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GAYLORD Re
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the
NICOLAS RIMSKY-KORSAKOW
PRINCIPLES OF
ORCHESTRATION WITH MUSICAL EXAMPLES DRAWN FROM HIS
OWN WORKS
EDITED BY
MAXIMILIAN STEINBERG ENGLISH TRANSLATION BY
EDWARD AGATE
E. F.
KALMUS ORCHESTRA 209
WEST
NEW
SCORES, INC.
57th STREET
YORK, Printed
N. Y.
in U. S. A.
MUSIC LIBRARY UNIVERSITY or COUi^^CTlCUT
STORRS, C0.*4N^CriCUT
rc\T
no
CONTENTS page
VII— XII
Editor's Preface
Extract from the Author's preface (1891)
1
Extract from the Preface to the last edition
5
T'hapter
I.
—
General review of orchestral groups
A. String-ed instruments B.
6
Wind instruments: Wood-wind
12
Brass
21
C. Instruments of
little
sustaining power:
Plucked strings
26
Pizzicato
27
Harp
27
Percussion
instruments
producing determinate sounds,
keyed
instruments
Kettle-drums
29
,
,
Piano and Celesta
30
Glockenspiel, Bells, Xylophone
32
Percussion instruments producing indefinite sounds
Comparison
resonance
of
in orchestral
groups, and combination
32
33
of different tone qualities
Chapter
II.
—
Melody
Melody in stringed instruments Grouping in unison Stringed instruments doubling
Melody «4
fX ~"^
'^
in
36 39 in
44
double octaves
and four octaves Melody in thirds and sixths Melody in the wood-wind Combination in unison Combination in octaves Doubling in two, three and foiir octaves Melody in thirds and sixths Thirds and sixths together Melody in the brass Brass in unison, in octaves, thirds and sixths Doubling
40
octaves
45
in three
45 46 47 49 51
52
53 53
.......
55
IV page
Melody in different groups of instruments combined together A. Combination of wind and brass in unison B. Combination of wind and brass in octaves C. Combination of strings and wind D. Combination of strings and brass E. Combination of the three groups
Chapter
—
111.
.
56 57
58 61 61
Harmony 63
General observations
Number
—
64
Duplication harmonic parts Distribution of notes in chords of
67
69
harmony Wood-wind harmony
String
71
Four-part and three-part harmony
72
Harmony
76
several parts
in
Duplication of timbres
77
Remarks
78
Harmony
82
brass
in the
Four-part writing
82
Three-part writing
84
Writing in several parts
84
Duplication in the brass
85
Harmony
in
combined groups
88
A. Combination of wind and brass
.
.
.
88
.
1.
In unison
88
2.
Overlaying, crossing, enclosure of parts
90
Combination of strings and wind C. Combination of the three groups
94
B.
Chapter
56
IV.
—
Composition of the orchestra
Different Full
95
ways
of orchestrating the
same music
97
Tutu
101
Tutti in the
103
wind
103
Tuiti pizzicato Tutti in one,
104
two and three parts
104
Soli in the strings
Limits of orchestral range
106
Transference of passages and phrases
107
Chords
of different tone quality
108
used alternately
Amplification and elimination of tone qualities
109
Repetition of phrases, imitation, echo
110
Sforzando-piano and piano- sforzando chords Method of emphasising certain notes and chords Crescendo and diminuendo
HI
Diverging and converging progressions
113
Tone
quality as a
harmonic force.
Ill
112
Harmonic basis
114
116
Artificial effects
Use
of percussion instruments for
Economy
in orchestral
colour
rhythm and colour
....
117
118
V page
Chapter V.
—
Combination of the human voice with orchestra.
The Stage band Orchestral accompaniment of solo voices
General remarks
Transparence
119
accompaniment.
of
119
Harmony
Doubling voices in the orchestra Recitative and declamation
125
Orchestral accompaniment of the chorus
Solo voice with chorus
—
126 128
Instruments on the stage and
Chapter VI (Supplementary)
120 122
in the
wings
129
Voices
Technical terms
132
Soloists
133
Range and
register
134
Vowels
136
Flexibility
137
Colour and character of voices
137
Voices
in
combination
139
Duet
139
Trio, quartet etc
139
Chorus
A.
133
Vocalisation
142
Range and register Melody Mixed chorus
142
Chorus, in unison
145
Progression
145
octaves
in
144 145
Voices divisi; harmonic use of the mixed chorus
146
and Women's chorus
148
B. Men's chorus
ST0RI»»
Editor's Preface. Rimsky-Korsakov had long been engrossed
We
orchestration.
some 200 pages
have
in
hand writing,
fine
in
his
in
on
treatise
our possession a thick note book of
from the years
dating
1873—1874, containing a monograph on the question
of acoustics,
a classification of wind instruments and a detailed description of the construction and fingering of the different kinds of flute, the
oboe, clarinet and horn. his
In
"Memoirs
of
(1)
my
following passage occurs: to the compilation of I
made
a
musical
"1
full
life"
had planned
of this treatise,
most
of
works work,
of in
my
or,
to
was
devote
energies
to include everything.
be more exact, the sketch
Tyndall and Helmholtz,
endeavoured
I
my
this
end
1
time in the years 1873 and 1874.
which
all
down explanatory notes detailing What intended to present to
the technique of different instruments. the world on this subject,
120) the
on orchestration. To
treatise
several rough copies, jotting
to
p.
edition,
(li*
1
The writing
for
took up
it
After reading the
framed an introduction
my
to
to expound the laws of acoustics
as applied to the principles governing the construction of musical
My manual was
instruments.
begin
to
with
detailed
a
list
of
instruments, classified in groups and tabulated, including a description of the various systems in use at the present day.
not yet thought of the second part of the book
devoted I
to
instruments in combination.
had gone too
different
his
own
endowed (I)
But
1
With wind instruments
far.
which was
I
to
soon realised in particular,
had be that
the
systems were innumerable, and each manufacturer favoured pet theory. his
By
the addition of a certain
instrument with the possibility of a
This manuscript
Korsakov museum
is
was
gfiven to
ever founded
it
me
key the maker
new
by Alexander Glazounov;
will
be placed there.
trill,
if
and
a Rimsky-
VIII
made
s^nic
passages more playable than on an instrument
difficult
*
another kind.
of
There was no end instruments
with
such complications.
to
three,
varying according
to
cover so
field;
treatise
large
be
a
to the
fail to
to
my
massive work aside.
For these reasons
at
Memoirs, are
artist of
times from
performance
first
composition for a while. in his
my
gave up the
interest in
task."
com-
standing, the
These notes,
in three
volumes
1891 of
of
for twenty years,
He would seem
instrumentation.
different
the
after
I
had been teaching
handbook on
have made notes
which period,
finally
its
he would
Mlada, and Sheherazade, a master
orchestral technique he
returned to his
Naturally he
satisfactory information
now an
1891 Rimsky-Korsakov,
poser of Snegourotchka, the
could not hope to
I
What value would such a
of
instrument to employ, the extent of
and getting no
book gradually waned, and
In
found
advantages and drawbacks, could not
their
know what
capabilities etc.,
the
Obviously,
besides,
I
mechanism
the
confuse the reader only too eager to learn.
would wish throw
the make.
In the brass,
valves,
five
student? Such a mass of detailed description of
the various systems,
but
and
four,
to
1893, during
to
Mlada, he gave up
occasionally referred to
They
of manuscript-paper.
contain the unfinished preface of 1891, a paragraph
of clear,
full
thoughtful writing, and reprinted in this book. (1) As"
the author
tells
work was hampered
his
were happening
at
by certain
1894 he
beginning in
of his
composed most
(p.
297), the progress of
events which
troublesome
Dissatisfied with his rough
the time.
destroyed the greater part of In
Memoirs
us in his
it,
draft,
he
and once more abandoned his
task.
was
the
The
Christmas Night;
fertile period.
He became
this
entirely engrossed
composition, making plans for a fresh opera as soon as the
one
in
hand was completed.
thoughts
returned
to
the
It
treatise
was not
1905
until
on orchestration,
that
his
output remaining in abeyance through no fault of his own.
1891
the
plan
of
the
work had been
proved by the rough drafts
still
extant.
entirely
his
musical
Since
remodelled,
as
The author had given up
the idea of describing different instruments from their technical (1)
Music
This preface had already been published in his Notes (St.
Petersburgh, 1911).
and
Articles
on
IX
and was more anxious
standpoint,
dwell upon
to
the value
of
tone qualities and their various combinations.
Among
book have been
the author's papers several forms of the
found, each widely differing in detail from the other.
summer
the
1905 Kimsky-Korsakov
of
At
brought his
last, in
plans to a
head, and outlined the six chapters which form the foundation of
But the work suffered a further interruption,
the present volume.
and the sketches were once more
Rimsky-Korsakov explains the and a
general
abeyance.
and
I
To
feeling
form
start with, the
of the
work"
that
(p.
Then came the autumn
work
remained
treatise
in
book was not a success,
awaited the production of Kitesh,
examples from
Memoirs,
his
In
of interest in the
"The
weariness:
of
aside.
laid
by lack
fact
in
order to give
some
360).
The composer experienced
1906.
of
another rush of creative energy; his opera.
The Golden Cockerel
made
that winter
and the
autumn
of 1907,
following summer.
thoughts
his
work made adequacy his
of
the
latter
When
reverted
of the plan
and
and
on orchestration.
Towards
He
ailing
in
in spite of the entreaties
the
end
health,
of
and
final
to
examples.
About the
20*li
The honour Korsakov
for
has appeared to
chapter of the treatise in
was
finished on
same
which proved
fourth attack
the
upon
On
fell
publication. in
essential
me the
in
print
I
features
my
first
me
on
materially
of
May he
residence in Lioubensk, and having just
first
form. This chapter
in the afternoon; the
broach
spent the greater part of his time reading
summer
work on the
to
1907 Rimskythis
recovered from a third severe attack of inflammation
began
But the
his doubts as to the
he could not bring himself
book.
classifying
out for his
finished, in the
treatise
The author had
constantly
affected his energy.
old notes
all
he had adopted, and,
friends,
part of the
was
was
it
the
to
progress.
little
pupils
Korsakov
set
him busy
rapid strides, and kept
night, the
of the lungs, its
present,
June 7/20, about 4 o'clock
composer was seized with a
fatal.
to
prepare
Now
think
it
of the
that
this
last
work
Principles
necessary
to
book, and
of
Rimsky-
of Orchestration
devote a few words
to the
labour imposed
capacity as editor.
point
I
will say but
from the Contents that the work
little.
differs
The reader
will
observe
from others, not merely by
reaston of
musical examples, but more especially in the systematic
its
arrangement groups
(the
of
not according to orchestral division in
material,
method adopted by Gevaert
The and
orchestration
melodic and harmonic elements (Chapters
of
II
receives special attention, as does the question of orches-
III)
The
tration in general (Chapter IV). to
for instance), but accord-
musical whole, considered separately.
ing to each constituent of the
operatic
and the
music,
two chapters are devoted
last
supplementary form,
a
takes
sixth
having no direct bearing on the previous matter.
Rimsky-Korsakov altered the
to
me
to
of his
title
The
his final choice was never made.
be the one most suitable
book several
title
I
and
work, "prin-
to the contents of the
ciples" in the truest sense of the word.
times,
have selected seems
Some may
expect to find
the "secrets" of the great orchestrator disclosed; but, as he himself
reminds us
and
in his preface, "to orchestrate is to create,
this is
something which cannot be taught." as invention, in
Yet,
all
book may reveal much Korsakov has often
art,
closely allied to technique, this
is
the axiom that
repeated
their
may
combinations
instruction
ends.
From
good orchestration
The simple use
means proper handling of parts. and
of tone-colours
also be taught, but there the science of
The
would
will
author's
from discussing a few questions, amongst
death prevented him I
book
these standpoints the present
furnish the pupil with nearly everything he requires.
which
Rimsky-
to the student of instrumentation.
include
polyphonic
full
and
orchestration
the
scoring of melodic and harmonic designs.
But these questions
can be partly solved by the principles laid
down
and
and
III,
I
have no wish
overcrowd the
to
be necessary.
sketches
I
had
summary throughout pleted
I
of all
have
tried to
is
it
published as
in style.
keep
additions.
if
is
it
found
prepare and amplify the
it
form a connected
Chapter
I
was com-
stands, save for a few
As regards the other
five
chap-
to the original drafts as far as possible,
and have only made a few changes indispensable
to
in 1905; these
the whole six chapters.
by the author;
unimportant alterations ters,
first
made by Rimsky-Korsakov
II
edition of this
first
book with extra matter which can be added later, to
Chapters
in
in the order,
and one or two
The sketches made between 1891 and
1893 were too disconnected
to
be
of
much
use,
but,
in
point
XI of
corresponded
they
fact,
very
closely
the
to
form
final
of
the work.
The musical examples are
According
of greater importance.
to
the original scheme, as noted on the 1891 MS., they were to be
drawn
from
works
the
choosing
examples
explained
partly
may be
unfinished
the
in
mentioned.
examples from the works
had
marked
peculiarities
of
preface
how
of
came
to
decision are
but
1905,
other his
composers, he would have
and often strongly
This would have to
of
only
this
of
of their individual,
style.
undertaking, and then,
for
those
The idea
Rimsky-Korsakov had chosen
of these four
some account
give
to
If
later.
own works
his
The reasons
Rimsky-Korsakov by degrees.
motives
Tschaikovsky;
added
be
to
from
solely
and
Glinka
of
and Glazounov were
Borodin
justify the
been a
difficult
exclusion of West-Eu-
ropean composers, Richard Wagner, for example, whose orchestration
Rimsky-Korsakov so greatly admired? hardly
could
fail
realise
to
that
his
Besides, the latter
own compositions
sufficient material to illustrate every conceivable
examples emanating the
frorfl
manner
afforded
of scoring,
This
one great general principle.
not
is
place to criticise his method; RimsT^y-Korsakov's "school"
may examine
here displayed, each
it
The
himself.
for
is
brilliant,
highly-coloured orchestration of Russian composers, and the scoring of the younger French musicians are largely
methods
of
Rimsky-Korsakov, who,
in
turn,
dev^opments
of the
looked upon Glinka
as his spiritual father.
The
table of
examples found among the author's papers was
from complete; some portions were badly explained, others, not
were
to
were
to indicate the study of
be printed
in
the second volume, and which the
fixed to the length of quotation. editor's discretion.
I
it
difficult tp
with
score, further,
the
keep
of the fnaster's
priate instances of this or that
was guided by
full
All this
was
no
therefore
selected the examples only after
hesitation, finding
composer, as every page
I
at
The composer had not mentioned which musical quotations
all.
and
far
method
following
to
examples limit left
was
to the
much doubt
those stipulated by the
works abound
in
appro-
of scoring.
considerations
author himself:
which agreed first
place the
examples should be as simple as possible, so as not
to distract
the
opinions
of
the
in
the
XII
the student's attention from the point under discussion; secondly, it
was necessary
one example should serve
that
to illustrate several
sections of the book, and lastly, the majority of quotations should be
those mentioned by the author. These amount to 214, in the second
volume; the remaining 98 were added by me. They are drawn, as
far
as possible, from Rimsky-Korsakov's dramatic music, since operatic full-scores are less accessible than those of
At the end of Vol. rent
ways
asterisks.
examples contained
chords; I
my
all
diffe-
additions to the text are
consider that the careful study of the
second volume
in the
to the student without replacing the
will
need
be
of the greatest
for the study of other
Broadly speaking, the present work should
composers' scores.
be studied together with the reading
A
symphonic works.
have added three tables showing
I
of scoring full
marked with use
II
few words remain
of
full
scores in general.
be said regarding Rimsky-Korsakov's
to
intention to point out the faulty passages in his orchestral works,
an intention expressed
composer nations.
preface to the last edition.
his
in
His purpose however was never achieved.
to select these
examples, and
1
the
71ii
bar— the theme
trombones being 233
Golden Cockerel observed
in
violoncellos
doubled
the
14,
I
Rimsky-Korsakov work, thereby
duty sacred to the St. Petersburgh,
I
me
The Legend
not sufficiently prominent
if
easily
the
wood-wind
will
of
Tsar Saltan
rectified);
marks
counter- melody
will confine
not for
is
mistake
—
is
1.
also be mentioned, to
in the text, refers.
In conclusion
the
by
brass
(a
tacet
bars 10
brass,
the
Example 75 may
this
,
in the
It
mention two which were
shall only
pointed out by the composer himself: 220
The
often referred to the instructional value of such exami-
2.
on the violas and hardly
be heard.
which the note on page
myself
The
of expression are
to these
63,
examples.
my deep gratitude to Madame for having entrusted me with the task of editing providing me with the opportunity of performing a desire to express
memory
of a master, held so deeply in reverence.
December
1912.
MAXIMILIAN STEINBERG.
Extract from the Author's Preface (1891). Our epoch,
the post-Wagnerian age,
the age of brilliahce
is
imaginative quality in orchestral tone colouring.
modern
Wagner,
Liszt,
those
others;
of
new
the
russian
— Delibes, school — Borodin,
— have
brought
Glazounov and Tschaikovsky to
art
zenith;
its
composers
french
book
my
and
Balakirev,
musical
they have eclipsed, as colourists, their prede-
own
nevertheless, they are indebted for their this
Bizet
this side of
Weber, Meyerbeer and Mendelssohn,
cessors,
and
Berlioz, Glinka,
chief
aim has been
to
of
progress.
In writing
modern
of
orchestration
and imagination, and
brilliance
devoted considerable space to
whose genius,
provide the well-informed
reader with the fundamental principles
from the standpoint
to
I
have
the study of tonal resonance and
orchestral combination. 1
have
of tone, I
tried to
how
to
the student
how
to obtain a certain quality
acquire uniformity of structure and requisite power.
have specified
designs
show
peculiar
character
the to
each
of
melodic
figures
and
orchestral
group,
and
certain
instrument
or
reduced these questions briefly and clearly in short
I
have endeavoured
material as theless
I
carefully
to furnish the pupil
and minutely studied as
do not claim
should be put to
general principles;
to
to instruct
artistio
use,
him as
nor
their rightful place in the poetic
to
to
how such
establish
language
with matter and
of
Never-
possible.
my
music.
information
examples
in
For, just as
a handbook of harmony, counterpoint, or form presents the student with
harmonic or polyphonic matter,
principles
of
construction,
formal arrangement, and sound technical methods, but will never
endow him with
the
talent
chestration can demonstrate
for
how
composition, so a treatise on orto
produce a well-sounding chord 1
— of
melody from
and solve
uniformly
tone-quality,
certain
harmonic
its
To
art of poetic orchestration. is
how
distributed,
a
detach
to
correct progression of parts,
setting,
such problems, but
all
—
2
will
never be able
orchestrate
to teach the
and
to create,
is
this
something which cannot be taught. It
a great mistake to say: this composer scores well,
is
composition
is
well orchestrated, for orchestration
A work
very soul of the work.
mind
of
creator and native to
its
Could the essence
of
One might
tration?
part of the
is
thought out in terms of the
is
certain tone-colours being inseparable from
orchestra,
More than one
or, that
it
from the hour
Wagner's music be divorced from
as well say that a picture
is
well
in
it
of
its
its
drawn
the
birth.
orches-
in colours.
and modern composer has lacked the
classical
capacity to orchestrate with imagination and power; the secret of
has remained
colour
Does
outside
range
the
follow that these composers do not
it
Many among them have had
trate?
subject than the
And
tration?
mere
yet,
did not turn towards colour; his
The
The power
of subtle orchestration is
and never debase
it
to
to orches-
knowledge
of
the
ignorant of orchesfind evidence of
truth is that his thoughts
mind did not exact
and the composer who possesses
highly,
creative faculty.
know how
-greater
works do we
his
in
his
Was Brahms
colourist.
nowhere
brilliant tone or picturesque fancy.
mit,
of
it.
a secret impossible to transthis secret
the level of a
should value
mere
it
collection of
formulae learned by heart.
Here
I
may mention
the case of
the composer's rough directions.
should enter as deeply as he try to realise his intentions,
works scored by others from
He who undertakes such work
may
into the spirit of the
and develop them
composer,
in all their essential
features.
Though
one's
own
such orchestration
is
personality be subordinate to that of another,
nevertheless creative work.
But on the other
hand, to score a composition never intended for the orchestra,
an undesirable
practice.
and
it.
(1)
persist
In the
in
margin
(1)
of the
Many musicians have made In
any case
this is the
MS. a question mark
is
this
is
mistake
lowest form of
in-
added here. (Editor's note.)
—
—
3
strumentation, akin to colour photography, though of course the
may be
process
well or badly done.
As regards orchestration a first-rate school, and
to
perience.
the
In
my works
all
it
I
place
first
I
my good
has been
fortune to belong
have acquired tha most varied exhave had the opportunity
performed by the excellent orchestra of the
burgh Opera.
having experienced
Secondly,
different directions,
May
Finally
and succeeded
the
works
was
therefore able to study
formed an orchestra
in teaching
them
to
present this
work
to
very young
of
to play, quite competently,
Beethoven, Mendelssohn, Glinka,
of
me
enabled
I
conducted the choir of the
I
Military Marine for several years and
pupils,
sizes,
Night
and trumpets), and ending with the
In the third place,
wind-instruments.
Peters-
towards
have scored for orchestras of different
I
written for natural horns
is
St.
leanings
beginning with simple combinations (my opera The
most advanced.
hearing
of
All
etc.
this
has
the public as the result of
long experience.
As a
starling-point
I
In the orchestra there
I.
Orchestral
II.
work stands
A
III.
perform persist
in the is
without
is
the following fundamental axioms:
no such thing _^as ugly quality of tone.
writing should
the best chance
be
when
work should be written it,
in
not for
easy
to
a
play;
composer's
the parts are well written. (1)
for the size of orchestra that is to
some imaginary body,
as
many composers
introducing brass instruments in unusual keys
doing,
upon which the music
It
down
lay
is
impracticable because
it
is
not played
key the composer intends. difficult
devise any method of learning orchestration
to
As a general
a master.
rule
it
is
best to advance by
degrees from the simplest scoring to the most complicated.
The student
will
probably pass through the following phases:
phase during which he puts his entire
faith in
1.
the
percussion instru-
A. Glazounov
has well expressed the various degrees of excellence in which he divides into three classes: 1. When the orchestra sounds well, playing from sight; magnificent, after a few rehearsals. 2. When effects cannot be brought off except with the greatest care and attention on the part (1)
scoring-,
of conductor
and players.
dently the chief aim
in
3.
When
the orchestra never sounds well.
Orchestration
is
to
obtain the
first of
Evi-
these results.
(Author's note.) 1*
—
—
4
ments, believing that beauty of sound emanates entirely from this
branch
of the orchestra
when he chord;
—
this is the earliest stage;
acquires a passion for the harp, using
3.
the stage during
the period
2.
in every possible
it
which he adores the wood-wind and
horns, using stopped notes in conjunction with strings, muted or pizzicato;
more advanced
the
4.
recognise that the string group of
When
all.
of
and
cult
three phases.
first
The
best plan
But
which
Fairly
modern music
how
music
will
will teach the student
is fairly
to
score
Meyerbeer (The Prophet), Berlioz, Glinka, Wagner,
guides.
It
is
today.
The his
ears;
figure
in countless
and
prove his best
is
too old-fashioned
such examples are of no further use
said of Mozart
and
of
Haydn
(the father
conception.
Beethoven
of
stands
His
apart.
music
leonine leaps of orchestral imagination, but
viewed
technique,
titanic
will
Liszt,
orchestration).
gigantic
abounds
— these
The musical idiom
of Gluck.
modern
to
The same may be
modern
of
— classical
useless for a Berlioz or a Gevaert to quote examples
from the works
and strange
Music
modern.
Weber, Mendelssohn,
prove of negative value to him.
modern French and Russian composers
diffi-
is
it
decide what music should be studied and heard.
to
all
to study full-
is
hand.
in
avoid the
to
try
ages, certainly, but, principally, that
of
to
the richest and most expressive
an orchestra, score
listen to
when he has come
period,
works alone he must
the student
the
pitfalls
scores,
is
in
detail,
remains much
inferior
to
his
His use of the trumpets, standing out above
unhappy
the rest of the orchestra, the difficult and
intervals
he
gives to the horns, the distinctive features of the string parts and his
often
employment
highly- coloured
features will
combine causing the student
upon a thousand and one points It
and
is
a mistake
instructive
others.
found
On
of the
to
in
of
wood-wind,— these
Beethoven
to
stumble
contradiction.
think that the beginner will light upon no simple
examples
the contrary,
in
modern music,
clearer,
Wagner and
and better examples are
amongst modern composers than
range of classical music.
in that of
in
what
is
to
called
be the
—
—
5
Extract from the Preface to the last edition. My aim modern
undertaking
in
orchestration
in
work
this
to reveal the principles of
is
somewhat
a
different
usually brought to bear upon the subject. principles in orchestrating
my
some
of
from
my own
deavouring
to
my own
compositions,
show,
works, and, wishing
young composers, given
or
to
impart
references is
them,
to
successful and
en-
what
except the author himself the purpose
and motives which governed him during the composition work, and the practice of explaining the intentions
certain
that
have quoted examples
I
what
in all sincerity,
No one can know
not.
is
ideas to
than
light
have followed these
I
of
a
of a
composer, so prevalent amongst annotators, however reverent and discreet,
appears
to
me
far
from
satisfactory.
a too closely philosophic, or excessively poetic
and simple
fact.
names command good;
They
will attribute
meaning
to a plain
Sometimes the respect which great composers' will
cause inferior
casfco of carelessness
examples
to
be quoted as
or ignorance, easily explained by the
imperfections of current technique,
give rise to whole pages of
laborious exposition, in defence, or even in admiration of a faulty
passage.
This book
is
written for those
who have
mentation from Gevaert's excellent
manual, and
who have some knowledge
already studied instru-
or any other well-known of a
number
of orches-
scores.
tral I
treatise,
shall therefore only just touch
fingering, range, emission of
sound
The present work deals with
on such technical questions as etc.
(1)
the combination of instruments in
separate groups and in the entire orchestral scheme; the different
means
of
producing strength of tone and unity of structure; the
sub-division of parts; variety of colour and expression in scoring,
—the (1)
book.
whole, principally from the standpoint of dramatic music.
A
short review of these various questions forms the
first
chapter of the
(Editor's note.)
Chapter
1.
GENERAL REVIEW OF ORCHESTRAL GROUPS.
A. Stringed Instruments. The following is the formation of the number of players required in present day theatre or concert-room.
string
quartet
and the
orchestras, either in the
— — Whenever a group parts
—without
strings
of
written
is
more than
for
five
taking double notes or chords fnto consideration
may be
these parts
and four
—
7
increased by dividing each one into two, three
sections, or even
of the principal parts
more
split up, the first
is
Generally, one or
(divisi).
more
or second violins, violas
or violoncellos. The players are then divided by desks, numbers
and
3, 5 etc. playing the upper part,
on the right-hand
else the musician
one on the
the
line,
easy, as the
less
6
2, 4,
number
of players
and hence the
etc.,
each desk plays the top
of
Dividing by threes
the bottom line.
left
1,
the lower; or
one group
in
is
not always
is
divisible
by
balance.
Nevertheless there are cases where the composer should
three,
of obtaining proper
difficulty
not hesitate to employ this method of dividing the strings, leaving it
Vni
conductor to ensure equality of tone.
the
to
well
mark how
to
more
four and
as
Note.
In
rVni I I Vni II
div.
rare, but
is
volume
and the
always as the score;
a 3, and so on.
may be
used
in
Division into
piano passages,
group
of tone in the
effect obtained is
may be
is
in
It
be divided
to
is
small orchestras passages sub-divided into
to realise,
String parts
^
parts
greatly reduces
it
hard
3 desks, 6 'Cellos
1, 2,
I,
passage
the
of strings.
many
parts are very
never the one required.
divided thus:
div.
.
(Vnill
div.
^
I
/Violas
div.
'Cellos div. f'Ce
div.
^ I 'Cellos div.
Violas div.
^
I
D. basses
div.
Possible combinations less frequently used are:
fVn^I ^
I
Note.
rVnill
div.
Violas div. It
is
'
I
div.
f
evident that the tone quality in b and e will be similar.
number
Vni
— 10 —
is
preferable since the
is
practically the same, the respective r61es of
allied,
and from the
than the
first,
fact that
of
second
II
(14
Still
b
— —
8 and Violas (12 4) the two groups are more closely 6)
violins generally sit nearer to the violas
thereby guaranteeing greater unity in power and execution.
The reader
will
examples given to the
Violas div.
^ I D. basses div.
'Cellos div.
method
find
in Vol.
all II.
manner
Where
of
divisions
necessary,
some
of dividing strings will follow in
on the subject here
in order to
of the string quartet
may be
show how
altered.
in
the musical
explanation as
due course.
I
dwell
the usual composition
—
—
8
more ways
Stringed instruments possess
producing sound than
of
They can pass,
any other orchestral group.
better than
other
instruments from one shade of expression to another, the varieties
being of an
Species of bowing such as legato,
number.
infinite
detached, staccato, spiccato, portamento, martellato, light staccato, saltando, attack at the nut
bow and up
and
at the point,
and V V V (down
nn H
bow), in every degree of tone, fortissimo, pianissimo,
morendo
crescendo, diminuendo, sforzando,
—
all this
belongs
to the
natural realm of the string quartet.
The
chords across three and four strings
full
of sub-division of
harmonic
From
in
the
parts
(1).
point
view of
of
among
activity
to
say nothing
and
flexibility
the violin
stringed instruments, then, in order,
(fe
In jyactice the notes of
should be fixed as follows:
limit in the string quartet
for violins:
—
them not only melodic but also
and double bass.
the viola, 'cello
extreme
— renders
character
takes pride of place
come
instruments are capable of playing double
that these
fact
notes and
for violas:
,
^
u.
V'
for 'cellos:
Higher notes given that
is
flowing
to
say
in
when
melodies,
In
double basses:
^
Table A, should only be used with caution,
they are of long value, in tremolando, slow,
in
not
passages of repeated notes. Note.
for
,
too
rapid sequence of scales,
and
in
Skips should always be avoided.
quick passages for stringed instruments long chromatic figures
are never suitable; they are difficult to play and sound indistinct and muddled.
Such passages are better
A
limit
allotted to the
wood-wind.
should be set to the use of a high note on any one of
the three lower strings
should be the one
in
on
violins,
violas
and
'cellos.
This note
the fourth position, either the octave note
or the ninth of the open string.
(1) To give a list of easy three and four-note chords, or to explain the different methods of bowing does not come within the scope of the present book.
warmth, and equality
Nobility,
common
the other are qualities
to all
own,
string has a distinctive character of its
each
words. The top string on the violin (E)
that of the viola
(A)
is
more
string
weaker violin
A
The
"chest-voice" timbre.
(A)
on the violas and tone
in
than
the
D
and
'cellos
double bass
the
are
on the
character,
slightly nasal;
possesses
a
and the
violin
somewhat sweeter and
Covered strings (G)y on the
others.
(G and C), on the viola and
ing generally,
and
bright and
is
strings
Further,
difficult to define
is brilliant in
biting in quality
the highest string on the 'cello
D
stringed instruments, and render
essentially superior to instruments of other groups.
them in
tone from one end of the scale to
of
is
'cello
are rather harsh. Speak-
equally
resonant throughout,
slightly duller on the two lower strings (E and A), and more
(D and G).
penetrating on the upper ones Except
Note.
independent
in the
case of pedal notes, the double bass rarely plays an
part, usually
moving- in octaves or in unison with the 'cellos, or else
doubling the bassoons. The quality of the double bass tone heard by
The
itself
is
therefore seldom
of its different strings is not so noticeable.
and the character
rare ability to connect sounds, or a series of sounds, the
vibration qualities
of
stopped strings
— warmth
and
combined with of
nobility
tone
their
— renders
medium
instruments far and away the best orchestral expression.
beyond the higher than
above-named this
group of of
melodic
At the same time, that portion of their range situated "limits
the
of
the
human
voice,
e. g.
notes on the violin
extreme top note of the soprano voice, from
« upwards, and notes on the double bass below the range of the bass voice, descending from (written sound)
lose in expression
and warmth
and more powerful but
Comparing the range the
human
voice,
of tone.
Open
strings are clearer
less expressive than stopped strings.
of
we may
each stringed instrument with that of assign: to the violin, the soprano
and
— much
contralto voice plus a
higher range; to the viola, the con-
much
and tenor voice plus a
tralto
—
10
higher register; to the
'cello,
the tenor and bass voices plus a higher register; to the double bass, the bass voice plus a lower range.
The use
harmonics, the mute, and some special devices in
of
difference in the resonance
bowing produce great
and tone
quality
of all these instruments.
Harmonics, frequently used
to day, alter the
timbre of a stringed
Cold and transparent
instrument to a very appreciable extent.
in
passages, cold and brilliant in loud ones, and offering but
soft little
chance
for expression, they
chestral writing,
and are used simply
for
when employed, should never be overpowered by As a or
to
sparingly, and,
other instruments.
harmonics are employed on sustained notes, tremolando.,
rule
here
Owing
ornament.
power they should be used
lack of resonant
their
form no fundamental part of or-
and there
for brilliant
Owing
extremely simple melodies. the flute they
may be
they are rarely used in
effects;
to a certain tonal affinity
with
said to form a kind of link between string
and wood-wind instruments. Another radical change
is
effected
by the use
of mutes.
When
muted, the clear, singing tone of the strings becomes dull in
soft
passages, turns to a slight hiss or whistle in loud ones, and the
volume
The of
of tone is
always greatly reduced.
bow on
position of the
an instrument.
chiefly used
ponticello),
the string will affect the resonance
Playing with the
bow
close to the bridge (sul
tremolando, producer a metallic sound;
playing on the finger-board (sul tasto, flautando) creates a
dull,
veiled effect. Note. or
wood
Another absolutely different sound results from playing with the back of the bow {col legno). This produces a sound like a xylophone or
a hollow pizzicato.
is
It
discussed under the heading of instruments of
little
sustaining power.
The
five
produce a plus
as
of
they
sets fairly
strength
of
strings with
even
must
it
must be heard
part they play in the
desk of
balance
first
be
number of
on
distinctly
the
in
all
there
If
side
of
on account
harmonic scheme.
violins is usual
of players given
tone.
the of
Besides
orchestras,
is
first
the this,
above
any surviolins,
important
an extra
and as a general
11
•
—
— rule
they
The
latter,
stand
more powerful tone than second
a
possess
with the violas, play
The
prominently.
so
out
heard more
—
12
and
distinctly,
a
secondary
'cellos
violins.
and do not
part,
and double basses are
in the majority of cases
form the bass
in octaves.
conclusion
In
may be
it-
ipelodic element,
is
of passages, rapid
Capable of sustaining notes without
character.
playing
manner
all
of every description, diatonic or chromatic
and interrupted phrases in
said that the group of strings, as a
able to perform
chords of three and four notes; adapted
variety of shades of expression,
sundry parts, the string group
and
in
difficulty,
to
the infinite
easily divisible into
an orchestra
of
may be
numerous considered
as an harmonic element particularly rich in resource.
B.
Wind
instruments.
Wood-wind.
'
Apart from the varying number of players, the formation of the string group, with
fying
the
hand the group
number
full
On
score.
the other
wood-wind instruments varies both as regards and the volume of tone at its command, and here
may choose
three general classes:
and
any orchestral
of
of
of parts
the composer
constituent parts remains constant, satis-
its five
demands
at will.
The group may be divided
wood-wind instruments
in four's, (see table
on page
into
in pair's, in three's
13).
Arabic numerals denote the number of players on each instru-
ment; roman figures, the parts
do not require additional
(isl,
2^
Instruments which
etc.).
players, but are taken over
by one or the
other executant in place of his usual instrument, are enclosed in brackets.
As a
rule the first flute, first oboe,
first
clarinet
and
first
bassoon never change instruments; considering the importance of their parts to another.
it
is
not advisable for them to turn from one mouthpiece
The
parts written for piccolo, bass
flute,
English horn,
small clarinet, bass clarinet and double bassoon are taken by the
second and to
third players in
each group,
who
are
using these instruments of a special nature.
more accustomed
— Wood-wind
13
—
they lack the vitality and power, and are less capable of
strings;
shade
different
of expression.
each wind instrument
In
—
14
have defined the scope of
I
greatest
say the range in which the instrument
that is to
expression,
is
best qualified to achieve the various grades of tone, {forte, piano, cresc, of
playing,
the truest sense of the word.
in
Outside this range, a wind instrument of
which admits
dim., sforzando, morendo, etc.)— the register
the most expressive
colour than for expression.
I
more notable
is
am
for richness
probably the originator of
the term "scope of greatest expression".
It
does not apply
to the
piccolo and double bassoon which represent the two extremes of
They do not possess such a
the orchestral compass.
belong
to
body
the
and
register
of highly-coloured but non-expressive
instru-
ments.
The four kinds
same cannot be ba^s
piccolo,
wind instruments:
of
may be
bassoons
said of instruments
which
Eng. horn, small
flute,
Each
double bassoon.
oboes, clarinets and
flutes,
The
generally considered to be of equal power. fulfil
clarinet,
of these instruments
a special purpose:
bass clarinet and
has four registers: low,
middle, high and extremely high, each of which
by certain differences of quality and power.
is
characterised
is difficult to
It
define
the exact limits of each register; adjacent registers almost blend
together and the passage from one to another
But
when
The
four
power and families
two classes:
scarcely noticeable.
instrument jumps from one register to another the
the
difference in
is
of
quality of tone is very striking.
wind
may be
instruments
divided
into
instruments of nasal quality and dark resonance—
a)
oboes and bassoons (Eng. horn and double bassoon); and b) struments
of
"chest-voice"
and bright tone
quality
—
flutes
in-
and
clarinets (piccolo, bass flute, small clarinet, bass clarinet).
These characteristics
of
colour
and resonance
too simple and rudimentary a form the middle and
and bassoons
is
upper thick
very high compass of the flutes
and
lower compass; piercing.
is
registers.
— expressed
still
register of the
oboes
nasal in quality; the
The
hard and dry.
clear resonance
something nasal and dark
the very high register
in
specially noticeable in
The lower
and rough, yet shrill,
clarinets acquires in
— are
it
in the
becomes somewhat
Note to Table B. In the following
Table
B
the top note in each register serves as the bottom note
The note and bassoons. In the very high compass those notes are only given which can really be used; anything higher and not printed as actual notes are either too difficult to produce or of no artistic value. The number of sounds obtainable in the highest compass is indefinite, and depends, partly on the quality of the instrument itself, partly on theposition and application of the lips. The signs r==— =:: are not to be mistaken for crescendo and diminuendo; they indicate how the resonance of an instrument increases or diminishes in relation to the characteristic quality of its timbre. The scope of greatest expression for each typical instrument is marked thus, under the notes the range is the same in each instrument of the same type. each register are not defined absolutely.
in the next, as the limits to
G
fixes the register of flutes
and oboes, C
for the clarinets
—
I
1
;
3 O c
GO
—
—
18
Note. It is a difficult matter to define tone quality in words; we must encroach upon the domain of sight, feeling, and even taste. Though borrowed from these senses, I have no doubt as to the appropriateness of my comparisons, but, as a general rule definitions drawn from other sources are too elementary to
be applied
to
my
object
No condemnatory meaning however should be attached
to music.
descriptions, for in using the terms thick, piercing, shrill, dry, etc.
express artistic fitness
to
is
in
my
words, rather than material exactitude.
Instrumental sounds which have no musical meaning are classed by me in the category of useless sounds, and I refer Jo them as such, giving my reasons. With the exception of these, the reader is advised to consider all other orchestral
timbres beautiful from an
them
times, to put
view, although
artistic point of
it
necessary, at
is
to other uses.
Further on, a table of wind instruments
is
appended, outlining the approximate tone and indicating the scope of
limit of range, defining different qualities of
greatest expression (the piccolo and double bassoon excepted).
Flutes and clarinets are the (the
in
flutes
particular),
most
flexible
volume
of tone
by
double
their
a mere
to
and bassoon, are
less
having
subtlety
instrument can reduce
tfiis
The nasal instruments, oboe
breath.
mobile and supple;
reed, but,
power and
but for expressive
nuances the clarinet supersedes them;
in
wood-wind instruments
this
accounted for
is
and
to effect all sorts of scales
common with the flutes and clarinets, oboes may be considered melodic instruments in the real
passages in
rapid
and bassoons
sense of the word, only of a In very quick
The
families are
four
and
playing
more
cantabile and peaceful character.
passages they often double the equally
changing from one
capable
flutes, clarinets
of
legato
or strings.
and staccato
the other in different ways,
to
but distinct and penetrating staccato passages are better suited to the
oboes and bassoons, while the sustained
legato
phrases.
the latter
Composite
clarinets excel in well-
legato
passages
two instruments, composite
allotted to the first to
and
flutes
stacca'.o
should be
passages
pair, but these general directions should not deter
the orchestrator from adopting the opposite plan. In
comparing the technical
wood-wind the
indivitualities of the
following fundamental differences should be noted: a) •n*in '
to all
repetition of a single note by single tonguing
wind instruments;
double tonguing b)
to
The rapid
On
is
account of
repitition of a single note
only possible on the
its
on
flutes,
to
oboes and bassoons.
com-
by means
a reedless instrument.
construction the clarinet
sudden leaps from one octave
easier
flute,
is
is
another;
not well adapted
these
skips
are
— c)
Arpeggios and rapid alternation of two intervals legato sound
and
well on flutes
Wood-wind
on oboes and bassoons.
cannot manage extremely long sustained
are
they
as
passages,
clarinets, but not
players
compelled
taken therefore to give them a is
—
19
care must be
take breath;
to
little
rest
from time
to time.
This
unnecessary in the case of string players. In the
endeavour
timbre of each instrument
four families, from a psychological point of view,
typical of the
do not
to characterise the
make
hesitate to
I
the following general remarks which apply
generally to the middle and upper registers of each instrument:
— Cold
a) Flute.
melodies
of
in quality, specially suitable, in the
light
and graceful character;
in
major key,
the minor key,
to to
slight touches of transient sorrow.
b)
— Artless
Oboe.
and gay
in
the major, pathetic and sad in
the minor. c) Clarinet.
— Pliable
and expressive,
suitable, in the major, to
melodies of a joyful or contemplative character, or mirth; in the minor, to sad
and
reflective
to outbursts of
melodies or impassioned
and dramatic passages. d) Bassoon.
—
the major, an atmosphere of senile mockery;
In
a sad, ailing quality in the minor. In the
extreme registers these instruments convey the following
impressions to
my
mind:
Low a)
Flute—
b)
Oboe—
c)
Clarinet—
d)
Bassoon—
register
Very high
register
Dull, cold
Brilliant
Wild
Hard, dry
Ringing,
threatening
Sinister
Piercing Tense.
no mood or frame of mind, whether it be joyful or sadj mocking or distressed can be aroused by one single isolated timbre; it dep^ds more upon the general melodic line, the harmony, rhythm, and dynamic shades of expression, upon the whole formation of a given piece of music. The choice of instruments and timbre to be adopted depends on the position which m< lody and harmony occupy in the seven-octave scale of the orchestra; for example, a melody of light character in the tenor register could not be given to the flutes, or a sad, plaintive phrase in the high soprano register confided to the bassoons. But the ease with which tone colour can be adapted to expression must not be forgotten, and in the first of these two cases it may be conceded that the mocking character of the bassoon could easily and quite naturally assume a light-hearted aspect, and Note.
It
is
meditative or
true that
lively,
careless or reflective,
2*
—
—
20
in the second case, that the slightly melancholy timbre of the flute is somewhat related to the feeling of sorrow and distress with which the passage is The case of a melody coinciding in character with the into be permeated. strument on which it is played is of special importance, as the effect produced There are also moments when a composer's cannot fail to be successful. artistic feeling prompts him to employ instruments, the character of which is at variance with the written melody (for eccentric, grotesque effects, etc.).
The following remarks illustrate the employment of special instruments: The duty
extend the range
The
register.
compass
piccolo and sm^ll clarinet
the
of
the ordinary flute and
of
and
principally, to
is,
clarinet
the high
in
whistling, piercing quality of the piccolo in
its
but does not lend
extraordinarily powerful,
is
characteristics, timbre,
highest itself
to
more moderate shades of expression. The small clarinet in its highest register is more penetrating than the ordinary clarinet The low and middle range but the tone
much weaker
so
is
Tlie double bassoon
regions.
bassoon
low
in the
low compass are range
in the
normal
that
is of little
it
clarinet
and
clarinet,
service in those
characteristics of the bassoon's
further accentuated
still
flute
extends the range of the ordinary
The
register.
and small
piccolo
the
of
correspond to the same register
in
the corresponding
double bassoon, but the middle and upper registers
of the
of the latter are
by no means so
the double bassoon
The very deep
useful.
are remarkably thick
and dense
notes of
in
quality,
very powerful in piano passages. Nowadays, when the
Note.
extended (up
to
the high
C
limits of the orchestral scale are considerably
and down
of the 7*h octave,
the low C, 16
to
ft.
contra octave), the piccolo forms an indispensable constituent of the wind-group; similarly,
is
it
recognised that the double bassoon
valuable assistance.
The small
is
capable of supplying
employed and only
clarinet is rarely
for colour
effects.
The English horn, or to
the
ordinary oboe,
being sweet trating.
is
of
quality
pression. it
in the extreme.
The bass
clarinet,
silveiy
clarinet,
oboe (oboe
In the
in
dreamy low
F)
is
similar in tone
quality of
register
it
is
its
fairly
timbre pene-
though strongly resembling the ordinary
darker colour in the low register and lacks the in
the upper notes;
The bass
possesses
alto
the listless,
the
flute is
same
it
is
incapable of joyful ex-
an instrument seldom used even today;
features as the flute,
but
it
is
colder in
— colour,
and
crystalline
—
21
the middle and high regions.
in
These
three particular instruments, apart from extending the low registers of the instruments to
which they belong, have
peculiarities of timbre,
and are
their
own
distinctive
often used in the orchestra, as solo
instruments, clearly exposed. Note.
Of the
special instruments referred to above, the piccolo and
six
double bassoon were the first to be used in the orchestra; the latter, however, was neglected after Beethoven's death and did not reappear until towards the
The Eng. horn and bass clarinet were employed initially the same century by Berlioz, Meyerbeer, and others, and for some time retained their position as extras, to become, later on, permanent orchestral factors, first in the theatre, then in the concert room. Very few attempts have been made to introduce the small clarinet into the end
of the 191!l century.
during the
first
half of
orchestra (Berlioz etc.); this instrument together with the bass flute is used in my opera-ballet Mlada (1892), and also in my most recent compositions.
The Christmas Night, and Sadko; the bass flute will also be found in The Legend of the Invisible City of Kitesh, and in the revised version of "Ivan the Terrible".
Of
muting the wood-wind has come
late years the habit of
fashion. This
is
done by
up cloth into the bell of the instrument.
Mutes deaden the tone
oboes, Eng. horns, and bassoons to such an extent that for
these instruments
playing.
The muting
quite softly
discovered great
to
to
service to
extreme limit
the
attain
artificial
mute the
the piccolo.
flutes;
of
it is
of
possible
pianissimo
unnecessary, as they can play
of clarinets is
enough without
how
into
inserting a soft pad, or a piece of roUed-
means.
has not yet been
Is
such a discovery would render
The lowest note on the bassoon.
and on the oboe and Eng. horn
are impossible effect in the
when
the instruments are muted.
Mutes have no
highest register of wind instruments.
Brass. The formation of the group of brass instruments, like that of the wood-wind is not absolutely uniform, and varies ih different scores. The brass group may be divided ponding four's).
to
those of
the
into three general classes corres-
wood-wind
(in
pair's,
in three's,
and
in
22
Group corresponding to the wood- wind in pair's
—
—
23
same
strength; cornets have not quite the
passages,
about one
are
same weight as
the
as
half
marks
horns should be one degree stronger than if
forte
On
p.
other hand,
the
of expression in the
horns should be
the
obtain a proper balance in
to
two horns are needed
passages,
To
softly.
in the rest of the brass;
and trombones play pp,
trumpets
the
they have
but piano,
strong,
instruments played
other brass
obtain an equal balance, therefore, the
marked
horns, in forte
force;
one trumpet or one
to
trombone.
« Brass instruments are so similar in range and timbre that the
discussion of register
becomes more vice versa,
As a general
unnecessary.
is
higher register
brilliant as the
hard and "crackling".
is
ments possess a remarkable capacity to fortissimo,
approached, and
is
Played pp the resonance is Brass instru-
with a decrease in tone.
sweet; played // the tone
rule quality
and reducing the tone
for swelling
from pianissimo
=— p
inversely, the sf
effect
being excellent.
The following remarks as
may
character and tone quality
to
be added: a)
1.
— A).
Trumpets (B\>
and
Clear
and rousing
in
phrases the high notes are
full
tone,
stirring
penetrating
fairly
forte
and
passages;
in
piano
in
low notes
silvery, the
troubled, as though threatening danger. 2.
Alto trumpet first
used
An
(in F).
me
by
a
fuller,
with
an
clearer,
the opera
in
deep register (notes 2
and
instrument of
to
3
—
my own
ballet
Mlada.
trumpet scale)
in the
Two
finer tone.
invention,
it
In
possesses
ordinary trumpets
trumpet produce greater smoothness and
alto
equality in resonance than three ordinary trumpets. fied with I
it
in
my
later
alto
trumpet
ordinary theatres
in
into play the last four notes of
lowest register or their neighbouring chromatics; by this
3.
may be
the
means
the alto
played by an ordinary trumpet in Bl> or A.
Small trumpet for
works, com-
in three's.
Note. To obviate the difficulty of using: the and some concert rooms, I have not brought its
Satis-
the beauty and usefulness of the alto trumpet,
have consistently written for
bined with wood-wind
trumpet part
the
first
(in
time
E\>—D). in
Mlada
Invented by to
realise
me
the
and used very
high
— trumpet notes without the instrument
—
24
In
difficulty.
and range
tonality
similar to the soprano cornet in a mili-
is
tary band. Note.
— A)
The small trumpet, {B\^
sounding an octave higher than the
ordinary trumpet has not yet appeared in musical literature.
b)
Cornets (m B\>
— A).
instrument though
and
of beauty.
brilliant;
is
a beautiful
in
theatre or
vice versa.
The tone
(in F).
full
employed today
rarely
on the trumpet, and
Horn
It
Expert players can imitate the cornet tone
concert room.
c)
Possessing a quality of tone similar
the trumpet, but softer and weaker.
to
round and
of this instrument is soft, poetical,
the lower register
In full
dark and
is
it
The middle notes
in the upper.
resemble those of the bassoon and the two instruments blend well together.
The horn,
therefore, serves as a link
between the brass and wood-wind. the horn has but
duce d)
Trombone.
full
little
of
spite
seem
valves to pro-
tone in a languid and lazy manner.
its
Dark and threatening
and triumphant
brilliant is
In
mobility and would
in the
in the deepest register,
high compass.
The piano
but somewhat heavy, the forte powerful and sono-
Valve trombones are more mobile than slide trom-
rous.
bones,
but the
latter
are
certainly
to
be preferred as
regards nobility and equality of sound, the more so from the
fact
these- instruments
that
perform quick passages, owing
are
required
rarely
to
to the special character of
their tone. e)
Tuba. Thick and rough
in quality, less characteristic
than
the trombone, but valuable for the strength and beauty of
its
low
Like
notes.
bassoon, the tuba
is
the
and double
double bass
eminently useful for doubling, an
octave lower, the bass of the group to which
Thanks
The group throughout
its
it
belongs.
to its valves, the tuba is fairly flexible.
of brass
instruments, though uniform in resonance
constituent -parts,
is
not so well adapted to expressive
playing (in the exact sense of the word) as the wood-wind group. Nevertheless, a scope of greatest expression
may be
distinguished
25
a 3
O u
U
a E
o
u CO
(1>
>
'So
o
-
x:
H
—
— in the
middle
bassoon
the piccolo and double
not given to the small trumpet (E\j(
— D)
any great amount
The
play with
to
company with
In
registers.
is
it
—
26
expression.
of
rhythmical repitition of a note by single tonguing
members
all
is
and tuba rapid and
possible to
but double tonguing can only be done
of the brass,
on instruments with a small mouth-piece, trumpets and
cornets.
These two instruments can execute rapid tremolando without culty.
The remarks on
wood-wind, apply with equal force
The use
stopped
of
cornets and horns;
and mutes
notes
the shape
hand from being inserted
applied indiscriminately to
all
the character of
alters
On
than stopping
trombones and tubas prevents
of
the bell.
into
Though mutes
are
brass instruments in the orchestra,
Stopped and muted notes are similar
tubas rarely posses them. in quality.
to the brass.
Stopped notes can only be employed on trumpets,
brass tone.
the
diffi-
breathing, in the section devoted to the
the trumpet, muting a note produces a better tone it.
horn both methods are employed; single notes are stopped
In the
in short phrases,
muted
in longer ones.
I
do not propose
to describe
the difference between the two operations in detail, and will leave the reader to acquire the
opinion as to Sufficient
to
its
knowledge
importance from his own
say that the tone
Resonance
is
to
form an
personal observation.
deadened by both methods,
is
assuming a wild "crackling" character dull in piano.
and
for himself,
in forte passages,
tender and
greatly reduced, the silvery tone of the
instrument to lost and a timbre resembling that of the oboe and
Eng. horn -f-
is
approached. Stopped notes (con sordino) are marked
underneath the note, sometimes followed by
0»
denoting the
resumption of open sounds, senza sordini. Brass instruments, muted, produce an
C.
when
effect of distance.
Instruments of
little
sustaining power.
Plucked strings. When 'Cellos,
the usual orchestral string quartet (Vni
D. basses) does not
strings with the finger,
it
make
becomes
I,
Vni
II,
Violas,
use of the bow, but plucks to
my mind
a
new and
thjC
inde-
— pendent group with
own
its
—
27
particular quality of tone.
Associated
with the harp, which produces sound in a similar manner, sider
under the heading
separately-
it
Note.
of
plucked
I
con-
strings.
group may be classed the gmids, zither, balalaika; instruments such as the domra, (1) the mandoline etc., all of which may an orchestra, but have no place in the scope of the present book.
In this
plucked with a
be used
in
quill,
Pizzicato.
Although capable of every degree of power from cato playing has but small
range
On open
as a colour effect
of expression,
strings
it
is
// to
and
is
pp, pizzi-
used chiefly
resonant and heavy, on
stopped strings shorter and duller; in the high positions
it
is
rather
dry and hard.
D
Table
on page 31 indicates the range
in
which pizzicato may
be used on each stringed instrument. In
the orchestra, pizzicato
comes
two
into operation in
distinct
ways: a) on single notes, b) on double notes and chords. fingers of the right pizz.
hand playing
Moreover, the speed of pizzicato playing depends upon
on the double basses,
the thickness of the strings;
must always be much slower than on the In
pizzicato
chords
produce a more four there
The bow;
passages therefore can never be performed as quickly as those
played arco.
it
pizz. are far less agile than the
notes is
oi
no danger
harmonics played
violins.
avoid open strings, which
tone than of covered strings.
brilliant
allow
better to
is
it
for instance,
greater
freedom and vigour
of accidentally touching a
pizz. create a
charming
wrong
effect; the
of
Chords
of
attack,
as
note.
tone
Natural is
weak
however, and they are chiefly successful on the violoncello.
Harp. In
the
orchestra,
the
harp
accompanying instrument. one harp or
even
part,
three
is
almost entirely an harmonic or
The majority
of
scores
require
only
but in recent times composers have written for two harps, which
are sometimes compressed into the
one part
(1)
A
russian instrument which, like the balalaika,
is
better
known abroad.
(Translator's note.)
—
—
28
Note. Full orchestras should include three or even four harps. My operas Sadko, The Legend of the Invisible City of Kitesh, and The Golden Cockerel are designed for t\yo harps, Mlada for three.
The
special function of the harp lies in the execution of chords,
and the
figures springing from
florid
As only four notes
them.
at the most can be played by each hand, the notes of a chord
should be written close together, with not too great a space be-
tween one hand and the should
(arpeggiato); notify
resonance dually.
the
composer wish
(non arpeggiato).
it
The chords must always be broken
other.
In
otherwise
of the strings is slightly prolonged,
changes
In
harmony
of
he should
the middle and lower octaves the
and dies away gra-
the player stops the vibration of
the strings with his hands, but, in quick modulations, this is
method
not feasible, and the mixture of one chord with another produces
a discordant
effect.
follows that
It
more
or less rapid figures can
only be realised clearly and neatly in the upper register of *he harp,
where the
strings are shorter
As a general
8
rule, in the
whole range
in tone.
of the harp:
bassa
only the notes of the
first to
notes in both compasses
and
and harder
the fourth octave are used; the extreme
may be employed
in special
circumstances,
for doubling in octaves.
The harp
is
essentially a diatonic instrument, since all chromatic
passages depend on the manipulation of the pedals. the harp does not lend trator is advised to
bear
itself to
this
reason
rapid modulation, and the orches-
this fact in
be obviated by using two harps
For
mind. But the
difficulty
may
alternately. (1)
would remind the reader that the harp is not capable of double flats. For this reason, certain modulations from one key to another one, adjacent to it can only be accomplished enharmonically. For instance, the transition from C flat, G flat or D flat, major to their minor subdominant chords or keys is not possible owing to double flats. It is therefore Note.
I
sharps or double
(I)
A
chromatic harp
without
pedals
has
now been
invented in France
(Lyon's system), on which the most abrupt modulations are possible. (Translator's note.)
— necessary
A
D
sharp,
or keys;
The
B
on account
pedals,
E
of
it
will
flat,
C
sharp or
sharp,
as glissando
of
remark
by means
peculiar to the harp
and
of
double-notched
that glissando scales
sound owing
vibrate,
to
is
that the reader is conversant with the
sufficient to
medley
continue
F
impossible to change from
minor must be the starting-points.
known
for granted
be
is
it
sharp, minor to their respective dominant major chords
and A
flat
keys of B,
double sharps,
of acquiring different scales
discordant
strings
G
sharp or flat,
Taking
methods
effect,
enharmonically from the
start
technical operation
alone.
a
to
Similarly,
major.
—
29
the length
to
therefore,
as a
of
produce time the
purely musical
glissando can only be used in the upper octaves, quite piano,
where the sound
the strings
of
is
sufficienty
yet not too
clear,
prolonged.
Forte glissando scales, entailing the use of the lower
and middle
strings are only permissible as embellishments.
sando passages obtained, are
chords of the seventh and ninth, enharmonically
in
much more common, and
as the above reservations
do not apply, every dynamic shade of tone harmonics can only consist
two
for the left
The tender
it
is
harp
not
it
in
is
adapted
to every dy-
with respect.
four
harps
they are to be heard against a
full
more
is
rapidly a glissando passage
Harmonic notes on
Chords
never a very powerful instrument, and the
orchestrator should treat if
possible.
for the right.
poetic quality of the
namic shade, but
is
of three notes written close together^
hand and one
At least three,
Glis-
are
necessary,
orchestra playing
played, the louder
the harp have great
and are only possible played
unison
in
charm but
quite softly.
harp, like the string quartet, pizzicato,
is
it
little
forte.
will
if
The
sound.
resonance,
Speaking generally, the
more an instrument
of
colour than expression.
Percussion instruments producing determinate sounds, keyed instruments. Kettle-drums. Kettle-drums, indispensable to every theatre and concert orchestra
occupy the most important place ments.
A
in the
group
of percussion instru-
pair of kettle-drums (Timpani), in the tonic and domi-
nant keys, was the necessary attribute of an orchestra up
to,
and
:
—
—
30
including Beethoven's* time, but, from, the middle of the WJl century onward, in western Europe
need was
and
an ever-increasing
in Russia,
for the presence of three or even four kettle-drums,
felt
during the whole course or part of a work.
chromatic drum, permitting instant tuning
is
If
rarely
the expensive
met
with,
still,
good orchestras, three screw drums are genebe found. The composer can therefore tdke it for granted
in the majority of rally to
good
that a
timpanist, having three kettle-drums at his
command,
be able to tune at least one of them during a pause of
The dered
of possible
limits
change
in
(chromaticatly)
4|;
^.^
kettle-drura
these days
compass and but
it
is
(cV»w»*^'^*'^
Small
— ^"
difficult
to
4y
kettle-drum:
.
P
define the precise extent of high
in the kettle-drums, as this
quality of the smallest one, I
length.
Beethoven's time was consi-
to be:
Big
In
some
will
of
depends
entirely
on the size
which there are many kinds,
advise the composer to select:
^
CcMomaV.ca«V^
Note. ballet
A
magnificent kettle-drum of very small size was
Mlada;
this
instrument gave the Z)> of the
made
for
my
opera-
fourtii octave.
Kettle-drums are capable of every dynamic shade of tone, from
thundering fortissimo to a barely perceptible pianissimo.
In tre-
molando they can execute the most gradual crescendo, diminuendOy the sfp and morendo.
To deaden
the sound, a piece of cloth
is
generally placed on
the skin of the drum, according to the instruction: timpani coperti (muffled drums).
Piano and Celesta. The use
of a piano in the orchestra (apart
from pianoforte con-
certos) belongs almost entirely to the russian school is
two-fold:
(1)
(1).
The object
the quality of tone, either alone, or combined with
Rimsky-Korsakov's opera Sadko and Moussorgsky's Boris Godounov
are particularly interesting in this respect.
(Translator's note.)
—
31
—
Table D. Pizzicato.
Violin.
Viola.
Violoncello.
Double bass.
^
The black notes are dry and hard, without resonance, and should only be used when doubled with the wood-wind.
*
Table E.
Glockenspiel, celesta, xylophone.
Glockenspiel (with keyboard!.
Glockenspiel (ordinary).
Celesta.
Xylophone.
•)
This note
is often
missing.
— made
that of the harp, is
—
32
popular instrument, the guzli,
to imitate a
When
(as in Glinka), or a soft peal of bells.
the piano forms part
an orchestra, not as a solo instrument, an upright
of
to a grand, but today the
the celesta,
first
piano
is
it
used by Tschaikovsky.
In the celesta, small steel
and the hammers
plates take the place of strings,
preferable
is
gradually being superseded by
falling
on them
The
produce a delightful sound, very similar to the glockenspiel. celesta it
is
only found in
full
when
orchestras;
it
is
not available
should be replaced by an upright piano, and not the glockenspiel.
Glockenspiel, Bells, Xylophone.
The
may be made
(campanelli)
glockenspiel
played with a keyboard.
The
the celesta,
similar
to
trating.
Big bells
in the
but
its
shape
type
first
tone
is
the
is
The use
and posesses greater resonance.
of
more
of steel
more
bars, or
satisfactory
the glockenspiel
and pene-
brilliant
hollow discs or metal tubes
of
or real church bells of moderate size
may be
is
(1),
considered more as
theatrical properties than orchestral instruments.
The xylophone
a species of harmonica composed of strips or
is
cylinders of wood, struck with two clattering sound, both powerful
To complete
this
little
hammers.
The sound produced
is
A
table is
wood
made
or back of
similar to the xylophone, and
gains in quality as the number of players
spiel
produces a
catalogue of sounds mention should be
of the strings playing col legno, that is with the
the bow.
It
and piercing.
appended showing the range
is
increased.
of 'the celesta, glocken-
and xylophone.
Percussion instruments producing indefinite sounds. Instruments in this group, such as triangle, castanets,
little
bells,
tambourine, switch or rod {Rule. Gen), side or military drum, cymbals, bass
drum, and Chinese gong do not take any harmonic or
melodic part
in
the
orchestra,
and can only be considered as
ornamental instruments pure and simple. (1) Recently, bells
have been made
of
They have no
intrinsic
suspended metal plates possessing the
rare quality of a fairly pure tone, and which are sufficiently portable to be used
on
the concert platform.
(Editor's note.)
-
-
33
musical meaning, and are just mentioned by the way.
The
three m^ay be considered as high, the four following as
medium^
and the
may
This
serve as a guide
use with percussion instruments of determinate sounds,
their
to
two as deep instruments.
last
first
playing in corresponding registers.
Comparison
resonance in orchestral groups and combination of different tone qualities.
In
of
comparing the resonance
sustaining instruments
we
of the respective
groups of sound-
arrive at the following approximate con-
clusions: In the
most resonant group, the brass, the strongest instruments
are the trumpets, trombones and tuba. are only one-half as strong,
=
2 Horns.
as
weak as
=
2 Bassoons; but,
Wood-wind the horns,
1
Trumpet
1
=
1
passages the horns
Trombone
=
1
Tuba
instruments, in prte passages, are twice
Horn
= 2 Clarinets = 2 Oboes = 2 Flutes
piano passages,
in
In loud
all
wind-instruments,
wood
or brass are of fairly equal balance.
more difficult to establish a comparison in resonance between wood-wind and strings, as everything depends on the number of the It
is
latter, but, in
an orchestra
granted that
in
151
of
medium
instrument, (Violins
wind instruments, is
still
it
may be
taken for
piano passages, the whole of one department
Violins or all 2!ii Violins etc.)
It
formation,
=
I
1
(Violins
harder
to
Flute I
is
{all
equivalent in strength to one wind
etc.),
and, in jorte passages, to two
= 2 Flutes =
1
Oboe
+
1
Clarinet, etc.).
form a comparison with instruments
of
little
sustaining power, for too great a diversity in production and emission of
sound
easily
played
exists.
The combined
force of groups of sustained resonance
overpowers the strings played pizz. or softly,
or the celesta.
As
col legno, the
piano
regards the glockenspiel, bells,
and
xylophone, their emphatic tone will easily prevail over other groups in combination.
The same may be
said of the kettle-drums with their
ringing, resounding quality, and also of other subsidiary instruments.
The
when timbre
influence of the timbre of one group on another
the groups are doubled; for instance, is
closely allied to the strings
brass on the other.
when
noticeable
is
the
wood-wind
on the one hand, and
to the
Re-inforcing both, the wind thickens the strings
34
and softens the
do not blend so well with the
strings
and when the two groups are placed side by
brass,
heard too in
The
brass.
The combination
distinctly.
each
side,
is
timbres
of the three different
unison produces a rich, mellow and coherent tone. or several wind instruments in combination will absorb one
All,
department
of.
added
strings:
2
+2 +2
Fl.
Ob.
or: 2
produces
a
of
I,
CI.
4- 2 Fag. 4-
or: 2 CI."
One department
+ Vni + Violas,
Ob.
added
strings
sweet coherent
'Cellos. in
predominating; but the addition of one wind instrument part
the
wood-wind timbre being
Vni
-f
II
or: 'Cellos -j- D. basses
Muted
strings
clarify
remain
distinct
Ob.,
1
CI.
1
F^g-
and separate.
harp,
strings,
pizzicato
Uniting plucked
of sustained
wind instruments, wood and
of
relief
resonance
brass, strengthen
and
kettle-drums
a touch
generally, the latter lending
wood-wind.
1
do not combine so well with wood-wind, as the
qualities
results in the following:
and
+ +
and percussion with instruments
strings
or
lost in the process:
+ Vni + 'Cellos
I
or: Violas
two tone
still
to all
unison, only thickens the resonance of the
the strings in
of
latter,
unison
wood-wind timbre
the
q^uality,
wood-wind
the
to
percussion
the tone of the
to
bowed
Uniting plucked strings and percussion with
instruments does not produce such a satisfactory blend, both qualities
The combination
being heard independently. with percussion alone,
consequent increase
The flute
relationship
in
is
excellent; the
two blend
plucked strings
which
exists
and the
perfectly,
resonance yields an admirable
effect.
between string harmonics and the
or piccolo constitutes a link between the two groups in the
upper range of the orchestra.
may be
vaguely compared
and the lowest compass orchestral
range,
quartet of strings
a
point
to
of of
Moreover, the timbre of the viola the middle register of the bassoon the clarinet; hence, in the
contact
wind and
is
medium
established between the
and the wood-wind.
The bassoon and horn provide
^
of
brass, these
the connection between
wood-
two instruments being somewhat analogous
in character
lowest
when
played piano or mezzo- forte; the flute also, in
recalls
register,
and muted notes
—
35
pianissimo trumpet
the
Stopped
tone.
horns and trumpets are similar
in
its
in quality to
the oboe and Eng. horn, and blend tolerably well with the latter
instrument. this survey of orchestral
Concluding
which seem
The
me
to
of sustained
ments, melody,
I
add a few remarks
of special importance.
principal part in
groups
groups
music
undertaken by three instrumental
is
resonance, representing the three primary ele-
harmony and rhythm.
Instruments of
little
sustaining
power, though sometimes used independently, are chiefly employed for
ornament and colour; instruments producing indeterminate sounds melodic or harmonic
play no
part,
their functions
being purely
rhythmical.
By glancing
at the
order in which the six orchestral groups are
placed, strings, wood-wind, brass, plucked strings, percussion pro-
ducing will
and those producing
definite,
be able
to
indefinite sounds, the reader
determine the part played by each in the
orchestration, from the secondary standpoint of colour
As regards expression, the
strings
come
first,
art of
and expression.
and the expressive
capacity of the other groups diminishes in the above order, colour
being the only attribute of the
last
The same order obtains from
We
orchestration.
can
listen
period of time without getting {vide
number
the
for strings alone).
add
lustre to a
the quality of
may be
group
to
tired,
strings
for
an almost indefinite
so varied are their characteristics
of string quartets,
The
of percussion instruments.
the standpoint of general effect in
suites,
serenades
etc.
written
addition of a single group of strings will
passage for wind instruments.
On
the other hand,
wind instruments soon becomes wearisome; the same
said of plucked strings,
which should only be employed
and also percussion at
of every kind
reasonable intervals
in orchestral
composition. It
cannot be denied that the constant use of compound timbres,
in pair's, in three's etc. eliminates characteristics of tone,
duces a
dull,
neutral texture, whereas the
elementary combinations gives '" '=°"'"-
employment
infinitely greater
and proof simple,
scope for variety
7 (20)
June 1908.
Chapter
II.
MELODY.
Whether
it
be long or
short, a simple
theme or a melodic phrase,
melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and melody
the
is
detached by means of strongly accentuated dynamic
shades; naturally, by selection and contrast of timbres, strengthening
resonance by doubling,
of
tripling, etc., or
cellos
above the violas and
flutes,
bassoons above the clarinets
Melody planned of position
fact
is
likewise, to
a less degree
middle
when
it
is
range
not so prominent and the methods referred to above
come
thirds
and
sixths)
Melody Instances of the
numerable.
and
octaves
with
and
also be
will
find
flexibility,
violoncellos,
struments, taken independently, sibility for the
two part melody
melodic use of stringed instruments
little
the
for
for polyphonic writing.
With the exception of
employed
in stringed instruments.
The reader
sent treatise. in tone
In the
register.
They may
into operation. (in
out from the very
of the orchestral
situated in the it
and
oboes above the
etc.).
the upper parts stands
in
alone,
low
crossing of parts (violon-
violins, clarinets or
melodic
line.
many examples of
chiefly
— is
in
are the
the double basses,
employed
in
—
dull
unison or in
each of the other stringed qualified to
in-
pre-
assume
full
in-
respon-
—
—
37
a) Violins.
Melody
in the soprano-alto register
usually falls to the lot of the
or to both
lins
in
and an extra-high compass sometimes
151 Violins,
unison, a process
sonance without impairing quality
to the 2ni Vio-
which produces
fuller
re-
of tone.
Examples: The Tsar's Bride
Harmonic accompaniment
dramatic character. las
tremolando
— Pianissimo melody (Vnil)
[84j.
— middle
Antar, before
70
—
.
of a troubled,
(Vn?-!!
and Vio-
forming the bass).
parts; the Violincellos
Descending melodic phrase, Vn^I con sor-
dini piano.
No.
1.
Sheherazade
2iil
movement B
.
A
piano melody (Vnil)
graceful in character.
Antar
12
.
Light graceful melody, oriental in style; a dance
measure (Vnil con
sord.),
mutes producing a
the
ethereal
dull
quality of tone.
No.
2.
The Legend
No.
3.
Spanish Capriccio [T\.
of the Invisible City of Kiiesh [283
Vni
I
the
in
doubling the high register of the wood-wind.
upper
register
Choice resonance.
b) Violas.
Melody
and a
in the alto-tenor register
assigned to the violas.
higher compass
still
Cantabile melodies however
is
are not so
frequently written for violas as for violins and 'cellos, partly be-
cause the viola tone short
characteristic
slightly nasal in quality
is
fitted for
number
of viola
phrases, partly because the
players in an orchestra las are generally
and better
is
Melodies confided
smaller.
to the vio-
doubled by other strings or by the wood-wind.
Examples: No.
4.
melody No.
5.
No.
6.
Pan
Voyevoda, duet in Act
in the violas, dolce, in
193
.
—
in
.
A
long cantabile
Flowing cantabile.
Symphonic tableau 12.
dance theme, piano
145
unison with the mezzo soprano voice.
The Golden Cockerel Sadko.
II
D\> major.
— Muted
violas.
A
short
(The same theme in Eng. horn
— in the
^ene
6i!i
—
38
opera Sadko
of the
more
slightly
is
penetrating
in tone).
c) Violoncellos. Violoncellos, representing the tenor-bass range
compass are more melody than with
+
an extra-high
often entrusted with tense passionate cantabile distinctive figures or rapid
lodies are usually laid out for the top string
Such me-
phrases.
(A) which possesses
a wonderfully rich "chest" quality.
Examples:
A
Antar
[56
Cantabile on the
Antar
[63
The same melody
string.
Dl> maj. on the
in
D
string
(doubled by the bassoons).
No.
Pan Voyevoda
7.
melody
134
A
broad
first
violins
"Moonlight".
nocturne,
,
dolce ed espressivo, afterwards doubled
by the
an octave higher. No.
A
Snegourotchka
8.
231
At the
.
fifth
bar, a
melody on the
string cantabile ed espressivo, imitating the first clarinet.
No.
9.
Snegourotchka
[274J.
d)
Owing and
its
to its
Melodic phrase with embellishments.
Double basses.
register— basso profondo
muffled resonance,
the
-{-
a
still
double bass
broad cantabile phrases and only in unison or 'cellos.
In
my own
compositions there
is
is
lower compass, little
—
capable of
in octaves with the
no phrase
of
any im-
portance given to the double bass without the support of 'cellos or bassoons.
Examples: *No. first
10.
Legend
of
Kitesh
by the double bassoon,
affords
an instance
of
306
Double bass solo, doubled
.
later by the bassoon.
This example
the rare use of the alto clef (in the last
few notes). *No.
11.
The Golden Cockerel
120
.
— D. basses + D- bassoons.
—
Grouping a)
Vnil no
entails
Vnill.
-j-
—
—
39
in unison.
goes without saying
It
alteration in colour;
it
gains in power and richness of
number
tone by reason of the increased
attended by doubling of the melody in
The
wood-wind.
predominating,
number
large
and
of players,
is
some departments
of violins prevents the
and the tone quality remains
quartet, enriched
combination
that this
that
of
usually of the
wood-wind the string
and amplified.
Examples: No. 12. Sfieherazade, beginning of the third movement, Cantabile for
Vnil and
May
The
I!
on the
D
string, then
D
Night, overture
cantabile and divided
on the A.
Quick piano melody, beginning
.
in octaves (vnsn]^) with florid
later
em-
bellishment.
No. b)
The Golden Cockerel
13.
Violins
-j-
Violas.
— The
no
.
— Vnil +
combination
of
II
muted
violins
and
violas
The
presents no special characteristics, as in the preceding case.
remain predominant, and the resonance
violins
is
rich
and
full.
Examples:
Sadko
No. 14.
[2O8J.
melody pp,
cantabile
— Vnil + + Violas II
in
(G
Quiet
string).
unison with the altos and tenors of the
chorus.
The Golden Cockerel c)
Violas
+
'Cellos.
142
.
— Same
— Produces
combination.
a rich
full
resonance, the 'cello
quality predominating.
Examples:
'Cellos
— Apparition
Violas
-[-
4" Eng. horn. The same melody, mezzo-forte cantabile as
in
No. 15.
Snegourotchka |T].
Ex. 9; but in a brighter key, a third higher, brilliant
and
essential
above the No. 16.
tense.
differer'ce
The addition to
the
of
compound
of Spring.
its
is more makes no
resonance
the Eng.
horn
tone; the 'cellos stand out
rest.
The Golden Cockerel [t^.
Violas
+ 'Cellos
muted.
\
40 d) Violins -)- 'Cellos.
The
one.
—A
combination similar
to the
tone prevails and the resonance
'cello
is
preceding
fuller.
Examples: Snegourotchka
Nr. 17.
Vni.
+
1
Vni-
Ex.9, and 15.
+
11
|288|
"Spring descends upon the lake."
.
'Cellos -f Eng. horn.
The Eng. horn
absorbed
is
The same cantabile as in the
principal colour being that of the 'cellos.
in
musical texture, the
Still
more powerful
in
resonance. No.
The
18.
May
The combination
Act
Night.
Chorus
[T].
III
of
Roussdlki.
with the violins gives the latter
of the solo 'cello
a touch of the 'cello timbre. e) Vn5-
1
H
Violas
-|-
unison
'cellos in this
-j-
is
-f- 'Cellos.
— Combining
and
violins, violas
not possible except in the alto-tenor register;
process unites the
resonance
full
of
the instruments into
an
ensemble of complex quality, very tense and powerful in forte passages, extremely full
and rich
in piano.
Examples: Sheherazade, 2ni
No. 19.
movement
Mlada, Lithuanian dance, before
Mlada,
Act.
III.
40
.
P
.
— Energetic phrase
//.
[adj.
— Cleopatra's dance.
Cantabile embellished
in oriental fashion. f)
Violoncellos
-|- E^-
—
basses.
A
combination
of rich full reso-
nance, used occasionally for nhrases in the very low register.
Examples:
Sadko
No. 20.
260|.
—
A
persistent
forte
figure,
severe
in
character.
No. 21.
Legend
and horrible
of
Kitesh
[240]
.
— A pianissimo phrase,
sinister
in charaqter.
Stringed instruments doubling in octaves. a)
Vnil and
This figures,
is
in
Vn^-ll in octaves.
a very
common
particular those
ready been stated that the
process used for in
all
k.nds of melodic
the very high register.
£. string diminishes
It
has
al-
in fulness of tone
— the higher
—
41
ascends from the limits of the soprano voice. More-
it
over, melodic figures in the very high register of the violins
become
too isolated from the rest of the ensemble unless doubled in octaves.
Such doubling secures expression, timbre.
The reader a
octaves;
numerous examples
find
will
and firmness
fulness of tone
of
of violins in
few are added below, chiefly broad and expressive
phrases.
Examples : No. 22.
The Tsar's Bride
The Tsar's Bride
|206|
Cantabile, piano
.
Cantabile, mezzo-piano; the lower part
.
unison with the soprano voice.
in
is
166
Sheherazade, cantabile (the
No. 23.
3^ movement [T[. Cantabile same as Ex. 12).
The Legend
of
Tsar Saltan
in
G
major; dolce and
Melody with
\221j.
reite-
rated notes, dolce, espress. e cantabile.
Sadko, Symphonic tableau phrase pianissimo, given Ex.
(cf.
.
yUf-iJ]
to
the
8
muted,
violas,
A
short dance
thei; to
the violins
6).
No. 24.
Sadko, opera
207
Perhaps
.
an
unique example of
kind; violins playing in the very extremity of the high register.
its
Note.
desks all
12
first
This passage
is
difficult
but nevertheless quite playable.
the other 151 Violins can play the octave below.
quality of the highest notes will
One
or two
double the melody in the upper octave,
of the Isl Violins are sufficient to
In this
be diminished, the melody
will
way
the piercing
acquire a clearer
and more pleasant sound, and the expressive tone quality of the lower octave will be strengthened. *
The Golden Cockerel
156 165
*
Antar,
*
No. 25.
1-^
movement
11
Ivan the Terrible, Act
III
[63
b) Violins divisi in octaves. First
in
and second
violins divided in
two parts and progressing
octaves will deprive the melody of resonance, since the
of players is
diminished by
half,
noticeable in small orchestras.
number
the consequences being specially
Nevertheless the method can be
used occasionally when the strings are doubled by the wood-wind,
and when the melody
falls
in
a sufficiently high register.
—
—
42
Examples. Snegourotchka
—
\^.
mezzo-forte espressivo.
^
vns'iij
doubling of Coupava's song
One
(Sopr.).
flute
Partial
and one oboe double
the melody.
Snegourotchka
No. 26.
Pianissimo cantabile chorus (Sopr.
and
the
all
two solo ciently
l^i
First
a
two octaves, progressing with the women's
in
and given out Violins
The
to the
solo desk will be suffi-
general pianissimo.
in octaves.
and second Violins progressing with the Violas
common method,
melody happens
to
flute
except two play in the lower octave, the
prominent owing
and Violas
by the Eng. horn. The
earlier
violins, only, in the upper.
c) Violins
is
I),
[^. — Chorus of Flowers — vn\""-f fi i] ^•
especially
when
go below the open G . VniOorlin,,^• ^'
Violas
in octaves
the lower octave in
on the
string
the
violins.
J
Example: Snegourotchka ry
2-
[TaT] , finale of
Vni
I
+ in
-,
Quick melody, piano.
1.
Vnl
I
^"^ 3- Vnlll
J^
Violas
Act
1 „
+ ViolasJ^The
These two distributions are not exactly the same.
first
should be used to obtain greater brilliance in the upper part, the
second
to
give the lower part a fuller and
more
cantabile quality.
Examples: No. 27. passage,
Sadko, before forte,
No. 28.
[TsT].
—
"]
yfjj^'s^
8.
Quick
I
— vSl n +
Snegourotchka
[Ta?],
finale to Act
Cantabile phrase, transmitted to the flute and clarinet
and Violoncellos
d) Violas
animated
introducing reiterated notes. vioiasj
(cf.
^•
Ex. 8).
in octaves.
Of special use when the Violins are otherwise employed.
Example: *
Legend of Kitesh
e) Violins
Used
on the
[so],
cSios]
and Violoncellos
^'
^^^^^^^ ^y bassoons.
in octaves.
in
very expressive passages where the 'cellos have to play
.4
or
D
strings.
This method produces a
tone than the preceding one; instances of
it
more resonant
are frequent.
—
—
43
Examples: ^nfar
No. 29.
-y^"|l/^+V"^"]8.
[43].
Cantabile
Eastern
of
origin.
Sheherazade,
appassionato
forte *
S'-^
(cf.
Ex.
[hI.
—
The
'] 8-
Pan Voyevoda
melody given
The
Mcy
first
|i34| , first
Night, Act
Cantabile mezzo-
] 8. •CellosJ
X."^,'
1).
No. 30. Shererazade, 3'A movement, before [p]
and ^liios
bile
movement
arrangement
is
alone
III
|b,c,d]
^[]J
,J
^ -cenos] ^
rarely found.
nocturne "Moonlight" to 'cellos
—
(cf.
—
Ex.
^q'^I^^
8.
Canta-
7).
— ^0^,0+^"-"]
8-
A
forte
me-
lodic phrase.
f)
Violoncellos and Double basses in octaves.
The bass
is
usually constructed in this manner.
it
are to be found everywhere.
is
simplified in
Examples
Sometimes the double bass
comparison with the
of
part
'cello part.
Example: Snegourotchka [9], Fairy Spring's Aria. g) Violas
This
and Double basses
combination
'cellos are
in octaves.
seldom arises and
is
only
used when the
otherwise employed.
Example: No. 31.
Legend
of Kitesh
223
h) Parts progressing in octaves,
each part doubled
Melodies situated in the middle orchestral range to 151
and
ment
is
22^ Vni, in octaves with Violas
and
in unison.
may be
'Cellos.
allotted-
This arrange-
constantly found, and produces a beautiful quality of tone,
somewhat severe
in character.
Examples: Snegoarotchka\^,
feol, [65]
and
[is].
The same melody, played
twice pianissimo, not doubled, then twice (mezzo-forte and forte),
doubled
in the
wood-wind.
~ Mlada, Act
44
—
the beginning of the Lithuanian dance.
II,
A
lively
piano theme.
Ivan the
Note
I.
It
may be
the extreme upper 5t!L
l2l
28
II
use to point out that melodies lying in
of
register, e. g. those
exceeding the middle
are generally doubled an octave below,
octave,
situated
Act
Terrible,
the
in
whilst
of the
those
extreme low register (below the middle of the
octave) are doubled an octave higher.
Examples: Sadko Note kind
[207j (cf. Ex. 24).
Progression in octaves of divided strings of the same
II.
generally to be avoided:
is
Violas I Violas ir' for,
in
'Cellos 'Cellos
I
H
'
D. basses 11 D. basses IlJ
^'
such cases the parts are played on strings which do not
correspond, and unity of tone
is
This, however, does
impaired.
not apply to violins.
The following
Note III.
distribution is occasionally found:
+ 'Cellos + 'Cellos
Violas D. basses
Melody Vns
a)
°'
double octaves.
in
Vni I ] 8 a or vni. ° ViolasJ ° 'CellosJ I]
I] „ IlJ
8
nig may
Vni in
be used for
full
cantabile melodies
extremely tense in character, and in forte passages for choice.
Example: Antar
No. 32.
Vni — Vni
65
I
Violas
Vns
]
8.
11
+ 'CellosJ
^*
+ +
+ + Violas
II ] Vni I ] 8 b) 'Cellos 'Cellos] g or 'Cellos 1 8 or Violas D. bassesj D. basses D. basses J
Violas
8
are employed into play,
when
and also
I
II
the low register of each instrument in brought to suit
phrases of a rough and severe character.
Examples: Legend No. 33.
of Kitesh
66
,
Snegourotchka
opening of the [2j5j.
2iii
Act.
Tumblers' dance.
8
,
— The
Note.
—
45
lack of balance in the distribution:
Vni
+ Violas]
+11
I
'Cellos D. basses is
of
Vni
in three
only
of the other,
partial har-
and
vice versa.
and four octaves.
1
1
Vnlll
The distribution
such cases, the
for, in
one octave support the tone
Doubling
g
J
not of any great importance,
monics
8
1
18
violas 'Cellos D. basses
\
„
very seldom found, and as a rule,
is
^
I
J
8
when supported by wind
instruments.
Examples:
The Legend *
150
of Kitesh
Sheherazade,
4i!i
(allargando)
movement, commercing Vnil Vns
1
II
+
Violas 'Cellos D. basses
Melody In
lO'iibar.
at the
\ °* ^ \ ]
and
in thirds
sixths.
confiding a melody in thirds to the strings
is
it
frequently
necessary to use the same quality of tone in both parts, but in the
may be
case of a melody in sixths different timbres writing thirds doubled in octaves, the
thirds will not
the
melody
In
violins should
In spite of the difference in the quantity of players, the
be used.
in
and second
first
employed.
viola
sound unequal.
and
'cello
The same arrangement may obtain
groups,
but
is
it
useless in the case of
in sixths.
Examples: •No. 34. *
Legend
Legend
of Kitesh
of Kitesh
_
g-
Vni
Vn|,}
223
"i •
n
liii / Vni
Vns
1
Vni Distribution in octaves, thirds,
^j g
I
ViolasJ
IS Vns
Cf. also Legend of Kitesh
^Jv.)^
and
II
8 (Ex. 31).
\ , -^ ;
sixths is usually regulated
by
the normal register of the respective instruments, so as to avoid
.
—
46 any suggestion balance.
mannerism
of
resulting from the disturbance of
But such a departure from the recognised order
may be
For instance,
example
permitted in special cases.
of writing in sixths the upper part
lower part to the violins on the
in the following
to the 'cellos, the
allotted
is
G string;
arrangement produces
this
a quality of tone distinctly original in character.
Example-
Melody *The choice melody
Vnil
characteristic
based on their distinctive
is
To a
in the foregoing chapter.
own
the orchestrator s
+ IlJ^-
the wood-wind.
in
instruments for
of
1
'Cellos
Spanish Capriccio
No. 35.
qualities,
and expressive
discussed minutely
large extent the question
personal
taste.
is left
to
Only the best methods
of
using the wood-wind in unison or octaves, and distributing a melody
and mixed
in thirds, sixths
nance and tone quality
Examples
work. in
be indicated
of the use of solo
any score; the following are
Examples 1.
[54]
of solo
wood-wind:
80
4.
Oboe: No. 40. Sheherazade,
flute:
No. 39.
No. 41.
The Tsar's Bride
5.
and
Legend
216
183
Sheherazade,
2ii^
Snegourotchka
[m\ [97"
72
;
Sheherazade, 4ln move-
(cf.
III,
after
10
of Kitesh [44].
movement [so];
[a]; The
Snegourotchka
Ex. 284), No. 42 and 43.
May 112
Nighty 239
The Golden
.
Eng.horn: Snegourotchkaf^, [283
Capriccio
79
No. 37.
163
Ivan the Terrible, Act
Bass
57
Tsar Saltan
Snegourotchka
Pan Voyevoda
3.
Cockerel
be found
before [ajn(F/. a 2 in the low register).
ment, after |T]; No. 38.
;
to
.
F/ufe (double tonguing):
Kk
of reso-
section of the
wood-wind are
Fairy Tale [l]; The Cht^stmas Night
Act HI
this
No. 36.
Flute: Antar [T|; Servilia
4^ movement,
in
typical instances:
Piccolo: Serbian Fantasia
Snegourotchka 2.
from the standpoint
intervals,
will
No. 45.
(cf.
Ex. 26); No. 44. Spanish
The Golden Cockerel
61
—
47
Mlada, Act
6.
Small Clarinet: No.
7.
Clarinet: Serbian Fantasia [g]; Spanish. Capriccio [a]; 5ne-
gourotchka
Act
[90], [99], [224],
x
before
I,
5nd^ |^,
9.
Bassoon: Antar
48.
M/flda, Act
May
Ex. 8); T/i^
(cf.
movement
D
;
III
To/e
Ffliry
>^
[37].
Night,
97
(lowest
(cf.
No. 51. Mlada, Act
III,
Ex. 10 (D. bassoon
The normal order
Vera Scheloga
after [29];
cf.
[36];
Sheherazade,
also Ex. 78.
of Kitesh, before
D. bass
84
289
;
also
cf.
solo).
wood-wind instruments and
of
2'47
The Golden Cockerel
Ex. 40); No. 50.
Double bassoon: Legend ~\-
Snegourotchka 243 and [246-
No. 49.
[59];
2n^ movement, beginning
10.
[33];
Ex. 43).
cf.
Bass clarinet: No. 47 and
;
II
The Golden Cockerel
203
8.
249
[231]
[227],
Sheherazade, 3i^
;
[m]; T/ie Tsar's register,
46.
produces the most natural resonance
is
that
which
the following: Flutes, Oboes,
Clarinets, Bassoons (the order used in orchestral
full
De-
scores).
parture from this natural order, e.g. placing bassoons above clarinets
and oboes, or
below oboes and
flutes
clarinets,
and especially
below the bassoons, creates a far-fetched, unnatural tone, useful, however,
in
cases to attain
certain
make
not advise the student to
of
special
effects.
I
do
too free a use of this proceeding.
Combination The combination
certain
in unison.
two different wood-wind instruments
in unison
yields the following tone qualities: a)
Flute
A
Oboe.
-\-
quality fuller than that of the flute, sweeter
than that of the oboe. in
the
low,
the
Snegourotchka b) Flute
oboe
Played in
the
upper
+ Clarinet.
A
330
1;
Example: No.
52.
quality fuller than that of the flute, duller
The
flute will
the clarinet in the higher register. 1
register.
|TT3~|.
than that of the clarinet.
Kitesh
the flute will predominate
softly,
also
339
predominate
in the lower,
Examples: No. 53.
Legend
of
— lis]
Legend
Cf. also
.
Kitesh
of
—
48
—
[os], [to], [iT]
2 Ob.
+3
CI.
199—201).
(Ex.
+ Oboe + Clarinet.
d) Flute
dominates
Sadko
Bassoon
-f-
register, the sickly quality of
Example: Mlada, Act
II,
after [49] .
Oboe, and
+ Flute.
g) Bassoon
The combinations and Bassoon
The gloomy character
full quality.
lower
of the clarinet prevails in the
-\-
and
/
Clarinet
orchestral
tutti,
g,
+
as well as Bassoon
the range of which octave,
lower third of
is
+ Clarinet
-{-
Oboe,
Flute are very seldom found except in
where they produce increased resonance But in such combinations,
without creating a fresh atmosphere.
third
*
CI.).
the bassoon in the higher.
certain
flute pre-
Examples: Mlada, Act I [T];
+ 2 Ob. -f Small Bassoon + Clarinet, Very
[58] (2 Fl.
f)
The
full in quality.
the oboe in the middle, and the
the low register,
in
clarinet in the high compass.
e)
Very
practically restricted
the limits of the
to
the low notes of the flute will predominate in the this register,
The
the middle third.
and the high notes
clarinet,
weak
in the
of the
bassoon
middle compass
in
will
not stand out prominently in this particular combination. h)
Bassoon -\- Clarinet -\- Oboe -j- Flute. This combination
The colour
is
equally
define in words.
The
tone of each instrument will be separated from the others
more
rare.
or less in the
is
rich,
manner
and
to
difficult
detailed above.
Examples: Russian Easter
Fite, the beginning; No. 55. Snegourotchka |30i|
Act
III
;
The
May
Night,
Oqq
The process
of
combining two or more
qualities of tone is unison,
while endowing the music with greaterresonance,sweetness and power, possesses the disadvantage of restricting the variety of colour and expression.
Individual timbres lose their characteristics
with others.
when
associated
Hence such combinations should be handled with
extreme care.
Phrases or melodies demanding diversity of ex-
pression alone should be entrusted to solo instruments of simple timbres.
The same
applies to the coupling of two instruments of the
kind, such as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. of tone will lose
but
its
nothing of
its
individuality,
and
will
The
same
quality
gain in power,
capacity for expression will be diminished accordingly.
An
\ j
«
—
—
49
and freedom when used
instrument enjoys greater independence
when
as a solo than
mixed timbres soft
naturally
is
ones, also
The use
doubled.
is
it
more frequent
of
passages than in
in loud
where expression and colour
is
doubling and
broad rather than
individual or intimate in character. I
how
cannot refrain from mentioning
cating
all
out of
all
the wood-wind, in
greatly
dislike jlhe
I
method
of dupli-
order to balance a group of strings, reinforced
reason, to suit the ever-growing dimensions of concert halls.
convinced
that, artistically
room and orchestra. The music performed must be specially composed on a plan of its own be considered here. concert
Combination
When
melody
the
at
these super-concerts
—a
subject which cannot
wood-wind instruments
arrangement producing natural resonance
«rFl.
Fl.
PI.
Ob.
°LOb.
CI.
Fag.
CI.
The combination
am
in octaves.
entrusted to two
is
in octaves, the usual
I
speaking, a limit should be set to the size of both
of flute
Ob. Fag.
CI.
is:
la^•
Fag.J
and bassoon
in
octaves
is
fare
on
account of the widely separated registers of the two instruments. Deviation from the natural order, such
above the etc.,
clarinet
creates an
or oboe, the
placing the bassoon
above the oboe or
flute
unnatural resonance occasioned by the confusion
compass playing
of registers, the instrument of lower
register
as
clarinet
and vice
The lack
versa.
in its
high
proper relationship between
of
becomes apparent.
the different tone qualities then
Examples: No. 56.
Spanish Capriccio [o]
No. 57.
Snegourotchka \2m\
*No. 58.
Sheherazade,
3i^
—
—
q^J
8.
^n^^homj^-
movement [e]
—
^]-] 8.
5arf/^^[l!3-Eng.horn]8-
Pan Voyevoda Tsar Saltan No. 59.
examples
flutes,
—
8.
^[-J ci.
-I
Fag.J
Vera Scheloga
[ao]
— pig.]^'
in the scores of various
The use 2
39
[T£]
of
two instruments
of the
2 clarinets or 2 bassoons
likewise any
number
of
composers.
same colour
etc., if
in octaves, e. g.
not exactly to be avoided
—
be recommended, as the instruments, playing correspond one with the other. Ne-
certainly not to
is
—
50
in different registers will not
method may be
vertheless this
employed when stringed
safely
in-
members of the woodmiddle compass. The process is most
struments, arco or pizzicato double the two
wind, and especially in the
satisfactory for repeated notes or sustained passages.
Examples: The *
*
May
Night, Act
Sadko, after
— gj; —
[T59]
Servilia, after [21]
fFag. LC-Fag.
doubled by
3,
jj]
8.
8
Ob. Eng. horn
basso
always produce a good
pizz. strings.
pizz. strings.
-f
same branch playing
CI.
Cl.
— g;,}]
,[]
^^|;
Instruments of the f.
|T|
I
Small
in octaves, Flute Alto Fl.
cl.
Clar.
e. g.
Picc.1 „
®
Fl.
J
effect.
Examples: Snegourotchka
\^
pj'^''']
The Tsar's Bride
[Tii]
Tsar Saltan
—
Sadko, after
[2T6]
60.
8 (cf. Ex. 36).
^i-]
As
in the strings,
[240]
Mlada, Act
— c%g]
III,
before
^ (cf- Ex. 21).
[44]
-
^^-^
so in the wood-wind
any melody situated
compass; an octave lower the second.
8.
[59]
No
octaves
8 (cf. Ex. 15).
— ^j"']
^j|=''-]
S^^"
Legend of Kitesh
in
—
in
it
j^^
is
will
8.
advisable to double
extremely high or low
the
in the first case,
Thus the piccolo
J
an octave higher
be doubled by the
flute,
in
oboe
or clarinet an octaVe lower; the double bassoon will be doubled
by bassoon, clarinet or bass clarinet an octave higher.
^ [Fag. Lc-Fag-.
a fPicc.
Pice.
Picc.1 ^
°Lf1.
Ob.
Cl.
Bass Fag.
cl.
CI.
Cl.
Fag.
Bass
cl.
J®Fagr.
Fag.
~|
Fag.
Bass
cl.J
^
Examples. *
Tsar Saltan
*No. 61.
39
~
Mlada, Act
Pice"! « ^• Ob. J II,
Lithuanian dance
[iFI
— Small ^jf^:,
,1 8
cl.J
8
:
I
—
—
51
Sadko[i50\-^^^%,^,]8. *
Mixed
may be employed
of tone
qualities
above remarks
taves, the
doubling in oc-
in
holding good.
still
Examples
Pan Voyevoda No. 62.
-g [m] -
Servilia
g;
+ f^^_ ,^^
-
[120]
^
8.
J + Ob^^ ^^^ ^
Fi-
^^^
J8
ActIII0-S:i^rssci.]^
.M/arf.,
Doubling
two, three and four octaves.
in
such cases the student should follow the above-mentioned
In rules,
and should take care not Ob.
Fl.
3 octaves: Ob. Cl. Fl.
In
\
The Tsar's Bride
No. 63.
In
j] ^„'^. horn] ^ (cf. Ex. 7).
[T34]
4 octaves:
to infringe the natural
Fi.
Fl.
ci.
Ci.
Ob.
Fag-.
Fag.
Fag.J°'
order:
18
]8
^l]8 8.
Fag.]
Mixed timbres may also be employed.
Examples: No. 64.
Spanish Capriccio [p]
— melody
Pice.
2 Fl. 2 Ob.
+
i
C1.J
Fag.
The Tsar's Bride
—
[l4i
;
Legend
J
melody
„
8.
3 octaves.
in
*No. 65. Pice.
(l5i version) 3:^
Antar,
+2F1.]8
2 Ob. -4- 2 2 Fag.'
J8;
— C
also
Cl.] „
'
,
]8
Bass cl. 1 D. bassoonJ °
212
of Kitesh
4 octaves:
*
2 Gl. *
in
1
melody
in
movement, the beginning
—
4 octaves (piccolo in the upper
octaves). Fl.
*Mlada, Act
III,
after
18
42
Eng. horn)
No. 66.
^^
—Q —
Sheherazade, 3i^ movement
Pice.] 8 Ci. 1^
'
'
Examples in
of
melody doubled
in five
such cases the strings participate
Cl.
Ill
8-
octaves are extremely rare;
in the process. 4'
2
1
—
52
Melody Melodic progression instruments
in
(2
instruments of different colours in
If
this
order
is
FI.
Fl.
Ob.
Cl.
Ob.
CI.
Cl.
Fag.
inverted,
forced resonance
e. g. p,^'
sixths.
CI.,
2 Fag.), or
the normal order
of register:
2 Ob., 2
Fl.,
Ob. 1 3 Fag.J
(6).
q.^'] 3
p,';
in thirds, the best
method, from the standpoint of equality in tone
ments
same kind
the
of
struments
in pairs;
are good and useful. They
and
thirds
in
may
^
example:
suitable,
also be
or thirds,
sixths,
is
use instru-
to
for progressions in sixths in-
more
different kinds are
of
a strained and
(6),
For progressions
created.
is
and
and sixths demands either two
thirds
same colour
the
of
in thirds
employed
and
fifths
but both courses for progressions
sixths mixed,
as for
ei
Examples: Legend
The
May
SadkO
—
III
^[;]
[g\
3
wind instruments
— g;]
and
(6).
various wood-wind in
sixths.
—
^];]
3 and
The Golden Cockerel SadkO
43
the
All
is
R+obJ ^ + Ob.] ,
Fl.
3.
^j;]
—
[232]
parts
in turn,
progress
Fl.
simple timbres.
in
thirds
or
^^)
°'"
(f.
„,
t G1-] ^ Ob. + F1.1 ^ f1:
+ Ob. + C1.1 3 + Ob. + Cl.J ^
...
^^'
^^
^^^ ,..
^*''"
*
Legend
The Christmas Night of Kitesh
the
^' ""^^ ^'•
.
arrangement may be adopted:
Ob. Ob.
+2 +2
Fl.-]
Cl.J
... "^
^^'
^^'^'
Examples: No. 68.
sixths,
advisable:
In the case of tripling the following Fl.
6.
\ ^'^ J
wood-wind
doubled
following method
*
in turn.
3.
Spanish Capriccio, before
Servilia [228]
When
different
Night, Act
79-280
1
No. 67. thirds
24
of Kitesh
[202-203J
[Tst]
— gj; +
different
g[;]
3.
mixed timbres.
—
—
53
Thirds and sixths together. Apart from the obvious distribution:
j FFfPiiFfF
F
Fl.
Ob.
Ob. or
CI.
CI.
Fag.
,
there are certain
complicated methods which involve doubling: Upper
The following
is
+ Ob. + Ob.
part.
Middle
„
Lower
„
Fl.
FI.
+C1. CI.
a complex instance somewhat vague in cha-
racter:
,—,
——
Legend ^
No. 69.
Kitesh \35\ of '
Ob. Ob.
I
The
3*
-
e
5
+0b.
one which brass instruments had
at their disposal prior to the invention of valves 2
Fl.
Ob.
the brass^
in
the only
natural scale,
PU and
ci.
'
Melody
+ Ci.
«
»
i^
«^>
to ("' '^
was:
:i
^^
T5
giving, in
two part harmony:
With the help
of rhythm, these
component
a whole series of themes and phrases
parts
named
have given
rise to
fanfares, trumpet calls
or flourishes, best adapted to the character of brass insfruments. In is
modern music, thanks
now
without
possible in it
all
tp the introduction of valves, this scale
keys for every chromatic brass instrument,
being necessary
to
change the key, and the addition
of
a few notes foreign to the natural scale has enriched the possibilities
of these
flourishes
and
fanfares,
and endowed them with
greater variety of expression.
These phrases,
either as solos, or in
the lot of the trumpets
trombones.
The
register of horns
description.
full,
two or three parts, fall specially to
and horns, but they may also be given to the ringing notes of the middle and upper
clear,
and trumpets are best suited
to figures of this
:
—
—
54
Examples:
—
20
Scrvilia
The Christinas
Trumpets.
—
Night[^
Horn, Trumpets.
Verra Scheloga, be^nnning of Overture, and after
—
[45]
Horn,
Trumpets.
Ivan the Terrible, Act Snegoiirotchka [T55]
Legend
No. 70.
—
[T|
III
Cornet.
^- Trumpets.
of Kitesh [^s]
an-d
elsewhere.
—
3 Trumpets,
4 Horns.
Pan Voyevoda *
191
—
The Golden Cockerel
2 Trombones, Trumpet. 2 Horns and J{Z^^^^]
20
^
(^f.
fur-
ther on).
After
fanfare
and triumphant
in the
melodies best suited
those
figures,
to
brass
the
unmodulated diatonic character, rousing
those of an
quality are
major key, dark and gloomy
in the
minor.
Examples No. 71.
Sadko
Sadko, before No. 72.
[342]
—
Trumpet.
Trombones
181
Snegourotchka
Russian Easter Fete
71
M
-
Spanish Capriccio and stopped notes
(cf.
little
Mlada, Act
II
Trumpet.
Trombone.
Alternative
II,
tone
poetic in
of
in the
horn of open
Bass
trumpet,
and
Night, Overture
The Christmas Night |T| 86
Pan Voyevoda
37
No. 73. Antar 40
Ex. 46).
horn
in
piano
passages
the choice of melodies and phrases that
Examples:
Snegourotchka
(cf.
the
entrusted to this instrument.
May
use
before [It]
Bass trumpet
33
affords greater scope
The
Ex. 27).
further on.
The genial and
may be
(cf.
Ex. 44).
Jvan the Terrible, Act
3 Horns a
—
[T3]. .
—
—
S5
Melodies involving chromatic or enharmonic writing are the character of
such melodies
may sometimes be
music
of
much
Nevertheless
brass instruments.
less suitable to
allotted to the brass, as in the
Wagner, and the modern
who
Italian realists,
however,
Vigonrous phrases in the form
carry the proceeding to extremes.
introducing chromatic notes sound singu-
of a fanfare, although
on the brass.
larly beautiful
Example:
movement D
Sheherazade, 22i
No. 74.
As a general
brass instruments lack the capacity to express
rule,
passion or geniality.
Phrases charged with these sentiments be-
come
when
sickly
and
insipid
free or restrained, simplicity
confided to the brass. Energetic power,
and eloquence
constitute the valuable
qualities of this group.
Brass As, from
and
in unison, in octaves,^ thirds
very nature, the brass
its
sixths.
not called upon to realise
is
a wide range of expression, kindred instruments of one group
may be employed of 3
solo,
The combination
as well as in unison.
trombones or 4 horns
in
unison
is
met
frequently
with,
and
produces extreme power and resonance of tone.
Examples: Snegourotchka Snegourotchka 175
No. 75.
Sadko
No. 76.
The
Legend
199
—
Sadko
— 4 Horns — 4 Horns
[J]
1, 2,
—
end
Sheherazade,
(1)
after
3 Trombones.
Act
of 411i
Mlada; Lithuanian dance
the
and 2 Trumpets.
Night, beginning of Act
of Kitesh,
No. 77.
Ex. 15).
3 Trumpets.
[aosj (1)
May
(cf.
I
—
4 Horns
movement
—
the ninth bar after
to
306
,
,
(cf.
— (cf.
—
1, 2, 3,
to the
Ex. 70).
Ex. 61).
in the following
and also from the
in
the example, the
composer's altoration.
first of
4 Horns.
3 Trombones.
fifth
manner: from
to the ninth bar
the three clarinets play in unison, the trumpet being
instead of fortissimo;
according
305
204
p.
6 Horns
The composer has emen ded the score
fifth
III
these passages
marked is
forte
corrected
(Editor's note.)
— Owing
of the entire group, the equality
between the dark colour
of tone
compass and the bright brass
power
the resonant
to
and even gradation
—
56
quality of
deep
the upper register, the use of
same kind
instruments of the
of the
octaves, thirds or sixths
in
invariably leads to satisfactory results.
For the same reason the
employment
different
instruments
brass
of
according to normal order
is
Trombone
arranged
kinds,
of register:
Trombone Tuba
Trumpet
Trumpet 2 Horns
of
Trombones Trombone -f- Tuba
2 Trumpets 2 Trombones
2
Horns Tuba 2
likewise successful whether the instruments are doubled or not.
Another possible method, though not so
reliable, is to
combine
horns (above) with trombones, exclusively in octaves: 2 1
Horns 1 ^ ] e nr ^ Horns Trombone] ° "' 2 Trombones]
Examples:
-
t™-p=;]
Sadko, before
{m}
Snegourotchka
\^ - ^Trllte + Tuba] «
Ivan the Terrible, Act
The Golden Cockerel Cf. also
«.
111
[To]
[T26]
-
'
^^^S^j;^
Trombone! — TromboneJ
groups
in different
(cf.
Ex,
38
'\\lZt,V
Snegourotchka |32S-^26|
Melody
+ ^^™''='] 8
combined
of
' (E"- ^^)-
instruments
togethier.
A. Combination of wind and brass in unison.
The combination
of a
wood-wind and brass instrument produces
a complex resonance in which the tone of the brass predominates.
This resonance
ment taken ment brass,
is
naturally -more powerful than that of each instru-
separately, but slightly sweeter than the brass instru-
alone.
softens
The tone and
rarefies
two wood-wind instruments doubling are
fairly
wood-wind blends with
of the it,
as
in
the
numerous, especially
trumpet
is
Trumpet
+ Ob., Trumpet -f
process
of different colour. in
as well as
jorte
Trumpet
combining
Instances of such
the instrument most frequently doubled: Fl.,
of
that of the
passages.
Trumpet
-r CI.
The -|- CI.,
+ Ob. +
Fl.;
— also
+
+
CI., Horn Fag. Trombones and Tuba Trombone -|Fag., Tuba -f Fag. Combining be doubled:
Horn
the horn, less often:
may
—
57
the Eng. horn, bass clarinet
and double bassoon with the
brass, in
corresponding registers, presents the same characteristics.
Examples: Legend *
of
Mlada, Act
As a
— Trombone + Eng. horn. — 3 Trombones + Bass before
Kitesh
rule,
III,
[56j
cl.
[34]
the addition of a
a finer legato effect than
wind
when
to a brass instrument yields
the latter instrument plays alone.
B. Combination of wind and brass in octaves. Doubling the horns
by
in octaves
clarinets,
oboes or
flutes often
replaces the combination 1 1
This
is
done when
Trumpet "I « °' Horn (or 2 Horns)J
a question of introducing a rich tone into
is
it
the upper octave which the trumpet
a single horn
If
2 oboes, or 2
is
flutes.
not capable of imparting.
is
used, the upper part
But
it
is
allotted to 2 clarinets,
there are two horns playing the lower
octave in unison, three or four wind instruments will be necessarj'
above, especially in forte passages: rz Ob. or 2 Cl. or 2 Fl. ^^ ^ Ll Horn
To
1
j
^®"
^^
1
+
Ob. Horn
1
+
2 Cl.-| Cl.l g. 2 Fl. g ^' "• 2 Horns
J
J
double a trumpet in the upper octave three or four
ments are required, but
in the top register
2F1.
Trumpet.
Wood-wind instruments should
not be used to double a trombone
in the octave above; trumpets are
Snegourotchka \n\
*
Legend
of
-
flutes will suffice.
^
Trumpet.
*
instru-
2 Fl.
^^^P"Ob
Examples
two
wind
more
suitable.
of doubling in octaves:
Zrit^'']^-
Tsar Saltan, before
[18O
— Y.^.J Horn ^N Horn
8.
— *
58
—
Mention should also be made of mixed timbres (wood and brass) progression in octaves.
in
Examples: Mlada, Act
III,
beginning of Scene
No. 78. Mlada, Act
III,
after [25]
-
III
xibaTci^^''
'']
- ISstV'rH^t +7^X00]
^•
«
(low register).
No. 79. Mlada, Act
When octaves,
difficult to
is
— general
35
unison.
melody over three or four
desired to distribute the
is
it it
before
III,
achieve perfect balance of tone.
Examples: *
Sheherazade,
4± movement,
15lli
bar
after
——
fwl '
'
*
Legend
Tsar Saltan
of
228
—
Pice.
2Fi.
In
]
8
\ J
°
Combination of strings and wind.
commencing
down
1 fi
+
2 Fi. 2 Ob.j ^ 2 Trumpets J 8.
+ 2 0b. + Eng. horn
Trumpet
C.
Pice.
this section of the
work
I
consider
it
necessary
the following fundamental rules which apply equally
to
lay
to
melody, harmony, counterpoint and polyphonic writing. All
combinations
instrument
of
and wood-wind are good; a wind
strings
progressing in unison with a stringed instrument in-
creases the resonance of the latter and amplifies
its
tone, while
the quality of the strings softens that of the wood-wind.
In
such
combinations the strings will predominate provided that the two' instruments are of equal power,
an oboe, a bassoon with the
e.
g.
when
'cellos.
If
violins are coupled with
several
wind instruments
play in unison with one group of strings, the latter will be over-
As a
powered.
rule all combinations refine the characteristics of
each instrument taken separately, the wood-wind losing more than the strings.
Doubling in unison.
The whose
best and most natural combinations are between instruments registers correspond the nearest:
Vni-f
FI.
(Bass
fl.,
pice),
Vni+Ob., Vni-hCl.
+ + Fag.;
Violas 4- Ob. (Eng. horn), Violas 'Cellos
+
CI.
(Bass
cl.),
'Cellos
CI.,
Violas
(small CI.);
+ Fag.
:
59 D. basses
The of
-\-
Bass
cl.,
D. basses
+ Fag.;
object of these combinations
is:
c) to soften
-f-
a) to obtain a
C-fag.
new
timbre
the resonance of the strings;
colour; b) to strengthen
definite
D. basses
the quality of the wood-wind.
Examples |~5~|
Snegourotchka
28J
[m]
'Cellos
—
-
May
The
No. 81.
Sadko
No. 82.
No. 83. Servilia
+ Eng. horn
(cf.
+ Eng. horn, + Ob. + -f + + 'Cellos + Eng. horn
Ex. 15).
Violas -f Ob.
Vni
1
Vni I No. 80.
-f Violas
Night, Act
Cl.
II
II
III
Bb
Violas -f Cl.
— Vni+Ob. — Violas + Eng. horn. — Violas Eng. horn. -j-
(cf.
Ex. 17).
„
The Tsar's Bride
— 60 — — ^J|,j
[sT]
div.
166
In three
vSn|Sb.]Mcf.Ex.22).
and four octaves:
— Vns ++ Ob. — Vnl vm Kashtchei 3
93
Servilia
No. 87.
']:^i,]B.
Fl.
c
1
Violas 2 i 'Cellos 4- 2 Fag.J
8-f-
Pice.
-V
Fi.
I
la
+ Ob. \^ Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.J Vnl + 18 M — Vm + Ob. movement — 'Cellos + Engl, hornj 105
ii
8.
Fl.
I
Shihirazade,
3^
ii
{
'
8.
'
Examples
melody in thirds and sixths:
of
s.m/,a0-^';+8S:tg::tvSH»No. 88. No. 89.
„
Kashtchei
90
is
It
126
1
melody
wind
and
sixths.
The same.
more
one
doubled.
is
soprano register
in the
two
attention to cases where, of the
When it
is
this
method
is
applied
better to allow the
wood-
progress in octaves, the lower part only being doubled
to
by one
in thirds.
in thirds
1
necessary* to pay
parts in octaves, only to a
— Strings and wood-wind — same combination,
Servilia |ni|
of the string groups;
p^+YnJ^-
Ob.
(Ci.)
+ Vn J
^•
Examples:
—
[m\
Tsar Saltan
v^i'i
+7i
+ Ob.] ^
(^f-
*No.90. Shdhirazade, 4«i movement [u] In the case of soft
-
^^- 1^)?ceiios
+ 2 Horns]
tone, the violoncellos
and double basses should be made
progress in octaves, the former* doubled by a bassoon, the not
doubled
at
^*^
the double bass, especially
(1)
Cellos
scheme.
The process ^' ^^^'^
of
to
latter
Sometimes a composer ] ^' d ^"as^ses method on account of the very low register
all:
obliged to use this
his orchestral
8-
a melody in the low register demanding a sweet
if
a double bassoon
is
is
of
not included in
(1)
doubling strings and wood-wind
in
octaves: y,'
otten used by the classics to obtain balance of tone,
is
8,
not
be recommended, as the tone quality of the two groups is so widely different. result of the ever-increasing tendency to profusion of colour, this method has recently come into fashion again, notably among the younger French to
As a
composers.
(Editor's note.)
—
—
61
Example: No. 91.
Tsar Saltan
—
92
+ Fa,g. g + Fag.]
Violas 'Cellos
1
^•
D. Basses
1
D. Combination of strings and brass.
Owing
between the quality
to the dissimilarity
tone, the
combination of these two groups
yield such a perfect blend as that
When
and wood-wind. in unison,
of string
and brass
unison can never
in
produced by the union
of strings
a brass and a stringed instrument progress
each can be heard separately, but the instruments in
each group which can be combined with the greatest amount of success are those whose respective registers correspond the most nearly; Violin
+ Trumpet; Viola + Horn;
heavy massive
^^^^^,^^
+ jibf °"''
(^^r
effects).
The combination
of
horns and
duces a beautifully blended,
'cellos, frequently
employed, pro-
soft quality of tone.
Examples: Tsar Saltan *
No. 92.
— Vnil + + Horn. — Violas Golden Cockerel
29
The
II
98
con sord.
+ Horn.
E. Combination of the three groups.
The combination of members of the three groups in unison is more common, the presence of the wood-wind imparting a fuller and more evenly blended tone. The question as to which group will predominate in timbre depends upon the number of instruments employed. in
The most
natural combinations,
use are: Vni-[- Ob.
(Eng. horn)
+ Horn;
(Fr., CI.) -f-
D.talses
Such groupings are used a heavy piano
and those most generally
Trumpet; Violas (or
'Cellos)
+
CI.
+ 2 Fag. + 3 Trombones ^- Tuba.
for preference in loud passages or for
effect.
Examples: No. 93—94.
+ Horn
Snegourotchka [218] and [2T9]
and Vni
I
+
II -}- CI.
+ Trumpet.
—
Vni
I
+ + II
CI.
—
—
62
+ Trombones g Ex. i2). + Trombone + Bass 8 D, basses + Tuba + Fag. 'Cellos + Violas + Fag. + Trombone Snegourotchka 325 Violas
Servilia
168
1
'Cellos
Cl.J
(cf.
J
No. 95.
Pan pet.
D. basses
Voyevoda [224] -
Vni+
Fag.
-|-
Fag.
Tuba
+ Horn + Vn. +
CI. -j
Trum-
(Stopped notes in the brass.)
Mlada, Act *No.96.
III,
after
Violas
23
Ivan the Terrible, Act
III,
+2
CI. -|-
before
1 + Horn + G-fag. + TubaJ
Bass CI. D. basses *
-f-
Ivan the Terrible, Overture,
+ Eng.
horn
+2
CI.
+ Bass
simplified in the horns.)
41!i
CI.
[66]
,,
bar after [T]
+2
Fag.
Bass trumpet
—
— Violas
+ 4 Horns.
-\-
'Cellos
(The melody
Chapter
III.
HARMONY.
General observations. The
demands a
art of orchestration
distribution of
beautiful
chords forming the harmonic texture.
transparence, accuracy and purity in the
are essential conditions
No
and well-balanced
movement
Moreover, of
perfection in resonance
each part
be obtained.
satisfactory resonance is to
if
can accrue from faulty progression
of parts. Note. selecting-
who
There are people
consider orchestration simply as the
instruments and tone qualities, believing that
does not sound
well,
is
it
entirely
due
to the
if
art of
an orchestral score
choice of instruments and timbres.
outcome of faulty handling of and such a composition will continue to sound badly whatever choice instruments is made. So, on the other hand, it often happens that a passage which the chords are properly distributed, and the progression of parts
But unsatisfactory resonance
is
often solely the
parts, of in
correctly handled, will sound equally well
The composer should
if
picture
played by strings, wood-wind or brass.
himself the exact harmonic
to
formation of the piece he intends to orchestrate. sketch, there exist of
harmonic
likewise struction
any uncertainty as he
parts,
advised
is
him
for
essential
to
to the
to settle
this
in his
If,
number at
form a clear idea as
and musical elements
of the
piece,
and
to
rough
movement
or
once.
It
is
the con-
to
realise the
exact nature and limitations of the themes, phrases and ideas he is
going
to
employ.
Every transition from one order of harmonic
writing to another, from four-part part
harmony
of a
new
to
unison
idea, a fresh
tor will encounter
etc.,
harmony
to three, or
from
five-
must coincide with the introduction
theme or phrase; otherwise the orchestra-
many
unforeseen and insurmountable
difficul-
— For example,
ties.
in five-part
be added easily
the
during a passage written in four parts a chord
if,
harmony
introduced, a fresh instrument must needs
is
to play this particular
damage
—
64
part,
fifth
and
this addition
may
the resonance of the chord in question, and render
resolution of a discord or the correct progression of
parts
impossible.
Number
harmonic parts
of
In the very large majority of cases
parts;
this
applies
not
only to
harmony
at
usually
first
harmony with
only tour part
additions are nothing
more than the
upper octave of one or more original
basis.
succession
Harmony
7 and 8 parts,
6,
extra parts added.
of the three
will explain
a
is
These
duplication in the adjacent
harmony, the bass being doubled
The following diagrams
5,
written in four
or
harmonic
appears to comprise
sight
is
chords
single
of them, but also to the formation of the
which
— Duplication.
my
upper parts forming the
in the
lower octave only.
meaning:
A. Close part writing Four part harmony.
Duplication of
Duplication of 2 parts.
#
ft
*^
^ xr
1
part.
Duplication of 3 parts.
n
&
I
I
"
s
TT
t
^
ft ^
B. Widely-divided part-writing. Pour part harmony. A>
<>
i
Duplication of
1
part.
Duplication of 2 parts.
65
ms
—
i
Bad:
On
account of the distance between the bass and the three other
parts, only partial
dupHcation
g
[t
Good:
Note.
Notes
in
is
possible.
;;"i
^m
^ 4 ^=^ '
unison resulting from correct duplication need not be avoided,
for although the tone in such cases is not absolutely uniform, the ear will
be
satisfied with the correct progression of parts.
Consecutive octaves between the upper parts are not permissible:
:^
Bad:
Consecutive
resulting
fifths
upper parts moving
in
from the duplication
of the
three
chords of sixths are of no importance:
Good:
The bass
of
be doubled
in
m
t^z
Good:
an inversion of the dominant chord should never
any
of the
upper parts:
-o^
^
Se-
^
~w Bad:
m
S
§..
m
XT
XT
4
4
3
8
This applies also to other chords of the seventh and diminished seventh:
—
:^
^
#
Bad:
66
m
S The
rules of
harmony cpncerning sustained and pedal passages As regards passing
apply with equal force to 'orchestral writing.
and auxiliary in rapid
notes, ecliappees,
considerable licence
permitted
is
passages of different texture:
One
rrrrrifrr
textuce: II
A
S
#
Good:
different one:
One texture:
A
different
one:
A
certain
figure
and
its
essentials^
in
simplified
form,
may
proceed concurrently, as in the following example:
One
texture:
A
different
A
third:
one:
^ ^
Upper and inner pedal notes are more
effective
on the orchestra
than in pianoforte or chamber music, owing to the greater variety of tone colour:
»
-w
— In
Vol.
methods
II
will
—
work many examples
the present
of
67
the
of
above
be found.
Distribution of notes in chords.
The normal order
sounds or the natural harmonic scale:
of
'A
':
i'.
< It
may
serve as a guide to the orchestral arrangement of chords.
will
be seen that the widely-spaced intervals
becoming
part of the scale, gradually is
lie
in
the lower
closer as the upper register
approached:
*
3fe =S=
m The bass should
rarely
lie
at
from the part directly above
it
to
make
a greater distance than an octave (tenor harmony).
It
is
necessary
sure that the harmonic notes are not lacking in the upper
parts:
m
ran =&:
^
Sz S=
To be avoided:
P The use
of
sixths
the
in
upper
parts,
and the practice
of
doubling the upper note in octaves are sometimes effective methods:
^
8=
=S:
Oy
:
" t\
—
f
— When
—
68
correct progression increases the distance between the
top and bottom notes of the upper parts, this does not matter:
i^w4
Good:
g But
it
would be
distinctly
bad
to
in the
fill
second chord
this:
,(>ta
SIE
^
B=^
Not good:
-k^
S Hence
it
follows that the distribution of intermediate parts
Nothing
question of the greatest importance.
chords,
the
upper and
lower parts
of
is
is
a
worse than wriiing
which are separated by
wide, empty intervals, especially in forte passages; in piano passages
such distribution
may be
possible.
Progression
in
contrary motion,
the upper and lower parts diverging by degrees gives rise to the
gradual addition of extra parts occupying the middle register:
i
,1
j
i
Schematic
Example:
m When
C2
-
i
jj
TT
i
f
t
-
ff
m
il
the voices converge, the middle parts are eliminated one
by one:
?
Schematic
Example:
i
f.
y
^^ f
-§r
—
—
69
String harmony. resonance
an incontrovertible rule that the
is
It
harmonic parts must be equally balanced, but noticeable
less
short
in
different
balance
this
will
be
sharp chords than in those which are
connected and sustained.
Both these cases
will
In the first case, in order to increase the
rately.
of
be studied sepa-
number
may be
parts, each instrument in the string group
double notes or chords of three and four notes.
of
harmonic
provided with In the
second
the resources are limited to double notes aniSy or division
case,
of parts.
Chords
Short chords.
A.
three or four notes can only be
of
executed rapidly on the strings. Note.
It
true that the
is
held a long- time;
this,
two upper notes-
chord can be sustained and
of a
however, involves complications and
will
be considered
later.
Short chords, arco, only sound well
when
of double notes
and chords
of three
balance, perfect distribution
of
parts are of
minor importance.
everything
the resonance
is
of ease with
of*
and
strings,
and correct progression
What must be
of
considered before
the chords themselves, and the degree
which they can be played. Those comprising notes on the Chords played on several strings
2^
are usually assigned to isi and
notes being divided between
and the demands
upon
violins
and
them according
of resonance.
'cello is rarely called is
forte (sf),
In the execution
and four notes on the
tone,
gut strings are the most powerful.
and
when played
they can be supported by wind instruments.
On
to play
account
violas, the different to
ease in execution
of its
low register the
chords on three or four strings,
usually allotted the lowest note of the chord in
Chords on the
with the double bass.
more uncommon, but
it
may
latter
company
instrument are even
supply the octave on an uncovered
string.
Examples: No. 97. *
Snegourotchka[^;
cf.
also before [ho]
Spanish Capriccio, before [V] (cf. Ex.
Sheherazade,
*No. 98.
2^ movement
Tsar Saltan
\V\
67).
Ex. 19.)
(cf.
[Tis]; cf. also
and before
i4i |
|
and before
182
[200]
.
—
may be added
Isolated chords
—
70
melodic figure
to a
upper
in the
rhythmical moments.
part, accentuating, sforzando, certain
Example: No. 99. Snegourotchka, before
Sustained
B.
126
and tremolando
also 326
cf.
;
Chords
chords.
sustained
for
a shorter or longer period of time, or tremolando passages, often
used as a substitute, demand perfect balance of tone. granted that the different
members
of the
string
Taking
for
group are equal
in power, the parts being written according to the usual order of
register,
(cf.
Chap.
it
I),
harmony, with the bass
When
it
middle
register, the
is
is
patent that a passage in close four-part
in octaves will also
necessary to
notes
introduce
be uniformly resonant. to
fill
up the empty
upper parts being farther distant from the bass,
doubled notes on the violins or violas should be used, or on both
The method
instruments together.
of dividing strings,
sometimes adopted, should be avoided parts of the chord will
in
if
entirely for
strings
tone will be completely satisfactory, H5v
will not; but,
on the
harmony be
written
same manner,
divided in the
is
such cases, as certain
be divided and others
a passage in six and seven-part
other hand,
which
the balance of
e.g.,
/Vnil (vnil
/VnsII ^•^•\Vnill Hi„ ..
/Violas
°'^' \
If
the
harmony
Violas
I
II
the three upper parts, thus strengthened,
in
written for divided strings, the 'cellos and basses, playing will
prove a
trifle
non
is
divisi
heavy; their tone must therefore be eased, either
by marking the parts down or reducing the number In the case of sustained
the progression of parts
is
chords or
forte
of players.
tremolando on two strings,
not always according to rule, the intervals
chosen being those which are the easiest
to play.
Examples: No. 100. No. 101.
The Christmas Night „
„
„
i6i
—
Full divisi
[210] -Vi°jf^^3^;;;:} 4 part harmony
^
— No. 102. Snegourotchka
—
71
—
|i 87— 188|
Four-part
harmony,
Vni II, Violas and [243]
„
Sheherazade, (cf.
— 4 Solo
2^
Vn?.
I,
Violoncellos.
'cellos divisi.
—
movement, beginning.
4 D. bass
soli
div.
Ex. 40).
The Tsar's Bride No. 103.
Legend
Chords on
179
240 „
„
„
The Golden „
„
Ex. 243).
— Ex. — Harmonic
basis in the strings
21).
(cf.
[283J
(cf.
basis in the strings.
(cf.
No. 104.
strings
all
Harmonic
of Kitesh
-
Ex.
2).
— Basis the Cockerel \J] — Undulating rhythm
strings.
in
[T25]
„
strings as
In a forte or sfp chord,
harmonic basis
where one or two
of the
(cf.
in the following
Vnil
Vnill
*
J
is
still
fr
$
^ ^ w ^ P
D. basses
must
example:
¥p^
Violas
Ex. 271).
upper notes
held, either sustained or tremolando, the balance of tone
be maintained, as
in the
f^
sfp
f
sfp
f
Wood-wind harmony. Before entering upon this section of the work the reader of the general principles laid
down
I
would remind
in the
beginning of
the chapter.
Harmonic texture, composed
of plain chords or ornamental designs,
must possess a resonance equally distributed throughout. This may be obtained by the following means: simple or contrapuntal
in character,
—
—
72
Instruments forming chords must be used continuously in the
1.
same way during a given passage, that is doubled or not throughout, except when one is
to
to
say they must be
harmonic parts
of the
be made prominent: ;i
2 Fi \
Ob
^„ j
:|::^ciar.4-
To be avoided:
r^"^""
^ ''1 2 01
2 Fag
The normal order
2.
must be followed, except
of register
which
or enclosure of parts,
case of crossing
in the
be discussed
will
later on:
^
i^
To be avoided:
»i^Ig"
^^
"
Corresponding or adjacent registers should be made
3.
to
co-
incide except for certain colour effects:
^1fi To be avoided:
Concords
4.
fourths,
the
The second
flute will sound loo the oboes too piercing.
(octaves, thirds
seconds and
same kind or
sised.
.
ft>Q^ro
(
and
sixths)
sevenths), should
colour, except
and not discords
be given
when
weak and
to
discords are
(fifths,
instruments of tc
be empha-
This rule should be specially observed in writing for the
oboe with
its
penetrating quality of tone:
To be avoided:
y
ffi
o^^
Ci.[^
"^*^ -
Four-part and three-part harmony. Harmonic writing two points
for
the
wood-wind may be considered from
of view: a) instruments in pairs, 2F1., 2 0b., 2 CI., 2 Fag.;
and b) instruments
in three's,
3
Fl.,
2 Ob., Eng. horn, 3
CI.,
2 Fag.,
1.
Super-
C-fag.
A.
In pairs.
There are three ways
position or overlaying (strictly
of
distribution:
following the normal order of register),
— 2.
Crossing,
and
3.
73
—
Enclosure of parts.
The
last
two methods
involve a certain disturbance of the natural order of register:
Overlaying.
In
Crossing.
Enclosure.
choosing one of these three methods the following points
must not be forgotten: the soft and
weak
a) the register of a particular isolated
register of
chord;
an instrument should not be coupled
with the powerful and piercing range of another: Overlaying.
Crossing.
Enclosure.
^fr^ Oboe
too piercing
Low
notes of the flute too weak
Bassoon too prominent,
b) In a succession of chords the general progression of parts
must be considered; one tone stationary
When be
and another
to the
quality should
moving
be devoted
parts:
chords are in widely-divided four-part harmony notes
allotted in pairs to
normal order
two
the
to
different tone qualities,
may
adhering to the
of register:
Good:
etc.
^parAny
other distribution will result unquestionably in a grievous
lack of relationship between registers:
To be avoided:
etc.
— If
one tone quality
to
is
74
—
be enclosed,
different timbres:
i
•/Fag- »•
It
is
o
Ob.
Fl.
Good:
FnnjT":^ Fag
^CF
it
must be between two
m
etc.
possible to lend four distinct timbres to a chord in widely-
divided four-part harmony, though such a chord will possess no
uniformity in colour; but the higher the registers of the different
instruments
are placed,
which separates them:
i
the
Fl. -» .
Cl-
o
^
Fag. TJ
Fairlygood
The use
perceptible
becomes
the space
.
Fl
Ub
less
L'l.
o
Fl.^ Ob.n (Jl.o
Ka £•.•»• Better
Still
better
of four different timbres in close four-part
harmony
to be avoided, as the respective registers will not correspond:
Fae/*^
is
—
75
The use amount
to
of
crossing and enclosure of parts (which in a
the
same
must depend on the manner
thing)
way
of their
progression: Enclosure
-Q^
m
^ef=m^
^^
8
ij
.T^§
l
l
u. [
^^Oh
;
^^
Wood-wind in three's. Here the distribution of chords in close three-part harmony is self-evident; any grouping of three instruments of the same timbre is sure to sound well: B.
§]3F1.
S
¥05;
§] » Clai
il^'-'^s t'l
fr
Fl.picc.
^^
;]2 Fl.
m
also:
^s^¥f;
Cor.ingl.
Fl.c-alto
'^ '«.:::;
Overlaying of parts close
may
&j^!!^!
i
C-fag-.
method
the best
to
harmony; three instruments
four-part
instrument of another.
with a fourth parts
is
j
CI. pice.
fe ^s^Gj;
also
be employed.
of
follow in writing the
same timbre
Crossing and enclosure of
Correspondence
of timbres
and the
progression of remote /parts must be kept in mind:
FaF^
«-Fag
The method
of using three instruments of the
widely-divided three-part
3 Fl
Not good
^«
harmony
is
same timbre
in
inferior:
Fl
5P6¥^
Better
Sil-: " Ob.
m
Better
CI.
=3=^^
Not good
;]aF a g.
o-i
3
C I.
-»^ "Fa{-.
Better
Better
:
—
76 But
if
the third instrument
horn, Bass
3^ *y
In
is
low register (Bass
of
Fl.,
Eng.
or C-fag.), the resonance will be satisfactory:
cl.,
3=eC basbu
Cl
^^
31] a Kgg.
o
"
* Coringl.
Crfag.
3:*:Bz Fl. t%alt
chords of four-part harmony, three instruments of th^ same
timbre should be combined with a fourth instrument of another:
5 Cor. ingl.
^
:]^^--^\
o
Harmony or
independent,
are
follow
the
Ob.
$^
Cl-ba^«o-
etc.
Uor. ing-l •» Cl
in several parts.
In writing chords of 5, 6, 7
should
^ la
i Cl.
i
:]
II
(Jl-basGO «• C-fag-. «>
constitute
and 8 part-harmony, whether they the
harmonic
outlined
principles
in
the
basis,
the student
previous
chapter,
dealing with the progression of wood-wind instruments in octaves.
5%
As
the
of
lower notes
6111,
711i
and
of
the
811i
notes are only duplications in octaves
real
harmony
(in
4
parts),
instruments
should be chosen which combine amongst themselves to give the best
octaves.
may
also
The process
of
crossing and
enclosure of parts
be used.
A.
Wood-wind
In
widely-divided
in pairs (close distribution):
harmony chords
in
several parts are to
be
avoided as they will entail both close and extended writing:
Note. In the majority of cases this distribution upper harmonic parts have a special melodic duty is discussed above.
is
employed when the
to
perform
—
t>vo
this question
— B.
Wood-wind
77
in three's:
m
3
Fl
bl a
Q13 Ob
cji.
r
II
8
o'
.
Corittfri^
Fa^.
3
3F1
^m ifm^ *^Cor.ingl. * >:«>-aff.[g'
im
a«
]
H CI. CI. basso LSSO
33 j 2 Fag.
Overlaying of parts
l\-\
harmony.
three-part
close
C-faff.
the most satisfactory
is
Myaff.
z=:
C- fag.
favourable,
etc.
<» Cor, ingl.
Gh
ocibasso"
with
Fl.
a Ob.
Crossing
method
of
parts
be produced contrary
as octaves will
to
in
dealing
is
not
so
the natural
order of register:
(mayag.r*€ ^Gf
I j^
Here the arrangement
is
bad.
•CTClar.
Duplication of timbres. A.
If
the
wood-wind
doubled timbres as
is
much
in
pairs
it
is
a
good plan
to
mix
the
as possible:
2F1. 2
..^0^-2
J^ob.cnRiviu. |«ot>ioi'^^^]|n^nri]>i}l| ^
|
Excellent
^2F1 also:
=mm»-ObT
i»-Ffc=E^^3=3=0^
•[^^jal^ag-
In
2Cl.[--]2Fag.
chords of four-part harmony the classical method
adopted: .2 0b.
llifej :s:cf;
may be
— In this case,
duplication
2^
of
the
G and E
2^
notes.
In
in
the oboes
softened by the
is
while the
1^1 clarinet,
C
in
the
feeble in comparison with the other
is
any case the two extreme parts are the thinnest and the intermediate parts the fullest and strongest.
tone,
Wood -wind
B.
in the flute is fairly powerful,
in
and
flute
clarinets (not doubled)
weakest
C
though the high
the resonance of the
—
78
in
admit of perfectly balanced mixed
three's
timbres in chords of three-part harmony:
^
3FI.30b.,
i
3Faff 3C1.
3F1.3C1.
m]
3 0b.3Cl.
SOb.SFaR-.
[jiin
I
m
1f»
These timbres may even originate from three-fold duplication; 30b.3Cl.3Fag-
^ffi /'
^^^F=^^
^^
^^
I
3Fl.30b.3Cl.
Remarks. 1.
Modern
mediate parts
orchestrators
do not allow any void
in writing close
harmony;
it
in
the inter-
was permitted
to
some
extent by the classics:
*
i
&.
a. jt
These empty spaces create a bad For
this
reason widely-divided
based on the extension of only in piano passages. in all 2.
harmony devoted As a general
effect especially in forte passages.
harmony, which
intervals,
can be used but seldom and
Close writing to the
fundamentally
is
is
wood-wind,
the
frequent form
more
forte or
piano.
rule a chord of greatly extended
range and
in
several parts is distributed according to the order of the natural scale,
with wide intervals (octaves and sixths), in the bass part,
lesser intervals (fifths
and fourths)
in
the middle,
nals (3nli or 211^) in the upper register:
and close
inter-
—
M
M I^]
(c.
s^es;
!.}
^JfCf
'3
ffi «-Gi,
^ayn
B3 2F1
2 Fl.
^5^
Co r-inR'T^
'
Fl.picc.
c*.
3 Fi
§]j;o^
*
—
79
a
Ob
.
3 Faff
,
Koff.
[
Xf C.-fag-.
one
is
m i m on account
of
will
of this
proximity
the
iS:
t*»*»h
^
itnn^
example the of
doubled
meanings
i
^ is
doubled in unison
upper parts
their
to
fourth bar the
In the
F
harmonic
of the
four parts, does not by any
One More
basis,
which
means devolve upon
is
essentially in
the
wood-wind
of the parts is often devoted to the strings,
frequently
the
bass
part
is
treated
arco or
separately,
the
chords of greater value in the three upper parts being allotted the
wood- wind.
Then,
of strings, there remairls
harmony
in the
harmony
in
the
if
the upper part
assigned to a group
is
two middle
parts.
In the first case the three-part
wood-wind should form an independent whole,
manner
open fourths and
the second
desirable to
full
tone,
to
nothing for the wind except the sustained
receiving no assistance from the bass; in this
is
is
unison in both groups.
in
The formation
pizz.
D
the three
corresponding parts an octave lower.
my
illustrate
sx
second bar
In the
alone.
that
such cases the
thankful for the logical accuracy of the
is
The following example
progression.
4.
In
reconciled to the brief overthrow of balance for the sake
a single part, and
of
demands
cases correct progression of parts
them should be temporarily doubled.
of
ear
many
In
3.
fifths will
be obviated.
In
intervals of
case
it
provide the intermediate parts with a moderately
choosing no other intervals except seconds, sevenths,
thirds or sixths. All that
has been said with regard
to the
use of wood-wind in
the formation of harmony, and the division of simple and
mixed
.
—
—
80
timbres applies with equal force to sustained chords, or harmonic progressions interchanging rapidly with staccato chords.
some importance,
chords, separated by rests of
and
division of timbres is not so perceptible to the ear,
gression of parts attracts less attention.
It
In short
the arrangement
would be
and pro-
useless, nay,
impossible to examine the countless combinations of tone colour, the varieties of duplication and distribution of chords.
all
my aim
been
to
work, and to indicate the general rules
mastered these,
if
and
scores,
full
It
has
denote the fundamental principles upon which to
listen
be followed. Once having
to
the student devote a
them on the
to
time to the study of
little
he
orchestra,
soon
will
when certain methods should be used and when to adopt others. The pupil is advised, generally, to write for wood-wind learn
in its
normal order
cular chord
is
knowledge attention
composed
heed
each
that
parti-
entirely either of duplicated or non-dupli-
methods
and enclosure
of crossing
what he
of
and
doing,
is
of timbres with full
finally
to
concentrate
his
on close part-writing.
Examples a)
to take
(except in certain cases resulting from progression),
cated parts, to use the
of distribution,
wood-wind harmony:
of
Independent chords.
No. 105.
—
The Christmas Night [hs]
No. 106.
„
2 Fag.
beginning — Ob.,
„
„
CI.,
CI.
Fag. (cross-
ing of parts).
Snegourotchka
—2
\^
CI.,
Fag.
5«Lbar. — 2 2 Fag. Ex. Snegourotchka [T^ — Pice, 2 (tremolando) — 2 2 Ob. (high Shdherazade, beginning — Total wood-wind 79
*No. 107. No. 108. No. 109.
Ob.,
136).
(cf.
Fl.
[2041
„
register).
Fl.,
in different
distribution. *
Russian Easter Fite [a]
*
Tsar Saltan
No. 110. No. 111.
[45] Ob., 2
—3
„
115
,
lis
(cf.
Ex. 176).
[nT]
— mixed
timbres
and other similar passages
sweet „
tremolando
Fag.
Tsar Saltan, before „
Fl.
effect
- 2 Ob.,
of
wood-wind
2 Fag.
— very
in three's.
81
—
Sadko, Symphonic Tableau [T] *
Ob., 2
— Eng. horn, 2 before [T] — Total
Sadko, Opera [T] „
,
Sadko
No. 112.
Chords
72
Fag.
CI.,
CI.
wood-wind.
harmony; simple
three-part
in
and mixed timbres *No.
The Tsar's Bride
113.
*No. 114.
Legend
wind.
[126] Full
of Kitesfi, before
—
161
of parts
high register),
in the
I
before
No. 115.
— Enclosure
90
(Ob.
Wind and
brass
alternately.
No. 116.
—
[T67]
wind
Full
except
oboe,
with chorus.
Legend *
—
of Kitesh [269]
The Golden Cockerel
—
125
Fag.
CI.,
Fl.,
Various wind instruments, 4 part
harmony
—
218
Ob., Eng. horn, Fag., also [254]
No. 117.
Ex. 271).
(cf.
The Golden Cockerel, before
C-fag;;
cf.
.
—
[235]
Mixed
timbre;
2 Fag. form the bass, b)
Harmonic basis (sometimes joined by the
The
May
Antar
Night, Act
—
[T]
III
horns).
2 Fag., Eng. horn
Ex. 18).
3 Flutes.
68
—
Snegourotchka
2
-
[Tst]
No. 118.
high register,
CI.,
before [so]
—
2
Fag.
Fl.,
2 Ob., 2 Fag.
274
2
283
Fl.,
CI.,
Snegourotchka
low
register
Eng. horn,
—
|292|
CI.,
(cf.
Ex.
Fag.
[3 18-31 9
„
Shihirazade, 2i^ movement [T]
Sadko \T\
—
CI.,
Sadko n
Bass
[49]
cl.,
3
1
—
—2
CI.,
(cf.
Horn, Fag.
Cl. (cf. Ex.
wind.
Fag. (sustained note in
CI.
Cl.,
in the
and
2 Flutes.
Fag., C-fag.
— Ob., —2
Ex. 26).
Widely-divided harmony
the horn)
—
The Christmas Night [T]
9).
(cf.
doubling of parts No. 119.
No. 120.
(cf.
289, 290).
Ex.
1).
— —
Sadko [ni]
No. 121.
195-196]
No. 122.
The Tsar's Bride
80
CI.,
59
Servilia *
No. 123.
*No. 124.
—
Fag.
—
2
CI.,
166
—
82
Bass
CI.,
cl.
Fag.
harmonic parts
motion,
in
Fl.
and
Cl. (cf. Ex. 22. Cl. (low. register),
Fag.
Kashiche'i the Immortal
Legend
of Kitesh
80
— — —
52 55
68
Ob., Fag» muted.
Fl.
Fag.
Fl.,
Ob.
Ex. 197).
(cf.
Eng. horn, Fag., C-fag.
(cf.
Ex. 199).
No. 124.
118
—
niixed timbre: 2 Ob., Eng.
—
horn and 3
Cl.
136
harmonic parts
in
—
before
3
247
No. 125.
273
— — —
2
Cl.,
No. 126.
*
No. 127.
355
The Golden Cockerel
cl.
Eng. horn, 2
Fag.
Cl.,
Bass
cl..
cl.,
harmonic Fl.
Harmony
in
CI.,
2 Fag.
Fag., C-fag.
Fag.;
Cl.,
[156]
and Bass
Cl.
— Eng. horn, muted, — Bass
40—41
No. 128.
Ex. 31).
(cf.
Bass
cl..
*
Cl.
Ob., Cl.
Fl.,
(low register)
Fl.
and 2 223
motion:
Bass
Fl.,
Cl.;
cl.
parts in motion:
and
Cl.
the brass.
Here, as in the wood-wind, part writing should be of the close
order with no empty spaces in the intervals.
Four-part writing. It
is
evident that the quartet of horns presents every facility for
four-part
harmony, perfectly balanced
the bass in octaves:
in
tone,
without doubling
83
Note. In the diagrams of the present section the actual sounds of horns and trumpets are given, as in a piano score, for the sake of simplicity.
When
it
is
found necessary to double the bass in octaves, the
too resonant trombone and tuba are seldom used, the duplication
being effected by the bassoon, as explained further on. The quartet
trombones and tuba
of
harmony; the in octaves,
third
not often employed in close four-part
is
trombone and. the tuba usually form the bass
and the three upper parts are generally
allotted to the
two remaining trombones reinforced by a trumpet or two horns in unison, so as to obtain a perfect
Tuba I
•»
Tuba
balance of tone:
or
g
2Corni (ITr-ba)
^.
Tuba
have often adopted the following combination of brass instru-
ments, and consider
form the bass
it
eminently satisfactory: 2 horns and tuba to
in octaves, the three other parts
m
given
to the
trombones:
3 Tr-bni zsrt **
'-i
Uorin
(beautiful full resonance).
Tuba In the
higher registers, four-part harmony, of which the two upper
parts are given to the trumpets,
bones or four horns -ni
in pairs:
»3^TI^.b0
may be completed by two
trom-
i
84 or
in
progression:
Three-part writing. The best combination If
instruments
the
is
trombones, horns, or trumpets
number
mixed the
are
in three's.
horns should be
of
doubled: .
^
„
2 Cor
rt-.
paXnib ni
ff^qg
a Tr-b e ^4Coi
^
[
etc.
whole group
the
.
2 Cor.
Writing
When
y
in several parts. used' the
is
number
horns should be
of
doubled: g Tr-be
I
-
[
»
^ j
,] 4
l''--bo C
seven,
4 Corn
U]4 Co m
^TftrbfH-
rT|
i
3E
In
!JTp.boC»
^ or
** 2 CornT
.'^
Tr-bm
_af"U-Tfe}HH|
333
Tuba
six,
Hl '<' »V- W^^ i
etc.
— 1.3Tr-bni Tub.i
»
—
C orTii
Tuba
harmony
five-part
Tuba
«»
certain
instruments
must
be omitted: 1
Tp-bn
ti
^m 4 Co r ni
A T p . be
\\]
3 Tp-bf
l^
Hr^l-^H rf l>-t>m
Tuba
«
Tuba
llTr.bni
m «»•
«-
Tuba
a Tr-hc-
Ji «>1 .»—
—
ti ,
"o -a-t^^»fm
=a^r-bc
.,
]
U Tp.b S^
1
?
.
^ ITorni etc.
^
n
1
*^
Tuba
i
>-biio
ffi
«
T
i
'-hn
i
Tuba
Discords of the seventh or second are preferably entrusted instruments of different tone colour:
to
—
m
i
;*
—
85
rp- b o
[8 L
TITf-lio
-TT
Tuba
Tuba
such chords are
includes two trumpets, pairs.
In
4Corni
3Tr.bD»( Bl
4Corni
3 Tr-bni
When
—
"J
it
is
written
for
an
orchestra
which only
impossible for the horns to proceed in
such cases the following arrangement
may
obtain, the
horns being marked one degree louder than the other instruments, to
secure balance of tone: 15Tp.bc
t
J
mg.]4Lorn=T^
f— §i^ I 2 Tr-bni
"^
The same method in
pairs fails to
When
Tuba/-
.should be followed
whenever the use
of
horns
produce satisfactory tone.
chords of widely-divided harmony are distributed through-
out several
harmonic
registers, the register
need not be doubled; the arrangement
occupied by the horns
of
the
chord
will
semble that of a chorale written for double or triple choir.
re-
For
example:
Tuba
zPJ
Tuba
Duplication in the brass. Duplication in the brass group
is
most frequently effected by placing
a chord for horns side by side with the
trumpets or trombones. sifies
pets
The
soft
same chord
round quality
of the
written tor
horns inten-
the tone, and moderates the penetrating timbre of the trum-
and trombones:
—
i
a Tr-b
—T
^i
^m
a
86
—
^TTT
4 Cop.
a
*
Tu b a
Uior.
T r-b
*'
i ;"tU'!;'[85]»1^^-
Similar juxtaposition of trumpets and trombones:
3Tr-be
is
not so
in the
In
common,
wm
as this unites
a Tr-bni
two most powerful agents
tiie
group.
handling an orchestra the brass
tain notes in
two or three octaves;
be ignored.
The
tenuto
two or four horns,
employed
frequently
is
this
sphere of
to sus-
must not
activity
generally given to two trumpets, or to
is
in the octave, (in
double octaves). The octave
is
sometimes formed by trumpets and horns acting together: 2Tr-he
2 Corni
4 Corni
fe
Tr-ba
«»-2Cor"rr
wry
The trombone with combinations.
1
ponderous tone rarely takes part
its
Sustained
notes
in
double
are
octaves
in
such
usually
apportioned thus: =°^Tf; U'lVbo
it^OPMI
The imperfect balance note
some
is
compensated
arising from the duplication of the middle
for
of timbres,
which lends
unity to the chord.
Examples a)
by the mixture
of
harmony
in the brass:
Independent chords:
Snegourotchka
[j^J
[140]
—3 —
Trombones, 2 Horns.
3 Trombones, 2 Horns. Chords
groups alternately „
I
255
— —4
Full brass; further
|i7i 1
Horns
(cf.
in different
Ex. 244).
on 3Trombones
(stopped).
(cf.Ex.97).
—
—4 —
28^
Snegourotchka, before
No. 129.
—
87
289
Sadko
191
„
*
— 193
—
+
(cf.
Full brass except Tuba.
(Full brass).
178
Tsar Saltan
Table of chords No. Servilia
*
Legend
No. 135.
II
brass.
102
7'-lL
bar.
at the
end
Full
—
-(-
2 Trumpets, 2 Trom-
4 Horns (juxtaposition).
brass,
of Vol.
II,
thicHly scored
(cf.
Ex. 12).
Various brass instruments.
154
of Kitesh
Legend
No. 134.
muted
Strings and brass alternately (cf.Ex.242).
bones
*
Full
Ex. 237).
—
*
—
— 4 Horns + 3 Trombones
,,181
„
The Tsar's Bride No. 133.
3 Horns
3 Trpmpets.
The Christmas Night, before \m\
No. 132.
of parts).
(juxtaposition)
before [aas]
No. 131.
*
Full
|i75|
„
+ Tuba
Full brass.
— brass (enclosure — Mixed timbres
*Sadko, before [T] No. 130.
Horns.
130
— 3 Trumpets,
of Kitesh
199
The Golden Cockerel
Trombone and Tuba.
Short chords (juxtaposition). 115
— Horns, Trombones
(en-
closure), b)
Harmonic
No. 136.
basis:
Snegourotchka „
[t?], 6t!i bar.
231
—
4 Horns.
— 3 Trombones,
soft
and sweet
Ex. 8).
Antar
64-65
4 Horns; later 3 Trombones
H
(cf.
Ex. 32).
(cf.
Harmony
combined groups.
in
A. Combination of wind and brass.
Wind and of placing a in
may be combined by
brass instruments
chord
in
method
the
one timbre side by side with the same chord
another timbre, or by any
of the three
methods already described:
overlaying, crossing and enclosure of parts.
1.
In unison (juxtaposition or contrast of tone qualities).
same features Wood-wind
as combi-
characteristic qualities.
Arrange-
This class of combination possesses the nations in the melodic line the brass, softens
it
Chap.
(cf.
and reduces
its
II).
reinforces
ments such as the following are possible: 2 Trumpets
3 Trumpets
+2 +3
Fl.;
2 Trumpets
+2
Ob.
2 Trumpets
+2
CI.
Fl.;
3 Trumpets
+3
Ob.
3 Trumpets -f 3
CI.
Also 2 Fl
i
etc.
S as well as:
+ 2 Fag.; 3 Horns + 3 Fag.; 2 Horns -f 2 Fag. + 2
2 Tr.be C'orni -
!S
+2 3 Horns + 3
2 Horns
2 Horns
CI.;
and:
CI.;
CI. etc.
The combination 3 Trombones -|- 3
Fag., or
3 Trombones
-{-
3
CI.
are very rare.
A
chord scored for
for full
wood-wind
full
brass doubled by the
(in pairs)
same chords scored
produces a magnificent and uniform tone.
Examples: Snegourotchka 315
— 2 Horns + 2
CI.
and 2 Horns-f 2 Ob.
(cf.
Ex. 236).
No. 141. No. 142.
and
The Tsar's Bride
50 142
„
— 4 Horns + 2 — Juxtaposition
CI.,
of
2 Fag. full
wind
brass.
Ivan the Terrible, Act Table of chords No. 143.
II,
Ex.
II
[sol
— Juxtaposition
and enclosure
(cf.
8).
The Christmas Night
[Tas]
—
4 Horns
-|- Fl., CI.,
Fag.
— *
No. 144. Sadko, before [79]
-
89
—
Horn, Trumpet
No. 145.
„
[242]
—
also
CI.
F1.,
Fag.
CI.,
(cf.
24^).
Legend
No. 146.
(1).
+ — Horn, Trombones -f
Full brass
Legend of Kitesh, beginning [5] — Ex.
doubled wood-
-[-
wind
of Kitesh
— Eng. horn, 2 Fag. + 4 Horns non — Full brass wind. [2^ - Horn + ct "^^^ CI.,
|_ioJ
legato
legato.
324
The Golden Cockerel
*No. 147.
Stopped
-|-
or
muted notes
oboe and Eng. horn
^^
trumpets and horns resemble the
in
combination of these instruments
in quality; the
produces a magnificent tone.
Examples: No. 148. Russian Easter Fete, register) *
+ Ob.,
Tsar Saltan
[T54]
—
[129]
—
Full
Trumpets (low
„
„
muted brass
2 Ob., Eng. horn,
muted *No. 150.
(-t).
CI.
The Christmas Night, before
*No. 149.
— Horn
p. 11.
[TaT], 171I1 bar.
-|-
wind.
+ 3 Trumpets
(3 CI. at the
bottom).
— Same combination with added horns.
*
Antar \T\
No. 151.
A
beautiful dark tone
— Ob.,
Eng. horn, 2 Fag.
+4
Horns
(+).
derived from the combination of middle
is
notes in stopped horns and deep notes in the clarinet:
^
+ .'Jl'oi-.[^g] iJClar.
bassoons are substituted for clarinets the
If
effect loses part of
character.
its
Examples :
— 2 Ob., 2 + 4 Horns — 2 Fag. + 3 Horns — Fag. + 3 Horns 249 Night, — 3 Horns + 3 Fag. and 3 Horns +
*Kashtchei the /m/wr/a/
[29], 11 lH bar.
107
The Christmas *
Mlada, Act
3 Ob. (1)
in the
(cf.
In
III
,
6ili
bar.
(+).
CI.,
(+).
CI.,
p.
|_i9j
CI.
(+).
(+)
{+)
Ex. 259).
the
full
example.
score a misprint occurs
in the clarinet part;
it
is
corrected
(Editor's note.)
—
Overlaying (superposition), crossing, enclosure of parts.
2. It
90
has already been stated that the bassoon and horn are the of reconciling the
two instruments best capable
wind and
Four-part
brass.
harmony given
groups of wood-
two bassoons and
to
two horns, especially in soft passages, yields a finely-balanced tone recalling the effect of a quartet of horns, but possessing slightly
bassoons, and
is
it
horns overwhelm the
In forte passages the
greater transparence.
wiser to employ four horns alone. In the former
case crossing of parts
is
to
be recommended
for the purposes of
blend, the concords being given to the horns, the discords to the
bassoons: 2Fngrsi
S
and not:
Bassoons process
is
may
^J
^^'^''•-
also be written inside the horns, but the inverse
not to be recommended: 2Cor.rqQ.i2 Faff
The same
insetting of parts
may be used
for sustained
trumpet
notes in octaves. In soft passages, thirds played in the low register of the flutes, ful
sometimes combined with
mysterious
to the brass, the
Clarinets,
between trumpets
effect
consecutive chords
it
is
moving
on account
clarinets,
in octaves.
by
parts,
In
a chain of
advisable to entrust the stationary parts parts to the
wood-wind.
of their tone quality
inside the horns, but, in the Upper register,
monic
produce a beauti-
should rarely be set
and
in the
higher har-
may be completed flutes; the bassoon may
a chord of four horns, (piano),
clarinets as effectively as
by oboes or
then double the base an octave below:
^
$
3 Clar. ou 3 Olx ott 3 Fli
S
4 Corni
m Played
balance
forte,
may be
the horns are
more powerful than
the wood-wind;
established by doubling the upper harmonic parts:
1
91 2
Ob
Fag-
Examples: a) Superposition. *
—
Sadko, Symphonic Tableau [[] Fl., Ob., before [u] 2 Fi., CI., Horns, ,
— chord —
final *
Antar
|^2]
—
Antar
No. 152.
[se]
—3 —
*
Snegourotchka
*
Sheherazade
*
Russian Easter Fete
trombones *
|30o|
—
No. 153.
and
Final chords of liL
—
in juxtaposition (cf.
(basis).
wind and horns.
Full
[jT]
(basis).
(basis).
4 Horns
Fl.,
Horn
Horn.
CI.,
Fl.,
Horns
CI.,
Fl.,
CI.,
movements.
4^-^
Horn;
CI.,
Fl.,
trumpets and
later
Ex. 248).
The Christmas Night [2i2]
lOiH bar.
,
— Wind and Horns;
trumpets and trombones added later.
215 *
Sadko, Opera
1
165
No. 154. Sadko [ass]
FI.+ 3
CI.
],.
3 Horns
—
Juxtaposition ana Superposition.
—
Same
No. 155. Servilia \n\
distribution.
' "• +„2„0^;.
O-
*No. 156. Legend of Kitesh, before „
3
„
„
—3 Flutes, 3 Trombones.
157
final
chord
|2i9|
-
(cf.
Table
III
of chords,
Ex. 15).
*TheGolden Cockerel, before
Mixed timbre
of
wood-wind,
4 Horns. b) Crossing. *
The Christmas Night, before „
*
* (cf.
*
Legend
of
[Tot]
[si]
—
The Golden Cockerel
220
Horn., Fag.
Clar., Horn.,
Tsar Saltan, before 62
—
—
Fag.
Horn., Fag.
3 Trombones,
2
Fag.,
C-fag.
Ex. 232).
No. 157 Antar, before [io]
— Wood-wind, Horns, then Trumpets.
—
92 c)
Enclosure:
No. 158. Ivan the Terrible, Act
33
I
—
.
Flutes within horns; later
horns within bassoons. No. 159. Snegourotchka [Tsa]
— Trumpet
2 CI.
Fl.,
Trumpet
+ — 4 Horns
*Sadko, symphonic tableau *
Antar before
Fagr.
CI.
+ Fag.
Fag.
—
37
CI.
2 Horns (+) CI.
*Sadko, Opera (cf.
105
Harmonic
oboes
basis;
within, trumpets
Ex. 260).
*
No. 160.
*
The Tsar's Bride, Table
(cf.
—
Sadko, Opera, before
— Flutes
[T55]
of Overture
—
within trumpets.
Bassoons within horns
of chords, Ex. 14).
Jll
*Nr. 161.
end
Tsar Saltan
No. 162.
—
[59]
„
„
— Trumpets within wood-wind doubled.
so
Flutes
within
trumpets;
clarinets
within horns.
*Nr. 163.
Legend
—
of Kitesh [82]
Oboes and
clarinets within
trumpets.
The
relationship
which has been shown
to exist
between stopped
horns and oboe or Eng. horn authorizes the simultaneous use of these instruments in one and the
same chord, played p or
sfp:
rflii Ob.
i ^P
f
Uo r ooH^
Examples: *
The Christmas Night
The Tsar's Bride *
Legend of Kitesh
[ts]
Ob., Eng. horn,
123
244
— 3 Horns (+) + Oboe.
—
CI.,
2
Fl.,
If
and
[TIs]
clarinets are better
used
to
Ex. 240).
2 Ob., Eng. horn 1 „ °' 3 Horns (+) J
— 2FL'^2Vag.
C^^- l^^)-
trumpets and trombones take part in a chord,
trumpets.
(cf.
+ 2 Ob., Eng. horn, 3 Horn (+).
*Nr. 164. Legend of Kitesh, before [255]
*Cf.also Tsar Saltan, before
Horn (+)
flutes,
oboes
form the harmonic part above the
The following should be
the arrangement:
—
93
— Sadko, Opera 244
No. 170.
1
—
94
— Chord
1
bassoons [T42]
The Tsar's Bride Antar
1
[239]
,
;
widely extended range;
of
at the limit of
also [3] (Ex. 86).
cf.
[T79] (cf. Ex. 243).
Alternation of notes in horns and
65
trombone chords
General observations.
It
not always possible to secure proper
is
full
wood-wind.
For instance,
cession of chords where the melodic position distribution
wood-wind on
Ex. 32).
(cf.
balance in scoring for
ing,
low compass.
subordinate to
is
in a suc-
constantly chang-
is
correct progression of parts.
may be
counterbalanced
in every
chord the parts
In practice, however, any inequaHty of tone
by the following acoustic phenomenon:
in octaves strengthen one another, the harmonic sounds
in
the
lowest register coinciding with r.nd supporting those in the highest. In spite of this fact
it
rests entirely with the orchestrator to obtain
the best possible balance of tone; in
difficult
may be
cases this
secured by judicious dynamic grading, marking the wood-wind one
degree louder than the brass.
B. Combination of strings and wind.
We
1.
wind
frequently meet with the combination of strings and
comparison
in the light of
of
wood-
one timbre with another, either Apart from
in long sustained notes, or tremolando in the strings.
the complete or partial doubling of the string quartet (two methods frequently
used),
Ob.(Ci.)
the
general and most natural arrangement
+ Vnidiv.;
^[^J;
+ 'Cellos -f Violas
div.,
is:
etc.
Examples: *
Sadko, Symphonic lableau before [T], andjT],
*
Sheherazade,
*
Antar |T]
*
No. 171.
—
movement M 6 Vni
String quartet divisi
Antar
accompanifnent *
l5i
[sTl
— Vni
II,
soli
+
-[-
9*-l?
2 Ob. (2
wood-wind
Violas div.
+
bar.
Fl.,
(cf.
Fl.),
CI.
Ex. 151).
Horn
(florid
in the Clar.).
Legeu:' of Kitesh
295
—
the same;
wind, sustained harmony in the strings
rhythmic motion in the
(cf.
Rx. 213).
— Owing
2.
to the
—
95
complete absence of any
the combination of strings with brass
is
tone
affinity in
seldom employed
quality,
in juxta-
position, crossing, or enclosure of parts.
The
method may be used however when the harmony
first
formed by the strings tremolando, and the brass
when
sustaining chords,
also
chords, sforzando.
Another possible exception
the splendid
effect
in
the strings play short disconnected
may be mentioned;
horns doubled by divided violas or
of
is
employed
is
'cellos.
Examples: Snegourotchka
[242J of chords, Ex. 6).
Legend
—
Full brass
of Kitesfi, before
*Sadko, Opera, before
[34]
+ strings fr^/no/and(?(cf.l5L Table
— the same (Horn, Trumpet +). — Horn + Violas Trombones 240
div.,
-f-
'Cellos div. (1).
C.
Combination of the three groups.
The combination set side
by
side,
wood-wind and brass instruments, produces a full, round and firm tone. of strings,
Examples:
— Ob.,
The Tsar's Bride, before [hsJ
No. 172.
+ „
chord
final
„
„
Table
(cf.
Ex.
*No. 173. Sadko, end of of the 10,
31^
151,
and
711i
tableau
I2i
tableaux
(cf.
and
I
Horns
of chords,
I
5).
— short chords.
Table
+
Fag.
Strmgs.
III,
Last chords
Vol.
II,
Ex. 9,
18).
*No. 174. The Christmas Night
[22J
— W^ind + Brass csord.
-\-
tremolo strings.
Legend
of Kitesh
Snegourotchka
and a host
(1)
found
A
—
[mj end
(cf.
Ex. 250).
of opera,
(cf.
Table
III
in Vol.
II,
of other examples.
splendid example of the combination of strings and brass
in the
Ex. 17)
introduction to the 2jl^ scene of the
by Moussorgsky, orchestrated by Rimsky-Korsakov.
411l
may be
act of " Khovanstchina"
(Editor's note.)
— General Observations. is
96
—
Balance and correct distribution
much more important
in dealing with
of tone
long sustained chords or
those of rhythmic design; in the case of short, disconnected chords
resonance
a minor consideration, but one which should not be
is
entirely neglected. I
have endeavoured
followed, but
which may
I
arise
few examples
to
of
in
the
method
and doubling
to
the
general
principles
to
be
to deal with all the countless cases
course of orchestration.
I
have given a
well-sounding chords; for further information
advise the reader to study
only
outline
do not profess
acquire
full
scores with care,
perfect
knowledge
of various instruments.
of
as the
this
is
I
the
distribution
Chapter
IV.
COMPOSITION OF THE ORCHESTRA.
Different
ways
of orchestrating
the same music.
There are times when the general tone, character and atmosphere of a passage, or a given to one,
moment
and only one particular manner
simple example will
where a
in
an orchestral work point
Take a short phrase
serve for explanation.
flourish or fanfare
call is
The following
of scoring.
given out above a tremolando
accompaniment, with or without change
in
harmony.
doubt that any orchestrator would assign the tremolo
and the fanfare
to a trumpet,
never vice versa.
granted, the composer or orchestrator
may
There
But taking
still
be
is
no
to the strings
left
Is
the fanfare flourish suitable to the range of a trumpet?
it
be written for two or three trumpets
in unison, or
this for
doubt.
in
Should
doubled by
Can any of these methods be employed without musical meaning? These are questions which I shall
other instruments?
damaging
the
endeavour
to
If
answer.
the phrase
too low in register for the trumpets
is
be given
to the
phrase
too high
in
is
unison, this
to the
horns (instruments it
may be
combination
it
should
allied to the trumpet);
if
the
entrusted to the oboes and clarinets
possessing the
closest
resemblance
The question
trumpet tone both in character and power.
whether one trumpet or two should be employed must be decided
by the degree
of
power
big sonorous effect tripled,
is
to
be vested
in
the given passage.
required the instruments
may be
If
a
doubled,
or even multiplied by four; in the opposite case one solo
brass instrument, or two of the wood-wind will suffice
The question whether the tremolo
in
Ob. -f 1 CI.). the strings should be supported (1
— by sustained harmony
who
wood-wind depends upon
in tiie
A composer
in view.
—
98
realises
the purpose
intentions beforehand,
his
others
orchestrate his music can only proceed by conjecture.
Should
the composer desire to establish a strongly-marked difference between
harmonic basis and the melodic outline
the
employ wood-wind harmony, but by f
dynamic marks
carefully distributing his
and
tone as harmonic basis and less parts, the
use of harmony
in the
show
of expression,
is to
pp, p,
full
of brilliance in the
wood-wind
The following may serve as a guide
not to
better
on the contrary, the composer desires a
If,
//.
is
it
proper balance of tone
to obtain
round
harmonic
be recommended.
scoring of wood-wind
to the
chords: the harmonic basis should differ from the melody not only
and
in fullness
figure
intensity of tone, but also in colour.
is allotted to
be given
to the
the brass (trumpets or horns) the
wood-wind;
if
the phrase
is
If
the fanfare
harmony should
given to the wood-wind
(oboes and clarinets) the harmony should be entrusted to the horns.
To
solve
all
knowledge
these questions successfully a composer must have
of the
purpose he has
full
and those who orchestrate
in view,
work should be permeated with his intentions. Here the question
his
what should those intentions be?
arises,
This
a
is
more
difficult
subject.
The aim work,
a composer
of
the aesthetic
to
is
closely allied to the form
meaning
of
every
its
moment and
of
his
phrase
considered apart, and in relation to the composition as a whole.
The choice
of
an orchestral scheme depends on the musical matter,
the colouring of preceding and subsequent passages.
portant
determine whether a given passage
to
to or a contrast with it
what goes before and comes
forms a climax or merely a step
thought.
It
is
in the
would be impossible
to
It
im-
is
a complement after,
whether
general march of musical
examine
all
such possible
types of relationship, or to consider the role played by each passage
quoted to
work.
in the present
pay too much attention
and
their bearing
scores.
The reader
to the
on the context
Nevertheless
I
is
therefore advised not
examples given, but in their
shall touch
them
proper place in the
upon a few
the course of the following outline.
to study
To begin
full
of these points in
with,
young and
inexperienced composers do not always possess a clear idea of
what they wish
to do.
They can improve
in this direction
by reading
:
— good scores and by repeatedly mind
they concentrate the
listening to an orchestra, provided
effects
from mere caprice; the
different thing
The search
to the fullest possible extent.
extravagant and daring
after
—
99
in
orchesfration
is
quite a
will to achieve is not sufficient;
there are certain things which should not be achieved.
The simplest musical
melodic phrases in unison and
ideas,
octaves, or repeated throughout several octaves, chords, of
no single part has any melodic meaning are scored
ways according
register,
to
dynamic
expression or tone colour that
one idea
be orchestrated
will
Later on
recurs.
in
desired.
In
many
of
cases,
way every time it touch upon this more compli-
a different
shall frequently
I
and the quality
effect
may be
which
in various
cated question.
Examples: *
Snegourotchka 58
65
;
and before [as]
There are fewer possible ways
— sustained note
more complex musical
of scoring
harmonico-melodic phrases, polyphonic designs
ideas,
in unison.
etc.;
sometimes
there are but two methods to be followed, for each of the primary
elements in music, melody, harmony, and counterpoint possesses
own
its
special requirements, regulating the choice of instruments
and tone colour.
The most complicated musical ideas sometimes
admit of only one manner of scoring, with a few hardly noticeable variations structure
in 1
detail.
add an
To
the
alternative
following example, very simple in
method
of scoring:
Example No. 175. *b)
It
— is
But a
Vera Scheloga, before
|^
—
a)
orchestration,
actual
another method.
obvious that the method b) will produce satisfactory tone. 31^
and
4ili
way
of scoring
would be
less succes'sfui,
and a
continuation of this process would soon lead to the ridiculous. instance
if
the chords
were
would sound neavy, and the soprano middle register would
be overpowered.
recitative If
the
For
whole passage
given to the brass the
in
F
the low
sharp •7*
in
and the
100 double basses were played arco by
would sound clumsy,
if
it
would be produced, and
effect
sound rough and coarse,
etc.
The object of scoring the is
to
'cellos
were given
.
played by the brass
if
case the composer may
book
sections of the
I
have
In
ways each
normal order
two processes
not always feasible.
is
would
in different
resort to the inversion of the
these
first of
it
.
.
same musical phrase
of instruments, duplication of parts, or the
The
it
either in tone colour or resonance.
obtain variety
bination.
and basses together
the bassoons a comic
to
In the
in
com-
preceding
tried to explain the characteristics of
each instrument and the part which each group of instruments plays in the orchestra.
be avoided; these
I
Moreover many methods
of
doubling are
to
have mentioned, while there are also some
instruments which cannot be combined owing to the great difference Therefore, as regards the general composition
in their peculiarities. of
orchestra,
the
is
student
should be guided by the general
same musical
idea in various
This can be
orchestrating the
done by the following operations:
a)
complete or
partial
ference into other octaves; b) repetition in a different key; of
work.
in the earlier stages of the present
by the adaptation of the musical matter.
The best ways
the
down means of
principles laid
the whole range by the
c)
trans-
extension
addition of octaves to the upper and
lower parts; d) alteration of details (the most frequent method); e) variation of the
general dynamic scheme,
e.
g.
repeating a phrase
piano, which has already been played forte.
These operations are always successful
in
producing variety of
orchestral colour.
Examples. No. 176, 177.
and [c],
Russian Easter Fete
The Christmas Nighty
158
and
179 ^
No. 178—181. The Tsar's Bride, Overture: beginning, |T|,p2~|,[T[.
Sadko 99-101 and 305—307 No. 182—186.
No.
187—189
Tsar Saltan
(cf.
14 181
Ex. 289, 290, and 75). 17
'0,
.
— *No. 192
— 195.
101
—
Sheherazade, 1- movement
beginning of the
fl//£gro[A],|T], [m]. 31^
„
*No. 196—198. *
No.
Legend
of Kitesh
199-201
,
Legend
(Cf. also Ex. 213, 214.
*No.
202— 203.
The process ways
is
of
scoring the
the source of
— beginning |T]. [T]
55
56
62
68
70
84
same
and
294
of Kitesh
The Golden Cockerel
312
.)
233
229
or similar ideas in different
numerous musical operations, crescendo, dimi-
nuendo, interchange of tone
and
movement
incidentally throws
new
qualities, variation of
light
tone colour
etc.,
upon the fundamental composition
of the orchestra.
Full Tutti. The word
tutti
generally
word
instruments, but the
means
"all" is
the
used
simultaneous use of relatively,
and
it
all
must not
be inferred that every single instrument must necessarily be employed form a
to I
—
order to siinpHfy the following illustrations
In
tutti.
will divide the
word
into
two
independently of whether the orchestra
in three's, or
part,
I
all
melodic groups,
mean passages
in
tutti^
constructed in pairs,
is
a larger number of instrumentSv
combination of partial tutti
and partial
classes, full tutti
I
call full tutti the
strings, wind,
and
brass.
By
which the brass group only takes
whether two horns or two trumpets participate alone, or
whether two horns are combined with one or three trombones, without tuba, trumpets, or the two remaining horns, r4 Horns,
.... "-....
2 Horns 2 Horns or 2 Trumpets, or 3 Trombones
In both species of tutti full
according
to the register
etc.: -i
etc.
.
J
wood-wind may be employed or
and musical context
instance, in the extreme high register
it
of the passage.
may be
not,
For
essential to include
the piccolo; in the low register flutes will be unnecessary, and yet
the passage can harp,
still
be
called tutti.
and other instruments
of
percussion in general, does not
The
little
inclusion of kettle-drums,
sustaining power, as of the
come under
discussion.
—
102
The
variety of orchestral operations increases with
instruments forming a
of
that
it
a few examples of
draw
tutti,
impossible to consider
is
own
his
full
and
double heading
and
of full
that the tutti, is
so great does
in
fact,
all
combinations.
partial
Some
conclusions.
can only give
1
examples
to
under the
fall
and the student
in forte
it
number become
and leave the reader
tutti,
of these
partial tutti,
used essentially
the
is
reminded
and fortissimo, rarely
in
pianissimo and piano passages.
Examples:
Snegourotchka^^ and
Partial
Snegourotchka
[JFa]
—
No.
239
[223],
205—206.
Tufli,
full
Sadko
—
Full Tutti
Full Tutti 177
173
(cf.
Ex. 8).
Full Tutti.
125^6] Sadko |1],
and
Partial Tutti, without the trumpets
231
No. 204.
—
62]
and chorus (cf. Ex.8).
Ex. 86).
(cf.
— Full Tutti with chorus,
diffe-
rently scored. -No.
207—208. The Christmas Night [m\ and [m]
— Full
Tutti,
orchestrated in different ways, with and without chorus. *
The Tsar's Bride, Overture [T|
[2]
,
,
[T|
—
(cf.
141
Full
Tutti.
188
Full Tutti.
and
Full
partial Tutti
Ex. 179—181).
177
Pan Voyevoda *Antar *
65
No. 209.
186
—
(cf.
and
Ex. 32).
Sheherazade, 3il movement [m];
cf.
also 1^1
movement
[a], [e], [h]; 2si movement [k], [p], [r]; 3i^ movement [g],
[o]
;
41I1
movement \g\, [p], [w] and
farther
on
to
[T| (No. 193,
194, 19, 66, 77). *
Spanish Capriccio[B\,
*
Russian Easter Fete [f]
0, 0, 0, 0' [x^ ,
[T|
,
*
,
[¥] 4'A movement [a] ;
111
For examples
|
R— T
,
[x]
;
2ii^
movement
|
\~h
Sadko, Symphonic tableau
*Mlada, Act *
,
Ex. 3).
before [T], [y], up to the end.
*j!^ Symphony, lH movement [p],
[a]
(cf.
20—24
[12] (cf. Ex. 258).
of Tutti chords, see special
Tables at the end of Vol. II.
—
—
103
Tuiii in the wind.
many
In
cases the wood-wind and brass groups can form a
by themselves
is
At other times the horns are found alone without
support of horns.
may be comprised
the wood-wind, and, lastly, a tutti
The
each group in varying numbers.
and the the
tutti
this
by the wood-wind alone, but n.ore frequently with the
effected
of
Sometimes
periods of varying length.
for
rest of the percussion is quite
Germans
common and
constitutes
what
"Janitscharenmusik", or Turkish infantry music.
call
and
Violoncellos
of instruments
addition of kettle-drums
double basses
tant pizz. notes are often
added
more or
playing
impor-
less
wood-wind instruments
to
(tutti),
likewise the remainder of the strings and the harps; this process
renders the sustained notes in the wood-wind more
passages in
power
Tutti
distinct.
wood-wind and horns do not produce any great amount
in jorte passages, but,
may
groups alone
attain
on the other hand
an extraordinary volume
of
in the brass
tutti
of tone.
In the
following examples the formation of pedal notes by strings or wood-
wind
in
no way
alters the
general character of the Tutti:
Examples: No.
210— 211.
Tsar Saltan
Snegourotclika 14
Pan Voyevoda No. 212.
,
17
[57],
,
26
[Tse],
(cf.
213— 214.
No.
*
No. 2 15.
*
Antar
Legend
182—184)
.
II
[lo];
cf.
also Act.
Ill
[T].
of Kitesh [294], [3T2] (compare).
The Golden Cockerel [He];
[37] (cf.
(compare)
I5i
,
Ex.
[262]
Ivan the Terrible, Act
*
149
cf.
also
|^
and
[sT].
Ex. 65).
TuUi pizzicato. The
quartet
of
strings
(pizzicato),
reinforced
occasionally by
the harp and piano, may, in certain cases constitute a particular
kind of
tutti,
which can only
attain
any great degree
by support from the wood-wind. Without power, though
still
fairly brilliant in
this
quality.
support
it
of strength is of
medium
104
Examples: Snegourotchka,hefor&
No. 2 16.
128
and before 305
also 153
cf.
also [u]
and |T|.
*
No. 217.
*
Spanish Caphccio[A], [c], before [s], before [p];
Russian Easter Fete
cf.
;
cf.also
o
(Ex. 56).
Mlada, Act
Sadko
'
220
*
Legend
*
No. 218.
[Ts].
II
Ex. 295).
(cf.
of Kitesh [Toi]. Tlie
May
Night, Act
i,
The Mayor's Song
combi"
nation of strings, arco and pizz.
two and three
Tutti in one, It
often
happens
cutes a passage
or in octaves.
that a
moderately
composed
of
admit of contrast
orchestral ensemble exe-
one or two harmonic
Such melodic phrases
call for
in
parts, in
more or
doubling of parts,
orchestration with the usual writing,
full
parts.
or, in
less
unison
simple
ornamental
tone colouring, occasionally with the
addition of sustained notes.
Examples: Snegourotchka, before \\^_
The Golden Cockerel No.
Tutti,
219—221.
,
120—121
The Tsar's Bride
*
174 (cf.
[176].
Ex. 63).
215
Legend
of Kitesh
142
144
147
3 part
with different scoring.
Legend
of
Kitesh [Tas], |i39|
—
Tutti in
one part
Soli in the strings. Although, in any orchestral piece, numerous instances are to be
found of melodies and phrases entrusted to a solo wind instrument (generally the
first
of
each group, wood-wind or brass), solos for
stringed instruments, on the other hand, are extremely rare.
the 1^ violin and the solo viola practically
ist
I5i 'cello
Whilst
are fairly frequently used in this manner,
seldom found, and a solo on the double bass
unknown.
is
Phrases demanding particular individuality
—
105
of expression are entrusted to solo instrumenta; likewise passages
extraordinary
require
that
and
orchestral rank
scope of the
the
The comparatively weak tone
file.
instrument necessitates
beyond
technique,
virtuoso solos should not be written, as they attract too
Difficult
much
atten-
Solo stringed instruments are also
tion to a particular instrument.
used when vigourous
of the solo
transparent accompaniment.
light,
and technical
expression
facility
are
not
required, but simply in order to obtain that singular difference in
colour which exists between a solo stringed instrument and strings
Two
unison.
in
2 Violins
may be
solo instruments can be coupled together,
and
soli, etc.
e.
g.
in very rare cases a quartet of solo strings
employed.
Examples
.
Violin solo:
No. 222—223.
May
The
Night, pp.
Mlada, Act
*A *
Snegourotchka
I
52
Act
;
54
275
64—78. III,
before
19
Fairy Tale |w|.
Sheherazade,
start of
12i
movement
also the passages at the
each movement.
*
Spanish Capriccio
*
No. 224.
Legend
and the cadence on
of Kitesh
of strings sul ponticello
Snegourotchka
274
- Vn. solo, on harmonic basis
310
and wood-wind.
,279—2
Vni
soli
(cf.
Ex. 9)
Viola solo:
No. 225.
Sadko *
Snegourotchka
212
137
No. 226.
The Golden Cockerel
163
;
also
cf.
Violoncello solo.
Snegourotchka
[Tst] (cf. Ex. 102)
The Christmas Night, before Mlada, Act *
III
29
36
The Golden Cockerel
p. 38.
[Ttt], [Tso] (cf. Ex.
229)
174
,
177|.
:
— Double bass •
solo.
No. 227. Mlada, Act string is tuned
first
—
106
|To-i^
II
where the
a special instance
down.
Solo quartet:
The Christmas Night *
Tsar Saltan 248
No. 228.
*The case wind
in
Vn., Viola, 'Cello, D. bass.
222
Vn.
Vn.
I,
II,
Viola, 'Cello.
doubled by the wood-
of a solo stringed instrument
The
unison must not be forgotten.
object
to
is
attain
great purity and abundance of tone, without impairing the timbre
and low
of the solo instrument (especially in the high
or to produce a certain highly-coloured
registers),
effect.
Examples: * *
*
Mlada, Act U
Pan Voyevoda
*
67
of Kitesh
ActIV
Fl.;
— 2yni+
31
Viol.
+
F1.
4- Harp. Ex. 153).
Fl.
4- Small
CI. (cf.
— 2 Vni + 2 Ob.;
2 Violas
+2
The Christmas Night
Legend
*
52
— Vn. + 212
306
Bass
309
Vn.
No. 229. The Golden Cockerel As shown in Chap. II, 2 Vni
often sufficient to double a
cl.
+ ^
(cf.
Ex. 10).
FI.
— Vn. -f Pice;
'Cello
or Violin solo -f
soli
melody
+ C-fag.
CI.
in the
upper
+ Bass
cl.
are
Fl. (Pice.)
register.
Examples Sadko *
207 ]
No. 230
—
cf.
Chap.
II,
p.
42 and Ex. 24.
Russian Easter File,
p.
32
—2
Solo violins
(in
har-
monies). *
No. 231.
Legend
of Kitesh [297]
— 2 Solo
violins
-f Pice.
Limits of orchestral range. It
seldom that the entire orchestral conception
is
the upper register of the orchestra (the Sit and
more and
rarely
—
effect.
1)
is
it
6i!i
is
centred
octaves),
in still
focussed wholly in the lowest range (octaves
where the proximity
of
In the first case the flutes
harmonic
intervals creates a
1
bad
and piccolo should be used along
with the upper notes of the violins, soli or divisi; in the second
—
107
case the double bassoon and the low notes of the bassoons, bass clarinet,
horns, trombones and tuba are brought into play.
method gives
first
brilliant colour, the
second combination
The
is
dark
The contrary would be fundamentally impossible.
and gloomy.
Examnles:
Pan Voyevoda [m],
Servilia
122
low SiH bar. (cf. Ex. 62) register.
No. 232. The Golden Cockerel *
Snegourotchka, before
*
Legend
*
No. 233.
also [iis] ,
cf.
;
high
34
register.
The Golden Cockerel [na], \nT\ Shiherazade,
The upper and lower
2!i^
movement
pp.
59—62
parts of a passage can
seldom be widely
separated without the intermediate octaves being contrary to the
is
219
25
of Kitesh, before
•No. 234.
220
first
filled
in, for this
principles of proper distribution of chords.
Nevertheless the unusual resonance thus produced serves for strange
and grotesque
effects.
the
In
first
of the following
examples the
piccolo figure doubled by the harp and the sparkling notes of the glockenspiel is
is
about four octaves apart from the bass, which
set
assigned to a single Double bass and Tuba. But in the 3i^ octave,
the augmented fourths and diminished to
fill
in.
the two flutes help
up the intermediate space and lessen the distance between
the two
them.
fifths
extreme
parts,
The general
thus forming
some
sort of link
between
effect is fanciful.
Examples.
*
No. 235. Snegourotchka
255
No. 236.
315 274
»
A
and
5iJi
(cf.
Ex.
611i
bars,
9).
Fairy Tale [a].
The Golden Cockerel
Transference
A
,
phrase or a figure
another.
In
179
of is
,
9*li
bar.
(cf.
Ex. 229)
passages and phrases.
often transferred from
one instrument
to
order to connect the phrases on each instrument in
—
—
108
the best possible way, the last note of each part
with the
passages the range of which
one instrument, or when
too wide to
is
is
it
made
is
This method
note of the following one.
first
to coincide is
used for
be performed on any
desired to divide a phrase into two
different timbres.
Examples : *
Snegourotchka
|i37|
— The melody
is
and
to the flute *
„
A
clarinet
57
similar operation
violin
I9i
on the point
is
of
completing
ment takes up the passage,
its
it.
When
one
-|- CI.
instru-
allotted part, another instru-
on one or two notes
starting
both parts, and so on.
to
'cello.
used in scoring passages covering the
is
entire orchestral scale, or a great portion of
ment
Ex. 28).
(cf.
— Solo — Solo — Trombones — Trumpets; Horn — Ob.
before
Pan Voyevoda
transferred from the violins
common
This division must be carried out to
ensure the balance of the whole passage.
Examples: Snegourotchka
36
The Tsar's Bride
Sadko
72
38
,
I3i
,
190
— Strings — Strings.
Ex. 112).
The Christmas Night, before (cf.
Strings.
— Wood-wind
(cf.
[223]
—
|_i80j
—
Strings,
Ex. 132).
*
No. 237.
*
Servilia
The Christmas Night, before
[m]
— Strings Ex. — Ob. — (cf.
The Golden
—
Shing
figure.
88).
— Bass Fag. Cockerel, before \V\ — Wood-wind. [5] — Fag. — Eng. horn (+
[29], Sin bar.
No. 238.
|_i8£j
wind and chorus
Fl.;
CI.
cl..
,,
'Cellos
piiz^. *-
Chords 1.
of
of different
The most usual
instruments
broken
in
practice
alternately.
registers care should
tone quality used alternately. is to
In
employ chords on
dealing with
different
groups
chords in different
be taken that the progression
of parts,
though
passing from one group to another, remains as regular
—
—
109
there were no leap from octave to octave;
applies specially
as
if
to
chromatic passages in order to avoid false relation.
Examples : No. 239.
240— 241. The „ No. 242— 243.
No. *
Ivan the Terrible, Act
II
Tsar's Bride
29
tfiis
:
—
110
Examples [3T3] .
Snegourotchka
No. 245.
[ho]
A
(cf.
Ex. 244).
Fairy Tale [v].
Sheherazade,
2^ movement [d]
*
41I1
„
movement
No. 246. Servilia [223];
The Christmas Night
Ex. 74).
(cf.
221.
p.
also [44].
cf.
[lesj
(cf.
Ex. 143).
No. 247. The Tsar's Bride, before [205 *
No. 248.
*
No.
Russian Easter Fete [p]
249— 250.
Legend
.
of Kitesh [£\, [^67]
,
Repetition of phrases, imitation, echo. As regards choice
of timbre, phrases in imitation are subject to
When
the law of register.
a phrase
imitated in the upper register
is
it
should be given to an instrument of higher range and vice versa.
If
this rule is
the
clarinet
compass
ignored an unnatural effect will be produced, as in
its
upper range replies
The same
etc.
rule
must be
to
the
oboe
follov/ed in
in the
when lower
dealing with
phrases, actually different, but similar in character; repeated phrases of different character should
be scored
in a
manner most
suitable
to each.
Examples:
The Tsar's Bride Legend
of Kitesh |4 0-4i
No. 251. In
[T57], [TeTj
Spanish Capriccio
echo phrases,
decrease
in
volume
that of
is
to
say
imitation
tone but also an effect of distance,
second instrument should be weaker than the should possess
entailing not only
first,
the
but the two
some sort of affinity. An echo given to muted same phrase not muted produces this distant
brass following the effect.
Muted trumpets are eminently
the oboes; flutes also
A wood-wind
may
suited to echo a
imitate clarinets
and oboes
theme
in
successfully.
instrument cannot be used to echo the strings, or
— on account
vice versa,
Ill
—
of the dissimilarity in timbre.
Imitation in
octaves (with a decrease in resonance) creates an effect resembling
an echo.
Examples: Ivan
Sadko
No. 252. *
Act
the Terrible,
[264
E
Spanish Capriccio
echo but resembles one *
Sheherazade,
\T\.
111
41ii
—
.
This example
character
in
movement
is
not precisely an
Ex. 44).
(c.
O
before
Sforzando-piano and piano^sforzando chords. Besides the natural dynamic process of obtaining these marks
may a)
process which
a
expression,
of
At the
it
must occur also
In
end
at the
employed
the
for
means
compound chord
The
wood-wind chord.
a sf-dim.,
for preference,
case the sf in the
the opposite
of the
of orchestration.
wood-wind begins a piano chord,
sforzando, a
arco or pizz.
either
artificial
moment when
the strings attack
is
by
also be produced
depends upon the player, they
and the second
for
first
strings
method
a cresc.-sf.
effect.
b)
It
is
not so effective, and therefore less frequent to give the
notes of sustained value the wood-wind.
In
the strings, and the short chords to
to
such cases the tenuto chord
is
played tremo-
lando on the strings.
Examples: Vera Scheloga, before No. 253.
Legend
fas],
ffl,
of Kitesh, before
Sheherazade, 2"^ movement, |T],
Method In
the
of
W^
bar.
|~1
1411^
5-16 bar.
emphasising certain notes and chords.
order to stress or emphasise a certain note or chord, besides
marks
of expression
==—
and
sj,
chords of
2, 3,
and 4 notes
can be inserted into the melodic progression by the instruments of
the
the string quartet, each
wood-wind may
playing a single note; short notes
in
also be used as well as a chain of three or
—
112
—
four grace noles, in the form of a scale, either in strings or
These unstressed notes
wind.
small, form
common.
less
a
a kind of
slur.
As a
upward
wood-
(anacrusis), generally written
glide, the
downward
very
direction being
rule they are connected to the
main note by
In the strings they should not lead up to chords of three
or four notes, as
this
would be awkward
for the
bow.
Examples: The Tsar's Bride
No. 254.
*No. 255.
— Anacrusis
142
in the strings
Sheherazade, 2n^ movement [c]
—
Short pizz. chords.
[p]
—
Short wind chords
„
„
„
(cf.
Ex. 19).
Crescendo and diminuendo. Short crescendi and diminuendi are generally produced by natural
dynamic means; when prolonged, they are obtained by
method combined with other orchestral the brass
is
After the strings,
devices.
the group most facile in producing
of expression, glorifying crescendo
this
dynamic shades
chords into the most
brilliant
and
Clarinets specialise in diminuendo effects
sforzando climaxes.
are capable of decreasing their tone to a breath (morendo).
Pro-
longed orchestral crescendi are obtained by the gradual addition other instruments in the following order: strings, wood-wind,
of
brass. of the
Diminuendo
effects
are accomplished by the elimination
instruments in the reverse order (brass, wood-wind, strings).
The scope
of
work does not lend
this
itself
prolonged crescendo and diminuendo passages.
to the quotation of
The reader
is
re-
will
be
ferred, therefore, to the full scores: *
Sheherazade, pp.
*
Antar
5—7, 92—96, 192—200.
51
The Christmas Night
Sadko
183
165-166
*The Tsar's Bride
so-si
Many examples
shorter
found
in Vol.
II.
of
crescendi
and diminuendi
—
-
113
Diverging and converging progressions. diverging and converging progressions
In the majority of cases,
simply consist in the gradual ascent of the three upper parts, with
The distance separating
descending.
bass
the
other parts
trifhng at
is
the bass from the
On
and grows by degrees.
first,
the other
hand, in converging progressions, the three upper parts, at
from the bass, gradually approach
far distant
progressions
an increase or a
involve
intermediate intervals are parts
as
the
filled
distance widens,
doubled or trebled.
that
the
in
The
tone.
of fresh
upper parts become
converging progressions the
In
so
Sometimes these
it.
decrease
up by the introduction so
first
and
tripled
doubled parts are simplified, as the duplicating instruments cease Moreover,
to play.
if
harmony allows
the
middle region which remains stationary
is
the group in the
it,
the group to be retained,
or else the sustained note which guarantees unity in the operation.
Below, the reader
The
human
the
double examples of both descriptions.
will find
pair represents a diverging progression,
first
voice takes part;
2.
1.
accompanies the apparition
of Mlada, Ex. 259,
The atmosphere and colouring are weird and the sea.
examples forms instances
first
(Ex. 260) Princess
Then
in
firstly
Ex. 258.
to play.
disappearance.
its
fanciful.
The
third
converging progressions.
of
Volkhova
the
relates
wonders
The handling
progressions requires the greatest care.
Examples: No. 256—257.
The Tsar's Bride
No. 258—259.
Mlada, Act
No. 260—261.
Sadko
[72j (cf.
Ex. 112).
before |315
.
the
Both examples include a sustained
stationary chord of the diminished seventh.
105
In
of the
the middle of a powerful orchestral crescendo
Sea-King appears (Ex. 261).
Sadko
a gradual
during which the strings become more
and more divided as the wind instruments cease
pair of
The
a purely orchestral crescendo.
second depicts two similar diverging progressions, crescendo, secondly dim.,
piano, in which
III
and
[T02]
[12]
and
119
and [To].
[Tot].
of
such
—
—
114
*The Christmas Night, beginning
Note.
(cf.
Ex. 106).
Antar, end of 3:^ movement.
*No. 262.
A
sustained note between the diverging parts does not
always allow the empty space
to
be more complety
filled
up.
Example: The Golden Cockerel, before
No. 263.
[Toe]
.
Tone quality as a harmonic
force.
ilarmonic basis. Melodic design comprising notes foreign or grace notes, embellishments outline should proceed at the
Melodic design.
*
m
Fundamental notes.
in the
does not permit that a
same time
florid
with another one, reduced
and fundamental notes:
to essential
If,
etc.,
harmony, passing
to the
^^ ^^ m
above example, the upper part
is
transposed an octave
lower, the discordant effect produced by the contact of appogia-
and fundamental notes
turas
passage But
it
is
will
be diminished; the quicker the
played the less harsh the effect will be, and vice versa.
would be
ill-advised to lay
to the permissible length
of
down any hard and
these notes.
There
is
fast rule
the harmonic notes, the thirds of the fundamental one (E)
more prominent from to the if
harmony.
If
the
the melodic figure
still
their
more complicated,
are
proximity with the notes extraneous
number
is in
as
no doubt that
of parts is increased (for instance,
thirds, sixths etc.), the question
since,
to
the original
becomes
harmonic scheme,
chords with different root bases are added, producing false relation. Nevertheless,
an
provides timbres.
for
the
solution
of
such problems,
element of the greatest
The greater
importance:
the dissimilarity in timbre
orchestration difference
of
between the har-
monic basis on the one hand and the melodic design on the other,
the
less
discordant the notes extraneous
to
the
harmony
:
— The
will sound.
human
best examjJle of this
and the orchestra,
voice
—
115
to
is
be found between the
comes
next
the
difference
of
timbres between the groups of strings, wood-wind, plucked strings
and
percussion
Less
instruments.
between wood-wind and brass;
important
in thes6
differences
occur
two groups, therefore, the
harmonic basis generally remains an octave removed from the melodic design, and should be of inferior dynamic power.
Examples
Pan
No. 264.
Legend
Voyevoda, Introduction.
should
also Ex. 125 and
(cf.
140).
10
111
The harmonic it
harmonic basis in chords:
of Kitesh, Introduction
*Mlada, Act
case
of
basis
may be ornamental
move independently
in character, in
of the concurrent
which
melodic design.
Examples: *No. (of.
265— 266.
[m\ \m],
Tsar Saltan [103-10 4 1,
162-165
,
below).
Chords the most widely opposed
in character
may be used on
a simple, stationary harmonic basis, a basis, founded, for example,
on the chord
of ihe tonic or
diminished sevenih.
Examples Legend
No. 267.
on a string
of Kitesh
—
326-328
No. 268-269.
Kashtche'i the
Immortal
No. 270.
Mlada, Act
No. 271.
The Golden Cockerel
II,
before Q?],
effect
lodic figures,
of
alternating
e. g.
[ss], [43].
[is]'
0-
— Chords
[T25]
seventh, on arpeggio basis (augmented
The
Wood-wind and harps
basis.
of the
diminished
fifth).
harmony produced between two me-
one transmitting a
note,
held in
abeyance, to
the other, or the simultaneous progression of a figure in tation to
and diminution
the ear
when
the
augmen-
becomes comprehensible and pleasant iied harmony is different. fundamental si^ etc.
i
8*
34
— Use
117
instruments for rhythrii
of percussion
and Whenever some figure, percussion
An
—
colour.
portion of the orchestra
executes
a
rhythmic
instruments should always be employed concurrently.
insignificant and playful
rhythm is suitable to the triangle, tambourine,
castanets and side drum,
a vigourous and straightforward rhythm
may be
The strokes
given to the bass drum, cymbals and gong.
on these instruments should almost invariably correspond
to the
strong beats of the bar, highly-accented syncopated notes or disconnec-
The
ted sforzandi.
triangle, side
drum and tambourine
Sometimes the percussion
various rhythmic figures.
are capable of is
used sepa-
rately, independently of any other group of instruments.
The brass and wood-wind are most
The
satisfactorily triangle, side
the upper
drum and gong
violins;
with
harmony
in
in the
the combinations most generally employed:
tremolo on the triangle and tambourine with
sticks,
which combine the
drum, and tambourine go best with harmony
register; cymbals, bass
The following are
lower.
the two groups
with percussion from the standpoint of colour.
trills in
wood-wind and
tremolo on the side drum, or cymbals struck with
drum
and sustained chords on trumpets and horns; tremolo on the
bass drum or the gong with chords on trombones or low sustained notes on 'cellos and double basses. the bass drum, cymbals,
played fortissimo,
*The reader any
in
full
is
gong and
sufficient
to
It
a tremolo
and
in
that
on the side drum,
overpower any orchestral
will find instances of the
score,
must not be forgotten
tutti.
use of percussion instruments
several examples
of
the present work.
Examples: *
Sheherazade pp. 107
Antar *
in
[40],
[43]
— 119, also many passages
(cf.
in 4'^
movement:
Ex. 73, 29).
Spanish capriccio [p] (cf. Ex. 64); the cadences to be studied the 4^ movement, where they are accompanied by various per-
cussion instruments. *
Russian Easter Fete [k]
"
The Tsar's Bride[m\. Legend
of Kitesh
Pan Voyevoda
7i
1
96- 197 72
(cf.
—
Ex. 217).
"The
Battle of Kerj^metz".
118
Economy
in orchestral colour.
Neither musical feeling nor the ear the
resources
full
favourite
group
of
the
itself
can stand, for long,
combined
orchestra
The
together.
of instruments is the strings, then follow in order
the wood-wind, brass, kettle-drums, harps, pizzicato effects, and lastly the percussion, also, in point of order, triangle, cymbals, big drum,
Further removed stand the celesta,
side drum, tambourine, gong.
and xylophone, which instruments, though melodic,
glockenspiel
are too characteristic in timbre to be employed over frequently.
The same may be
A
said of the piano and castanets.
instruments
national
not
included
the
in
quantity of
work may be
present
incorporated into the orchestra; such are the guitar, the domra, zither,
mandoline, the oriental tambourine, small tambourine
These instruments are employed from time
etc.
to time for descriptive-
aesthetic purposes.
These instruments are most frequently used order.
A group
of
time gains fresh interest upon trumpets
in
is
tacet
for
dances or music
in
or
two's
in
and
three's.
all
together,
In
national
ballad style, percussion instruments
may be
freely.
trombones and tuba
After a long rest the re-entry of the horns,
should coincide with some characteristic intensity
pp
some
long periods, the
seldom employed, and practically never
single instruments
used more
above-named
The trombones,
reappearance.
its
and tuba are occasionally
percussion but
in the
instruments which has been silent for
of tone, either
or //; piano and forte re-entries are less successful, while re-
introducing these instruments mezzo-forte or mezzo-piano produces
a of
colourless and
common-place
wider application.
commence
or finish
effect.
any piece
of
scope of the musical examples
in
by quotation the use
of
illustrating
This remark
For the same reasons
it
is
is
not
capable
good
to
music either mf or mp. The this work does not permit of
economy
in orchestral colour,
nor the re-entry of instruments thrown into prominence by prolonged rests.
The reader must examine these questions
in full scores.
I
i
Chapter V. COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA. THE STAGE BAND.
Orchestral accompaniment of solo voices. General remarks. In
accompanying the voice orchestral scoring should be
enough
make
for the singer to
moments, where
voice
full
free use of
hardness
without
expression
of
is
of
all
tone.
In
the
light
dynamic shades
overflowing lyrical
required, the singer should be well
supported by the orchestra.
Opera singing may be divided
into
singing and declamation or recitative.
two general
The
and the more movement and rhythmic
in the vocal
given
to
the
part, the
classes, lyric
round, legato aria
than florid
affords greater facility for tone production recitative,
full,
music or
detail contained
greater freedom and liberty must there be
voice.
such a case the
In
latter
should
not
be
doubled by the orchestra, neither should rhythmical figures be written for
any instrument corresponding with those
in the vocal part.
accompanying the voice the composer should bear these points
mind before turning
A
in
his attention to the choice of orchestral colour.
confused, heavy accompaniment will overpower the singer; an
accompaniment which
is
and one which
weak
In to
In
is
too
modern opera
it
too simple in character will lack interest,
is
will not sustain the voice sufficiently.
rare that orchestral writing
accompaniment pure and simple.
principal
musical idea,
in the orchestra.
paniment,
often
It
complex
in
Th? voice may then be
exchanging musical
for
is
confined
frequently happens that the character, is contained
said to form the
literary
interest.
It
accom-
becomes
— subordinate
the
to
—
120
as though
orchestra,
were an extra
it
subsequently added as an after-thought. But
is
it
part^
evident that great
The
care must be taken with orchestral writing in such cases.
scoring must not be so heavy or complicated as to drown the voice and prevent the words from being heard, thereby breaking the thread of the text, and leaving the musical imagery unexplained,
moments may
Certain
great
that
a voice
Even
being heard.
require great volume of orchestral tone, so
phenomenal power
even
of
the singer
if
is
should reserve his
inartistic,
outbursts
orchestral
and the composer
for the
intervals
during
and
singer's phrases
distributing the
silent,
is
of
audible, such unequal struggles
between voice and orchestra are most
which the voice
incapable
is
pauses in a free and natural manner, according to the sense of the words. it
a prolonged forte passage occurs in the orchestra
If
may be used
concurrently with action on the stage.
All artificial
reduction of tone contrary to the true feeling of a passage, the sole object being to allow the voice to
avoided, as It
it
come
through, should be strictly
deprives orchestral writing of
its
distinctive brilliance.
must also be remembered that too great a between
tone
of
purely
accompany the voice
when
the
orchestra
three's or four's,
orchestral
create an
inartistic
and brass
in large
previous sections
I
work proves
indeed,
may be
it
comparison.
Therefore,
numbers, the division of tone
skillfully
and with the greatest
have frequently stated
care.
that the structure itself.
The scoring
this relationship in a striking
mnaner, and,
of the orchestra is closely related to the of a vocal
volume
and those which
strengthened by the use of wood-wind in
is
and colour must be manipulated In
disparity in
passages
stipulated
music
that only that
which
well written
is
can be well orchestrated.
Transparence of accompaniment. The group one
of strings
least likely to
wind and the
is
Harmony.
the most transparent
overpower the voice.
medium and
Then come
the
the
wood-
brass, the latter in the following order: horns, trom-
bones, trumpets.
A
strings, pizz.,
and the harp
forms a setting eminently favourable for the voice.
As a general
rule a singer is
more
combination
easily
than by short detached ones.
of
overpowered by long sustained notes Strings doubled in the
wood-wmd
—
—
121
and brass, and brass doubled by wood-wind are combinations
drown
liable to
by tremolando
This
the singer.
in the kettle-drums
may be done even more
easily
and other percussion instruments,
which, even by themselves are capable of overpowering any other
group of instruments.
orchestral
Doubling
of
wood-wind and
horns, and the use of two clarinets, two oboes or two horns in
unison
one harmonic part
form
to
is
likewise
be avoided,
to
The
as such combinations will have a similar effect on the voice.
frequent use of long sustained notes in the double basses
course unfavourable to the
human
with the
singer; these
may
or declamatory singing the groups forms
the
melodic
a
effect.
wood-wind which overweights nevertheless be employed
harmony design,,
another
is
combination
in
voice produce a peculiar throbbing
Juxtaposition of strings and
executes
notes
if
legato
one
of
sustained notes and the other
in
when,
instance
for
sustaining
the
instruments are clarinet, and bassoon, or bassoon and horn, and the
melodic design case,
when
entrusted to violins or violas
is
harmony
the
— or
in the opposite
given to violas and 'cellos divisi, and
is
the harmonic figure to the clarinets.
Sustained harmony in the register of the second octave to the
middle of the third does not overpower women's voices, as these develop voices,
outside
this
neither
is
it
too
heavy for men's
which although opening out within the range
an octave higher, as
women's voices with
range;
harmony
and used
in
suffer
in
the
itself
sound
As a
case of the tenor voice.
more than men's when they come
rule
in contact
a register similar to their own. Taken separately,
in
moderation, each group of orchestral instruments
be considered favourable
may
each type of voice. But the combination
to
two or three groups cannot be so considered unless they each
of
play an independent part and are not united together at
Incessant four-part will
decreased, the
harmony
is to
be deprecated.
be obtained when the number with
some
of
of
is
pedal, notes,
harmony, interspersed with necessary pauses
the limits of
strength.
Satisfactory results
harmonic parts
them sustaining
full
is
gradually
and when
confined to
one octave, distributed over several octaves, or dupli-
cated in the higher register.
These manipulations allow the composer aid;
in
voice-modulations,
when
to
come
to the singer's
the singer passes from the can-
— the
to
tabile
style,
some harmony which
eliminate
vocal
declamatory
122
tone
and
diminishes,
fuller orchestral
composer may reduce or
the
found to be too heavy as the
is
support the voice by a
conversely,
tone in broad phrases and climaxes.
Ornamental writing and polyphonic accompaniment should never
be too
intricate in character, entailing the
number
Some
of instruments.
use of an unnecessary
complicated figures are better partially
entrusted to pizz. strings and harp, as this combination has
chance
Some examples
overpowering the voice.
of
of
little
accompanying
an aria are given below.
Examples: The Tsar's Bride, Lykow's supplementary Aria (Act 16—19 No. 277. *
Berendey
45
Snegoiirotchka
212—213
187—188
Snegourotchka
the two Cavatinas of Tsar
extracts, Ex. 102, 225).
(cf.
No. 278. Sadko
143
204-206 *
Legend
*
The Golden Cockerel
Florid
III).
Griasnov's Aria.
The
222-2231
of Kitesh [39-41
153-157
singing which
accompaniment, simple
Venetian's Song.
limits
(cf.
Ex. 31).
163
volume
in outline
of
tone
a light
requires
and colour, involving no
dupli-
cation of instruments.
'Examples: No. 279. Snegourotchka 42-48
-
Snegourotchka's Aria (Prologue),
Fragment.
"Sadko
195—197
—
Hindoo Song 45-50
*
The Christmas Night
*
The Golden Cockerel |i3i— 136|
Doubling voices
(cf.
Ex. 122).
—
Oxana's Aria.
—
Aria
of
Queen Shemakha.
in the orchestra.
Melodic doubling of voices by orchestral instruments or octaves)
is
an extended period missible
in
(in
unison
of frequent occurrence, but incessant duplication for
isolated
of time
phrases.
should
be avoided;
The most
natural
it
is
only per-
duplication
in
:
— unison of womens' voices
and oboes; horns.
that
performed by
mens' voices by
of
Doubling
is
—
123
violas,
in octaves is usually
Trombones and trumpets overpower
violins, violas, clarinets
done
bassoons and
'cellos,
upper
in the
register.
the voice and cannot be used
Uninterrupted or too frequent duplication should
for this purpose.
be avoided, not only because the operation deprives the singer full
freedom
of
expression,
mixed timbre the rare Doubling,
when
is
because
to
a
it
by a
human
voice.
is
It
only suitable
unison or octaves to a passage ad.
in
it,
of
replaces
few special phrases supports the
with beauty and colour.
it
apply
also
characteristic qualities of the
limited
voice and endows ki tempo; to
but
lib.
both ineffective and dangerous.
Examples:
— Snegourotchka's Arietta
Snegourotchka 50—52
Sadko 1^09— 3ii\ Besides the
— Volkhova's
question
of
colour there are instances a phrase, allotted in
Cradle-song
Ex. 41).
Ex. 81).
doubling the voice for the object of
when
the singer executes only part of
entirely to
its
(cf.
(cf.
an orchestral instrument.
Example: Vera Scheloga Lyrical
[so], [aa] (cf.
a plena voce, or dramatic passages
climaxes,
voice situated outside dically
the
Ex. 49).
its
normal range should be supported melo-
and harmonically by the orchestra,
voice
is
placed.
The culminating
in the register in
point
in
such
often coincides with the entry or sudden attack of the
or other brass instruments, or by a rush of strings. the accompaniment in this
manner
Servilia
The Tsar's Bride [1 26-127
232
No. 281.
.
Sadko
Vera Scheloga
[314
[^Tj.
which
passages
trombones
Strengthening
will soften the tone of the voice
Examples No. 280.
for the
[206].
:
— If
left
the culminating point
unsupported
in
—
124
soft in colour
is
and outline
better
the orchestra, but sometimes the wood-wind,
sustaining such passages with light transparent melody or
may produce an
is
it
entrancing
harmony
effect.
Examples: Snegourotchka
[Tss],
[sis] (cf. Ex. 119).
The Tsar's Bride \2u]
No. 282. It
is
common
a
by harmony and
and
brilliance
.
practice to support voices in concerted duplication;
when
makes
operation
this
applied to duets, trios, quartets
numbers
for accuracy etc.
Examples:
— Duet
Snegourotchka [^92^293]
— Duet
99-101
Sadko
(cf.
The Tsar's Bride
No. 283.
(cf.
Ex. 289 169
The
of
—
Kitesh [341]
and
quartet.
quartet
and sextet
a cantabile aria cannot be denied.
In
used are generally the
and
Eng. horn, is
clar.,
bass
with
some
Ex. 305).
such cases the instruments or the
'cello,
composed
of
flute,
oboe,
The accom-
bassoon, horn and harp.
clar.,
polyphonic designs.
either plays alone or as the leading melodic
voice in the ensemble. ciated
violin, viola,
often contrapuntal or
The solo instrument
(cf.
produced by a solo instrument accompanying
beautiful effect
paniment
290).
sextet.
117
Legend
Ex. 118).
combination with the voice, or asso-
In
action
on
the
stage,
a
solo
powerful expedient for musical characterisation.
instrument
is
a
Instances of this
description are numerous.
Examples
— Soprano and oboe Ex. — Contralto and Eng. horn. — Baritone and bass No. 284. — Soprano, The Tsar's Bride The Golden Cockerel — Soprano and viola Snegourotchka
[50j
„
~97J
(cf.
"243]
,
clar. (cf. Ex.
[245]
[Tos]
163
41).
'cello
47—48)-
and oboe.
(cf.
Ex. 226).
— It
in
is
125
—
comparetively rare for percussion instruments to take part
accompanying the
cymbals
figure or a tremolo
The
voice.
less frequently.
triangle
is
occasionally used, the
An accompaniment may be formed by
on the kettle-drums.
Examples: Snegourolchka
[97],
[224),
[^
(Lell's
m and
3il songs).
Tsar Saltan, before [?]. 161
a
1
— handled with greater regard the action
on the
stage.
—
126
to its relationship to the
words, and
This tlass of orchestration can only be
studied from lengthy examples.
refer the reader to operatic full
I
scores and content myself with giving one or short instances:
Examples: No. 287.
Snegourotchka
No. 288.
The Tsar's Bride
16
124—125
The following double examples,
similar from a musical point
a vieW; show different methods of handling an orchestra from the standpoint of accompaniment to the voice, and the
tutti
form.
Examples: No.
289—29 1
Sadko |99— ioi| and 305-307 (compare also Ex. 75).
.
1
Vera Scheloga |3-7| and
28
Care should be taken not panying singers
score too heavily
to
when accom-
in the wings.
Examples: *No. 292. *
Legend
Sadko of Kitesh
316
318
286-289
320 ,
305
304
.
Orchestral accompaniment of the chorus. The chorus, possessing much greater unity and power than the solo voice, does not demand such careful handling in the accompaniment.
On
the contrary, too great a refinement of orchestral
treatment will prove harmful to the resonance of the chorus. As
a general rule orchestration of choral works follows the rules
down marks
for purely instrumental scoring. of expression
must correspond
It
in
is
laid
obvious that dynamic
both bodies, but doubling
one orchestral group with another and coupling instruments the
same kind
in
unison (2 Ob., 2
are both possible operations,
if
CI.,
quirements of the musical context. struments
is
4 Horns, 3 Trombones
performed according
generally a good plan.
to
etc.)
the re-
Doubling choral parts by In cantabile
of
in-
passages such
1
— duplication
may be melodic
ornamental
in the
—
127
and the design more
character,
in
orchestra than in the chorus.
Examples: Ivan the Terrible, Act
The
May
Night, Act
The Christmas Night
SadkO
1
37-39
I,
1
The
reader will
In
case
the
of
the voice simply
The
177
50-59
187
189
141
207—208
262-264
instances
of
choral
accompaniment
exclamations or phrases in
not always suitable.
It
is
in
work.
to other sections of the
solitary
recitative,
better to support
by harmonic duplication.
repetition of notes
fundamental part
173
133—145
237-238
find
is
31-36
177-178
167
many examples relating melodic doubling
Ddd— Ft!
323-328
40-42
91—93
The Golden Cockerel
I-Ee
270—273
The Tsar's Bride 29—30
of Kitesh
[
115—123
233
Tsar Saltan 67—71
III
[79—86
I,
1
Act IV
;
59-61
50-53
66-69
III
147-153
1
218—221
Legend
Act
1
22-3T], [45-63
II
;
[x^y]; Act
I
Snegourotchka [6i-73j,
Mlada, Act
|3-6|
II
— required
by declamation
of the rhythmical structure of a
— forming no
phrase or chord
should not be reproduced in the orchestra; the melodic or har-
monic basis alone should be doubled. structure
of a choral
phrase
is
Sometimes the rhythmical
simplified in
comparison with
its
orchestral duplication.
Examples : No. 293.
The Tsar's Bride
No. 294.
Ivan
the
[96],
Terrible, Act
I,
before
[ts].
Choral passages, the musical context of which itself,
is
complete in
forming a chorus a capella often remains undoubled by the
orchestra,
accompanied solely by sustained notes or an indepen-
dent polyphonic figure.
—
—
128
Examples: No. 295.
Sadko
*
Tsar Saltan
*
Legend
[219].
207 167
of Kttesh
The Golden Cockerel Heavier scoring
(cf.
Ex. 116).
236
required for a mixed chorus;
is
voice chorus the orchestration should be lighter;
women's voices
In scoring a certain
alone.
should not lose sight of the for scenic
conditions
may
number
to
Examples: No. 296. *
Sadko
Ivan the Terrible, Act 17
he
necessitate a reduction
work.
II
37
a male for
passage the composer
of choristers
The approximate number should be marked a basis upon which
for
more so
still
is
of
employing, that
figure.
in the full score as
:
— same
voice and chorus, of the
a certain amount of
—
129
timbre, or mixed chorus, creates
such cases the soloist should
In
difficulty.
sing in a higher register than the chorus, the former a plena voce, the latter piano.
The
soloist should stand as
The
possible; the chorus up-stage.
as
adapted to the
near to the footlights
orchestration
should be
not (o the chorus.
soloist,
Examples : "
No. 298.
Snegourotchka Act
Ivan the Terrible.
When
143
[st]
II
(cf.
Ex. 296).
the chorus sings in the wings the soloist
is
always heard
distinctly.
Examples Ivan the Terrible, Act *
The
May
*Sadko
Night, Act
[T02] ,
25—26
I
Ccc
III
111
Instruments on the stage and in the wings. The use
of instruments
times
distant
finale).
In the
(Mozart,
middle
on the stage or
Don
Giovanni,
(Glinka, Meyerbeer,
string
wings dates from
orchestra
Act
in
I,
century orchestras of brass instruments,
of last
or brass and wood-wind combined, stage
in the
Gounod
composers have abandoned
this
made and
clumsy
their
appearance on the
others).
More modern
practice, not only unfor-
tunate from the spectators' point of view, but also detrimental to the mediaeval or legendary setting of the majority of operas.
those stage instruments are
now used which
surroundings in which the opera in
the wings,
invisible to
the
is
laid.
audience,
suit the
Only
scene and
As regards instruments the
question
is
simple.
Nevertheless, for the musician of today the choice of these instru-
ments must be regulated by aesthetic
considerations of greater
importance than those governing the selection of a military band.
The instruments are played
in the
wings, those visible on the stage
are only for ornament. Sometimes stage-instruments of
those
common
to
may be replicas
the period which the opera represents, (the
sacred horns in Mlada, for example). The orchestral accompaniment 9
— must vary
in
to the characteristics of the instru-
power according
ments played
the wings.
in
—
130
illustrate the
impossible to
is
It
use
of all the instruments mentioned below, and to outline suitable accompaniments. I can only give a few examples and refer the
reader once again to the passages in the a)
full
scores.
Trumpets: Servilia *
Legend
25
12
53
of Kitesh
*Tsar Saltan
139
55
60
.
and further on.
b) Horns, in the form of hunting horns:
Pan Voyevoda 38—39 c)
Trombones, leaving the orchestra
Pan Voyevoda
|i9i|
to
go on the
stage;
.
d) Cornets:
Ivan the Terrible, Act e)
Sacred horns (natural brass instruments
Mlada, Act f)
[T], [T].
III
II,
in various keys):
pp. 179 onwards.
Small clarinets and piccolos: No.
299— 300. Mlada,
g) Pipes of Pan:
Act
37
III
instruments,
specially
which are passed over the
lips.
duce a special enharmonic scale {B sharp, G, A),
Mlada, Act
III
which has the
\m\, [43]
made, with many holes
These particular pipes proflat,
C,
D
flat,
E flat,
E,
F
effect of a glissando:
Ex. 300).
(cf.
h) Harp, reproducing the effect of an aeolian harp:
Kashtchei the Immortal i)
Lyres. to
[32]
and further on
Instruments specially
made and tuned
Ex. 268, 269).
so as to be able
perform a glissando chord of the diminished seventh:
Mlada, Act k) Pianoforte,
III
[39],
43
(cf.
Ex. 300).
grand or upright:
Mozart and Salieri 22—23 1)
(cf.
Gong, imitathig a church Ivan the Terrible, Act
I
bell:
67
and
farther on.
—
m) Bass Drum (without cymbals) Tsar Saltan
and
139
D
in
Mlada, Act
and
III
[41]
to
imitate
sound
the
of
camion:
later.
Small kettle-drum,
n)
—
131
flat
(3iil
octave):
later (cf. Ex. 60).
0) Bells in various keys:
Sadko
[T28]
No. 301. 323 *
and
Legend
and
139
of Kitesh [78?]
and
See also
further on.
[241],
later.
Tsar Saltan
[T39]
and further
on.
Organ:
p)
[^ 99-30o]
No. 302. Sadko
.
Wood-w^ind and strings are comparitively seldom used on the stage or in the wings. in
this
In
Russian opera the strings are employed
way by Rubinstein {GoriouchaJ^ and manner by Serov (Hostile Power)
racteristic
the
E
flat
clarinet
is
used
to
imitate
the
in a splendidly :
fife
in
the
cha-
opera
in the latter
Carnival
procession. (1)
(1)
wings in
The
Mention should be made of the happy use of a small orchestra (2 pice, 2
May
cl.,
2 horns,
Night, Act
II,
1
Sc.
tro mbone, I.
tambourine, 4 Vni, 2 violas,
IjVl-Pj.
1
in the
D-bass)
(Editor's note.)
Chapter VI (Supplementary). VOICES.
Technical Terms. Among
all
the confused terms employed in singing to denote
human
the compass, register and character of the
may be
four which
alto or contralto, tenor
the
composition
Sopr.
by
its
chorus with sub-divisions of
how
of
an instrument
construction, the ^compass of the voice,
depends on the individuality
the singer.
of
is
soprano, to
denote
firsts
the parts must be divided.
While the range
etc.)
II
These names are used
and bass.
the
determine
to
secondSj
of
voice, there are
said to represent elemental types:
and
(Sopr.
I,
exactly governed
on the other hand, It
therefore im-
is
possible to define the exact limits of each of these vocal types.
When
it
is
those with
a question of dividing choristers into the
higher voices
are classed
I2I
among
and 2^
parts,
the firsts
and
vice versa.
Besides the principal terms mentioned above, the
soprano (between sop. and
alto),
names mezzo-
and baritone (between tenor and
bass) are also employed. Note.
In
the chorus mezzo-sopranos
lii altos, baritones with
211^
tenors or
are
first
classed with
2^
sopranos or
basses, according to quality and
timbre of voice.
Apart from these denominations which represent the six principal solo voices, a quantity of others are in use to denote either
compass, timbre or technique,
such as
hght soprano,
soprano
^iusto, lyric soprano, dramatic soprano, light tenor, tenorino-altino,
bary ton-martin, lyric tenor, dramatic tenor, basso cantante ("singing bass"),
basso profondo (deep bass)
etc.
To
this lengthy list
must
be added (between
we
If
term
the lyric
try to
—
133
mezzo- car attere,
and dramatic soprano,
intermediate
of
character
for example).
discover the real meaning of these designations
it
soon becomes apparent that they are derived from widely different sources
—
for instance, "light
"dramatic tenor", the power
in the voice;
matic feeling;
deep
agility
and mobility strong dra-
to express
profondo signifies great resonance in the
basso
register.
Minute examination
sound
of
soprano" implies
lies
of
the methods of attack and emission
all
within the province of the singing master and
The same
enumerate them here would only perplex the student. applies to the position
and exact
middle and head voice
in
falsetto
equalising
women;
The work
men).
in
the voice
The professor
whole compass, so
its
Some
of singing
on
its
flexibility, instruct
be able
to
may be
voices are naturally even and
must correct
faults in breathing,
it,
equalise
its
tone,
as to the pronunciation of vowels,
modulation from one grade of expression to another, poser should
that the
the vowels,
all
determine the range of the voice and place increase
(chest voice,
chest voice, mixed voice and
to another,
accomplished imperceptibly. flexible.
of register
teacher of singing consists in
of a
throughout
from one register
transition
limits
to
rely
upon
flexible
A com-
etc.
and equal voices
without having to trouble himself as to the abilities or defects of individual singers. particular artist,
In
these days a part
and composers and
is
seldom written
librettists
do not
find
for a it
ne-
cessary to entrust a certain role to fioriture singers, another to
heavy dramatic voices.
Poetic and artistic considerations
demand
greater variety of resource in the study of opera or vocal music in general.
Soloists.
Range and I
advise the composer
to
register.
be guided by Table
F.
which gives
the approximate range of the six principal solo voices.
under the notes defines the normal octave, the register the voice
may
is
generally used.
write freely without
A
bracket
in
which
Within these limits the composer
fear of hardening or tiring the voice.
1
1
— The normal octave
applies aJso to declamatory singing
notes above
tative; the
—
134
reci-
and should be used
are exceptional
it
and
for
the culminating points of a passage or for climaxes, the notes
below, for the
Employing voices
or decline of a melody.
fall
in
unusual registers for long periods of time will weary both singer
and
but
listener,
A
octave.
these
may
registers
be used for
occasionally
so as not to confine the voice too strictly to one
intervals
brief
few examples are added
to illustrate
melody
in different
types of voices.
Examples:
The Tsar's Bride
02- 109
1
(for extracts cf. Ex. 256, 280,
—
284)
Marfa's Aria (Soprano).
I26—
Snegomotchka
—
Sadko [46^49]
(cf.
[T
29-131I
[1 91—19 3]
—
18
Griaznov's Aria (Baritone).
The 3 songs
of Lell. (Contralto).
extract, Ex. 120)
—
Sadko's Aria (Tenor).
—
Lioubava's Aria (Mezzo-sopr.).
(cf.
extract, Ex. 131)
—
Bass Aria.
Vocalisation.
A
good vocal melody should contain notes values,
different
minims,
quavers and semiquavers is
unsuited. to vocal
only
but
number occur
at
in
of
a
etc.).
melody;
certain
it
cases.
and
Monotony is
of
at
quavers in
(or
three
least
crotchets,
rhythmic construction
applicable to instrumental music,
Cantabile-
melody
requires
a
fair
long notes, and a change of syllable in a word should
moment when
Short, single notes,
monious
crotchets
effect.
the voice quits a long sustained note.
changing
Owing
wHh
every syllable produce a har-
the requirements of diction, extended
to
melodic figures sung legato on one syllable must be used with care on the part of the composer;
must
The
possess possibility
greater
command
of taking
conditions essential to
all
to
ov^r
perform these the singer flexibility
and technique.
breath in the right place vocal writing.
is
one
of the
Breath cannot be taken
in
the middle of a word, sometimes not even during the course
of
a sentence or phrase in the text; hence the voice part must
be suitably interspersed with
rests.
:
—
135
Table F.
— Voices.
Chorus Soprano.
Contralto.
Tenor.
Bass. except
Soloists:
Tenor.
Baritone.
•scept
— Note.
It
may
must be remembered
136
—
that there are
some words upon which
the
not dwell, or sing more than one or two notes.
These words may be nouns, pronouns, numerals, prepositions, conjunctions and other parts of It would be impossible and ridiculous, for instance, to write a speech. sustained note on such words as "who", "he" etc. The voice may dwell on certain words which, so to speak, possess some poetical colour (1).
voice
Examples:
Sadko
No. 303.
[iae]
—
Sadko's Aria (Tenor).
r^09-3ii] (8ee extract, Ex. 81). Volkhova's Cradle
"
Song Snegourotchka
(Soprano).
— Fairy
[V]
187—188
Spring's Aria (Mezzo-sopr.).
212—213 (see extracts, Ex. 102 and 225)
— the two Cavatinas Tsar Berendey (Tenor). — Miskir's Aria (Baritone). of
[247]
Vowels. As regards and
in the
on one
syllable,
on long sustained notes
high register, the choice of vowels
The
importance. in
vocalisation
is
a matter of
difference in the position of the
forming the open vowel a and the closed vowel ou
The
to everyone.
sounds
is:
high notes
a,
i,
series of vowels
o,
e,
from the point
u.
In
women's voices the
men
it
is
The vowel
some
mouth and of
apparent
is
view
easiest
lips
of
open
vowel on
i
softens the pene-
trating quality of the top notes of a bass voice,
and the vowel a
adds florid
to the
is
a,
for
o.
extension of range in the very lowest compass. Lengthy
passages are often written on the interjection ah, or simply
Here the author approaches a question so well known to the Russians does not require any further elucidation for their guidance. But a whole book would have to be written to form a compendium of practical rules on this subject, and to point out the errors which nearly all French composers openly commit even those who are famous for their sense of diction and literary style. We can only conclude that the question has come to be considered of minor importance in France, perhaps on account of the lack of definite stress on the syllables of words, which is characteristic of the French language. It is not within the translator's province to discuss the question of French versification or to elaborate the excellent maxims laid down by Rimsky-Korsakov, the first, among many, to touch upon this delicate and important subject. (1)
that
it
—
(Translator's note.)
— on the vowel
Owing
a.
to
137 the restrictions
imposed by
literary
and dramatic laws, the composer can only follow the above rules to a limited extent.
Examples: Snegourotchka No. 304.
|318-319|
[293],
Sadko
Ex. 119).
(cf.
[83] .
Flexibility.
Voices possess the greatest amount of
Women's
octave.
voices are
types, the higher voice is the
tenor voice in men.
flexibility in their
normal
more supple than men's, but in all more agile, sopranos in women, the
Although capable 6f performing
florid
and
complicated figures, different varieties of phrasing and the rapid
change from staccato flexible
to legato, the
human
than a musical instrument.
diatonic scales
and arpeggios
Intervals bigger than
is
come
easiest to the voice.
and chromatic
fourths in quick succession
scales are extremely difficult
infinitely less
passages of any rapidity,
In
in thirds
voice
Skips of an octave or more starting
from a short note should always be avoided.
Preparation should
precede any extremely high note either by leading up to or by the clear leap of a fourth, the voice
may
fifth
it
gradually,
or octave; but sometimes
attack a high note without
any due preparation.
Examples: 46—48
Snegourotchka
(cf.
extract, Ex.
279)
—
Snegourotchka's
Aria (Soprano).
96—97
Sadko
Lell's first
196—193
(cf.
203—206
— Venetian
extract, Ex. 122)
Pan Voyevoda 20—26
song
song
—
(Contralto).
Hindoo song (Tenor).
(Baritone).
Maria's cradle song (Sopr).
Colour and character of voices. The colouring
of the voice,
whether
it
be
brilliant or dull,
sombre
or sonorous depends upon the individual singer, and the composer
has no need to consider
it.
The
chief question
and may be solved by the judicious choice
is
interpretation
of artists.
From
the
—
—
138
may be
point of view of flexibility and expression voices
two
and
of greater range, the
classes, lyric
The
and dramatic.
into
more
latter is
divided
more powerful
former possesses more suppleness and
elasticity
and
pression.
Granted that the rare combination of the two classes
is
readily disposed to different shades of exis
the composer's ideal, he should nevertheless be content to follow the
main
artistic
purpose which he has set out the achieve.
and important works the composer should bear
complicated
In in
mind
the characteristic^ of the various voices he employs; more-
over,
if
he use two voices
of the
same
calibre,
2 Sopranos
e. g.
or 2 Tenors, he should discriminate between the range and register of their respective parts, writing for
other.
character
each type
may
no rare occurence
is
It
mediate
roles
suitable to the dramatic to give
prominence
to
characteristics
an
of
combining the
To such voices
demanding the
especially secondary roles.
slightly higher than the
meet with voices
to
(mezzo-carattere)
a modified extent.
to
assign
one
inter-
qualities
each
of
of
composer
the
class,
At the present day, besides the roles
and
lyric
type of voice,
those demanding some
it
is
customary
special qualifications,
voices of a certain tenderness or power, a specified range or degree of flexibility
casting
—
attributes decided
artistic object in
secondary and minor roles the composer
employ a medium range and Note.
by the
After Meyerbeer,
less exacting
who was
the
first
is
demands on
to write
view.
In
advised to technique.
for a special type of
heavy mezzo-soprano and baritone, Richard Wagoner created a type of powerful dramatic soprano, of extensive rang^e, combining^ the quality and scope of the
soprano and mezzo-soprano voices; likewise a similar type of tenor, possessing the attributes and that voices shall
and baritone together. To demand and resonant in the high and low register, be endowed with a super-poweriul breathing apparatus and
compass
be equally
that singers shall
of the tenor
brilliant
an extraordinary faculty for resistance tO fatigue (Siegfried, Parsifal, Tristan, Briinhilda, Kundry, Isolda), is to exact something little short of the miraculous. Such voices are to be found, but there are some singers with excellent though not phenominal vocal powers, who, by the constant pursuit of Wagnerian parts endeavour to increase their range and volume, and only succeed in depriving the voice of correct intonation, beauty of tone, and all subtlety of nuances. I believe that less exacting demands and greater perception of what is required, skilful and judicious use of the high and low registers of the voice, a proper understanding of cantabile writing combined with orchestration which
never overpowers the vocal part will be of greater service to the composer, artistic point of view, than the more elaborate methods of Richard
from an
Wagner.
—
139
Voices in combination. manner
Treating solo voices in a polyphonico-harmonic best
A
method
is
the
of preserving their individual character in ensembles.
which
distribution
seldom found. simplifies the
wholly harmonic or entirely polyphonic
is
The first movement of
plan,
used in
largely
choral
is
writing,
the voices too greatly, eliminating their
melodic character; the second method
wearisome and somewhat
is
disturbing to the ear.
As a general rule the voices are arranged according of
normal
register.
Crossing of parts
done with the intention
of
to the
law
rare and should only be
emphasising the melody in the ascending
voices above those adjacent in register, contralto, the
is
e. g.
the tenor part above
mezzo-soprano above the soprano,
etc.
Duet. to the proper movement of parts are those of two voices related within an octave 8 [?°P^-, ^^^'^^'•,
The combinations most conducive
gat"**
Movement will
in tenths, sixths, thirds or octaves (the last very
always produce satisfactory ensemble, and
polyphonically,
separated by
it
need
not
more than a
happen
tenth,
if
seldom)
the parts progress that
frequently
they
are
or that undesirable crossing of
parts will result.
Examples :
— Sopr. and Tenor — Sopr. and Tenor. 48—50 — Sopr. Terrible, Act
Sadko 99-101
the
I
Kashtchei the Immortal 62—64 Voices related in
fifths
and
.
fourths, 5
unison.
common
in sixths
and
and Tenor.
Mezzo-sopr. and Baritone.
should progress nearer to one another; in tenths,
Ex. 289, 290).
143
Servilla
Ivan
(cf.
[I^p^Iq,
it
is
4 [j^^^'', 5 [[«"• Bass.
rare for
thirds; they
The two voices are seldom separated
may at
them
to
move
also proceed in
a greater distance
than ah octave, and certain cases will require crossing of parts,
which, however, should only be for periods of short duration.
1
—
—
140
Examples :
—
263—264
Snegourotchka
The Christmas Night Legend
Alto.
Alto and Tenor.
Tenor and Bass.
338
of Kitesh
Soprano and
78—80
Voices related in thirds; ^ rSopr. "^LM.-sopr.
may move
Ten.
M.-sopr, '
C.-alto
in unison, in thirds
Bar.
'Bass' Bass'
and
and admit very largely
sixths,
of the crossing of parts.
Separation by
only be momentary, and
is
more than an octave must
generally to be avoided.
Examples : *
The Tsar's Bride
*
Tsar Saltan
[T74]
—
5—6
—
Sopr. and Mezzo-sopr.
Sopr. and Mezzo-sopr.
In the case of voices related in twelfths
ing one another do not create a good
12
:
[l^^s
,
intervals approach-
effect, for this
transplants the
deeper voice into the upper register and vice versa. unison
is
no longer
and
possible,
use of sixths, tenths and thirteenths often
will
parts
is
thirds is
recommended.
be separated by more than a
Singing in
are to be avoided; the
twelfth
The voices
and crossing
of
out of the question.
Example : *
Tsar Saltan
1
254— 255
Relationship in tenths 10 [|^P'- or ^^^^^'
is fairly
common. The
explanations given above are also applicable in this case.
Example : Snegourotchka 291-300
The use unison and
extract, Ex. 118) Sopr.
of similar voices in pairs: g^PJ* thirds.
They should
but crossing of parts of tone
(cf.
is
rarely
,
!fg[['
and Bar.
entails singing in
be separated beyond a
inevitable, as otherwise the resultant
would be too weak.
sixth,
volume
—
—
141
Other possible combinations: ^'^f^^
Note.
f
TeJf°'"^'»
ca" *or no special
remarks.
Examples: •
The
May
*Sadko
Night, Act
322—324
As a general
I
pp.
common
rule, writing for
note,
movement and perfect
—
Mezzo-sopr. and Tenor.
Mezzo-sopr. and Tenor.
the progression of parts
a
59—64
is
two voices
clear,
when
of the voices
Emply
intervals of fourths
some
and
on the strong
value.
If,
however,
assumes a melodic character, the other forming
the harmonic accompaniment in declamatory solutely necessary to avoid the intervals Note.
when
of conveniently separated
elevenths and twelfths should be avoided
fifths,
beats of a bar, especially on notes of
one
only successful
discords are prepared by
or are the outcome
correctly resolved.
is
style,
it
is
not ab-
mentioned above.
not within the scope of the present work to consider the writing:
It is
This question must be left to the professor remains to be noted that the human voice accompanied by the orchestra is always heard independently as something apart, something: complete in itself. For this reason a composer may never rely on the orchestra to fill up an empty space or correct a fault in the handling of vocal parts in closer detail. of free counterpoint.
It
All the rules of
of voices.
must be applied accompaniment.
harmony and counterpoint, down
to vocal writing,
which
is
to the last detail,
never dependent upon orchestral
Trios, quartets etc All that
has been said regarding the relationship of voices in
duet applies with equal force to the combination of three, four, or
five
more
voices.
An
ensemble of several voices
purely polyphonic; as a rule, although
for the remainder.
harmony
ment
is
also possible.
is
seldom
polyphoniis
used
This variety of simultaneous move-
of vocal parts renders the
comprehension
and sanctions the
of the total effect
distribution oT distinctive
suitable figures or tone colouring to certain voices with other
figures 'or timbres
The
move
Declamation for some voices on notes forming
less difficult for the ear,
and
parts
progression in thirds, sixths, tenths and thirteenths
cally,
the
some
skilful
which may be proceeding
at the
arrangement of pauses and re-entries
same
facilitates
time.
the
understanding of the whole, and gives desirable prominence to detail.
142
Examples : Snegourotchka
—
[267]
Trio, Finale to Act
116— 118
The Tsar's Bride
—
Quartet in Act
168—171 Servilia
\
—
149-15 2]
The movement
of
III.
Sextet in Act
Quintet in Act
solo voices
II.
extract, Ex. 283).
III (cf.
III.
seldonr purely harmonic in
is
character with predominance given to the upper voices homophoni-
The blending
cally treated.
an harmonic whole,
of all the parts into
without any distinctive predominant feature in any one part (as in a chorale) prayers,
employed
is
hymns,
etc.
for If
songs or ensembles
method
this
in traditional style,
adopted for the quartet
is
Sopr.
yg°
of voices,
,
will
it
be noted that widely-spaced part writing
Bass is
the most natural and suitable form (especially in forte passages),
as the
(low, middle
themselves foreign. it
can sing together
voices
four
and high), while,
at
proper registers
in close part writing they
moment
a given
their
in
in
which are
registers,
But both methods should be employed,
would be impossible
to
as,
may
find
entirely
otherwise,
guarantee equality in even the shortest
succession of chords.
Examples : Snegourotchka No. 305.
178
Legend
The second
Hymn
of Kitesh
half
of
Tsar Berendey's subjects.
341
of the last
example
is
an instance
of six-part
harmonic writing; the upper voice stands out prominently, the
rest
form a kind of accompaniment.
Chorus. Range and The range of
soloists.
of
The
choral voices
is
register. slightly
exceptional register
notes above and below the normal octave. still
in
more
may be The
limited
dotted lines extended
further indicate the limits upon which a composer
very exceptional cases, as every
full
than that
considered as two
may
rely
chorus must contain a few
—
more than average compass,
voices of
the solo voice in character.
may be found who
singers
—
143
many
In
approaching
in this respect
choruses on& or two bass
are able to go
still
lower than the
range (they are called octavists)
limit of the exceptional
(l)
.
These uncommonly deep notes must be moderately well sustained and is sing^in^ quite piano; they are
Note.
can only be used when the whole chorus
hardly applicable except in unaccompanied choruses (a capella).
The
difference in range
may
each type
between the
and "seconds"
"firsts"
be fixed as follows: the normal octave and the
exceptionally low register should
be
allotted to the "seconds", the
same octave and the exceptionally high register to The composition of the chorus is approximately a
full
in
the
chorus, 32 singers to each of the 4 parts sopr.,
bass; for a chorus of
medium
size,
from 16
to 20,
The number
chorus from 8 to 10 singers.
ten.
alt.,
and
and
for a small
women
of
predominate, and more voices are given to the
"firsts".
as follows: for
will often
than to the
"firsts"
"seconds".
On
may have
account of stage requirements a chorus
divided
two or even three separate
into
disadvantage,
especially
becomes more or
The methods
with a small
This
parts.
is
chorus, as each
to
be
a great
chorister
less a soloist.
of writing for operatic chorus are very
numerous.
Besides the primary harmonico-polyphonic arrangement, containing
whole musical
the
idea, the voices
may be made
to enter separately,
singing or declaiming phrases of varying length; they in
unison or in octaves; one vocal part
or the
whole chorus
may predominate ing
an
one melodic part
upper part for preference), the others formexclamatory phrases
given
the whole chorus or to certain portions of
to
the enUre chorus
isolated
may be
treated in a purely
in chords, with the essential,
the orchestra.
the chorus,
where he (1)
repeat certain notes
certain chords;
accompaniment;
finally,
manner
may
progress
harmonic
may be and
(the
reiterate
may
I
it,
harmonic
melodic design allotted to
Having outlined the principal methods
of
handling
advise the reader to study vocal and orchestral scores
will find
many
illustrations
Contrebasses voices as they are called
impossible to deal with here.
when mentioned
in
French works
are peculiar to Russia, in which country they are plentiful. (Translator's note.)
— There
exists
another most important operation, the division of
The most
the chorus into different groups. divide
into
it
method
natural
men's chorus and women's chorus.
combinations are tenors.
—
144
Less frequent
and basses, or sopranos,
altos, tenors
There remains yet another point
and
division of each part into two's
to
Men's and women's
may
alternate
For
with the other, or with the principal chorus.
it
is
only by the
one
either
reason sub-
this
division increases the possibilities of choral writing, and, as
already remarked,
and
altos
be considered, the sub-
three's.
choruses, considered as distinct unities
is to
I
have
study of choral works that
the student will acquire mastery over this branch of composition, the fundamental principles of which can only by faintly outlined
work.
in the course of the present
Melody. Melody
is
more
limited
the chorus than in the solo voice,
in
both as regards range as well as mobility. less
"settled"
and
not
so
highly
Choristers' voices are
as
trained
Sometimes solo and choral melody are similar and technique, but more often the variety of rhythm, restricted as
it
latter is
is to
those
of
soloists.
point of range
in
lacking in freedom and
the repetition of short phrases,
while the solo voice demands broader melodic outline and greater
freedom
in construction.
In this respect choral
resembles instrumental melody.
melody more
closely
Pauses for taking breath are not
so important with chorus singers as with soloists; the former do not need to breathe rest
from time
all
together and each singer
to time, thus
complete silences.
obviating the
The question
of suitable
may
take a slight
necessity for sudden
vowels
is
likewise of
secondary importance.
The change from notes syllables
of short value to long, vocalisation
on
and others questions mentioned above are equally applic-
able to choral melody,
but in a minor degree.
Not more than
two or three notes should be written on one syllable except for fanciful
and whimsical
effects.
Example: No. 306.
The Golden Cockerel
[262];
see also before [T23].
— A.
Mixed chorus.
Chorus The simplest and most and
or
altos,
to a
in unison.
natural combination of voices
tone,
melody
sopranos
is
These combinations produce
and basses.
tenors
ample and vigourous prominence
—
145
and the mixed timbres serve
in the
upper or bass
parts.
to give
In practice
The
the other voices are often divided to thicken the harmony.
combination of altos and tenors produces a peculiar mixed tone
somewhat
quality,
and seldom used.
bizarre
Examples : 64
Snegourotcfika
\m]
Sadko
(cf.
Ex. 14).
Progression in octaves. The most tenors 8 brilliant
altos
[fg^"^',
and natural combinations are sopranos and
and basses
8
produce a tone both [sasses' *^^y
and powerful. Progression
and basses
may occur be used gister
beautiful
in
in
Though
seldom practised.
is
in choruses for
of sopranos
altos,
or tenors
the latter combinations
women and men
melodies of restricted length.
and
alone, they can only
The
difference of re-
which the voices move does not permit
of the
same
balance of tone obtained by voices of a distinctive kind.
Examples Snegourotchka
113
„
Sadko
60
[^ —
6i
,
— Carnival
— Wedding
Chorus
:
Procession.
Ce'-emony.
of Guests, 151 Tableau.
Dividing kindred voices in octaves
is
seldom done,
8
[g^pj; n
etc.,
except perhaps in the basses « [l^sles IP ^^®" *^® progression of parts demand it, or it is required to double the bass part in octaves.
Examples: Ivan the Terrible, Act
Sadko
341
— Final
III
[68]
— Final
chorus
(cf.
Ex. 312).
chorus. 10
:
—
146
A
beautifully
round tone results from doubling men's and
voices in octaves 8
women s
[fX+Bas«3. Example: Final chorus.
Snegourotchka 323
and vigour
Brilliance
when sopranos and
achieved
is
altos pro-
gress In thirds doubled in octaves by tenors and basses also in Sopr, Altos
thirds: 8
"1^
r
I3 Ten. -BassesJ
Examples : Mlada, Act
24
I
;
Act
The Golden Cockerel
On
II,
before
31
235
the rare occasions
when
the whole chorus progresses in
double octaves the usual arrangement
+ Altos
Sopr.
"1
« rSopr.
tj
^ fTen. J
**'
is:
or else ° [Altos
+ Ten. Basses
[Basses
"I
„ '
I
Examples Snegourotchka
Sadko
[31 9j.
[182] .
Voices fdioisi); harmonic use of the mixed chorus.
is
The purely harmonic progression more natural and resonant when
of
the
a four-part mixed chorus
harmony
divided order, so that the volume of tone
is
is of
the widely
equally distributed
throughout.
Example: No. 307.
Sadko
To secure
144
— Beginning
of 3i^ tableau.
a well-balanced forte chord in close part writing the
following distribution
is
recommended: rSopr. I LSopr. II Altos [Ten. I [Ten. II
rSasses [Basses
I
II.
— Three harmonic parts
—
147
in the high register (2
sopranos and
altos)
are doubled an octave lower by 2 tenors and the \^ basses.
The
undertaken by the 2i^ basses.
the
lower part
is
tenors sing in the soprano octave, the
In this
manner
basses in the alto octave
isl
and the 2^ basses are independent.
Examples : Snegourotchka
Mlada, Act
327 20
II
— End the — Procession
work;
of
of Princes.
Ivan the Terrible, Act
Ex. 212).
(cf.
II
|_19J
when one
Division of parts can be adopted
of
them
with a melody, the remainder forming a sufficiently
The choice
paniment.
When
distribute the parts
and divide them
proper choral balance.
altos
first
it
is
necessary to
{D major).
illustration
I
give two
second {F major) being In the first
example the
are added to the sopranos to strengthen the melody; the
tenors and basses divisi form the harmony. the
may be
another manner, so as to
in
As an
extracts of identical musical context, the
a third higher than the
accom-
a harmonic-melodic phrase
repeated in different keys and registers,
maintain
entrusted
be divided depends upon the
of parts to
range of the upper one.
is
full
melody being a
third
higher
may be
In the
second example
given to the sopranos
alone; the altos therefore take part in the harmony, and conse-
quently the lower parts are divided in a different way.
Examples: Sadko
1
173
same music No.
1
and
in
309— 310.
Example 307
[ittJ (cf. Ex.
G major
205 and 206); compare also the
[Tso].
Ivan the Terrible, Act is
I
77
an instance of widely-spaced four-part writing
forming the harmonic basis, with the melodic idea in the orchestra.
Example 308, the same
In is
in
given to the sopranos, and
the
harmony
musical context, the melodic figure
among
the other parts which form
the tenors are divided.
Example : No. 308.
Sadko
[T52]
.
10*
:
1
— In
—
148
polyphonic writing exceeding 4 part harmony the voices should
be divided so as
One
part
necessary number of actual parts.
to obtain the
may be
many
divided into as
3 sopranos, 3 altos
as three different parts,
etc.
Examples Ivan the Terrible, Act
No. 3 12.
233
Servilia
— Final
Mlada, Act IV In
35-36
writing
fugato
distribution
1
III
[59]
— Final
chorus.
— Final
chorus.
and fugal imitation
mixed chorus the
for
generally in four parts, but this
is
chorus.
number may be
increased for cumulative effects as in the example quoted. In such cases the composer should be careful as to the arrangement of the final chord, the summit and climax of the passage.
After the
entry of the last of the voices the progression 0/ such a passage
should be handled with a view to the tone of the
The treatment should be such
that
concords produced by divided
voices or different groups of voices retain their if
the final chord be a discord
means in
valu6; and
heightened by
advised to examine
is
progression of parts leading up to the final chord
each of the examples given above, paying special attention to Crossing of parts must not
the distribution of these final chords.
be
full
may be
effect
its
The reader
of crossing of parts.
carefully the
final chord.
effected at
The arrangement
random.
of choral parts follows
the natural order of register and can only be altered for short
spaces of time to give momentary prominence to some melodic or declamatory phrase.
Examples: Ivan the Terrible, Act
I
[79],
B. Men's chorus
Act
II
\T\, Act
III
67
and women's chorus.
In writing a three-part female chorus the division should
Sopr Sopr. Altos
I
11
or
Sopr. Altos Altos
of distribution
register in
I;
the
same
for
men:
Ten. Ten.
depends upon which voice
which the group
II
or Bass Bass
Bass
II
is to
is to
be placed.
be either
Ten.
I
I.
The choice
II
predominate, or the
The manner
of divid-
:
— may
ing the parts
change, one following the other
method
four-part^ harmonic writing the Sopr. Sopr. Altos Altos
To give prominence
Sopr. Sopr. Altos
I
I
II
Ten.
I
or Ten.
II
I
II
In
II
Bass Bass
I
II
will.
method may be adopted:
-f Altos
I,
Bass
II
harmony may be
+ Bass
I.
II
melody has
in three-part writing, the
part, the
Ten. Ten.
I
II
at
of division is self-evident:
a melody in the middle part in three-
to
part harmony, the following
If,
—
149
to stand out in the
upper
either widely-divided or close.
Examples: Ivan the Terrible, Act
25-26
I
23-31
— Men's chorus 270-272 — Women's
Sadko, before |i8il
Sadko
No. 311. In
1
(cf.
1
four-part choral writing close
wise the upper part of the
(Women's
will
be
in too
chorus).
Ex. 27).
chorus.
harmony
is
preferable, other-
high a register and the range
bottom part too low.
Examples: Sadko
Male chorus.
17
Ivan the Terrible, Act Distribution
in
II
36—38
two parts which
Female chorus is
not call for any special remarks; the
(cf.
Ex. 296).
generally polyphonic does
same may be
said of chorus
in unison.
Examples Sadko
50
— Male chorus.
Mlada, beginning
of Act
Ivan the Terrible, Act Servilia If
I
13—15
Female chorus.
26
male and female choruses are Handled
manner
way
III
in a purely
close part writing should be adopted.
to secure
This
is
harmonic the only
proper balance of tone in chords given to voices
— same
of the
Successions of chords
kind.
than
frequent
—
150
those
sometimes a
four;
in
in three parts are
series
more
chords
of
is
practicable only in two parts.
Examples: Snegourotcfika
Chorus
19
281—285
—
of Birds.
Chorus
and fugal imitation
In fugato writing,
Flowers
of
(cf.
Ex. 26).
in three parts, allotted to
a chorus composed of voices of one kind, the principal subject
given to two
is
method
parts, the counter subject to one; by this
the doubled themes will stand out to better advantage.
Examples: Sadko [20-21
*The
29—30
Tsar's Bride
Male and female choruses, apart from the part they play as
may be
individual unities,
introduced as separate groups in mixed
choruses alternating with the whole ensemble.
Example: Snegourotchka
—
198
Hymn
of Tsar
Berendey's Subjects
(cf.
Ex. 166).
As a general harmonic register,
bass
rule
a female chorus does not contain the real
part
when
part
this
situated
is
low
the
in
so that no octaves are formed between the real bass
and the lower choral
Harmony
voice.
in a chorus for
women
is
generally given to the three upper parts, the lower part acting as
accompanying the
employment
fourth's
{Sadko part;
and
bass.
and
270), this
later still
of
fifth's
It
will
be noticed that
chords
is
In
interval
(f).
low register
transferred to the upper register
it
In Ex.
lead to
example No. 311 of the bass
moment,
occurs, but only for a
(i)
on another such in the
may
and empty consecutive
remedied by the high position
of all the voices in the octave
harmonic bass
sixth
which should be avoided.
an empty interval
farther
the
of
this rule
is
avoided by the union
No. 304 {Sadko
is
carefully omitted,
is
doubled.
[saj)
but
the
when
— conclude
I
chapter with
present
the
—
151
following necessary
the
observations:
The operation
1.
undoubtedly weakens their
of dividing voices
resonance, and as the reader will have observed, one of the principal
factors
good orchestration
in
But
the distribution of chords.
somewhat
The
different.
in
equal balance
is
tone in
of
choral writing the question
is
orchestra, even after repeated rehearsal
always plays from music; the operatic chorus, on -the other hand,
The chorus master can
sings by heart.
as to the division of parts
instructions
varying and adjusting the
number
carry out the composer's in
one way or another,
singers
of
to
each
By
part.
manipulating some shade of expression he can maintain a balance
between
tone
of
and
divided
undivided
voices.
widely different in character and volume of tone.
A
there are but four qualities.
cannot
convey varying shades
orchestra seated at the desk. a
that
composer
is
entitled
of timbres,
In the
chorus
chorus moving about the stage of
expression
may
It
to
orchestral
In
number
material the composer has to handle a great
so
exactly
therefore be safely
some
as an
assumed
licence in the question
of
dividing choral parts; dealing with the orchestra involves greater
and
foresight
for
care.
In trying to obtain equal
2.
male or female chorus
I
balance
in
writing three-part choruses
have often resorted
doubling the middle part as recommended on
master
at
is
liberty
from one part I
have noticed
upper part
and Ten. balance
masters
is
of
In
choruses divided into three parts
that chorus masters are in the habit of giving the I,
divided.
II
method
The chorus
equalise the chorus by transfering voices
to another.
to Sopr.
parts
of
to
to the
p. 149.
or Ten. I
I,
and the two lower parts
to Sopr.
II
consider this arrangement unsound, as the
The
can never be equal.
attention
of
chorus
called to the necessity of strengthening middle parts, for
the expedient of giving prominence to the upper part concerns
melody alone and leaves harmony out 3.
of
Skilful
clear
management
of choral
of the question.
parts
and satisfactory performance.
is
a fairly safe guarantee
Miscalculations in writing
are a great hindrance to study, and the most experienced chorus
may come
to
grief
progression of parts
through faulty progression of is
correct,
if
parts.
If
the
discords are properly prepared,
—
—
152
sudden and remote modulations, even
uncommon
harshest and most
of the
kind will be comparatively simple and
proached with some degree of confidence.
composers do not always bear
and appreciate
its
in
This
is
mind, but singers
importance to the
full.
may be
ap-
a fact which
know
As an instance
it 1
well
quote
the very difficult modulation which occurs in Ex. No. 169 {Sadko 302
way.
).
I
doubt whether
it
could be sung
if
written in any other
Careful endeavour on the part of a composer
useless struggle inflicted
is
better than
upon the performer. July
3m
(Aug.
13!!i)
1
)05.
PART
II
EXAMPLES
N? 1. "Sheherazade/' 2^^ movement. N91.„Sheherazade," 2"!^ mouvement.
B
^
rt
J)
Ci.(.A)
144.
^ \^
\^
-^ J)
P grazioso
Viol. Il.div.
P'^i
j/iiT j"1 vie.
^m a^ ^ V-c.
—r^^
j
Hi-
^3 ^s
T^~r^
^
^^
J»
e C-b. pizz.
Viol.
#^^ ^ ^
^
^
^
^
— J,
Fl.
m m Faff.
M
^="^
^
»
p r
y
y
arco
r*^
V^c. yj>^
^
~p
=^
S S3 C.{j
S
p-
JL-ir—
pp pp r p
>ces^
S
ph^
i
*
^2335
/>^ ro
ptu-^-
JT3
^
rin^
fW^ rri
i
n Isempre pizz. w^
i^
^
"^
i jjjj
4^ ^
parte
y/ ly
i-^I^^Jj^
ffi
C-b.
^^
piuf
inU^j
V-c.
i
i
»i^
»;^ I
11/
-s^
i
p^ e ^ ^^ s ^s s ^ ^ ^^ ^ jocco
v-k-.
iB-"»
m ^
j^s^
f^
* ^^
^Viol.
t^l
i
^
^F^-
±1
B
It
^EEL^
^
^r
^s :^SS^ 4 s^
•?A
-z=?:L::r:5=r 'if
^
.y
?3E
=^^-
^
—
5/"
vr
^7^^ •if
i
N9 2. ''The Legend of the invisible city of Kitesh! N9 2.„Legende de la ville invisible de Kitej'/ *'- ^^ Cl.(B^ I.
JnJ'.^f
\\\\\\\\ -chdes
vers mo»,
me pour
^^f.
un ca
-
res-sant
f^^
-f
sa
-
lut,
N?3.
N?
Jail
3.
^
"Spanish Cwpriccio/' „Capriccio Espagnol!'
j)
J-^
i'
i
^
i
r%
J.-
-i
8
N94.
N9 fl45]
4. „
"Pan Voyevoda." Pan
Lento.
le
J :58.
Voievodet'
N?5.
N9
5.
''The Golden Cockerel: „Le Coq d'Or." jl93l Andantino.
J
96.
"Sadko," symphonic tableau (p. 2{ij. 6. „Sadko',' tableau symphonique (p. 28),
N?6.
N9 /
J.=
vie.
Allegretto. J.138. ClAB)
10 a2
Fl
N?^.
N9
7. „
'^Pan Voyevoda," nocturne
Pan
le
Voievode," nocturne.
Lento. J: 58. c; lA)
.I.U.III
rz
N?8.
"Snegourotchka.'
N9 8.„Sniegourotchka'.' Andante maestoso Fl.
a2_
e pass^ionato. Jrsa.
N?9. N*? 9.
"Snegourotchka:' „Sniegourotchka'.'
N9 10. "The Legend of N?
10.
„Legende de
the i7ivisible city
la ville invisible
of Kitesh': 15
de Kitej."
t^ J-66
-^*'-
Ob.
PP Lapparition
C'wniprendsbien. o bel-le
fi
-an-ceei
tran.
^ N? 11. N9
11.,,
''The Golden Cockerel:
Le Coq
11201 (alia breve.
d'Or."
J=5o)
et
at-tachea mespro-pos
leiirpoids.
A
1®
N9
12. ^^Sheherazade," S'K!^ movement (commencement). 12.„Sheherazade'/3"Q^ mouvement (debut). Andantino quasi allegretto. J= 52.
N
Viol.
le
II
unis.
sulG
J^JJJTJJ K"
r
p
» '
3et
^SI
J-
^il
f
p
^ pp
/»oc(3 cresc.
> 1
.
JJ
J
^
I
k
N? 13, N9
13.
Golden Cockerel" mLc Coq d' Or "(p. 87). ''The
(Andantino. J =88.)
(p.
87).
17
Do'ii^a'^'^
-
chu de
nous rap-])or
-
-
terdes chants.
ve .
V1
-
2 Fl.e Fl.picc
20
2 Fl. e Fl.picc
I
,,<
I
^
j'
V-le>
^
J^TP/tf:
"The Golden
N9l6.,,Le Coq (Andantino. J = Ob.
^ Cockerel''
d'Or"(p.88;. 88.)
I
(p.
as).
f
V
J
^^
N? 17. N?
17. „
21
''Snegourotchka/' Sniegourotchka ."
12881 Andante. J. 2 Fi.e Fl. pice.
69.
*^J
22
4Ccr.
t /
^
^
Timp,
Campanelli.
i
I
^
^i fgrf i
Arpa.
^^^
!^ Viol.Ie
II unis.
p
^LU
^3
^
Ob.
^
^
^E£
^
Cingl.
^
r
L-££f '^
^
Faff.
ii
4
Cor.
»
/
Timp.
Camjpanelli.
^^ B
«
24
,'
A^Cor.
I Tim p. ^^^
—rr
Cainpaiielli
f
^
fe
N? 18. N9
L
''The May Night/' Act III. La Nuit de Mai',' 3'^^ acte.
Z^
18.,,
'^Allegretio quasi
andantinoj
C.ing-l.
Noschantsvontoharmerlejeunehom-rae, nos
JT] Nousai- nionsje-ge
-
s)
res
U^ om
";) j\s^
-
g
^J)J)
J) bres. ajou- ersousuiiciel eI
ri
-
J toi
resfbntftiirleneil-
U' -
i^
le
Viol. I.
yc.soio.
^
mm mm
Altri V-c.
m^
m ^ r}
s
J
J.
V
t
^v
j^
C-b.
V r
»
y
j
V
-
»
'
»^
»
iV? 19.
26
''Sheherazade," 2^d movement.
N9l9.„Sheherazade','
p /
y. 152 Fl.picc
2"!^ mouvement.
27
N9 20. "Sadko." N9 20.„Sadko." J:112.
^
N9 21. "The Legend of the
2^
N? 2l.„Legende de
Mais, vol-ci
>
-Viol.
I.
de
-
ja
la
invisible city
of Kitesht
la ville invisible de Kitejf
mort
pro
-
ohe.
de
Ten
-
fer
les pei-nes
cru
-
el
-
le.'^I
2H
N9
22. ''The
Tsar's Bride"
N9 22. „La Fiancee du Tsar."
N9 23. "The Legend of Tsar No23.„Legende duTsar
Saltan:
Saltan:'
Z\)
go
N?
24. '"Stidko"
(p.
336).
N?24.„Sadko"(p.336\
Va
iti.
voir
la belle
gTandc
et
ci
ta-ohe
te,
-
de_voir
Va
Ten.
^
]0 I
I
1
I
Bassi^ '
Va
voir
f"
I
la belle
et
Il7i
cj
grande
ci
I
-
r te,
i
r
ii
tj
^
do-g'e_puis-
le
Qj
.
^^1
^f ^^^
Mt
-te.
Arpa e Pianiuo.
A Ve
-
iii
se
tu
d ois
al
-
ler,
Sad-ko!
^^^ ^^^
N9 25. "Ivan 63 Fl.I.
N? 25.
„
La
Moderate,
the Terrible/' Act HI. Pskovitaine," 8"ie acto.
(alia breve.)
31
32
N? 26. "Snegourotchka" N9 26.;,Sniegourotchka." [288
1
I
83
Alti.
w
2
Dans
i
Viol. soli.
des yeux,bl6u- et,
iJ
ra
ii i
rrnrn
yon
-
'
i.
if f
i
i
^
^
m N9
"SaTiko" (p. 296). 27. „S^dko"(p.296). (Allegro alia marcia. J=i3a.) 27.
CorJU IV
m j^j
fJBTl
28.
"STiegourotchka/'
N9 28- „Sniegourotchka.
I
^j-,
,
"
85
Misguir.
l,j
r
yii'if '
pie
*
res,
-
y un
'f pfp"
pr modeste
<
et
5
flp
^^'''""" .
Viol.
^*
S^
jv V-c. e C-b Iil>
fl
M
^
cmin-tif
p
I"
^
re-g-ard.
r^P^ pu-di
p^ -
que-
3g
^
^
^ ^^
Y—f-lF
86
N9 29. "Antar." NP 29. „Antar." [48] (Allegro risoluto.) Plcc.
N? 30. "Sheherazade/' N? 30. „Sheherazade"
3^^ movement mouvement
8"}®
TT^—/i^
(p.
131).
(p.i3i).
87
N9 SI. "The Legend of the N9
31.
„Legende de
invisible city
la ville invisible
of KitesA.
89
de Kitej"
12231
Je doD-ne4tiis tout le
sang demesvei
CT9$0ifOC0
-
-
nes vo
-
Ion -tier &) et
ma vie,,
omonbien-ai
4U
N9
32. "Antar: N? 32.„Antar."
Adagio.
41
N9 33. ''Snegourotchka/ ^^
N9 33.„Sniegourotchka"
12151
Vivace. J=
iso.
Tlmp.
N9 ***
S^
34. '^The
N9
34.,,
Andante
Jour
Legend of the
Legende de
of Kitesh: de Kitejf'
invisible city
la ville invisible
tranquillo. J: 5«.
et
luiit
chez nousle
saint
of - fioe
est chan-te
san.s
re
-
N? 35.
''Spanish Capriccio."
N9 35. „Capriccio Espagnol."
^
N? 36. ''The Legend of Tsar Saltan. N? 36. „Leg:ende duTsar Saltan"
18161
Andante.
Fl. pice. Solo.
J
=
66.
^
43
Fl.pioc.e Fl.I.
''Sheherazade/' 4'A movement (p. 140). N9 37. „Sheherazadey4"l^ mouvement ip.iiOj.
N? PI
^
37.
Vivo.
**
J = J. = 88.
3
PP
N?
38.
''Ivan the Terrible/' Act
N? 38. „La Pskovitaine''
Fl.picc.e
45
2 Fl.gr.
3"}*-'
III
(p.
236).
acte (p. 236 j.
3
46 Fl. piece
2 Fl.gr.
Arpa.
i 1*
m
^^
^^m
9
iy? 39. "The Legend of the itwisible city of Kitesh. N9 39. „Leg-ende de la ville invisible de Kitej." [441
47
J. = 60.
Pl.o -alto (Py.
Fl.c-alto.
j¥«r Cl.
i
p
^
rrr
basso.
^
^
^T*rJj
^^
1
^
iii
i'ip!
f'
Fevr.
i,h
pj chan
Ji J. -
te
'^^M
I
J dans
3S
d^ les
mer-
bois
jF^
^
V-le div
^h r"vrj^p
j
iJMT^P
^^^ ^^ s ^ V-c.
^
C-b.
v
veil
-
leu
^^ ^^^ se- ment.
48
N? N'.*
40. ^'Sheherazade," 2nd movement 40. „wSheherazader 2"}® mouvement
Andantino.
n2. Capriccioso, quasi recitando
Fa*?. 1. Solo.
*^ =
^^^^
^^ry^Ji^
—
-^^
dolcc ed esprcss III.
**C':/n sord.
•**
^^*-
>
(p.
43).
(p.
43)
N9
41.
"Snegourotchka/'
49
N? 41 .jjSniegourotchka'/ Larghetto. J-zso. Ob.I.Solo
dolce Snieff.
dolce assai
Jeconnaisjeoon
-
nals,
ma
me
qui
plus beaux.
monte
Le
ohant.
et rit
au
de
ciel
Pa
chants
les
m
lou
-
et
-
Et
d'e-te
te,
le
plain -tif
^A^^i
-pel
du
cy
-
gne
sur
I'ioau
dor-man
—
rt.\^
Piip-
P les
tous
re,
-
te
de
.l^B-tang
ap-
42. "The Golden Cockerel" (p. 75). Coq d'Or"(p.75). 42.„Le N9
N9
^^
Andantino
.
J
=
7«
"The Golden Cockerel" (p. N9 43. „Le Coq d'0r"{p.ii9).
N9
43.
Andantino. Fl.I
IVarco
J = 88.
119).
N?
44. "Spanish Capriccio" N9 44. „Capriccio Espagnol'.'
51
Cor. ingl. Solo
2V? 45. ''The Golden Cockerel: N9 45.„Le Coq d'Or." [l]
Larghetto assai.
j]= «*•
Dodon. L^oiselier du roi apporte une perruche verte, attachee a un anneau par une chaine
Dodon
Elle chante, fait
claquer sa lang^e,
siffle.
H
52
""Mlada,"' Act II (f.206)
iV? 46.
N9 46. „Mlada;'
2"?^ acte
206).
(p.
(Al)egro vivo.) Cl.picc.(D\^
N9
.
47.
^
fi^s.
.
^
L L
"Snegourotchka''
N?
47. „Sniegourotchka!' I^gi Moder ato assai. w. so
^^N^-
<
J
I
Mod
f
ame
T
p P P r?
e-tait Joyeusea
I
-
pvant
p p p
.VioLTILeV-le.
vie
^
heureuse e-tait sans
^
lar-Tne8,sansangi(^sHeeteanssouf-fVan
^ —
^4
^^^
de teoonnai-tre,
-
ce.
ma
'
N9
"Snegouroicihia,.
48.
53
N9 48. „Sniegourotchkaf' 12461
Maestoso. basso (b)
Cl.
Trem-bledonc, en-ftuiti c'est vrai, je suis ter-ri-ble.
I
H
bl--.
n^y
t^
f^
P
jm
p
'Tlr
'
-fen- se qui m'a fait
rougir
^'
p V
i
i-
Oui,
^
pu-nir
Tof-
^ =Ri
u^-P^
/
Et
front-
le
je veux
me voir
P en
-
P
r?
fin
ven
hon de ma "Vera Scheloga.'' N9 N9 49. „La Borarine Vera Chelogaf de
-ge
ma
douleur et
49.
Andantino.
J«88.
Fag. I- Solo
'
/K
a H
Ah, ten.assat, teu.assat
I
Viol.
je
ne puis
comrpren-dre.
i
J
J
1
r
r
p
'jt^t/ 11.
m. ^^
ten.assai
J
r
p
^^ ^^
-
54 N9 50. 'The Golden Cockerel " NO 50 „Le Coq d'Or'' (p. 330> F1.I.II.
%%.
%\
(^.330).
N9
51
N?
51.
"Mlada," Act UI „Mlada" S^e actr
(Meno mo890.) Solo—. ^. » •
,
.
>^-.-,ii-
(p.
359)
(p.
859).
^L-
55
56
N9
'-'Snegourotchkaf ,,Sniegourotchka" 52. [i (Moderate).
W
52.
Par
-
mi vous,6jeu-nes fil-lesine
ca-ohoz vous pas
niaKou-pa-va
bien
-
ai
-
me-e'
Fl.eOb.unis.
Fag:
m.
CoroNous ne
te don-ne-rons
^^
pas
JPJ'v/
-^
notre a -mi-
e!
Nous ne
te don-ne-rons
^=^
pas
w
ta Kou-pa-va!
N9
53.
''The
Legend of the
M9 53. ,,Legende de la (Moderate assai. J x 72.) Fl.MI. a
invisible city
villc invisible
of Kitesh" (p. 49i)* de Kitej" (p.49i).
2
son
-
-
nent
flu
-
tu^,
g'ouss-li!
Rassi.
''Snegourotchka " (p. 133) N9 54.„Sniegourotchka" (p t3H) Animato. N*^ 54.
Voi-ei
de Por:pre-nez,niu.sbel-les fil-les.
Je
siiis
joyeuxde vous pa-yer ran-(^on
57
— N9 55. "Snegourotchka " (p. 866) N9 55. „Sniegourotchka" (p.sfis).
58
^ — ^^—^E>
Fi.pioo/Alleflfro
eFi.i
'
t
^fr>
^
N9 56. ''bpanish Capriccio." N?56. „Capriccio Espagncl!' iWI
» « =
.
--N^!
N9
57.
N9
57.
"Snegourotchka" „Sniegourotchka"
(p.306).
fp.306V
Allegro con anima.
ppp
M
sc"
^® fantome de Snieg'ourotchka se montre dans la foret.
09
60
NP 58.
''Sheherazade," 3rd movement.
N9 58. „Sheherazade*'
3"1^'
mouvement.
_(J..6a>
^^'''riff'nril
rTt-ti^ r^-^ni
Fui.j-j^^jj^ 'pM. r Cii;
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^
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^
N9
59.
'"Vera Scheloga''
NO 59.„La Boiarine Vera Cheloga." Moderate assai.
J.
61
96.
>CM(A )^^
Je ne fus pas heureuse, mais resig-ne-e,
N9 60. "Mlada," Ad UI (p. 389). N9 60. „MladaV 3™® acte (p. 389). Andante quasi allegretto. -Timp.picc
Ivan Semenitoh m'aai-mee a la fo4i-e
62
N9 N9
61. "Mlckda," Act JJ (j>. 205). 61. „Mlada',' 2"2« acte ,p..205K
(Allegro vivo.) Cor. unis.
vA Fl.picc
Solo
%mmm^f^
JV? 62.
N9 62.
"Serviliar
„Servilia!' Iggi Andante. J = 7a.
lueur roug-e; dans un broiiillard parait Piatti.
-^
/f.
Le Spectre.
le
spectre d'une
vieille-
KP-
'/
I
i
soiirdement
Quidoncinae-voquee ?
ful ponticeilo
^
.
N9 •. ,
63.
''The Tsar's
Bride" 65
N9 63. „La Fiancee du Tsar."
Elol Adagio.
J.- 48.
.IFl.eOb.T.
N9 64. "Spanish Capriccio" N9 64. „Capriccio Espagnol" Fl>»icc.ea ¥\. ' ^^,-— — ^,——
*
(p. 57).
^p 57). J,
66
N? 65.
'"Aniar," isj version, 3V^ movement (commencement).
N9 65. „Antar," premiere version, 3"1® mouvement Allegro risoluto. Fl. pice.
(debut).
N? 66. "Sheherazade," N? 66. „Sheherazacle*/
S^J^
movement.
3"'.^mouveinent.
67
N? 67. "Spanish Capriccio"
(p.79).
N9 67. nCapriccio Espagnol"
cp 79).
Fi.ploc.
tri
jy /eroce
69
2V? 6S.
•^
''The
Christmas Night
N9 68. „La Nuit de Noel!'
^^ ^^ ^^ '
J
J
J
!
Arpafip
,1
^ f
f
vie
QuVUe iAUi.
est
dou-ce, re
r
pe-tee
dans Tombre
e
-
paisse
des^
.val
-
Ions!
N?
69.
"The Legend of the
gg N9 69. „Leg-ende de
Nuit
^V-le
arca_
et
joui'
of Kitesh: de Kitej."
invisible city
la ville invisible
c'est
un
o)iaiit
nier-veil
71
-
leux<
tres
N?
7ii
70.
''The
Legend of the
N9 70. jjLegende de
of Kite sh: de Kitej."
invisible city
la ville invisible
1651
^^^^ usim 3 Tr-bni.
LLi.r
m^
rfTrrxCr
,
N9 7L "Sadkor
74
N? 71.„Sadkol' f34a] Allegro. i-.wi.
roi tout
puissant, roi cru-el
***
«lesiners> tu ifa-vais
tr
Vioi.u. tr
a
qu'u-in> t/Ctc
toi
on bois.
tr
"SnegourotchkaP N? 72. „Sniegourotchka!'
iV? 7^.
^ ^ ^
Allegro.
J=ia«f.
jirt iij
Ob.
C1.(BJ
i.
»
m
I
J1 r
Fag
p |>^'H"pM'J'lr^ Ten Le ruisseau murmu-rt
^
a m A :zI
Ji
»
j:
i fl i^
fl
Le ruisseau murtnu-i*e,
s
JH
i
^
^^^ a
1
Bassi.
^
n
#
JL
*=:5-rf
P
f'ii'O
lerucherbourdoii
le
J ne,
-
rucherbourdon
-
ne,
lr?>^^ chantons en-semble
^
chantons en semble -
\/,
IT H-
l
*.
^ ^^ la,
sais'jn nou-vel
m^
la saison nou-vel
-
-
le.
le
N?
^
73.
''Antar" 3rd movement
N9 73. „Antar;*
8"^*^
75
mouvement
Allegro.
FI.I.Solo
14. '"Shehera zade ," ^^.^ movement 74. nShehcrazadeJ' ii"l'' mouvem^^i.t Molto moderato.
N*^ Ob.
recit.
{p.
51).
(V-si
morvndo
'^^
N9 75. "Sadko" N? 75. „Sadko" (Allegro
(p.
J-:6e alia
498).
(p.498).
breve.)
Fl.I.e Ob.I.II.
as
8CHA)a8
f
^Mr ^^ ffl^^ ^^^ r^r Tijc
rrrfrrrrrfi
Tr-be.(A^
nr
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3 Tr bni.
|
i
glF^ t{^' r'
^
r
^
f
r
r
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r
Ir
77
N9 76. 'The May Night." Act III fcommencememt). N? 76. „Le Nuit de Mai(' 8™« acte (debut).
M
Molto andante.
Fi.
^i^
PP-
m
Ob.
^m
pp-
^* C1.(A)
PP-
^m m^ ^^ m aS
xc
t
p^
p-
CoriE) IV.
1
g
m^ ^^ ^ '7
con sord
*f?P
N9
77. "Sheherazade" N? 77. „Sheherazade('
•78
4^^ movement 4".^«
Allegro non troppo maestoso. ^FLpicc.
y
^^
Timp. .ff^
^"""S; //
Tamb no.
If 6
Tamb. 4 pice,
ft
Piatti.fs
'"^^
Crissa
J-
(p.
mouvement :6o
£04). (p.
204).
:^»=:
Cor.
:^
:Si
a 2 maestoso
Tr-bni.*^^ Tuba, a-'maestos.
^^
•^
tk
^^
Triang".
Piatti.
^rEEBT -^-^
^
ECg r
^
Cassa.
^rrrrrf
'
r
<
-^
N? 78. "Mlada," Act UI Xp.350). N? 78. „MladaV 3"}« acte (p. 350)
81
(Allegro non troppo.)
^A
2 C1.(B)
Du
milieu de la ronde infemnle surg'it Tchernobog, sous la
derriere v.-l«.
lui
forme
d'un bone et avec
sacour;
Kachtchei aveo ses goussli , Tcherv, Topeletz,Tchouma et Morena. ir\
tt\
.
*
:
Jb^
82
N9
79. "Mlada," Act III N9 79. „Mlada;' 3"!© arte
(p.
370)
(p.sro).
Sostenuto e maestoso.
Viens,ap-pa-rais'.
Sorsdc
la iiuit
d&t!
ten
Toi qu''a-doraientle.s roi.s
lesp.itres.
80. "The May Night," Act HI. N? 80. „La Nuit de Mai;* 8"}® acte
N9 |bj
^
88
(Andantino animato!)
Doux
zephyr,
C^
f Ymsi.
^ 3551
tu
'^^^
'
pas-ses
comme
C^
^"^
"Sadkor
N?81.„Sadkol' (Andante. /= 76.)
un
'
^"^
bavser
sur
^^^
les
'
per
P^
-
ven-ches
^^
Arpe. Dors pai
Arpe
-
si
Tes chants on
-
her
ble,
se
-
duit
-
be
ten
mon
coeur,
-
dre.
Her
-
Tons
be
ils
ver
ont
-
mousse de
te
ra
-
vi
-
men
soie
ame
N?
82. '-'Sadko."
85
N9 82. „Sadko'/ 153 (Andante.
J=7».)
3F1.
V ^
.
Sadko.
Sur
le
8 Fl -^
/I
PP
dim.
•
«/^^ i^
)t.
lac na«ent en b&nde des cyynes blaocs et des canards gris.
^ ^ i^ i^^ i^ i^ ^ i^
i'i
N? 83. ''Sadkor N9 83. „Sadk.o."
H(>
Andante.
1123]
Choeur "'^"cs, ^^yg"^^ blancs, ^^Js"*'^
i^OAl A lti. ti. 1
1^
'
lea couiissesj coulisses)
K.
,
li^^^^^-l
(
Cy V-Ie.
dans aans
-
arco
J! g7iesblanca,et
mou-et
J),iJ -
J'J
I
ll^
'^J-'
^'
i
''ll'l
tes grises, re- toumonsiplongeons dans le
lac!
^^''
N9 84. ''The Legend of Tsar Saltan" N9 84. „Legenae duTsar Saltan" (p 54j, (Allegretto alia raarcla. j:9«.)
(p.
54).
87
N9
85.
"Ivan the Terrible," overture
N9 85. „La Pskovitaine" »Fi.
Maestoso.
ouverture
(deginning).
(debut).
90
N9
86.
"Sadko."
N?86. „Sadko!' |3|
(L argo.
el.:44.)
Fi
N9
87.
N9
87.
ice
creso. Viol.
"Kashtchei the Immortal." pKachtchei I'lmmortei:* IJQ zJ
9i
con tuttaforza ed espressione e poco rubato
jfcon tuttaforza ed espressione
e
poco rubato
calmando
sfdim.
na
N? 88. '^Servilia." N9 88. „Servilia(*
Bi| Allegro
N9
89.
N? 89.
"Servilia." „Servilial'
Lento.J=52.
93
Cor.
'
^
'
d
^^
<
bj
<
^h
*
ij'j
*13)^
N9
90.
''Sheherazade/' 4'*
N9 90. „Sheherazade," 'Vivo. J. 8&>fu| =
part.
4"l^ partie.
95
96
Fl.pieo
97 Pl.picc
V-le.
^ C-b.
^m
m
^=#
* ^^ ^
flo
N? N9
91.
''The
Legend of Tsar Saltan!
91. „Leg:ende
duTsar
(Andante) animando povo
Saltan!'
a poco
.pico.
Nouspleuron8,noslarjnes»
^^ ^
ii
*
^
^
^ *
rem
-
pli-ront
m
^^ ^^
H
Jili)Ji|L'i'i^ ^
lesmers, co\i-vri-ront les
h
j>
j>
champs
i) »
CJlfE££r££^
fleu-ris.
m B
»
P»
^S
; "The Golden Cockerel/' N9 92.„LeCoq d'Or."
JV? 92.
99
An(iantino. J = 88
|g8l
N?
93. ^'Snegourotchka" N? 93. „Sniegourotchka"
(p.
269).
(p-
269)
^ i^ TT #^ ^ ^ ^ ^ ^
tf«^
Faff.
a2
f r
^"^
'
^r VioMellnnis.
L^f
uu u '
c; 'r
r
i^S^U fr^r
t
'
;
uwuw
h-HH-. r
r 100
N9
94.
'^negourotchka''
N9 94. v.Sniegourotchka"
(p.
271).
(p. 27i).
Lj
u
ri
r3
'
^
'
L-T
'
r
kViol.Iell unis
n n
Fap.
i'
IP
I
^=^=^
^
n"T^
Tanib-no.
LJ /
Viol.
I
e II nnis
L-f
'
LJ
u
*
'
r
—
N9
95.
^9
95. „Sniegourotchka."
"Snegourotchka."
(MlCAllegro.^) aFi.picc
dim
101
loa i Fl. pic
diiH
ff
dim.
N9
96. "Ivan the Terrible," ActUI (p. sis). N? 96. „La Pskovitaine," 8"]« acte (p.aiS). F}-
(Moderato alia breve)
allarg. poco
Epargxie,epargiieaumoinsrnafil
103
104
NO
97.
"Snegourdtchka."
97. „Sniegourotchkal* Grave e raaesioso. w=60.
N9
Im] Fl.
a2
N9 98. "The Legend of Tsar Saltan: N9 98. „Legende du Tsar Saltan'.' (Maestoso con moto. J- 84.) Fl.picc.
11351
105
106 PI
picc.
N? 99. "Snegourotchka" (p.us) N9 99. ,,Sniegourotchka" (p.iw). Animato
Mai 1^
v Viol../ :^ II.
-
heu
assai.
•
107
J. 126.
^
reu- se,
mal- heu
-
reu
-
se
Vous
^ P
»
"P
»
ton
-
tes
^^ ^^^- '"^^^ Christmas Night NPIOG. „La Nuit de Noel"
108
Andante.
4A
"
J -72.
'
1
^?
109
"The Christmas Night." N9lOi: „La Nun de Noel." iOl.
Andante.
1210
J)- 112.
Sopr. I.
I
Sopr.II.
^^ I.
Alti
II.
.
sa^van
La
J La
Alti
? m
5^
W=:7=m^
]'''
La
-
ce
Ko
Jia-da,
-
iJ^JjuP j
J>
i^
Ko
.
lia-d^
-
ce
Ko
-
lia-da.
J Ko
-
lia-da
s"a-van
-
ce
Ko
-
lia-da
Ko
-
lia-da
s'a
-
van
-
ce
la
ij'rj
s'a-van
l
fcl=
La
p^i'^JIeEr.^
r
—
1
jenne est la
J' la.
jeuiie est lu
la
^^ ^^ Kx>
-
lia
da
no
sur Sour.
....
Altl
uii
trai
-
nc-axi.bien
uii
trai
-
neau
siir
,
!•
fcfe
I
^
bi
-
'
AIti
pa -re.
siir
nil
trai
-,
neau
bi
La
II.
prnr- re
7*
-
-
la
d
'
voi
voi
sur
la.
sur
la
un trai-nt-aii
un
trai -neau
^
bi
bi
IK
m
J
J_j^j
j^^J
div.
-J
f^ C-b. i
r
«^
^^p
Jr-^.
V-e.
v'i*j H
gur-re!
-
II.
^1
»
^^
^
e I
f V j
y
-
-
g'ar
-
rn
gar - re
N?
i02. "Snegourotchka." N9102. „Snieg:ourotchka!'
H,87|
u Fi.
Andantino. j.66
^
\
111
"
103. "The Legend of the invisible rityof Kitesh! „Legende de la viUe invisible de Kitej 103 N?
N9 **2
.
[s]
(Larghetto. J
pp'
^ N?
^
—
= sa)
"
-r
I
T
Golden Cockerel^ N?104.„Le Coqd^Or." 104. ''The
[4] (Lento. J =
N?
go.
105. "The Christmas Night" (p. JS47). N?105.„La Nuit de Noel" (p. 347).
Adagio.
J
C=/
t
ilJ
N?
106.
N9
106.
"The Christmas Night," „La Nuit de Noel" Prelude.
Adagio. M.M.J=B6.
_,
_
Prelude.
flxsTi^
113
*1*
N9
107.
N9
107.
""Snegourotchka/* „SniegourotchkaV
fi97l(J.fr6)
Wr
t/J v|
f
LLJ
1 1
iV? no.
N9
110.
"The Legend of Tsar Saltan " (p.i97). „Legende du Tsar Saltan" (p.i97).
(Allegro. J
Voix des
i ^
g
don tri
i
dans
les airs (6-10
Tenors dans la coulisse)
Pv^Pir
»r
«r
s
Mai - lieur a nous Voix du niagicien (6-10 Basses dans la coulisse) -
115
126)
e.sprits
"m Gvi
=
-
oni
-
phe!
i
^
'Qh tous!
^^ Ah,
y-le.
con sord.
je
de
-
Ul. "The Legend of Tsar Saltan." N9 HI. „LeVende du Tsar Saltan f
A? *** iilSI
Andante. J « u. rLpico.J
De
la
^3
3
mer sort V Oiseau-cyj^e,
qu^ illuminent les
rayons I'unaires
N? m. "Sadko," (ofemnf of Uu 2*i tableau). N9112. „Sadkor (debut du 2 me tableau). GS Andante. JrTs.
1^
3F1.
La
rive du lac Ilmen^ I.
*»>
une ^rande pierre blanohe. Claire
nuifc d'*et6;
Le ordissantdelalune
117
a son
dcclin. Parait
Sadko:
il
s''asseoit
sur une pierre, tenant a la main ses goussli.
N? 118
''The Tsar's Bride'.'
113.
N9113. „LaFiancee duTsar." Alleffro nontroppo. J = u
|126|
^
Fl.
%
^
%Cor.
^*
P M
to^'^r^
^
i
"r^ r
'
ry^
^
iTf\ T . p i/
ff
S
ingl.
i
tttt
^p
P f
P
'r»rV
C1.(B>
S
W^
|iiiii ^[^ <
Faf *>i
«r'
^^p Qui
N9 N9
^^i
p |"r^r^*rttr'i^ff ^t=.^
Bomeli (du dedans)
p
p r
ft-appe-i
114.
114.
-
Lioubacha. ^
»
7
h
i
^
^^^ ft
ff
Tu ver-ras
ci?
y^ ^
JV',
si tu ouvrt-s.
'The Legend of the invisible city of Kitesh" „Legende de la ville invisible de Kitej " (p. 127).
(Allegro. J
(p.
127).
= J20.)
Qui
nous
don
-
ne
du
pain
Est un
bon
sou
-
ve
-
rain.
N?
Its.
''The
Legend of the
invisible city
of Kitesh"
(f.257).
N9 115. „Legende de la ville invisible de Kitej" fp.257) (J
.
92)
N?
tie.
N9
116.
"The Legend of the invisible city of Kitesh'.' „Legende de la ville invisible de Kitej."
(Moderato assai.
J
= 92^
il9
120
N? U7. ''The Golden Cockerel" N? 117. ,.Le Coq d'Or" (p. 315). fJ
:
120)
riten.
3is).
(p.
poco
"Snegourotchka, ^ N? N9118. „Snie^ourotchka(' i^ (Allegro. 1= 118.
76)
Mais non^
au
-
pres
Ton bras vail- lant Misg-.
de
toi
in'o-treint,
Ta
mon
-
mour
m'e-veil -le
front s'ap-puie
a
a
ton
la
e
-
vi
-
paule
e
N? N9 13181
119.
119.
(Larghetto.
.ci.(B)^'
f
i
"Snegourotchkat „Sniegourotchka?
—^ —
,k 1^"":
^-^h j I.
121
J.= sa)
fe
ir
;
:^
^-"Tj.
/-^^ 1
^^"TJiJ^^
rftp:
^•-
'f^
T^
-f^
O
I
^ r^
r^^Tr-TJ^
122
N9 120. "Sadko." N9 120. „Sadko." ("And ante.
c)-:.:52.)_
I
^ Sadko.
Ifc
par-tout ou
Et.
co n
Tw^.
rircfCf-Tr
sord.
,j
i
-rai,dana
le
ir-^r nionde
«'ii -
r tier
*
rr Son
r
^
123 II.III.a2
morendo Sadko.
j'
r riches
r
>
Vpiis
r.
I
f
vieii-drez sa
r
f
r -
lu
-
er
f
r fre jiisqua
div.
ifjjiinTm jiiiiiiiiiji
p cresc
125
,o«
N9 NO
121. 121.
"Sadko." „Sadko:'
Allegro non troppo. I. .—,«
.Ob.
^ = \yi.
N9
S
122.
127
"Sadko."
N9122.„Sadko'.' (And amino. J =84.)
-/* aOb
k'
M-^
'
clH^
'cM
'cEdJ ciDlr dlrLr i
'
128
Fl.I.soIo.
L'Indou.
^m
jj j.? fl-"Cf D\i
-
" i
r1'fa-etf^
nevoiy ra-vis- san
^
N9
123.
N9
123. „Kachtchei
"Kashtche'i the
Immortal"
rimmortel"
(p.
119)
ip.119).
fOb'Con sord.
"The Legend of the invisible city of Kitesh/* N9124. „Legende de la ville invisible de Kitej"
JV? 124.
K2I
(Poco larghetto. J. -68.)
129
130
2^ "The Legend of the invisible city of Kitesh" N? 125. „Legende de la ville invisible de Kitej" (p.39;^). jy»
(p.89^).
Larghetto alia breve. 4^ s*-
PP
^K ^P s^m
con sord
V-le.
PP c,^sord.
V-c.I.
nnr^n^nn\is!^
'>t^,;
^
PP V-cDeC-b. (s yn
^^^ ^
aa 80g4^
^
PP
^
N9 126. "The Legend of the invisible city of Kitesh" N9126. „Legende de la ville invisible de Kitej" (p.si?), (Moderato
y
Ts
J =96.) Cor, ingl. con sord. .
ppp Fi^VTonia.
i
>
(p.5i7),
Fleu
PP
-
ri
^m tous
pa
-
reils
au
pal-mier,
131 PI.
I.
II
Com
Arpa
II
-
me monteandiantbarmcj
-
ni
6n:ut,ret>,mi|>,fatt,sol{|,la,si)(
-
eux
glias.
d'ir
-
re-els
oiseauXiChanteurs
du
del
N9 *32 ja]
"The Golden Cockerel."
127.
N9127. „Le Coq d'Or!* (Le nto.
J
=
6o)
I
N?
128.
''The
Golden
Cockerel?^
Noi28.,.Le Coq d'Or." I—
—
:
I
133
Larffhetto. (J=52) animando pochissimo
Pour me
la
•
Iral
-
chir
la
peau
.je
rtsv.poco
mas-
per
-
g^e
(U-
ro
.
se
-
e.
ia4
N?
129.
''Snegourotchka"
N9 129.„Sniegourotchka" (Andante.
J
--
ea*
(p.950). (p.a5u>.
135
N?
130.
"Sadkor
N9130.„Sadko." 575]
f
Allegro. J
w.
Le poisson pris au
fili-t
se traiisf'ornie en im linpot dor qui sfMiniUe
.ni
soleil.
Triang-.jfr'^
crcsc. molto
'^^
-
k=^
^
«^Viol..v/' II
i
n
!^
>
V-c.e C-b.
cresc. niolto
137
N?
131.
"Sadkor
N9131. „Saclko" 191l
I
(Andante nontroppo.
Va
-
giics
en hur-lant as
J
-
=
84.'
sie-gent nos
ri
-
va
-
ges
et
blan-ches
de
co-lere at-
aS
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-
N^
...w
1S2.
N':'132.
''The Christmas Night" „La Nuit dc Noel" (p.au'.t)
(p.
309).
Fl.picc.%
Hou-ln.u-lioii-hou
m h=w Alii.
Ten
ItuiI
^^^^^S
m
^.=^-^=^m
^,=^i:^ ._
>—
Hou
-
Sf^S:
hon-hoii-hoii-hou-Jiouhou- hou!
m Hou
ho\i-liou4iuu-hou^)oul!i;ti
^"^^
Hon
B-tssi.//"
liCiii^.ou
^il
^^^
m^^^^^s^^
buu-lioii-hoii-Jioii-lioii-liuiiliip.i-liou-lu.u-lioii-hoii lion!
hou-hoii-lioulioii-how-hou'.
^^^^3^???
I,|
.
139
N? 133. "The Legend of Tsar Saltan^ N9l33.„Legende du Tsar Saltan." S(Maestoso. Fl.picc
J
<
63.)
140 Fl.picc. e
2F1.
V
141
N9 134. ''The Legend of the invisible city of Kitesh!' N9 134. „Legende de la ville invisible de Kitej." Ii99| (Allegro. J
'Tr be/
isa)
.
marcato
^(c-altaF) secco_
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4
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iV? i55. "The Golden Cockerel" N9l35.„Le Coq d'Or" (p. us).
(Moderate. J
[^^P>P^ ^^p->^
^ ^^ ^ ^^ ^ [J
(p.
J
J
I
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143).
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pizz.
V
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J
V P V
I
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P Vi.J>^ J^v P V
,
142
N?
136. ''Snegourotchka" N9l36.„Sniegourotchka"
(p.
97)
(p. 97).
Adagio. Recit.
Bon-nes pens, ve-nezet vo-vez
tous>cet-te mer-veil-le!
m
"6
I
CORO- (Tons s'approchent
)Fi j-
N9 137. "Servilia N9137. „Serviliaf' (Alle gro maestosoJ
dii
(Sniegourotc-hka se montre'i
.<*#!;>
tronc d'arbre)
Sopr.
143 Piu lento, d a 2
-.
io>».
144
JV'P/^A "The Legend of Tsar ^Saltanr „Leffende du Tsar Saltan!' NO 138. „Legende
Moderate assai.
J
=
84
I. II.
con sord.
N?
139.
"The Legend of
N9139. „Legende de Il58|
^
the invisible city
la ville invisible
of Kitesh"
de Kitej."
Maestoso.
N?
140.
"The Legend of the
N9140. ,,Legende de
|248| (Larghetto alia breve, jl: ci.miCa)
invisible city of Kitesh: de Kitej"
la ville invisible 52.)
145
^ 146
N9 141. ''The Tsar's Bride! N9141.,.La Fiancee du Tsar.'
|50| Allegretio. J Cl\B)
ii2.
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N?
-
142. "The Tsar's Bride" N9142. „La Fiancee du Tsar"
^Moderate, j;
86.)
^ (p.S47).
(p.«7;.
-
blon vert qui
grim
^
pe.
^^-
.
.
.
N? 143 ''The Christmas Ntjorht/' N9l43.„La Nuit de Noel'.'
147
'
Adagio.
165|
J
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56
Fl.I. II.
dim.
poro a
poco a 1' octave
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seuls).
72.)
dim.
if? 145. ''Sadko." .
,N9145. „Sadko!'
l242jAndantino.
J
=
66.
1
N9
146.
''The
Legend of
NO 146. ^^Legende de [IS
(Larghetto alia breve.
Fl.picc.
the invisible city
of
Kiteshf'
la ville invisible de Kitej." J =62.)
149
150 iV? i4t .
"The Golden Cockerel^
N9147. „Le Coq d'Or"
[233] Allegro alia marcia. J '
=
120.)
"Russian Easter Fete"' (p.H). N?148.„La Grande Paque Russe" (p.ii).
iV? 148.
objAndante lugubre.
(J
.-
so)
1
N9149. "The Legend of Tsar Saltan!* N9149. ,,Legende du Tsar Saltan'/
I
129
(Moderate assai. J:
84.)
Lalumiere augmente. Les rayons du jour per9ant
V-c.e C-b.
ty
^=^ PP
151
les
brumes du matin revelent
la ville de Ledenetz.
N? 150. ''The Legend of Tsar Saltan" (p.;Si9). N9 150. „L^gen(le du Tsar Saltan" (p. 219). PL*leo.«Fl.I
m
CampangUi.
J f
i'""^'[iijjTi^
pisz.
I
I'
'
^^
giF jfn iLiutujIiiLrtiif
N9
„ m
iSl
"Antar"
N?151.„Antar." (Allegro.)
158
154
N^
152.
"Antar:
N9l52.„Antar."
,pl, (Adagio.)
I
N? 153. ''The Christmas Night'' (p. 376). N9l53.„La Nuit de Noel" (p.37K). Andante, tenuto
ass'ai.
155
156
p cresc. (Un
soleil
2 Viol
p
cresc
rouge se montre a travers lea brouillards
places')
157 PiU mOSSO. Fl.picc.
i)l44. (J:
72.)
158 ,Fi.piccr
I
A
m Cl.picc.'^
n.
A-i D Fag-.
f
N?
154.
''Sadko."
N?154.„Sadkof'
Gloireau
N9
155.
159
bon
"Servilia
N9155. „Servilia!' 3 Fl
J
:
72.
vieil-lard,
gloire
a
ce
bien
-
-
fai
-
teur.
leo
N*^ 156. *'The
Legend of
N9156. „Legende de FI.I.
(Andante mistico.
the invisible city of Kite sh" de Kitej" (p 2f>2)
(p.
la ville invisible
J:«a)
ritcn.
molto
252).
N9
158.
''Ivan the Terrible," Act
N9l58.„La Pskovitaine" ""fi.
W
J.
161
acte.
Adagio.
Je
voiis
par-leTai(lupreuxpa>la-din Oo-ri-nia,
^
poco
cresc.
JlJ-
"Wze:=: poco cresc.
I
Tr-be.
^^
W
^
%
du
ser-pent cru
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dm. e
mor.
jCE
J^-^
dim.e mor.
-
el,
Tou-
^
iS9. "Snegourotchka" (p. £28). N?159.„Sniegourotchka" (p. 228).
162
(Allegro moderato.)
^
^^^
^
m ^
i pp
N9
160.
"Sadko"
(p.231)
N?160.„Sadko".(p.28i). ^; (Allegro non troppo.)
Les devins (mysterieusement)
•^
'
A
lamer, sur
Sur con sord.
dansune
-
-
i
"le
mys
-
te-ri-eu-se
fleu-
I
Les devins.
j
To-ce-an,
k''
J
J
rit
la
-^^ i
j
1
J^
for-ce qui
I
J_ 4viv^ ue
nieurtpas.
J^ la
1
,1
force
^_
I
y J'
J'
j^
^ ne-pui-sable
N?
"The Legend of Tsar Saltan"
161.
N9161.„Legende du Tsar Saltan"
(p.
80).
r
f r
(p.
so).
168
(Allegro. Jiiae)
Ob.
f^_f
gjLA^ e-jL^
r f _f_p r
^
f
^ f
f r
ha
ha
^
r
f
r
r
r r r
r
^
n
Platti.
Ha
-
ha
-
hii
-
ha
-
ha
-
ha
-
ha
-
ha
-
ha
J? 162. "The Legend of Tsar Saltan'' N9l62.„Legende du Tsar Saltan" (p. 9a). Fi.
-
-
-
ha
-
ha
(p.92).
(Andante. Jzea)
N? 163. "The Legend of the invisible _ N9163. „Legende de la ville invisible de ,
O b. Allegro. J-.\zo.
city
of Kiteshi
Kitej"
-
ha
-
ha
-
ha!
IQA N9 J64. "The Legend of the invisible city of KitesH' (f.ioo). N9164. jjLegende dela ville invisible de Kitej" (p.40o>.
lis
sont de
-
ve-nus sol- dais du
Christ,
des mar-tyrs s^en-
N? 165. "The May Night/' Act I (p. 105). [Eg N9165. „La Nuit de Mai" l«Jacte (p.ios). T^Jv. (Allegretto.)
>
i/p
ri-du
-
ra Tar
N9
166. ''Snegourotchka: N9166. „Sniegourotchka!'
Maestoso. rI.II.
a 2
166
N9
166
167.
"The Christmas Night/
N9167. „La Nuit de Noel" \
tit\r
\
Andante.
^S 3 *
J
^
=72.
Fl.
"
n.iil. 111I
^
fi:
pp-
a
^
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a
S
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a
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=1
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//l^Clar.
picc.(D)
:^^^ ^2 Cl.(B)
TT
=8=
N? 168. ''Sadkor N9168. „Sadkof' (Andantino.
J-
=
66.)
15
167
168
cresc.
T
dtm.
N°
169.
"Sadko"
(p.
49^)
N9169. „Sadko"(p.492). (Andante. J:
66.
169
170
N9 no, "SadkoP N9l70.„Sadko!' 12441 ( Andantino. J.= c&)
171
.
N?
172
171.
"Antar!
N9171. ,.Antar
N9
172.
^ 01.
—
ir
"The Tsar's Bride"
172. „La (Moderate.
N9
z?
Fair
i
Fiancee du Tsar" J
c
9G.)
^
^
(p.J852). (
p.
252V
^^^^
^w 7-
^^ '^^^^4^^:^,^^^:^-^
i i
yVt »«
m
173. ''Sadko'' {f.ii2).
N9173.„Sadko"(p.ii8V rVivace.) Fl.picc.
ITS
"The Christmas Night." N9174. „La Nuit de Noel"
N?
179 P-J^
ri.pi«e,«
174.
»
ri
N?
1759 "Vera Scheloga" (p. 49). N?175.a. „La BoiarineVera Cheloga"(p.49).
Ob.
176 Lento.
pten. ass at
quel
mal
Oi- seau^pourquoi
heur'
-
tai
te
-
re?
Je cherche en
Vera.
vain,
N°
ne trou-ve pas
ma
rou-te,
175? Another possible
N9 175. b.
je.
ne sais plus que faire,
J^ J^ quel rT\
vain,
m?e-ga-re.
orchestration.
Autre orchestration possible.
Lento.
Vera. "
et je
iiJ'
mal
»
hi-l -
heurl t^n.
ne trou-ve
J^ J^
J'
J^
J
i
0i-8eau,poxirquoi te
I
iiJw
p tai
-
re?
V
JO
i
J^
Je cherche en
assai
pats
ma
rou-te,
je ne sais plus quefaire,
et je m'e- ga-re.
N? m. "Russian Easter Fete" 176
(p. 5).
^9176. „La Grande Paque Russe'* (Lento mistico.
AViol.soli.
J
=84^
(p.5).
N9
177.
N9177. Fl.l
''Russian Easter Fete"
>,La Grancle Paque (Lento mistico. J = 84.) — timile
(p. 9).
Russe"
(p.9)
177
J
^^^
N9
178,
"The Tsar's Bride"
(p.i-s).
N9178. „La Fiancee du Tsar" Jlj^Allegrro. J
N?
=
179. ''The
NO
S
179. (Allegro.
(p. 1-2).
108.)
Tsar's Bride:
„La Fiancee du Tsan" --
108.)
^ \^rf^ ^^^^
"The Tsar's Bride." N9180. „La Fiancee du Tsar."
N9
y
180.
(Allegro. J mFl.picc.
=
102.)
179
—
r
N9 180 [2]
181. ''The Tsar's Bride!' N9181. „La Fiancee du Tsarf'
(Allegro. J
-.
102)
N9
182. "The Legend of Tsar Saltan.' N? 182. „Legende du Tsar Saltanf
RH
Modei'ato alia marcia. w
:
88.
'
l;
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T
Vr
" 'c;
"
"
t
^
"
t
u
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lj
r
r
^
r
r
—
r
r
N?
183. "The Legend of Tsar Saltan/ N9183. „Leg:ende du Tsar Saltan"
Moderate allamarcia. Fl.picc.
y
J -88.
181
"The Legend of Tsar Saltan. du Tsar Saltan" „Legende N9184.
N°
1^2
184.
Allegretto alia marcia.
ljS[ f
I
J
=
96.
plcc.
J33-
J
J5L
^ .n
»
p
\m
.JD .
IT1» m jn . .
n\m
J!L
i
J
"The Legend of Tsar Saltan." N? N9185. „Legende du Tsar Saltan!' 185.
Allegretto alia marcia. Fl.picc.ezri.
n areata
J
=
96.
r
P
f
r
J^f '
r
f
^f r
N?
186. "The Legend of Tsur Saltan. N9l86.„Legende du Tsar Saltan."
3
^
N9
183
(Allegretto alia marcia. J- 96^
187.
"The Legend of Tsar Saltan"
(p.soey
N9187. „Legende du Tsar Saltan" 'psoei. 4Cor(Allegro tempestoso. J- 132)
-va
ge
tren
-
te
-
trois
puis
-
sants gu»T
-
j-rts
^^^
N9
188.
''The
Legend of Tsar Saltan"
N?188.„Leg:ende du Tsar Saltan"
(p.
4f€).
(py*i»i).
(Allegro animate. *-i44.y
/ Tr-bni. e
i
m^ ATimp
Tuba
i
^
rmrm n i
HJ
J
i
N?
189.
"The Legend of Tsar Saltan"
N9189. „Legende du Tsar (Allegr o. J- 132
.)
Saltan''^ (p.367).
(p.
367).
185
— 186
Cor.
f-
Tr-bni.
eTuba.
K
^
»
Timp.
ir
Cassa.
Viol.
I
e
II
-^
r
r
N9
190. "Ivan the Terrible," overtun. N9190. „La Pskovitaine"ouverture.
la (Allegro.) ^Cl.l(A).Sol(
^
N?
191.
'Ivan the Terrible,"
overture.
N9191. „La Pskovitaine" ouverture. (Allegro)
—5,
187
N? 192. 'Sheherazade" ($.5) N9l92.„Sheherazade" (p.S).
188
(Alleg ro non tr oppa
i^? 193.
J..56.)
"Sheherazade"
N9193. „Sheherazade"
A
^^
(p.a)
(p,8).
CAlIegTo non troppo. J.-56)
— N?
''Sheherazade" (p. 19). N'M94.„Sheherazacle" fpiw). [S] ^,
Fl.picc.
194.
——————— >•
^Allegro non troppo. d.. ''c--
*£^
^
56.) tf
189
^? 190
195. "Sheherazade" (f. 38-89). N?195.„Sheherazade" (p. 38-39).
(Allegro non troppo. d.-56)
N?
196.
''The
Legend of the
N9196. „Legende de (Poco larghetto.
invisible city
la ville invisible
J -60.)
de
of Kiteshr
Kitejl'
IM
192
igf rrj^ Legend of the invisible city of Kitesh.' N?l97. „Legende de la ville invisible de Kitej!'
NO
(Poco larghetto. J-6o)
1
NP
m.
'The Legend of the inmisible city of Kitesh!' N?198. jiLeg^ende dela ville invisible de Kitej" (Poco
lararhetto. J. 60.
'The Legend of the invisible city of Kitesh*' N9199. „Legende delSi ville invisible de Kitej"
N9
199;
(Allegro. «^.120.)
^
^
iV*i"T
I
r
f
r
J
'~rj i
I
i;_^
i
1
i
i"T
i
f^
193
"The Legend of the invisible city of Kiteshi N9 200. vLegendc de la ville invisible de Kitej'/
N?
194
200.
[7q1 (Alle gro. Jriao.)
i^? ^i. ^T^te Legend ofihe N9 201. „Legende de la ville (Alleg ro J-120J
invisible city
of Kitesh."
invisible de KitejV
N9 202. "The Golden Cockerel'' (p. 298-299). N9202.„Le Coq d'Or" ^p. 2i
Fl.picc.
195
^96
^ ^^
"The Qolden Cockerel^*
N?203.„Le Coq d'Or" ri.pico
(p.
(p.ao9-8io>.
SOB-ssol
N9 204. ''Snegourotchka'' N?204. „Sniegourotchka" (Vivace. J-I60.) Fl. pice
197 £67). ip 2K7.. (p.
N9
205. "Sadko." N9 205. „Sadko:'
198 I173] I!"!.
Allegro. J..66.
piece 2 Fl.
N? .
,
11771 Fl.
206. ''Sadko."
N9 206.„Sadkof' Allegro. d..G6.
piece 2F1.
199
200 |184|
207. ''The Christmas Night." N9 207. „La Nuit de Noel!'
N^
Allegro non troppo, alia polacca.
ij^lhi
pMj^^ ^^i^i^^^. ir
201
•^
n,r
cresc.
N? 202 |lg(-|
(AUegTo
Fl.piccjB-
Bassi
208. ''The
NO 208. a
Christmas Night."
.,La Nuit de Noel'.' non troppo, alia polacca.j
^ a
^
£ #
chaai-tez, trom-pet
-
tes,
^f^
flu
-
tes
dan3
la nuit
ou
point
l^u-
;203
m
209. ''Sheherazade"
N? 209. „Sheherazade"
(p.
123)
205
(p 123.)
Andantino, allargando assal.
I.
Solo
206
colla parte
N?
210.
''Snegourotchka"
N9 210. „Sniegourotchka" Risoluto ed animato.
(p.
176-177).
(p.i7e-i77.)
<^= loo.
Fl.e Ob.
'^
fcrr^'
Ar-j g__oiOier,
^JnJ
la
i
ircrr*"
,^j fa
-
^^^1 ^i ,^ ^
J
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rou
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^^
^ ^p
de la guerre et
e rr crrri;
poco af>oco dimr
i^jb^ ^ de
la
ba
tail
208
N? N9
211.
211.
''Snegourotchka" (p. 179-180). „Sniegourotchka" (p.i7y-i80).
(Animate.)
a2
C1.(A)
i^7/li ^
^r f^ -r
^
u
4
r "-f
r r
ii^^i^M
i
Faa
»
^' a^2
f.
Cor. „
I
^^
i
^
ff
o
'"'II
I^M ^ -^^ I ^^=^f ^^ ^
J
J-IJTl
J
JPJ
Tr-be.(B)
ff.
j|j
jj
f
r
r
'
J
or
^ ^J
.a^
Cj
r
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I
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^
Tr-bni. e Tuba.
Timp.
^
Ten. I
^^
^^-£^
^ ^
Z09
it h'^f r
^>
^f
r ,
rr7 ^^
r
r
f
,
^f ^f
f f f f
cresc.
»ii
Cl.
r
r
r
r
^
j
5=»
rri_i!Lii. r" r
Y'T
cresc.
r
r
r
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^
h^iif
''=
I
a
r
r
Lf
r
f\
r
Fag-.
r
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S^
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210 [l9|
N? 212. "Ivan the Terrible," Act U. N9 212^. „La Pskovitaine," 2^® ax:te. Allegro moderato maestoso.
N?
213.
''The
Legend of the
N9 213. „Leg-ende de 2&4l
Du
Andante non
invisible city
of Kitesh:
la ville invisible de Kitejf
211
troppo. (J = m.)
fond de la clairiere marecag'euse,toute fleurie, s''avance^comme sur la terre
prince Vsevolod entouree d'une lumiore doree.
II
louche a peine
le sol
ferme,nma^
du
212
218
^ C.lngl
***
N? 214. "The Legend of the invisible city of Kitesh' N9 214. „Legende de la ville invisible de Kitejf
fSjg]
Andante non troppo.
J=t»'.
F^vrQoia et Tapparition sortent par
PP9
3
le
marais, effleurant a peine
le sol.
2\? 215.
N9
"The Golden Cockerel." Coq d'Or."
21S
215. „Le
(Moderate J= .
loo.)
pizz ,«i
I
iy!"
N9
'^^Vy»3 j »» J iJ vv JJiyv J
i
Jv
2lV\negourotchka"
»J
J »» JiJ » » JJ » » J
,
j » H44H J H^44*m4 v ¥J#»¥3i 4H » j J¥ » J .
(p.l4S).
216. „Sniegourotchka"(p.i48.) (Animato. W:i26.)
)b.i
He
bien
pre
-
nez,
sivousrfavezpas hon-te
d'etre enriohis pax lemalheurdesautrea!
r 217. ''Russian Easier Fife.** N9 217. „La Grande Pique Russef'
216 iV?
iFl.
[^Triang.
r^
coUabacchetta da Timpano
Piatti.
fiijj
.
i
r
—
217
218
N? 218. "The May Night" (p.i40). N9 218. „La Nuit de Mai" rp 140.; Allegro vivo. 2 Fl.picc
N?
219.
''The
^ N9 219.
Legend of the
„Leg-ende de -^T-(Moderato. J=m.) ttfljfl
Fag.IIeC-fa^.
irwisible city
la ville invisible
de
of Kitesh'.
Kitej!'
N9
220, ^'The
Legend of
N? 220. „Legen(le dc ('Moderate. J; 92.) _a2 j.n.
the invisible city
la ville
|
«f^
of
invisible dc Kitej!'
Kitesh'.'
219
N?
221.
"The Legend of
220 N9 221. „Legende dc la rrj=i
(
Moderato.
Jzs-^.)
the invisible city
ville invisible
de
of
Kitej."
Kitesh."
N9
222.
N? 222.
"Snegouroichkar
IB4I Lento. J ri. ptcc
FKplcc
221
..Snieg-ourotchkal' = 69.
doleiaiimo
N9
223.
''Snegourotchka/'
222 N9 223. „Sniegourotchka'/ 12751 Adagio. Recit. Cor.
<
n^^ A-vec
"•^'w'
Du
dieu Ya-ri-
lo,
"*"
de I'e-te de
y "
flamme
le
n
^^J\}^^^
jour va com-men-cer
PourQuoitesBleurs
le
regTie
et que
veux
N9 224. "The Legend of the invisible city of Kitesh! N9 224. „Legende de la ville invisible de Kitej." Lento mistico. J:6o.
223
N? 224
225.
,
,
Adacrio non troppo, lento e cantabile. ^z
le ,
''Sne^ourotchka/*
N9 225. „Sniegourotchkal'
8o-leil
sur lacol-li-ne
de
-
7a.
crort
len
pe
te
-
te_ment,
pa
-
lit
et
.raeurt
v-i
N? sss
226. "The Golden Cockerel." N9 226.„Le Coq d'Or!'
LaiteinedeCh^
Lento non troppo.
Ah!. Viol.
I.
e
Viens, la
oal
-
me null
re
-
-
chan-son
la
descoeurs en
II
unis.
'PifctU.
flS-te.
ptzz.
fT\
Allegro moderato +-
f
Tiens,boisce
vin
.
J
:
io4
*-H—
tout
pe-til-lant, o'est le
sang
.^
de
lX)-ri-ent'.
N9
227.
N9 227. [li]
miada," „Mlacia;'
Act n.
2"1- acte
(^Andante non troppo.) Loumir.
(muta sol in fa|)
Loumir
Loumir
dolce colla parte
225
N?^228. "The Legend of Tsar Saltan." N9 228. „Legende du Tsar Saltan'.'
836
Andante.
J= 68.
Fi.
BupalaiB sort la princesse Cypnejdontlasplendeur eclipse ceile du de la main.
soleil.
Tous protegent leurs yeux ""
zz'y
228
.
N? 229. ''The Golden Cockerel" N9 229. „Le Coq d'Or" (p.227.) Fl.picc
(p. -227).
Z'.^
230
fij.£>^3mi,^
Cor.
'ig
I
<^i
I.
PP
tou
-
Arpa.
p
V
I
H
V
tre
^
Celesta.
'1^4
sans
jours,
« ;
^
Mr
^^ i
f
^
N9 230. "Russian Easter Fete." N? 230. „La Grande Paque RusseJ' Sostenuto e tranquillo.eJzise. JPl
pico
231
^°
238
2^i-
"^^
Legend of the
N9 231. „Legende de (Andante. J
12971 Fl.
invisible city
of
Kitesh'.'
la ville invisible de Kitejl'
= 48.)
piece Fl.L
Spectre,
Arpa
tu
parais porter
8
I.
div.
les traits
deVse-vo
-
lod
le
che-va
2BS Flpicc
cresc.
poco
.
284 N9 232. "The Golden Cockerel" N9 232. „Le Coq d'Or" (p.a82
(f.
282).
).
(Allegro assai. Jzisz.) Fl.picc
N?
233. "The Golden Cockerel" N9 233. „Le Coq d'Or" (p.i4i ).
Moderate api
picc.
(alia breve),
'^.l .
so
(p.l4ti}.
N? 234. "Sheherazade" (p. 61). N?234. „Sheherazade" (p.ei). (Vivace, scherzando. J 132 •
N9
235. "Snegourotchka" N? 235. „Sniegourotchka"
Moderate. /J;P'««-|t^
La
.
285
;
(p.
807).
(p.307).
J-re.
I,,
vision disparait; a sa plaoe on volt un tronc d'artre surlequel deux vers luis&nts conime line paire dyeux
p.^brillent
236
N?
''Snegourotchka!-
236.
N9 236.„Sniegourotchka." (Larghetto.
J-^ss.)
Sniegourotchka.
P
rr 3Ier
-
ci
pir^pr
<
du fond du cceur
pir'r pour
-
tant
p«r d'ar-dent
m
pir a
-
mour
—r^<-
m
1^
PP
Arpa.
m
m
Viol.I solo.
rn-fif t
f
^-
f fif^
f
if
PP Viol.II
trem. dlv.
¥»
j
V-le.
1^
.
^
i.
^^
arco
I.
J'^''
^^ ^P^ PP
V-c.
^m
pizz.
=^^^
V
PP 2C-b.
soli.
V
i'
N9 237. "The Chrism tis- Night'' N Q237. „L a Nuii de Noel" (p.312).
N?
238. "The Golden Cockerel" N0 238. „Le Coq d'Or" (p.i9).
(Andante, 1i
A Wl p tc»^ .
^-.tz)
(p.
(p.Si^).
237
19).
.
N9
ggg
''Ivan the Terrible"
239.
N?239. „La Pskovitaine,"
Ad U.
2"ie actp.
"The Tsar's Bridef N9240. „La Fiancee du Tsar."
iV? 240.
fj^
—
'
5'j,
(Allegro moderate.
J mis.)
i Oiii
.
nJ^ J^
|t|J
elle est
belle
/
i rose et blanche de
taint..
N?
241.
''The Tsar's Bride'' (f.2io).
N9 241. „La Fiancee du Tsar" (Allegro moderato. J.
N?
242. "The Tsar's Bride." N? 242. „La Fiance'e du Tsar."
^Lento.
J- 56.
fp.^io).
2:^9
iia;^
N?
243. "The Tsar's Bride." N? 243. La Fiancee du Tsar.
(Lento.)
N? ^ ^^0
244. '^Snegourotchka."
N? 244. „Sniegourotchka!'
ISy Andante, molto
sostenuto. J«
i
N?
I I
l313l
245. "Sne^ourotchka.*-
241
^^ ^^^ „Snieg:ourotchka!'
^^-;:ji„
(Andante.
On rayon
J.«».)
brillaot perce les
brume matinale
et
tombe sur Sniegowrotchka.
^2„
N9
246. "Serviliar
N9 246.„Servilia!'
[g25!(Lento. J=6o.)
N9
"The Tsar's Bride" „La Fiancee du Tsar" (Adagio J 247.
m 247.
^
N?
248. ''Russian
Easter Fite."
W 248. „La Grande Paque Russe!'
P] (Andante
lugiibre. «J=6o.)
248
244
N? 249. 'The Legend of the invisible city of Kitesh: N9 249. „Legende de la ville invisible de Kitej!'
E •
-
(Larghetto alia breve. ^-Irea.) Cl.l.U (A)
^-'
245
N? 250. "The Legend of the invisible city of Kitesh.' 246 N? 250. „Legende de la ville invisible de Kitej!' Allegro ^Jr .
Com
N?
-
251.
18 8
me monte au
eiel
le
tour-bil-lonl
La pous-sie
-
re
voi
'^Spanish Capriccio/'
N9 251. „Capriccio Espagnol" Met Sit mo
•^
/
-
le
le
so
- leil.
N^
252.
"Sadko"
N^>252. ,,Sadko:' 12641 (Allegro non.troppo. J- 112.) Ob.I.Solo.y
PFP
247
N9^ 253. ''The
Legend of the
N9 253. „Leffende de Ob.
invisible city
of Kite sh'.
la ville invisible de Kitej." Solo
I
N?
254. ''The Tsar's Bride" (t.ZAe'H^r}. N? 254. „La Fiancee du Tsar'*^ (p. 246-247.) (Moderate. J =
»«.)
"
2^
movement '"Sheherazade," N9 255. „Sheherazade;' 2"}" mouvement.
TVr 255.
[jpi
249
(^Aiidantino,j)OCO animate.)
N?
256. "The Tsar's Bride/' N9 256. „La Fiancee du T^ar
Molto andante. J =
A
eo.
Nov-gDrod^ansun jardinsu-per.be, sous
les
om-bragesnou8VHion8,en-sein-ble
N?
257.
''The Tsar's
Bride"
(f.
25qN'^257. „La Fiancee duTsar" (Andante. J =
9s.)
sirtngentio foco a poeo
poco
186\
(p i«<«
).
m N9 258. 258.
IliJ
251
''Mlada'/ Act lU. „Mlada;' 3"1« acte.
Moderate, poco acceler.
Fl. pice
r
^^
poco cresc. (non stacc.)
mi~n^ni
I 16 Viol,
n
jjj.;j'jJJ3 poco cresc.
2>P div.
^^
m i^^p
^
(noil stacc.)
^
pp poco
ttf'tU ::r
pqr
W
*ff
cresr.
^^«ffr"fr7»fg
*** ttt-
/?oco creirc.
^ ^^ 12 V-c.div.
H C-b.div.
arco
>
^j?
pizz.
r.T .r
m
^ #^ ^oco cresc.
^rt^
/oco cresc.
'
i
r
v«r
^
252 Fl pice.
Con moto PI. pice.
253
I
254 .V"
"Mind a:
259
Act
„IVIlada:' 3"
N'>;
III
acte.
Andante.
[19! Fl
I.
1.1.
:i*?!auij
J.
-
y/)
M.
^^ ^^^
11
JS
FP Fl
c-alto
i
'(Ji
5fe
jj^'
%
^^^
-
;vv^ ^
j?p Oh.
^^
I.
?==^
i
PP Ob.
^^ ^^
II.
I^
J^' r'r jC l
\
pp
Ob. c -alto.
m PP
I
fij-
i'
^M^^
3 Clar. (B)
^
^^
te
pp
3 Fag-.
3
?^^^
Iy^i—HH
pp
3 Cor. (F) con sord.
^^goTr-ba.picc.(Es)
^^ ^^^^1
»
/?P
Tr-ba.lKB)
i
£
/?P
^^
Tr-ba.c -altaCF)
i
L" ombre de Mlada (mi mi que") :..Ce sont les voix prophetiqxies des esprits; ecoute-les!" Voix des esprita lumineux (derriere la scene) Coro.12-16 Soprani.
j-4-/^ij
J'
Ya-ro
r~pv^*' U' Pour toi bien - tot _
^J^Jm^l y\ ;v
l
-
mir!
I
p
"
i
-J'T
''Hi't
^ri'*'
8on-ne-ra I'heu-re.
!
iJo5
Poco
acceler.
p'
poco
a
poco
25& Fl. pice.
N9
260.
"Sadko:*
N?260.„Sadko" And antino. (MS 1^*1 ,
J-
--
ee
'W~^-
257
—
'
N9 261. "Sadko." N?261.„Sadko!'
;i58
Moderato.
J
96
=
r
— —
Les eaux du lac
Piatti e
Tam-tsin
3'
>.^A^A-k< Al p^ P 1
VP
'
kfcP^
-Lfe p* 1
V^< p' '
I.
P
ir
^ ^ p^ ^S^P
nfv'^tf^t
^>e W*ti»
-
^
IeI div. V-15.
Vp:
div.
41 i
^^P a
S
—
agitent; des profondeurs surgit le Roi des Mers
C-b.
i
^ p p
M
A ^ffi
* £ r
#
e s
-^
m^
*
-*^ cresc.
% m ^ f \jsr
unis
S
^
;i
i
^
N? 262. "Aniar N9 262. „Antar:' (Allegro risoluto.) FLpicc.
259
260
N? 263. "The Golden N9 263. „Le Coq d'Or.
Cockerel.''
-^(AllegroJ
N9
eresc. molto
"Pan Voyevoda," introduction (p. 3). N9 264. „Pan le Voievodel' introduction (p. 3). 264.
(Allegretto. J.: bs)
2ez
^^ "'^^ Legend of Tsar ^ N9265. „Legende du Tsar
Saltan.
Saltan!'
(J
set)
rrrrr^rrrrrr^t
-©-*-
rrrfrrrrrrrrrrrrfj
^
266. "The Legend of Tsar Saltan." N9 266. „Legende du Tsar Saltan."
N9
——
EHJ (Moderato — Fl.picc. .^^.
assai. J
:
%\
)
.
^^
N9 267. "The Legend of the invisible city of Kitesh" (p. 4S8). N? 267. „Legende de la ville invisible de Kitej" (p.488;. (Moderato.
J
-
as.)
268
264
N?
268. "Kashtche'i the
Immortal"
N9 268. „Kachtchei Immortel."
im
(Allegretto mossx). Jiize.)
.Cor. inpl.
>
Gronile
Arpa
Cor.
tdansles coulisses) La te m pete
Coro
Q j^j ^j
et
souf -
fie,
(harpcs eoliennes)
in pi
tour-bil
-
Ion,
commence
cou
-
vre
de
tes
blancs flo-cons
N?
269. ''Kashtchei the Immortal/' N9 269. „Kachtchei Immortel."
[^HCAllegretto mosso. J:
126.)
Fl.picc
mf Arpa(harpe eolienne)
(La scene dircouvre de nuages;furieu8e tempetei
nuit.)
265
V-le.
m ^ C
m
^m ^M ^m ^m
ttJ.
i^ ^
^
^^s:^
b.
J|.
3ZJ
|.
^m
N9
270.
'Idlada"
267 (p.iee)
N9 270. „Mlada"(p.i66). 3F1.
fr
^
tr
— N9
"Tne Golden Cockerel." „Le Coq d'Or." 3^<'Moderato. J:ioo.)
268
271.
N':>271.
N9
272. "The Legend of Tsar Saltan" (p. N9 272. „Legende du Tsar Saltan" (p.i79
179).
).
(
Maestoso, (i:
H^ QFl.picc.
^^^
63 j^
.
^,_
^^^-pc
riten pace.
N? 273. ''The Legend of Tsar Saltan" (p, N9 273. „Leg:ende du Tsar Saltan" (p. 2b9). (Moderate assai. lf«') ^l.pJcc.
269).
269
r 270
^
274. ''The Legend of Tsar Saltanf N9 274. „Legende du Tsar Saltan!' (J
(Moderate assai.
m
^
since.
ff Cor. ingl
,
Cl.(B)
ff •'*'
^
gg
)
^m ^^
'fi
:
p-j
r
J^^'i
t
t
<9'
f^'
p.
\'
fflTJ^
j7
g'
r^ ^ ^x\\
» F » P =$?#=
f'"
\'
Y
J
f
w
ff
—
J
r
r
'.^^^^
Ji
B
MI.
i..JJ-Mf fJ_L^
|s»'iii.iy^
Ji
I
^ Vie
Vc.
f
/
'""j. C-b.
/
^ Jl^i
]
f^ ^
Qk
J? -:»T-
/
J
j
jjf jjnfr7n
^T^-bc.(B)
^
J
a 2
fj
L/ACor.
I
")
Pi ^
.
.
Cl.basso(B
Fay.
I
J.)"
N9
''Pan Voyevoda/' le Voievode." (Larghetto, J. 7e.) 275.
N9 275. „Pan
=
271
272 Quasi
irillo.
278
N?
276.
''The
Christmas Night"
N9 276. „La Nuit de Noel" (Allegro assai.
^'
J
.
(p.310).
les.)
gUssando (sons harmonigues
(p,3lo).
274
N9
277.
''Sne^ourotchkar
N?277. „Sniegourotchka!' [45|
Adagio. J: 50.
.or. I.
soir,
le
soir je
chante
-
rai _
Jechante-raipoure-g-a^v-er laso-li
-
tude
Poco piu animato.
les
plus guis de
mes
re- frains.
Le beau
Lei
males ap-pren-
dra.
N?
278.
275
"Sadko.'
N9 278. „Sadko'.' (14 3i Adagio. J
=
56.
f\
poco
cresc.
oya
N? 279. "Snegourotchka." N9 279. „Sniegourotchka!' (Allegretto capriccioso.)
Voi
-
la icon reve et
string.
mon bon-heur.je ne
uJ P.i^P i
Chan4«r,voi- la pizz.
sT
i
piiis
vi- vre sans chan- sons.
Pypp
monseulbonheunma
joi
-
arcccN
-
e!
N?
280. "The Tsar's Bride." N? 280. „La Fiancee du Tsar." (Larghetto assai. J=60)
^^-—r==^r^i
277
—
f=
ni
r
—
i::::^
,
±^
dim.
N?
"Sadko''
281.
N9 281.„Sadko" ( •
^A
Passionate V^
-.
(t.516) (p.sie).
27»
126.)
Fi ii.ni.
Etsousles
ri
-
ves es- carpees je dor-mi- rai
presdelai-me-
Fi
-
dele
amona-mourjusqu''
dlv.
poco
creac.
di
vins
g_^Uarsrando.
la
nndes temps.
Oh!
tes cha; ts
-
ont se-dmt
mon
c(Kur,
ra -
vi
inon arae-
„co N? 282. "The Tsar's Bride" (p. 361). N9 282. „La Fiancee du Tsar" (p.aei). TLarghetto assai.) Cl.(B)
281
N?
283.
''The
Tsar's Brider
N? 283. „La Fiancee du (Larghetto. ^ 9Z)
Tsar."
.
Cl.(A)
Pourcesbons voeux cent
Domna Sabourova. '
n'
<
fois
mer-ci,
_ V
»
Jm
J
'
-I'
-1^
Bon- heur aux a
-I -
*
I
mants!
Douniacha
Dieu vous ac
-
cor
-
de
joie-
Que
Dieu
Bon-
Sabakine.
vous don
-
ne
d'etre
heu
-
reux,
sans
P cantabile
Viol n.
TTTH^^
282
joie!
jV
So-yez
hen
Dieuvous
ao
-
reiix.
toiuours u
iiis.
-
Lilt WW mer-ci.
fois
tre
-
-
ve-
-
oor-de
bon-heiiret
saii
-
te,
n.ii
mm
283
285 Jlpicc.^
ifP
286 Fill.
.
N9
284. ''The Tsar's
Brider
287
N9 284 „La Fiancee du Tsar.
S^ (Adagio.
quels
All
J^A
jours heu-reux.
quy
nous
e
-
tions gais,
quaiid
thaque
cop 8ord
V|'<>^' IJ-
ar
J.44.)
-
bris-sean a'in-cli-naitvers
nous
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quand
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nee verts
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288
285. ''The Golden Cockerel N9 285. „Le Coq d'Or!'
|l35l
(Andantino.
J
=
76.)
Cor. ingrl
I
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mant?
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290 N° 286. "The Tsar's Bride." NV286. „La Fiancee du Tsarf (Lento. J. 63.) aeceler^poco a poco
J
F!.
cr«8C.
Lioubacha.
'•''r Ah!
(EUe pleure)
r pir^t tout pour
toi-
ir
r
p
i
rl!^>
oui,tout pour toi!
291
^
ff
S92
iV? 287.
Z'Snegourotchka."
N?287. „Sniegourotchka!' [SI (Allegrro moderate.) ''
Jf. Cl.(A)
Le Printemps
Dans oes fo-rets ,/
V-c.e C-b.' V-c
ou
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e
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au
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et
de
moi-mS
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me^
il
ne veutpasaudouxPrintemps de-der la
pla
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294 l|24j
N9 288. ''The Tsar's Bride" N9 288. „La Fiancee du Tsar." Agitato. J= 136.
.
296 >. Pl.l.
jiaibienvul
Mer veye debeaute
.
.
des:peuxsaper-be8,
oer> tea
U ^*-
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N?
289. "Sadko" N9 289. „Sadko."
Larghetto. J.
N? 290. "Sadko" N?29G.„Sadko" ^
(Lar ghetto.
297
56.
(p.
iso)
(p.iso
J.= S6^
298
m
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Pr
Sadko. Ton
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291.
i'Sadko!'
299
N9 291. „Sadko!'
20^
(Allegro.
J.: 66.)
poco Crete.
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Sadko.
ite^* bien
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ai
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me!
N9
292.
"Sadkor
301
N9 292. „Sadko!' 0* 13181 ,
Cl.
Andantino.
i^r 104.
basso (B)
Pau-vre
-e
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e
tout
b f320] Lioubach
par
chre
tou-tes
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veii-ve, je
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de
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les
Oh, je
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ri
les
g-ens
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802
''The Tsar's Bride''
293.
N9 293. „La Fiancee du Tsar" (Allegro. J ,
>
(p.
£69).
(p i69).
120-182.)
Cl.(3)
tiJ
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N? 294. "Ivan the Terrible," Act I (f. in). N9 294. „La Pskovitaine'/M'acte ip.ui).
303
(Allegro.) Ob.c-a.
dim.
304 N?
295.
"Sadko!'
N?295. „Sadko." (Allegro. J Sadko.
=
126.)
[219
Co lebrousleshautes
voii
-
tes du fir-
ma-ment. Ce- lebrons
les
a
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805 Piii
CBoBurll.
Ten. Bassi.
anim ato.
J =144.
Ce-le-bronsleshautesvoutes du fir-mament.Ce-lebronslesa- bT-mesdelO
-
ce
-
306
N?
296. "Ivan the Terrible" Act II. N9 296. „La Pskovitaine" 2™* acte. (Allegro.)
Pa - te |Sopr.I diy.
I-
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f
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no
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fier
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ble
p
blepreux ve
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pre
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— 307
'fa-Iv.
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Chez
308
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ble Tsar!
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"Sadko"
N9297. „Sadko"
(p.
157).
(p.157).
(Allegro non troppo.
j.: 112,)
Paff.I.
Alti
Cygnesblanosdansle^biiis-sons
pour oueil^lir
de l^u
-
be - pi
en
-
ne
fleur,
dis-persezvousde
-
plo -yez
blanche,par fu-mee au souffle prin
vos
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ta
ailes
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nier.
!
311
dolce
^ ^ LaR.
p
i
r
pr
PtHt'
Sadko.
V-le.
V-e. I.
dolce
V-c.ne
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r
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pp pr »i^ Vier
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-
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r mon
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^
N9 312
298.
"Snegourotchka."
N9 298. „Sniegourotchka:'
Et
m\A
J
.-
toi
ri
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auxflots
g:Ia-ces
et cal
mes,
313 Ob. I
Sopr
Teii.
dors,
en
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la
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son
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a
tous nous fait pei
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ne,
son
d^-ses-
poij*
a
tous
nousfalt
pel
314
N?
299.
''Mlada/' Act IIL
N?299.„Mlada{'
Snje acte
Andante.
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316
N9
300. "Mladar N9300. „Mlada!'
„
,,
n^ufis'deP^est
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N? 301. "The Legend of the invisible city of Kitesh." N9301. „Leg-ende de la ville invisible de Kitejl* rci.i ii.(b)
ppW Sampane.
^
(boffuettes
a tfite d'eponge)
w
317
N?
318
302.
"Sadko'.'
N9302. „Sadk6"
^
Ob.(Largo maestoso. J
62.)
=
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Roidesmers tu asohoi-si maJ ton temps pour dan-ser! IGANO.
^ ^
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Vols la
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3x:
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noir.
Va chan
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ter"
en
ITion
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near de
tea
Nov
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go-ro-diens.
I
N°
303. "Sadko" (p.378). N9303. „Sadko"(p.3/8).
y/ji'i
I.
Andante non
troppo. J
=
88.
321
322
Et "peutetre au
ra-me-nant a
Dieu
ciel
1"^
-
au
plo-ree son
-
ra
pi-tie
heu-reiixe
-
du
poux
nous;
—
N?
304. ''Sadkor „Sadko'.'
N9304.
(Allegretto.
J. = 73.)
323
.
324
NP
305. '^The
Legend of the
NO 305. „Legende de
invisible
la ville invisible
dty of
de
Kite$ht
Kitej."
(Moderato e maestoso. j=60.)
bles
blan
ches>
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so
cha-su-bles
blan
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Vo-yez les Le PrYouri.
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sont
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pour
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NP
306.
''The
Golden Cockerel'-
N9 306. „Le Coq d'Or" ''Andantino. ^.= 96.)
(p 351).
(p.35i>
327
328
N9
307.
''Sadko'i
N9 307. „Sadko"
(p.
210)
(p.2ioK
(Allegro non troppo. j=ii2.j Ob.
^ J^
I.
jl.i'
^^
^^ ^^^^^^ ^ i ^ Cl.'B)
O^i-4 Fay-.
Cor.
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N?
309. "Ivan the Terrible" (p. lie). N9 309. yLa Pskovitaine" (p.ii«).
32»
(Andante sostenuto.)
Or-donne< ...--«....^< w o
Alti.
mal
-
~~^
tre,
1^
•''tc,
j"-''!-!
i
v^i
P
g
Or-donnCi o
r mai
p -
et
J'
tous
tes
J'
ri
M
tre
et
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p
p
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^
tes
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p
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p
330
N?
''Ivan the Terrible"
310.
N9 310. „La Pskovitaine" a
(p.
in).
(pii7).
^i,
Fl.I.III.
Nous som - mes Bassi.
^HKl
s-
t
fp
^
fai -bles, nous vou- Ions
p
fl
J-'
p
e
I
r
-
tre giii-des
par
M^-JLf
N9
311.
"Sadko" (p.
N9 311. „Sadko" aFi
Alti.
44/;.
331
(p.44i).
(Allegro assai. J. 168.)
U
-
ne
lot
-
te
tou
-
te
pe
-
ti
-
te
na-geait, s"a-mu
-
sant
a tra-
332
N?
312.
''Ivan the Terrible;' Act
N9312. „La PskovitaineV 8^« (Andante maestoso.)
acte
lU
(the end).
(fin).
333
Appendix.
Single tutti chords.
Appendice. Accords
isoles en tutti
1.
,Fl.picc.
2-
ii
4.
3.
J\e MoflfiglU
TkeTmr^
p.»i6.
Bride,
TkeTuri Bride, f.i$9.
f.i46.
La
La Null de Mai.
La. Fiaii
3U
cee du
Fiancee du
Tsar p 2*5
T^ar,
p
-
?
2»8
6.
5,
Tie r*ar*
The Taari Bride,
Bride, p. 301.
the end
La cee
p. S9J.
Tk* L4gt*d of the mvinble eitp of KiieA, f.375.
Fian-
du
Snegourvlchka,
•
Tsar, p.soi
La Fiancee du Tsar, ffn.
•
I
Sniegourotehka, p.a»*-
Le^ende de la ville invisible de Kitej, p.87S.
or NOTK.IhesediagramM mr* given in tewtikrwe: They do not inelnde perciution itutrument* of indtterminMie mmnd the
human
voice
PJOTA. Ces exemples sont donnes sous forme demi-sehematique, en rondes. lis ne comportent instruments de percussion a sons inddterminesi ni les voix humaineu.
ni les I
II
ff Ivan the Terrible, p. 307.
La Pskovitaine p.
207.
PV The Tk» Tfar'a (he intrisibfe Bride, end ofoverturt. city of KHesh,
fff
The Christmas
Snegourotckka,
Sadko
Night,
the end.
the ena.
p.
SSI
fff ^hi Legend of Tsar Saltan, p.
ff Servilia, the end.
in
the end.
La Fiancee
Legende de
du Tsar,
la villeimisible de Ki-
fin
de I'ouver-
ture-
tej,
fin.
La
Nuit de Noel, p. 381.
Snieproiirotrhka^ fin.
Sadko, fl:l.
Legeude du Tsar Saltan, p 117
Seivilia. fin.
CATALOGUE—SUMMER,
1933 KALMUS MINIATURE ORCHESTRA SCORES MOZART
BACH No. 72, Suite No.
B minor
2, in
BEETHOVEN Symphony Symphony Symphony Symphony Symphony Symphony Symphony Svmphony Symphony
No. 1, op. 21 No. 2, op. 36 No. 3 op. 55 (Eroica) No. 4, op. 60 No. 5, op. 67 No. 6, op. 68 (Pastorale; No. 7, op. 92 No. 8, op. 93 No. 9, op. 125 (Choral) Leonore No. 3, Overture, op. 72a Prometheus, Overture, op. 42 Coriolanus, Overture, op. 62 Epmont, Overture, op. 84
No. 1, No. 2, No. 3, No. 4, No. 5, No. 6, No. 7, No. 8, No. 57, No. 9, No. 10, No. 11, No. 67, No. 91,
92, 93, Symphonies 1 to 9 complete, bound in halt linen, in 3 voliunes
BIZET
BORODINE No. 68, Polovetzjan pances. Prince Igor
BRAHMS No. 12, Symphony No. 1, op. 68 No. 14, Symphony No. 2, op. 73 No. IS, Symphony No. 3, op. 90 No. 16, Symphony No. 4, op. 98 No. 86, Acaclemic Festival Overture, op. 80 No. 94, Sympboniei complete, botind in half linen
DEBUSSY*
DVORAK* No. 18, New World symphony, No. 5, op. 95 No, 90, String Quartet, op. 96 (American;
DUKAS* Sorcerer's Apprentice
FRANCK Symphony
in
D
minor
GRIEG* No. 20, Peer Gynt Suite, No.
1
HAYDN No. 23, Symphony No. 11, in
G major
(Militaire)
No. 24, Symphony No. No. 25, Symphony No. (Surprise)
2, in 6,
in
D G
major (London) major
IPPOLITOW-IWANOW* No. 26, Caucasian Sketches
LISZT No. 29, Les Preludes No. 62, Second Hungarian Rhapsody
MENDELSSOHN No. 30,
Midsummer
543
K
SSO
C major
No. 69, Don Juan, Overture, K 492 No. 70, Marriage of Figaro, Overture, K 492 No. 71, Magic Flute, Overture, K 620 No. 80, Serenade, Kleine Nachtrausik, K 525
MUSSORGSKY
No. 83, Polonaise from Boris Godunow
RIMSKY-KORSAKOFF*
No. 36, Cappriccio Espa'gnol, op. 34 No. 63, Dance of the Buffoons from "The
No.
n.
Snow-Maiden" Bumble-Bee from "Tsar
Flight of the
Saltan" No. 80, Scheherazade, op. 35 No. 87, Russian Easter, Overture, cm. 36
No. 37, William Tell. Overture ST. SAENS* No. 85, Danse Macabre, op. 40 No. 86, Omphale's Spinning Wheel,
SCHUBERT
op. 31
No. 38, Symphony No. 8 (Unfinished) No. 39, Rosamunde Overture
STRAUSS. RICHARD* tNo. 40, Till Eulenspiegel, op. 28 tNo. 75, Death and Transfiguration, tNo. 76, Don Juan. op. 20
op.
24
No. 58, Symphony No. No. 59, Symphony No. 60, Symphony No.
No.
4, in 5,
in
6, in
F E B
minor, op. 36 minor, op. 64 minor, op. 74
(Pathetique)
No. 95, Symphonies
4,
5,
6 complete, bound
in half linen
No. No. No. No. No.
42, Nutcracker Suite,
op. 71
43, Marche Slave, op. 31 44, Cappriccio Italien, op. 45 45, Overture 1812, op. 49 74, Romeo & Juliet, Overture,
Fantasy
THOMAS No. 64, Mignon, Overture WAGNER
Overtures and Preludes No. 46, Lohengrin No. 47, Tannhauser No. 48, Tristan and Isolde No. 49, Meistersinyfcr Miscellaneous Na SO, Ride of the Valkyries No. 51, Wotans Farewell and Fire Magic No. 52, Siegfried Idyll No. 53 Siegfried's Rhine Journey No. 66, Bacchanale (Venusberg) from ,
Night's Dream,
Overture Hebrides (Fingal's Cave), Overture
No. 31, No. 32, Wedding March No. 81, Three Orchestra pieces from Midsummer Night's Dream
E. F.
K
minor,
551
TSCHAIKOWSKY
No. 17, Afternoon of a Faun No. 73, String Quartet
19,
flat,
No. 40, Fire-Bird Suite No. 78, Sacre du Printemps No. 79, Petroushka
No. 61, Espafia, Rhapsody
No.
K
G
STRAWINSKY*
CHABRIER
The
(Jupiter),
E
ROSSINI
No. 88, Carmen, Overture No. 89, Carmen, 3 Intermezzi
No. 65,
No. 33, Symphony No. 39, in No. 34, Symphony No. 40, in No. 35, Symphony No. 41, in
WEBER
Tannhauser
No. 54, Oberon Overture No. 55, Euryanthe Overture No. 56, Freischuetz Overture
THIS COLLECTION IS BEING CONTINUED Ka lmus Orchestra Scores, Inc., 209 West 57th Street, New York
• This copy must not be sold outside of the United States. t These scores do not have to be turned upside down wtien rcadinp, as they are larger than usual size.
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