficient(7 porta;(e to ;e used on t#e concert p(atfor"* %Editor's note* [] @#e present =o(u"e is di=ided into to parts, te!t %pp* 101)2 and "usica( e!a"p(es %pp* 10* @#e first page of t#e second part (ists t#e standard fu((0score editions of Ri"s3708orsa3o='s or3s t#at are referred to t#roug#out t#e ;oo3* @#ese
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references to specific passages are a(a7s indicated ;7 ;o!ed nu";ers or ;o!ed (etters corresponding to t#e ones "ar3ing t#e su;0di=isions of t#e particu(ar score* Cn t#e ot#er #and, references in t#e te!t to t#e 12 "usica( e!a"p(es in t#e second part of t#e ;oo3 are a(a7s indicated as GAo* 1,G GAo* 2,G etc* @#us, G The Tsar6s 3ride &> G indicates t#at t#e reader s#ou(d (oo3 at section &> of t#e score of The Tsar6s 3ride as pu;(is#ed ;7 -e(aieff in Deip4ig, t#e "usic of #ic# is not reprinted #ereF #ereas G Ao* 1* Shéhérazade 2nd "o=e"ent - G indicates t#at t#e reader s#ou(d (oo3 at t#e first "usica( e!a"p(e in t#e second part of t#e present ;oo3, #ic# co"es fro" t#e section "ar3ed - in t#e second "o=e"ent of t#e score of Shéhérazade as pu;(is#ed ;7 -e(aieff* [1] @#e co"poser #as e"ended t#e score in t#e fo((oing "anner/ fro" t#e fift# to t#e nint# ;ar after :) , and a(so fro" t#e fift# to t#e nint# ;ar after : , t#e t#ree c(arinets p(a7 in unison, t#e tru"pet ;eing "ar3ed forte instead of fortissimoF in t#e e!a"p(e, t#e first of t#ese passages is corrected according to t#e co"poser's a(teration* %Editor's note* [1>] @#e process of dou;(ing strings and ood0ind in octa=es/ B(* Vns
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etc* often used ;7 t#e c(assics to o;tain ;a(ance of tone, is not to ;e reco""ended, as t#e tone qua(it7 of t#e to groups is so ide(7 different* $s a resu(t of t#e e=er0increasing tendenc7 to profusion of co(our, t#is "et#od #as recent(7 co"e into fas#ion again, nota;(7 a"ong t#e 7ounger Brenc# co"posers* %Editor's note* [1)] In t#e fu(( score a "isprint occurs in t#e c(arinet partF it is corrected in t#e e!a"p(e* %Editor's note* [1] $ sp(endid e!a"p(e of t#e co";ination of strings and ;rass "a7 ;e found in t#e introduction to t#e 2nd scene of t#e >t# act of G KhovanstchinaG ;7 Moussorgs37, orc#estrated ;7 Ri"s3708orsa3o=* %Editor's note* [15] Mention s#ou(d ;e "ade of t#e #app7 use of a s"a(( orc#estra in t#e ings %2 picc*, 2 c(*, 2 #orns, 1 tro";one, ta";ourine, > Vn s, 2 =io(as, 1 ?0;ass in The May Night , $ct II, +c* I* M0P * %Editor's note* [1&] 6ere t#e aut#or approac#es a question so e(( 3non to t#e Russians t#at it does not require an7 furt#er e(ucidation for t#eir guidance* -ut a #o(e ;oo3 ou(d #a=e to ;e ritten to for" a co"pendiu" of practica( ru(es on t#is su;Hect, and to point out t#e errors #ic# near(7 a(( Brenc# co"posers open(7 co""it—e=en t#ose #o are fa"ous for t#eir sense of diction and (iterar7 st7(e* .e can on(7 conc(ude t#at t#e question #as co"e to ;e considered of "inor i"portance in Brance, per#aps on account of t#e (ac3 of definite
