rimsky korsakov orchestration

7/23/2019 Rimsky Korsakov Orchestration

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&ONTENTS

Vl'(e I

Te)t

page

Editor's PrefaceVII

II

E!tract fro" t#e $ut#or's preface%1&91 1E!tract fro" t#e Preface to t#e (ast edition )

&ha*ter I+,General reie. / r0hestral gr'*s

$* +tringed instru"ents

-* .ind instru"ents/

.ood0ind 12

-rass 21

* Instru"ents of (itt(e sustaining poer/

P(uc3ed strings 2

Pi44icato 256arp 25

Percussion instru"ents producing deter"inate sounds, 3e7ed instru"ents

8ett(e0dru"s 29

Piano and e(esta :

Glockenspiel, -e((s, 7(op#one 2

Percussion instru"ents producing indefinite sounds 2

o"parison of resonance in orc#estra( groups, and co";ination of different tone

qua(ities

&ha*ter II+,Meldy

Me(od7 in stringed instru"ents


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o";ination in unison >5

o";ination in octa=es >9

?ou;(ing in to, t#ree and four octa=es )1

Me(od7 in t#irds and si!t#s )2

@#irds and si!t#s toget#er )

Me(od7 in t#e ;rass )

-rass in unison, in octa=es, t#irds and si!t#s ))0IV0

Me(od7 in different groups of instru"ents co";ined toget#er )

$* o";ination of ind and ;rass in unison )

-* o";ination of ind and ;rass in octa=es )5

* o";ination of strings and ind )&

?* o";ination of strings and ;rass 1E* o";ination of t#e t#ree groups 1

&ha*ter III+,1ar(ny

?istri;ution of notes in c#ords 5

+tring #ar"on7 9

.ood0ind #ar"on7 51Bour0part and t#ree0part #ar"on7 52

6ar"on7 in se=era( parts 5

?up(ication of ti";res 55

Re"ar3s 5&

6ar"on7 in t#e ;rass &2

Bour0part riting &2

@#ree0part riting &>

.riting in se=era( parts &>?up(ication in t#e ;rass &)

6ar"on7 in co";ined groups &&

$* o";ination of ind and ;rass &&

1* In unison &&

2* C=er(a7ing, crossing, enc(osure of parts 9:

-* o";ination of strings and ind 9>

* o";ination of t#e t#ree groups 9)
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&ha*ter IV+,&(*sitin / the r0hestra

?ifferent a7s of orc#estrating t#e sa"e "usic 95

Bu(( Tutti 1:1

Tuttiin t#e ind 1:

Tutti pizzicato 1:

Tuttiin one, to and t#ree parts 1:>

Soliin t#e strings 1:>

Di"its of orc#estra( range 1:

@ransference of passages and p#rases 1:5

#ords of different tone qua(it7 used a(ternate(7 1:&

$"p(ification and e(i"ination of tone qua(ities 1:9

Repetition of p#rases, i"itation, ec#o 11:

Sforzando-pianoandpiano-sforzandoc#ords 111

Met#od of e"p#asising certain notes and c#ords 111

Crescendoand diminuendo 112

?i=erging and con=erging progressions 11

@one qua(it7 as a #ar"onic force* 6ar"onic ;asis 11>

$rtificia( effects 11

se of percussion instru"ents for r#7t#" and co(our 115

Econo"7 in orc#estra( co(our 11&0V0

&ha*ter V+,&(binatin / the h'(an i0e .ith r0hestra+ The Stage

band

Crc#estra( acco"pani"ent of so(o =oices 119


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Voe(s 1

B(e!i;i(it7 15

o(our and c#aracter of =oices 15

Voices in co";ination 19

?uet 19

@rios, quartets etc* 1>1

#orus 1>2

Range and register 1>2

Me(od7 1>>

$* Mi!ed c#orus 1>)

#orus in unison 1>)

Progression in octa=es 1>)

Voices divisiF #ar"onic use of t#e "i!ed c#orus 1>

-* Men's c#orus and .o"en's c#orus 1>&
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0VII0

Editr4s 5re/a0e+

Ri"s3708orsa3o= #ad (ong ;een engrossed in #is treatise on orc#estration* .e #a=ein our possession a t#ic3 note ;oo3 of so"e 2:: pages in fine #and riting, dating fro"t#e 7ears 1&501&5>, containing a "onograp# on t#e question of acoustics, ac(assification of ind instru"ents and a detai(ed description of t#e construction andfingering of t#e different 3inds of f(ute, t#e o;oe, c(arinet and #orn*[1]

In #is GMe"oirs of "7 "usica( (ifeG %1 stedition, p* 12: t#e fo((oing passageoccurs/ GI #ad p(anned to de=ote a(( "7 energies to t#e co"pi(ation of a fu(( treatise onorc#estration* @o t#is end I "ade se=era( roug# copies, Hotting don e!p(anator7 notesdetai(ing t#e tec#nique of different instru"ents* .#at I intended to present to t#e or(don t#is su;Hect, as to inc(ude everything* @#e riting of t#is treatise, or, to ;e "oree!act, t#e s3etc# for it too3 up "ost of "7 ti"e in t#e 7ears 1&5 and 1&5>* $fter readingt#e or3s of @7nda(( and 6e("#o(t4, I fra"ed an introduction to "7 or3, in #ic# Iendea=oured to e!pound t#e (as of acoustics as app(ied to t#e princip(es go=erning t#econstruction of "usica( instru"ents* M7 "anua( as to ;egin it# a detai(ed (ist ofinstru"ents, c(assified in groups and ta;u(ated, inc(uding a description of t#e =arious

s7ste"s in use at t#e present da7* I #ad not 7et t#oug#t of t#e second part of t#e ;oo3#ic# as to ;e de=oted to instru"ents in co";ination* -ut I soon rea(ised t#at I #adgone too far* .it# ind instru"ents in particu(ar, t#e different s7ste"s ere innu"era;(e,and eac# "anufacturer fa=oured #is on pet t#eor7* -7 t#e addition of a certain 3e7 t#e"a3er endoed #is instru"ent it# t#e possi;i(it7 of a ne tri((, and 0VIII0"ade so"edifficu(t passages "ore p(a7a;(e t#an on an instru"ent of anot#er 3ind*

G@#ere as no end to suc# co"p(ications* In t#e ;rass, I found instru"ents it#t#ree, four, and fi=e =a(=es, t#e "ec#anis" =ar7ing according to t#e "a3e* C;=ious(7, I

cou(d not #ope to co=er so (arge a fie(dF ;esides, of #at =a(ue ou(d suc# a treatise ;e tot#e student +uc# a "ass of detai(ed description of t#e =arious s7ste"s, t#eir ad=antagesand dra;ac3s, cou(d not ;ut fai( to confuse t#e reader on(7 too eager to (earn* Aatura((7#e ou(d is# to 3no #at instru"ent to e"p(o7, t#e e!tent of its capa;i(ities etc*, andgetting no satisfactor7 infor"ation #e ou(d t#ro "7 "assi=e or3 aside* Bor t#esereasons "7 interest in t#e ;oo3 gradua((7 aned, and fina((7 I ga=e up t#e tas3*G

In 1&91 Ri"s3708orsa3o=, no an artist of standing, t#e co"poserof Snegourotchka,Mlada, andShhrazade, a "aster of t#e orc#estra( tec#nique #e #ad

;een teac#ing for tent7 7ears, returned to #is #and;oo3 on instru"entation* 6e ou(d
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see" to #a=e "ade notes at different ti"es fro" 1&91 to 1&9, during #ic# period, aftert#e first perfor"ance ofMlada, #e ga=e up co"position for a #i(e* @#ese notes,occasiona((7 referred to in #isMemoirs, are in t#ree =o(u"es of "anuscript0paper* @#e7contain t#e unfinis#edpreface of 1&91, a paragrap# fu(( of c(ear, t#oug#tfu( riting, and

reprinted in t#is ;oo3*[2]

$s t#e aut#or te((s us in #isMemoirs%p* 295, t#e progress of #is or3 as #a"pered;7 certain trou;(eso"e e=ents #ic# ere #appening at t#e ti"e* ?issatisfied it# #isroug# draft, #e destro7ed t#e greater part of it, and once "ore a;andoned #is tas3*

In 1&9> #e co"posed The Christmas NightF t#is as t#e ;eginning of #is "ost ferti(eperiod* 6e ;eca"e entire(7 engrossed in co"position, "a3ing p(ans for a fres# opera assoon as t#e one in #and as co"p(eted* It as not unti( 19:) t#at #is t#oug#ts returned to

t#e treatise on orc#estration, #is "usica( output re"aining in a;e7ance t#roug# no fau(t of#is on* +ince 1&91 t#e p(an of t#e or3 #ad ;een entire(7 re"ode((ed, as pro=ed ;7 t#eroug# drafts sti(( e!tant* @#e aut#or #ad gi=en up t#e idea of descri;ing differentinstru"ents fro" t#eir tec#nica(0I0standpoint, and as "ore an!ious to de(( upon t#e=a(ue of tone qua(ities and t#eir =arious co";inations*

$"ong t#e aut#or's papers se=era( for"s of t#e ;oo3 #a=e ;een found, eac# ide(7differing in detai( fro" t#e ot#er* $t (ast, in t#e su""er of 19:) Ri"s3708orsa3o=

;roug#t #is p(ans to a #ead, and out(ined t#e si! c#apters #ic# for" t#e foundation of

t#e present =o(u"e* -ut t#e or3 suffered a furt#er interruption, and t#e s3etc#es ereonce "ore (aid aside* In #isMemoirs, Ri"s3708orsa3o= e!p(ains t#e fact ;7 (ac3 ofinterest in t#e or3 and a genera( fee(ing of eariness/ G@#e treatise re"ained ina;e7ance* @o start it#, t#e for" of t#e ;oo3 as not a success, and I aaited t#e

production ofKitesh, in order to gi=e so"e e!a"p(es fro" t#at or3G %p* :*

@#en ca"e t#e autu"n of 19:* @#e co"poser e!perienced anot#er rus# of creati=eenerg7F #is opera, The Golden Cockerel"ade rapid strides, and 3ept #i" ;us7 a(( t#atinter and t#e fo((oing su""er* .#en it as finis#ed, in t#e autu"n of 19:5, #is

t#oug#ts re=erted to t#e treatise on orc#estration* -ut t#e or3 "ade (itt(e progress* @#eaut#or #ad #is dou;ts as to t#e adequac7 of t#e p(an #e #ad adopted, and, in spite of t#eentreaties of #is pupi(s and friends, #e cou(d not ;ring #i"se(f to ;roac# t#e (atter part oft#e ;oo3* @oards t#e end of 19:5 Ri"s3708orsa3o= as constant(7 ai(ing in #ea(t#, andt#is "ateria((7 affected #is energ7* 6e spent t#e greater part of #is ti"e reading o(d notesand c(assif7ing e!a"p(es* $;out t#e 2:t#of Ma7 #e set out for #is su""er residence inDiou;ens3, and #a=ing Hust reco=ered fro" a t#ird se=ere attac3 of inf(a""ation of t#e(ungs, ;egan to or3 on t#efirst c#apterof t#e treatise in its present, fina( for"* @#is

c#apter as finis#ed on June 5K2:, a;out > o'c(oc3 in t#e afternoonF t#e sa"e nig#t, t#eco"poser as sei4ed it# a fourt# attac3 #ic# pro=ed fata(*
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@#e #onour fe(( on "e to prepare t#is (ast or3 of Ri"s3708orsa3o= for pu;(ication*Ao t#atrinciples of !rchestration#as appeared in print I t#in3 it necessar7 to de=ote afe ords to t#e essentia( features of t#e ;oo3, and to t#e (a;our i"posed upon "e in "7capacit7 as editor*

Cn t#e first point I i(( sa7 ;ut (itt(e* @#e reader i(( o;ser=e fro" t#e ontentst#att#e or3 differs fro" ot#ers, not "ere(7 ;700reason of its "usica( e!a"p(es, ;ut "oreespecia((7 in t#e s7ste"atic arrange"ent of "ateria(, not according to orc#estra( di=isionin groups %t#e "et#od adopted ;7


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@sc#ai3o=s37F t#ose of -orodin and


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$ fe ords re"ain to ;e said regarding Ri"s3708orsa3o='s intention to point outt#e fau(t7 passages in #is orc#estra( or3s, an intention e!pressed in #is preface to t#e(ast edition* @#e co"poser often referred to t#e instructiona( =a(ue of suc# e!a"inations*6is purpose #oe=er as ne=er ac#ie=ed* It is not for "e to se(ect t#ese e!a"p(es, and I

s#a(( on(7 "ention to #ic# ere pointed out ;7 t#e co"poser #i"se(f/ 1* The $egendof Tsar Saltan 22: , 5t# ;art#e t#e"e in t#e ;rass is not sufficient(7 pro"inent t#e

tro";ones ;eing tacet%a "ista3e easi(7 rectifiedF 2* The Golden Cockerel 2 , ;ars 1:0

1>, if t#e "ar3s of e!pression are o;ser=ed in t#e ;rass, t#e counter0"e(od7 on t#e =io(asand =io(once((os dou;(ed ;7 t#e ood0ind i(( #ard(7 ;e #eard* E!a"p(e 5)"a7 a(so

;e "entioned, to #ic# t#e note onpage , in t#e te!t, refers* I i(( confine "7se(f tot#ese e!a"p(es*

In conc(usion I desire to e!press "7 deep gratitude to Mada"e Ri"s3708orsa3o= for#a=ing entrusted "e it# t#e tas3 of editing t#is or3, t#ere;7 pro=iding "e it# t#eopportunit7 of perfor"ing a dut7 sacred to t#e "e"or7 of a "aster, #e(d so deep(7 inre=erence*

St% eters&urgh, ?ece";er 1912*

M$IMIDI$A +@EIA-ER


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010

E)tra0t /r( the A'thr4s 5re/a0e 267863+

Cur epoc#, t#e post0.agnerian age, is t#e age of ;ri((iance and i"aginati=e qua(it7 inorc#estra( tone co(ouring* -er(io4,


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More t#an one c(assica( and "odern co"poser #as (ac3ed t#e capacit7 to orc#estrateit# i"agination and poerF t#e secret of co(our #as re"ained outside t#e range of #iscreati=e facu(t7* ?oes it fo((o t#at t#ese co"posers do not kno" ho"to orc#estrateMan7 a"ong t#e" #a=e #ad greater 3no(edge of t#e su;Hect t#an t#e "ere co(ourist*

.as -ra#"s ignorant of orc#estration $nd 7et, no#ere in #is or3s do e finde=idence of ;ri((iant tone or picturesque fanc7* @#e trut# is t#at #is t#oug#ts did not turntoards co(ourF #is "ind did not e!act it*

@#e poer of su;t(e orc#estration is a secret i"possi;(e to trans"it, and t#eco"poser #o possesses t#is secret s#ou(d =a(ue it #ig#(7, and ne=er de;ase it to t#e (e=e(of a "ere co((ection of for"u( (earned ;7 #eart*

6ere I "a7 "ention t#e case of or3s scored ;7 ot#ers fro" t#e co"poser's roug#

directions* 6e #o underta3es suc# or3 s#ou(d enter as deep(7 as #e "a7 into t#e spiritof t#e co"poser, tr7 to rea(ise #is intentions, and de=e(op t#e" in a(( t#eir essentia(features*

@#oug# one's on persona(it7 ;e su;ordinate to t#at of anot#er, suc# orc#estration isne=ert#e(ess creati=e or3* -ut on t#e ot#er #and, to score a co"position ne=er intendedfor t#e orc#estra, is an undesira;(e practice* Man7 "usicians #a=e "ade t#is "ista3e and

persist in it*[>]In an7 case t#is is t#e (oest for" of in 00stru"entation, a3in to co(ourp#otograp#7, t#oug# of course t#e process "a7 ;e e(( or ;ad(7 done*

$s regards orc#estration it #as ;een "7 good fortune to ;e(ong to a first0rate sc#oo(,and I #a=e acquired t#e "ost =aried e!perience* In t#e first p(ace I #a=e #ad t#eopportunit7 of #earing a(( "7 or3s perfor"ed ;7 t#e e!ce((ent orc#estra of t#e +t*Peters;urg# Cpera* +econd(7, #a=ing e!perienced (eanings toards different directions, I#a=e scored for orc#estras of different si4es, ;eginning it# si"p(e co";inations %"7opera The May Nightis ritten for natura( #orns and tru"pets, and ending it# t#e "ostad=anced* In t#e t#ird p(ace, I conducted t#e c#oir of t#e Mi(itar7 Marine for se=era(7ears and as t#erefore a;(e to stud7 ind0instru"ents* Bina((7 I for"ed an orc#estra of

=er7 7oung pupi(s, and succeeded in teac#ing t#e" to p(a7, quite co"petent(7, t#e or3sof -eet#o=en, Mende(sso#n,


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III*) "ork should &e "ritten for the size of orchestra that is to perform it, not forso"e i"aginar7 ;od7, as "an7 co"posers persist in doing, introducing ;rass instru"entsin unusua( 3e7s upon #ic# t#e "usic is i"practica;(e ;ecause it is not p(a7ed in t#e 3e7t#e co"poser intends*

It is difficu(t to de=ise an7 "et#od of (earning orc#estration it#out a "aster* $s agenera( ru(e it is ;est to ad=ance ;7 degrees fro" t#e si"p(est scoring to t#e "ostco"p(icated*

@#e student i(( pro;a;(7 pass t#roug# t#e fo((oing p#ases/ 1* t#e p#ase during#ic# #e puts #is entire fait# in percussion instru0>0"ents, ;e(ie=ing t#at ;eaut7 of sounde"anates entire(7 fro" t#is ;ranc# of t#e orc#estrat#is is t#e ear(iest stageF 2* t#e

period #en #e acquires a passion for t#e #arp, using it in e=er7 possi;(e c#ordF * t#e

stage during #ic# #e adores t#e ood0ind and #orns, using stopped notes inconHunction it# strings, "uted orpizzicatoF >* t#e "ore ad=anced period, #en #e #asco"e to recognise t#at t#e string group is t#e ric#est and "ost e!pressi=e of a((* .#en t#estudent or3s a(one #e "ust tr7 to a=oid t#e pitfa((s of t#e first t#ree p#ases* @#e ;est

p(an is to stud7 fu((0scores, and (isten to an orc#estra, score in #and* -ut it is difficu(t todecide #at "usic s#ou(d ;e studied and #eard* Music of a(( ages, certain(7, ;ut,

principa((7, t#at #ic# is fair(7 "odern* Bair(7 "odern "usic i(( teac# t#e student #oto scorec(assica( "usic i(( pro=e of negati=e =a(ue to #i"* .e;er, Mende(sso#n,Me7er;eer %The rophet, -er(io4,


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E)tra0t /r( the 5re/a0e t the last editin+

M7 ai" in underta3ing t#is or3 is to re=ea( t#e princip(es of "odern orc#estrationin a so"e#at different (ig#t t#an t#at usua((7 ;roug#t to ;ear upon t#e su;Hect* I #a=efo((oed t#ese princip(es in orc#estrating "7 on or3s, and, is#ing to i"part so"e of"7 ideas to 7oung co"posers, I #a=e quoted e!a"p(es fro" "7 on co"positions, orgi=en references to t#e", endea=ouring to s#o, in a(( sincerit7, #at is successfu( and#at is not* Ao one can 3no e!cept t#e aut#or #i"se(f t#e purpose and "oti=es #ic#go=erned #i" during t#e co"position of a certain or3, and t#e practice of e!p(aining t#eintentions of a co"poser, so pre=a(ent a"ongst annotators, #oe=er re=erent and discreet,appears to "e far fro" satisfactor7* @#e7 i(( attri;ute a too c(ose(7 p#i(osop#ic, or

e!cessi=e(7 poetic "eaning to a p(ain and si"p(e fact* +o"eti"es t#e respect #ic# greatco"posers' na"es co""and i(( cause inferior e!a"p(es to ;e quoted as goodF cases ofcare(essness or ignorance, easi(7 e!p(ained ;7 t#e i"perfections of current tec#nique,gi=e rise to #o(e pages of (a;orious e!position, in defence, or e=en in ad"iration of afau(t7 passage*

@#is ;oo3 is ritten for t#ose #o #a=e a(read7 studied instru"entation fro"


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&ha*ter I+


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des3s, 'e((os di=* N , and so on* ?i=ision into four and "ore parts is rare, ;ut "a7 ;eused inpianopassages, as it great(7 reduces =o(u"e of tone in t#e group of strings*

Note% In s"a(( orc#estras passages su;0di=ided into "an7 parts are =er7 #ard to

rea(ise, and t#e effect o;tained is ne=er t#e one required*+tring parts "a7 ;e di=ided t#us/

a O VnsI di=*VnsII di=* & OVnsII di=*Vio(as di=*

c O Vio(as di=*'e((os di=* d O'e((os di=*?* ;asses di=*

Possi;(e co";inations (ess frequent(7 used are/

e O VnsI di=*Vio(as di=* f OVnsII di=*'e((os di=*

g O Vio(as di=*?* ;asses di=* etc*Note%It is e=ident t#at t#e tone qua(it7 in &and ei(( ;e si"i(ar* +ti(( &is prefera;(e

since t#e nu";er of VnsII %1>01:0 and Vio(as %120&0> is practica((7 t#e sa"e, t#erespecti=e r(es of t#e to groups are "ore c(ose(7 a((ied, and fro" t#e fact t#at second=io(ins genera((7 sit nearer to t#e =io(as t#an t#e first, t#ere;7 guaranteeing greater unit7in poer and e!ecution*

@#e reader i(( find a(( "anner of di=isions in t#e "usica( e!a"p(es gi=en in Vo(* II*.#ere necessar7, so"e e!p(anation as to t#e "et#od of di=iding strings i(( fo((o in due

course* I de(( on t#e su;Hect #ere in order to s#o #o t#e usua( co"position of t#estring quartet "a7 ;e a(tered*0&0

+tringed instru"ents possess "ore a7s of producing sound t#an an7 ot#erorc#estra( group* @#e7 can pass, ;etter t#an ot#er instru"ents fro" one s#ade ofe!pression to anot#er, t#e =arieties ;eing of an infinite nu";er* +pecies of ;oing suc#as legato, detac#ed,staccato,spiccato,portamento, martellato, (ig#tstaccato,saltando,attac3 at t#e nut and at t#e point, andV V V%don ;o and up ;o, in e=er7degree of tone,fortissimo,pianissimo, crescendo, diminuendo,sforzando, morendoa((

t#is ;e(ongs to t#e natura( rea(" of t#e string quartet*

@#e fact t#at t#ese instru"ents are capa;(e of p(a7ing dou;(e notes and fu(( c#ordsacross t#ree and four stringsto sa7 not#ing of su;0di=ision of partsrenders t#e" noton(7 "e(odic ;ut a(so #ar"onic in c#aracter*[5]

Bro" t#e point of =ie of acti=it7 and f(e!i;i(it7 t#e =io(in ta3es pride of p(acea"ong stringed instru"ents, t#en, in order, co"e t#e =io(a, 'ce((o and dou;(e ;ass* In

practice t#e notes of e!tre"e (i"it in t#e string quartet s#ou(d ;e fi!ed as fo((os/
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6ig#er notes gi=en in @a;(e $, s#ou(d on(7 ;e used it# caution, t#at is to sa7 #ent#e7 are of (ong =a(ue, intremolando, s(o, f(oing "e(odies, in not too rapid sequence ofsca(es, and in passages of repeated notes* +3ips s#ou(d a(a7s ;e a=oided*

Note%In quic3 passages for stringed instru"ents (ong c#ro"atic figures are ne=ersuita;(eF t#e7 are difficu(t to p(a7 and sound indistinct and "udd(ed* +uc# passages are

;etter a((otted to t#e ood0ind*

$ (i"it s#ou(d ;e set to t#e use of a #ig# note on an7 one of t#e t#ree (oer strings on=io(ins, =io(as and 'ce((os* @#is note s#ou(d ;e t#e one in t#e fourt# position, eit#er t#eocta=e note or t#e nint# of t#e open string*090

Ao;i(it7, ar"t#, and equa(it7 of tone fro" one end of t#e sca(e to t#e ot#er arequa(ities co""on to a(( stringed instru"ents, and render t#e" essentia((7 superior toinstru"ents of ot#er groups* Burt#er, eac# string #as a distincti=e c#aracter of its on,

difficu(t to define in ords* @#e top string on t#e =io(in %* is ;ri((iant in c#aracter, t#at oft#e =io(a %) is "ore ;iting in qua(it7 and s(ig#t(7 nasa(F t#e #ig#est string on t#e 'ce((o%) is ;rig#t and possesses a Gc#est0=oiceG ti";re* @#e)and+strings on t#e =io(in andt#e+string on t#e =io(as and 'ce((os are so"e#at seeter and ea3er in tone t#an t#eot#ers* o=ered strings %G, on t#e =io(in %Gand C, on t#e =io(a and 'ce((o are rat#er#ars#* +pea3ing genera((7, t#e dou;(e ;ass is equa((7 resonant t#roug#out, s(ig#t(7 du((eron t#e to (oer strings %*and), and "ore penetrating on t#e upper ones %+and G*

Note%E!cept in t#e case of peda( notes, t#e dou;(e ;ass rare(7 p(a7s an independent part,

usua((7 "o=ing in octa=es or in unison it# t#e 'ce((os, or e(se dou;(ing t#e ;assoons* @#equa(it7 of t#e dou;(e ;ass tone is t#erefore se(do" #eard ;7 itse(f and t#e c#aracter of its

different strings is not so noticea;(e*

@#e rare a;i(it7 to connect sounds, or a series of sounds, t#e =i;ration of stoppedstrings co";ined it# t#eir a;o=e0na"ed qua(itiesar"t# and no;i(it7 of tonerenders t#is group of instru"ents far and aa7 t#e ;est orc#estra( "ediu" of "e(odice!pression* $t t#e sa"e ti"e, t#at portion of t#eir range situated ;e7ond t#e (i"its of t#e#u"an =oice, e*g* notes on t#e =io(in #ig#er t#an t#e e!tre"e top note of t#e soprano

=oice, fro"
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upards, and notes on t#e dou;(e ;ass ;e(o t#e range of t#e ;ass =oice, descendingfro"

%ritten sound

(ose in e!pression and ar"t# of tone* Cpen strings are c(earer and "ore poerfu( ;ut(ess e!pressi=e t#an stopped strings*

o"paring t#e range of eac# stringed instru"ent it# t#at of t#e #u"an =oice, e"a7 assign/ to t#e =io(in, t#e soprano and01:0contra(to =oice p(us a "uc# #ig#er rangeF tot#e =io(a, t#e contra(to and tenor =oice p(us a "uc# #ig#er registerF to t#e 'ce((o, t#e tenorand ;ass =oices p(us a #ig#er registerF to t#e dou;(e ;ass, t#e ;ass =oice p(us a (oerrange*

@#e use of #ar"onics, t#e "ute, and so"e specia( de=ices in ;oing produce greatdifference in t#e resonance and tone qua(it7 of a(( t#ese instru"ents*

6ar"onics, frequent(7 used toda7, a(ter t#e ti";re of a stringed instru"ent to a =er7apprecia;(e e!tent* o(d and transparent in soft passages, co(d and ;ri((iant in (oud ones,and offering ;ut (itt(e c#ance for e!pression, t#e7 for" no funda"enta( part of orc#estra(riting, and are used si"p(7 for orna"ent* Cing to t#eir (ac3 of resonant poer t#e7s#ou(d ;e used sparing(7, and, #en e"p(o7ed, s#ou(d ne=er ;e o=erpoered ;7 ot#erinstru"ents* $s a ru(e #ar"onics are e"p(o7ed on sustained notes, tremolando, or #ereand t#ere for ;ri((iant effectsF t#e7 are rare(7 used in e!tre"e(7 si"p(e "e(odies* Cingto a certain tona( affinit7 it# t#e f(ute t#e7 "a7 ;e said to for" a 3ind of (in3 ;eteen

string and ood0ind instru"ents*

$not#er radica( c#ange is effected ;7 t#e use of "utes* .#en "uted, t#e c(ear,singing tone of t#e strings ;eco"es du(( in soft passages, turns to a s(ig#t #iss or #ist(ein (oud ones, and t#e =o(u"e of tone is a(a7s great(7 reduced*

@#e position of t#e ;o on t#e string i(( affect t#e resonance of an instru"ent*P(a7ing it# t#e ;o c(ose to t#e ;ridge %sul ponticello, c#ief(7 used tremolando,

produces a "eta((ic soundF p(a7ing on t#e finger0;oard %sul tasto,flautando creates a du((,

=ei(ed effect*


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Note%$not#er a;so(ute(7 different sound resu(ts fro" p(a7ing it# t#e ;ac3 or oodof t#e ;o %col legno* @#is produces a sound (i3e a !7(op#one or a #o((opizzicato* It isdiscussed under t#e #eading of instru"ents of (itt(e sustaining poer*

-(ac3 (ines on eac# string denote t#e genera( range in orc#estra( riting, t#e dotted (ines gi=e

t#e registers, (o, "ediu", #ig#, =er7 #ig#*

@#e fi=e sets of strings it# nu";er of p(a7ers gi=en a;o=e produce a fair(7 e=en;a(ance of tone* If t#ere is an7 surp(us of strengt# it "ust ;e on t#e side of t#e first=io(ins, as t#e7 "ust ;e #eard distinct(7 on account of t#e i"portant part t#e7 p(a7 in t#e#ar"onic sc#e"e* -esides t#is, an e!tra des3 of first =io(ins is usua( in a(( orc#estras, andas a genera(0120ru(e t#e7 possess a "ore poerfu( tone t#an second =io(ins* @#e (atter,it# t#e =io(as, p(a7 a secondar7 part, and do not stand out so pro"inent(7* @#e 'ce((osand dou;(e ;asses are #eard "ore distinct(7, and in t#e "aHorit7 of cases for" t#e ;ass in

octa=es*


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In conc(usion it "a7 ;e said t#at t#e group of strings, as a "e(odic e(e"ent, is a;(e toperfor" a(( "anner of passages, rapid and interrupted p#rases of e=er7 description,diatonic or c#ro"atic in c#aracter* apa;(e of sustaining notes it#out difficu(t7, of

p(a7ing c#ords of t#ree and four notesF adapted to t#e infinite =ariet7 of s#ades of

e!pression, and easi(7 di=isi;(e into nu"erous sundr7 parts, t#e string group in anorc#estra "a7 ;e considered as an #ar"onic e(e"ent particu(ar(7 ric# in resource*

B+ "ind instr'(ents+

"d-.ind+

$part fro" t#e =ar7ing nu";er of p(a7ers, t#e for"ation of t#e string group, it# itsfi=e constituent parts re"ains constant, satisf7ing t#e de"ands of an7 orc#estra( fu((score* Cn t#e ot#er #and t#e group of ood0ind instru"ents =aries ;ot# as regardsnu";er of parts and t#e =o(u"e of tone at its co""and, and #ere t#e co"poser "a7c#oose at i((* @#e group "a7 ;e di=ided into t#ree genera( c(asses/ ood0indinstru"ents in pair's, in t#ree's and in four's, %see ta;(e onpage 1*

$ra;ic nu"era(s denote t#e nu";er of p(a7ers on eac# instru"entF ro"an figures, t#eparts %1st, 2ndetc** Instru"ents #ic# do not require additiona( p(a7ers, ;ut are ta3en o=er;7 one or t#e ot#er e!ecutant in p(ace of #is usua( instru"ent, are enc(osed in ;rac3ets* $s

a ru(e t#e first f(ute, first o;oe, first c(arinet and first ;assoon ne=er c#ange instru"entsFconsidering t#e i"portance of t#eir parts it is not ad=isa;(e for t#e" to turn fro" one"out#0piece to anot#er* @#e parts ritten for picco(o, ;ass f(ute, Eng(is# #orn, s"a((c(arinet, ;ass c(arinet and dou;(e ;assoon are ta3en ;7 t#e second and t#ird p(a7ers ineac# group, #o are "ore accusto"ed to using t#ese instru"ents of a specia( nature* 010

.ood0indin pair's

.ood0indin t#ree's

.ood0indin four's

%IIPicco(o* %IIIPicco(o* 1 Picco(o %IV*

2 B(utes I* II* B(utes I* II* III* B(utes I* II* III*

%II-ass f(ute* %III-ass f(ute*

2 C;oes I* II* 2 C;oes I* II* C;oes I* II* III*

%IIEng* #orn* 1 Eng* #orn %III* 1 Eng* #orn %IV*

%II+"a(( c(arinet* %II+"a(( c(arinet*

2 (arinets I* II* (arinets I* II* III* (arinets I* II* III*

%II-ass c(arinet* %III-ass c(arinet* 1 -ass c(arinet %IV*

2 -assoons I* II* 2 -assoons I* II* -assoons I* II* III*
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1 ?ou;(e ;assoon %III* 1 ?ou;(e ;assoon %IV*

@#e for"ation of t#e first c(ass "a7 ;e a(tered ;7 t#e per"anent addition of a picco(opart* +o"eti"es a co"poser rites for to picco(os or to Eng* #orns etc* it#out

increasing t#e origina( nu";er of p(a7ers required %in t#ree's or four's*Note '%o"posers using t#e first c(ass in t#e course of a ;ig or3 %oratorio, opera,

s7"p#on7, etc* "a7 introduce specia( instru"ents, ca((ed e,tras, for a (ong or s#ortperiod of ti"eF eac# of t#ese instru"ents in=o(=es an e!tra p(a7er not required t#roug#outt#e entire or3* Me7er;eer as fond of doing t#is, ;ut ot#er co"posers,


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e!tre"e(7 #ig#, eac# of #ic# is c#aracterised ;7 certain differences of qua(it7 andpoer* It is difficu(t to define t#e e!act (i"its of eac# registerF adHacent registers a("ost;(end toget#er and t#e passage fro" one to anot#er is scarce(7 noticea;(e* -ut #en t#einstru"ent Hu"ps fro" one register to anot#er t#e difference in poer and qua(it7 of tone

is =er7 stri3ing*

@#e four fa"i(ies of ind instru"ents "a7 ;e di=ided into to c(asses/ ainstru"ents of nasa( qua(it7 and dar3 resonanceo;oes and ;assoons %Eng* #orn anddou;(e ;assoonF and ; instru"ents of Gc#est0=oiceG qua(it7 and ;rig#t tonef(utes andc(arinets %picco(o, ;ass f(ute, s"a(( c(arinet, ;ass c(arinet*

@#ese c#aracteristics of co(our and resonancee!pressed in too si"p(e andrudi"entar7 a for"are specia((7 noticea;(e in t#e "idd(e and upper registers* @#e

(oer register of t#e o;oes and ;assoons is t#ic3 and roug#, 7et sti(( nasa( in qua(it7F t#e=er7 #ig# co"pass is s#ri((, #ard and dr7* @#e c(ear resonance of t#e f(utes and c(arinetsacquires so"et#ing nasa( and dar3 in t#e (oer co"passF in t#e =er7 #ig# register it

;eco"es so"e#at piercing*

Nte t Table B+

In t#e fo((oing @a;(e - t#e top note in eac# register ser=es as t#e ;otto" note in t#e ne!t, as t#e (i"itsto eac# register are not defined a;so(ute(7* @#e note Gfi!es t#e register of f(utes and o;oes, Cfor t#e c(arinetsand ;assoons* In t#e =er7 #ig# co"pass t#ose notes are on(7 gi=en #ic# can rea((7 ;e usedF an7t#ing #ig#er

and not printed as actua( notes are eit#er too difficu(t to produce or of no artistic =a(ue* @#e nu";er of soundso;taina;(e in t#e #ig#est co"pass is indefinite, and depends, part(7 on t#e qua(it7 of t#e instru"ent itse(f,part(7 on t#e position and app(ication of t#e (ips* @#e signs >


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01&0

Note%It is a difficu(t "atter to define tone qua(it7 in ordsF e "ust encroac# upon t#e do"ain of sig#t,

fee(ing, and e=en taste* @#oug# ;orroed fro" t#ese senses, I #a=e no dou;t as to t#e appropriateness of "7co"parisons, ;ut, as a genera( ru(e definitions dran fro" ot#er sources are too e(e"entar7 to ;e app(ied to


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"usic* Ao conde"nator7 "eaning #oe=er s#ou(d ;e attac#ed to "7 descriptions, for in using t#e ter"st#ic3, piercing, s#ri((, dr7, etc* "7 o;Hect is to e!press artisticfitness in ords, rat#er t#an "ateria( e!actitude*Instru"enta( sounds #ic# #a=e no "usica( "eaning are c(assed ;7 "e in t#e categor7 of useless sounds, andI refer to t#e" as suc#, gi=ing "7 reasons* .it# t#e e!ception of t#ese, t#e reader is ad=ised to consider a((ot#er orc#estra( ti";res ;eautifu( fro" an artistic point of =ie, a(t#oug# it is necessar7, at ti"es, to put t#e"

to ot#er uses*

Burt#er on, a ta;(e of ind instru"entsis appended, out(ining t#e appro!i"ate (i"itof range, defining different qua(ities of tone and indicating t#e scope of greateste!pression %t#e picco(o and dou;(e ;assoon e!cepted*

B(utes and c(arinets are t#e "ost f(e!i;(e ood0ind instru"ents %t#e f(utes inparticu(ar, ;ut for e!pressi=e poer and su;t(et7 in nuancest#e c(arinet supersedes t#e"Ft#is instru"ent can reduce =o(u"e of tone to a "ere ;reat#* @#e nasa( instru"ents, o;oe

and ;assoon, are (ess "o;i(e and supp(eF t#is is accounted for ;7 t#eir dou;(e reed, ;ut,#a=ing to effect a(( sorts of sca(es and rapid passages in co""on it# t#e f(utes andc(arinets, o;oes and ;assoons "a7 ;e considered "e(odic instru"ents in t#e rea( sense oft#e ord, on(7 of a "ore canta&ileand peacefu( c#aracter* In =er7 quic3 passages t#e7often dou;(e t#e f(utes, c(arinets or strings*

@#e four fa"i(ies are equa((7 capa;(e of legatoandstaccatop(a7ing and c#angingfro" one to t#e ot#er in different a7s, ;ut distinct and penetratingstaccatopassages are

;etter suited to t#e o;oes and ;assoons, #i(e t#e f(utes and c(arinets e!ce( in e((0

sustained legatop#rases* o"posite legatopassages s#ou(d ;e a((otted to t#e first toinstru"ents, co"positestaccatopassages to t#e (atter pair, ;ut t#ese genera( directionss#ou(d not deter t#e orc#estrator fro" adopting t#e opposite p(an*

In co"paring t#e tec#nica( indi=idua(ities of t#e ood0ind t#e fo((oingfunda"enta( differences s#ou(d ;e noted/

a @#e rapid repetition of a sing(e note ;7 sing(e tonguing is co""on to a(( indinstru"entsF repetition of a sing(e note ;7 "eans of dou;(e tonguing is on(7 possi;(e ont#e f(ute, a reed(ess instru"ent*

; Cn account of its construction t#e c(arinet is not e(( adapted to sudden (eaps fro"one octa=e to anot#erF t#ese s3ips are easier on f(utes, o;oes and ;assoons* 0190

c)rpeggiosand rapid a(ternation of to inter=a(s legatosound e(( on f(utes andc(arinets, ;ut not on o;oes and ;assoons*

.ood0ind p(a7ers cannot "anage e!tre"e(7 (ong sustained passages, as t#e7 areco"pe((ed to ta3e ;reat#F care "ust ;e ta3en t#erefore to gi=e t#e" a (itt(e rest fro" ti"e

to ti"e* @#is is unnecessar7 in t#e case of string p(a7ers*
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In t#e endea=our to c#aracterise t#e ti";re of eac# instru"ent t7pica( of t#e fourfa"i(ies, fro" a ps7c#o(ogica( point of =ie, I do not #esitate to "a3e t#e fo((oinggenera( re"ar3s #ic# app(7 genera((7 to t#e "idd(e and upper registers of eac#instru"ent/

a B(ute*o(d in qua(it7, specia((7 suita;(e, in t#e "aHor 3e7, to "e(odies of (ig#tand gracefu( c#aracterF in t#e "inor 3e7, to s(ig#t touc#es of transient sorro*

; C;oe*$rt(ess and ga7 in t#e "aHor, pat#etic and sad in t#e "inor*

c (arinet*P(ia;(e and e!pressi=e, suita;(e, in t#e "aHor, to "e(odies of a Ho7fu( orconte"p(ati=e c#aracter, or to out;ursts of "irt#F in t#e "inor, to sad and ref(ecti=e"e(odies or i"passioned and dra"atic passages*

d -assoon*In t#e "aHor, an at"osp#ere of seni(e "oc3er7F a sad, ai(ing qua(it7 int#e "inor*

In t#e e!tre"e registers t#ese instru"ents con=e7 t#e fo((oing i"pressions to "7"ind/

$o" register 0ery high register

a B(ute ?u((, co(d -ri((iant

; C;oe .i(d 6ard, dr7

c (arinet Ringing, t#reatening Piercing

d -assoon +inister @ense*

Note%It is true t#at no "ood or fra"e of "ind, #et#er it ;e Ho7fu( or sad, "editati=e or (i=e(7, care(essor ref(ecti=e, "oc3ing or distressed can ;e aroused ;7 one sing(e iso(ated ti";reF it depends "ore upon t#egenera( "e(odic (ine, t#e #ar"on7, r#7t#", and d7na"ic s#ades of e!pression, upon t#e #o(e for"ation of agi=en piece of "usic* @#e c#oice of instru"ents and ti";re to ;e adopted depends on t#e position #ic#"e(od7 and #ar"on7 occup7 in t#e se=en0octa=e sca(e of t#e orc#estraF for e!a"p(e, a "e(od7 of (ig#tc#aracter in t#e tenor register cou(d not ;e gi=en to t#e f(utes, or a sad, p(ainti=e p#rase in t#e #ig# sopranoregister confided to t#e ;assoons* -ut t#e ease it# #ic# tone co(our can ;e adapted to e!pression "ust not;e forgotten, and in t#e first of t#ese to cases it "a7 ;e conceded t#at t#e "oc3ing c#aracter of t#e ;assooncou(d easi(7 and quite natura((7 assu"e a (ig#t0#earted aspect, and 02:0 in t#e second case, t#at t#e s(ig#t(7"e(anc#o(7 ti";re of t#e f(ute is so"e#at re(ated to t#e fee(ing of sorro and distress it# #ic# t#epassage is to ;e per"eated* @#e case of a "e(od7 coinciding in c#aracter it# t#e instru"ent on #ic# it isp(a7ed is of specia( i"portance, as t#e effect produced cannot fai( to ;e successfu(* @#ere are a(so "o"ents#en a co"poser's artistic fee(ing pro"pts #i" to e"p(o7 instru"ents, t#e c#aracter of #ic# is at =arianceit# t#e ritten "e(od7 %for eccentric, grotesque effects, etc**

@#e fo((oing re"ar3s i((ustrate t#e c#aracteristics, ti";re, and e"p(o7"ent ofspecia( instru"ents/


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@#e dut7 of t#e picco(o and s"a(( c(arinet is, principa((7, to e!tend t#e range of t#eordinar7 f(ute and c(arinet in t#e #ig# register* @#e #ist(ing, piercing qua(it7 of t#e

picco(o in its #ig#est co"pass is e!traordinari(7 poerfu(, ;ut does not (end itse(f to "ore"oderate s#ades of e!pression* @#e s"a(( c(arinet in its #ig#est register is "ore

penetrating t#an t#e ordinar7 c(arinet* @#e (o and "idd(e range of t#e picco(o and s"a((c(arinet correspond to t#e sa"e register in t#e nor"a( f(ute and c(arinet, ;ut t#e tone is so"uc# ea3er t#at it is of (itt(e ser=ice in t#ose regions* @#e dou;(e ;assoon e!tends t#erange of t#e ordinar7 ;assoon in t#e (o register* @#e c#aracteristics of t#e ;assoon's (oco"pass are sti(( furt#er accentuated in t#e corresponding range of t#e dou;(e ;assoon,

;ut t#e "idd(e and upper registers of t#e (atter are ;7 no "eans so usefu(* @#e =er7 deepnotes of t#e dou;(e ;assoon are re"ar3a;(7 t#ic3 and dense in qua(it7, =er7 poerfu(inpianopassages*

Note%Aoada7s, #en t#e (i"its of t#e orc#estra( sca(e are considera;(7 e!tended %up to t#e #ig# Coft#e 5t#octa=e, and don to t#e (o C, 1 ft* contra octa=e, t#e picco(o for"s an indispensa;(e constituent oft#e ind0groupF si"i(ar(7, it is recognised t#at t#e dou;(e ;assoon is capa;(e of supp(7ing =a(ua;(e assistance*@#e s"a(( c(arinet is rare(7 e"p(o7ed and on(7 for co(our effects*

@#e Eng(is# #orn, or a(to o;oe %o;oe in1 is si"i(ar in tone to t#e ordinar7 o;oe, t#e(ist(ess, drea"7 qua(it7 of its ti";re ;eing seet in t#e e!tre"e* In t#e (o register it isfair(7 penetrating* @#e ;ass c(arinet, t#oug# strong(7 rese";(ing t#e ordinar7 c(arinet, isof dar3er co(our in t#e (o register and (ac3s t#e si(=er7 qua(it7 in t#e upper notesF it is

incapa;(e of Ho7fu( e!pression* @#e ;ass f(ute is an instru"ent se(do" used e=en toda7F itpossesses t#e sa"e features as t#e f(ute, ;ut it is co(der in 0210co(our, and cr7sta((ine in t#e"idd(e and #ig# regions* @#ese t#ree particu(ar instru"ents, apart fro" e!tending t#e (oregisters of t#e instru"ents to #ic# t#e7 ;e(ong, #a=e t#eir on distincti=e pecu(iaritiesof ti";re, and are often used in t#e orc#estra, as so(o instru"ents, c(ear(7 e!posed*

Note%Cf t#e si! specia( instru"ents referred to a;o=e, t#e picco(o and dou;(e ;assoon ere t#e first to;e used in t#e orc#estraF t#e (atter, #oe=er, as neg(ected after -eet#o=en's deat# and did not reappear unti(toards t#e end of t#e 19t#centur7* @#e Eng* #orn and ;ass c(arinet ere e"p(o7ed initia((7 during t#e first#a(f of t#e sa"e centur7 ;7 -er(io4, Me7er;eer, and ot#ers, and for so"e ti"e retained t#eir position

as e,tras, to ;eco"e, (ater on, per"anent orc#estra( factors, first in t#e t#eatre, t#en in t#e concert roo"* Ver7fe atte"pts #a=e ;een "ade to introduce t#e s"a(( c(arinet into t#e orc#estra %-er(io4 etc*F t#is instru"enttoget#er it# t#e ;ass f(ute is used in "7 opera0;a((etMlada%1&92, and a(so in "7 "ost recentco"positions, The Christmas Night, and SadkoF t#e ;ass f(ute i(( a(so ;e found inThe $egend of the 'nvisi&leCity of Kitesh, and in t#e re=ised =ersion of G'van the Terri&leG*

Cf (ate 7ears t#e #a;it of "uting t#e ood0ind #as co"e into fas#ion* @#is is done;7 inserting a soft pad, or a piece of ro((ed0up c(ot# into t#e ;e(( of t#e instru"ent* Mutesdeaden t#e tone of o;oes, Eng* #orns, and ;assoons to suc# an e!tent t#at it is possi;(e fort#ese instru"ents to attain t#e e!tre"e (i"it ofpianissimop(a7ing* @#e "uting ofc(arinets is unnecessar7, as t#e7 can p(a7 quite soft(7 enoug# it#out artificia( "eans* It


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#as not 7et ;een disco=ered #o to "ute t#e f(utesF suc# a disco=er7 ou(d render greatser=ice to t#e picco(o* @#e (oest notes on t#e ;assoon,

and on t#e o;oe and Eng* #orn

are i"possi;(e #en t#e instru"ents are "uted* Mutes #a=e no effect in t#e #ig#estregister of ind instru"ents*

Brass+

@#e for"ation of t#e group of ;rass instru"ents, (i3e t#at of t#e ood0ind is nota;so(ute(7 unifor", and =aries in different scores* @#e ;rass group "a7 ;e di=ided intot#ree genera( c(asses corresponding to t#ose of t#e ood0ind %in pair's, in t#ree's, and infour's*

0220


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t#eatre or concert roo" page after page "a7 ;e ritten it#out t#e use of tru"pets,tro";ones and tu;a, or so"e instru"ent "a7 ;e introduced, te"porari(7 as an e,tra* Int#e a;o=e ta;(e I #a=e gi=en t#e "ost t7pica( for"ations, and t#ose #ic# are t#e "ostco""on at t#e present da7*

Note '%-esides t#e instru"ents gi=en a;o=e, Ric#ard .agner used so"e ot#ers in The ing, nota;(7 t#equartet of tenor and ;ass tu;as, and a contra;ass tro";one* +o"eti"es t#ese additions eig# too #ea=i(7 ont#e ot#er groups, and at ot#er ti"es t#e7 render t#e rest of t#e ;rass ineffecti=e* Bor t#is reason co"posers#a=e dou;t(ess refrained fro" e"p(o7ing suc# instru"ents, and .agner #i"se(f did not inc(ude t#e" in t#escore ofarsifal* +o"e present0da7 co"posers %Ric#ard +trauss, +cria;ine rite for as "an7 as fi=etru"pets*

Note ''%Bro" t#e "idd(e of t#e 19t#centur7 onard t#e natura( ;rass disappeared fro" t#e orc#estra,gi=ing p(ace to =a(=e instru"ents* In "7 second opera, The May NightI used natura( #orns and tru"pets,c#anging t#e 3e7s, and riting t#e ;est notes GstoppedGF t#is as purpose(7 done for practise*

@#oug# far (ess f(e!i;(e t#an t#e ood0ind, ;rass instru"ents #eig#ten t#e effect ofot#er orc#estra( groups ;7 t#eir poerfu( resonance* @ru"pets, tro";ones, and tu;as area;out equa( in020strengt#F cornets #a=e not quite t#e sa"e forceF #orns, in fortepassages,are a;out one #a(f as strong, ;utpiano, t#e7 #a=e t#e sa"e eig#t as ot#er ;rassinstru"ents p(a7ed soft(7* @o o;tain an equa( ;a(ance, t#erefore, t#e "ar3s of e!pressionin t#e #orns s#ou(d ;e one degree stronger t#an in t#e rest of t#e ;rassF if t#e tru"pets andtro";ones p(a7pp, t#e #orns s#ou(d ;e "ar3edp* Cn t#e ot#er #and, to o;tain a proper

;a(ance infortepassages, to #orns are needed to one tru"pet or one tro";one*

-rass instru"ents are so si"i(ar in range and ti";re t#at t#e discussion of register isunnecessar7* $s a genera( ru(e qua(it7 ;eco"es "ore ;ri((iant as t#e #ig#er register isapproac#ed, and vice versa, it# a decrease in tone* P(a7edppt#e resonance is seetF

p(a7edfft#e tone is #ard and Gcrac3(ingG* -rass instru"ents possess a re"ar3a;(ecapacit7 for se((ing fro"pianissimotofortissimo, and reducing t#e tone in=erse(7,t#esf2 peffect ;eing e!ce((ent*

@#e fo((oing re"ar3s as to c#aracter and tone qua(it7 "a7 ;e added/

a 1* Trumpets%3-)* (ear and fair(7 penetrating in tone, stirring and rousinginfortepassagesF inpianop#rases t#e #ig# notes are fu(( and si(=er7, t#e (o notestrou;(ed, as t#oug# t#reatening danger*

2*)lto trumpet%in1* $n instru"ent of "7 on in=ention, first used ;7 "e in t#eopera0;a((etMlada* In t#e deep register %notes 2 to in t#e tru"pet sca(e it possesses afu((er, c(earer, and finer tone* @o ordinar7 tru"pets it# an a(to tru"pet producegreater s"oot#ness and equa(it7 in resonance t#an t#ree ordinar7 tru"pets* +atisfied

it# t#e ;eaut7 and usefu(ness of t#e a(to tru"pet, I #a=e consistent(7 ritten for it in"7 (ater or3s, co";ined it# ood0ind in t#ree's*


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Note%@o o;=iate t#e difficu(t7 of using t#e a(to tru"pet in ordinar7 t#eatres and so"econcert roo"s, I #a=e not ;roug#t into p(a7 t#e (ast four notes of its (oest register ort#eir neig#;ouring c#ro"aticsF ;7 t#is "eans t#e a(to tru"pet part "a7 ;e p(a7ed ;7 anordinar7 tru"pet in3or)*

* Small trumpet%in*-+* In=ented ;7 "e and used for t#e first ti"einMlada to rea(ise t#e =er7 #ig#02>0tru"pet notes it#out difficu(t7* In tona(it7 andrange t#e instru"ent is si"i(ar to t#e soprano cornet in a "i(itar7 ;and*

Note%@#e s"a(( tru"pet, %3-) sounding an octa=e #ig#er t#an t#e ordinar7tru"pet #as not 7et appeared in "usica( (iterature*

; Cornets%in3-)* Possessing a qua(it7 of tone si"i(ar to t#e tru"pet, ;ut softerand ea3er* It is a ;eautifu( instru"ent t#oug# rare(7 e"p(o7ed toda7 in t#eatre or

concert roo"* E!pert p(a7ers can i"itate t#e cornet tone on t#e tru"pet, and vice versa*

c4orn%in1* @#e tone of t#is instru"ent is soft, poetica(, and fu(( of ;eaut7* In t#e(oer register it is dar3 and ;ri((iantF round and fu(( in t#e upper* @#e "idd(e notesrese";(e t#ose of t#e ;assoon and t#e to instru"ents ;(end e(( toget#er* @#e #orn,t#erefore, ser=es as a (in3 ;eteen t#e ;rass and ood0ind* In spite of =a(=es t#e #orn#as ;ut (itt(e "o;i(it7 and ou(d see" to produce its tone in a (anguid and (a47 "anner*

d Trom&one%?ar3 and t#reatening in t#e deepest register, ;ri((iant and triu"p#ant in

t#e #ig# co"pass* @#epianois fu(( ;ut so"e#at #ea=7, t#efortepoerfu( and sonorous*Va(=e tro";ones are "ore "o;i(e t#an s(ide tro";ones, ;ut t#e (atter are certain(7 to ;e

preferred as regards no;i(it7 and equa(it7 of sound, t#e "ore so fro" t#e fact t#at t#eseinstru"ents are rare(7 required to perfor" quic3 passages, oing to t#e specia( c#aracterof t#eir tone*

e Tu&a%@#ic3 and roug# in qua(it7, (ess c#aracteristic t#an t#e tro";one, ;ut=a(ua;(e for t#e strengt# and ;eaut7 of its (o notes* Di3e t#e dou;(e ;ass and dou;(e

;assoon, t#e tu;a is e"inent(7 usefu( for dou;(ing, an octa=e (oer, t#e ;ass of t#e group

to #ic# it ;e(ongs* @#an3s to its =a(=es, t#e tu;a is fair(7 f(e!i;(e*


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Aatura( sounds are gi=en in #ite notes* @#e upper (ines indicate t#e scope of greateste!pression*

@#e group of ;rass instru"ents, t#oug# unifor" in resonance t#roug#out itsconstituent parts, is not so e(( adapted to e!pressi=e p(a7ing %in t#e e!act sense of t#eord as t#e ood0ind group* Ae=ert#e(ess, a scope of greatest e!pression "a7 ;edistinguis#ed02002)0 in t#e "idd(e registers* In co"pan7 it# t#e picco(o and dou;(e

;assoon it is not gi=en to t#e s"a(( tru"pet %*-+ and tu;a to p(a7 it# an7 greata"ount of e!pression* @#e rapid and r#7t#"ica( repetition of a note ;7 sing(e tonguing is

possi;(e to a(( "e";ers of t#e ;rass, ;ut dou;(e tonguing can on(7 ;e done oninstru"ents it# a s"a(( "out#0piece, tru"pets and cornets* @#ese to instru"ents cane!ecute rapid tremolandoit#out difficu(t7* @#e re"ar3s on ;reat#ing, in t#e sectionde=oted to t#e ood0ind, app(7 it# equa( force to t#e ;rass*

@#e use of stopped notes and "utes a(ters t#e c#aracter of ;rass tone* +topped notescan on(7 ;e e"p(o7ed on tru"pets, cornets and #ornsF t#e s#ape of tro";ones and tu;as

pre=ents t#e #and fro" ;eing inserted into t#e ;e((* @#oug# "utes are app(iedindiscri"inate(7 to a(( ;rass instru"ents in t#e orc#estra, tu;as rare(7 possess t#e"*
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+topped and "uted notes are si"i(ar in qua(it7* Cn t#e tru"pet, "uting a note produces a;etter tone t#an stopping it*

In t#e #orn ;ot# "et#ods are e"p(o7edF sing(e notes are stopped in s#ort p#rases,

"uted in (onger ones* I do not propose to descri;e t#e difference ;eteen t#e tooperations in detai(, and i(( (ea=e t#e reader to acquire t#e 3no(edge for #i"se(f, and tofor" an opinion as to its i"portance fro" #is on persona( o;ser=ation* +ufficient to sa7t#at t#e tone is deadened ;7 ;ot# "et#ods, assu"ing a i(d Gcrac3(ingG c#aracterinfortepassages, tender and du(( inpiano* Resonance is great(7 reduced, t#e si(=er7 toneof t#e instru"ent so (ost and a ti";re rese";(ing t#at of t#e o;oe and Eng* #orn is

approac#ed* +topped notes %con sordino are "ar3ed Qunderneat# t#e note, so"eti"es

fo((oed ;7 o, denoting t#e resu"ption of open sounds,senza sordini* -rassinstru"ents, #en "uted, produce an effect of distance*

&+ Instr'(ents / little s'staining *.er+

5l'09ed strings+

.#en t#e usua( orc#estra( string quartet %VnsI, VnsII, Vio(as, 'e((os, ?* ;assesdoes not "a3e use of t#e ;o, ;ut p(uc3s t#e strings it# t#e finger, it ;eco"es to "7

"ind a ne and inde0250pendent group it# its on particu(ar qua(it7 of tone* $ssociatedit# t#e #arp, #ic# produces sound in a si"i(ar "anner, I consider it separate(7 undert#e #eading of p(uc3ed strings*

Note%In t#is group "a7 ;e c(assed t#e guitar, 4it#er, ;a(a(a3aF instru"ents p(uc3ed it# a qui((, suc# ast#e do"ra,[9]t#e "ando(ine etc*, a(( of #ic# "a7 ;e used in an orc#estra, ;ut #a=e no p(ace in t#e scope oft#e present ;oo3*

5i::i0at+

$(t#oug# capa;(e of e=er7 degree of poer fro"fftopp,pizzicatop(a7ing #as ;uts"a(( range of e!pression, and is used c#ief(7 as a co(our effect* Cn open strings it isresonant and #ea=7, on stopped strings s#orter and du((erF in t#e #ig# positions it is rat#erdr7 and #ard*
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@a;(e ?onpage 1 indicates t#e range in #ic#pizzicato"a7 ;e used on eac#stringed instru"ent*

In t#e orc#estra,pizzicatoco"es into operation in to distinct a7s/ a on sing(e

notes, ; on dou;(e notes and c#ords* @#e fingers of t#e rig#t #and p(a7ing pizz%are far(ess agi(e t#an t#e ;oFpizz%passages t#erefore can ne=er ;e perfor"ed as quic3(7 ast#ose p(a7ed arco* Moreo=er, t#e speed ofpizzicatop(a7ing depends upon t#e t#ic3nessof t#e stringsF on t#e dou;(e ;asses, for instance, it "ust a(a7s ;e "uc# s(oer t#an ont#e =io(ins*

Inpizzicatoc#ords it is ;etter to a=oid open strings, #ic# produce a "ore ;ri((ianttone t#an of co=ered strings* #ords of four notes a((o of greater freedo" and =igour ofattac3, as t#ere is no danger of accidenta((7 touc#ing a rong note* Aatura( #ar"onics

p(a7edpizz%create a c#ar"ing effectF t#e tone is ea3 #oe=er, and t#e7 are c#ief(7successfu( on t#e =io(once((o*

1ar*+

In t#e orc#estra, t#e #arp is a("ost entire(7 an #ar"onic or acco"pan7ing instru"ent*@#e "aHorit7 of scores require on(7 one #arp part, ;ut in recent ti"es co"posers #a=eritten for to or e=en t#ree #arps, #ic# are so"eti"es co"pressed into t#e one part*02&0

Note%Bu(( orc#estras s#ou(d inc(ude t#ree or e=en four #arps* M7 operas Sadko, The$egend of the 'nvisi&le City of Kitesh, and The Golden Cockerelare designed for to#arps,Mladafor t#ree*

@#e specia( function of t#e #arp (ies in t#e e!ecution of c#ords, and t#e f(orid figuresspringing fro" t#e"* $s on(7 four notes at t#e "ost can ;e p(a7ed ;7 eac# #and, t#e notesof a c#ord s#ou(d ;e ritten c(ose toget#er, it# not too great a space ;eteen one #andand t#e ot#er* @#e c#ords "ust a(a7s ;e ;ro3en %arpeggiatoF s#ou(d t#e co"poser is#ot#erise #e s#ou(d notif7 it %non arpeggiato* In t#e "idd(e and (oer octa=es t#e

resonance of t#e strings is s(ig#t(7 pro(onged, and dies aa7 gradua((7* In c#anges of#ar"on7 t#e p(a7er stops t#e =i;ration of t#e strings it# #is #ands, ;ut, in quic3"odu(ations, t#is "et#od is not feasi;(e, and t#e "i!ture of one c#ord it# anot#er

produces a discordant effect* It fo((os t#at "ore or (ess rapid figures can on(7 ;e rea(isedc(ear(7 and neat(7 in t#e upper register of t#e #arp, #ere t#e strings are s#orter and#arder in tone*

$s a genera( ru(e, in t#e #o(e range of t#e #arp/
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on(7 t#e notes of t#e first to t#e fourt# octa=e are usedF t#e e!tre"e notes in ;ot#co"passes "a7 ;e e"p(o7ed in specia( circu"stances, and for dou;(ing in octa=es*

@#e #arp is essentia((7 a diatonic instru"ent, since a(( c#ro"atic passages depend ont#e "anipu(ation of t#e peda(s* Bor t#is reason t#e #arp does not (end itse(f to rapid"odu(ation, and t#e orc#estrator is ad=ised to ;ear t#is fact in "ind* -ut t#e difficu(t7"a7 ;e o;=iated ;7 using to #arps a(ternate(7*[1:]

Note% I ou(d re"ind t#e reader t#at t#e #arp is not capa;(e of dou;(e s#arps ordou;(e f(ats* Bor t#is reason, certain "odu(ations fro" one 3e7 to anot#er one, adHacent toit can on(7 ;e acco"p(is#ed en#ar"onica((7* Bor instance, t#e transitionfro" Cf(at, Gf(at or+f(at, "aHor to t#eir "inor su;do"inant c#ords or 3e7s is not

possi;(e oing to dou;(e f(ats* It is t#erefore0290necessar7 to start en#ar"onica((7 fro"t#e 3e7s of3,1s#arp or Cs#arp, "aHor* +i"i(ar(7, on account of dou;(e s#arps, it isi"possi;(e to c#ange fro")s#arp,+s#arp or Gs#arp, "inor to t#eir respecti=edo"inant "aHor c#ords or 3e7sF3f(at,*f(at and)f(at, "inor "ust ;e t#e starting0points*

@#e tec#nica( operation 3non asglissandois pecu(iar to t#e #arp a(one* @a3ing forgranted t#at t#e reader is con=ersant it# t#e "et#ods of acquiring different sca(es ;7"eans of dou;(e0notc#ed peda(s, it i(( ;e sufficient to re"ar3 t#atglissandosca(es

produce a discordant "ed(e7 of sound oing to t#e (engt# of ti"e t#e strings continue to=i;rate, and t#erefore, as apurely musicaleffect,glissandocan on(7 ;e used in t#e upperocta=es, quitepiano, #ere t#e sound of t#e strings is sufficient(7 c(ear, 7et not too

pro(onged*1orte glissandosca(es, entai(ing t#e use of t#e (oer and "idd(e strings areon(7 per"issi;(e as e";e((is#"ents*


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on(7 possi;(e p(a7ed quite soft(7* +pea3ing genera((7, t#e #arp, (i3e t#e stringquartet,pizzicato, is "ore an instru"ent of co(our t#an e!pression*

5er0'ssin instr'(ents *rd'0ing deter(inate

s'nds; 9eyed instr'(ents+

Kettle-dr'(s+

8ett(e0dru"s, indispensa;(e to e=er7 t#eatre and concert orc#estra occup7 t#e "osti"portant p(ace in t#e group of percussion instru"ents* $ pair of 3ett(e0dru"s %Timpani,in t#e tonic and do"inant 3e7s, as t#e necessar7 attri;ute of an orc#estra up to, and 0:0 inc(uding -eet#o=en's ti"e, ;ut, fro" t#e "idd(e of t#e 19 t#centur7 onard, in

estern Europe and in Russia, an e=er0increasing need as fe(t for t#e presence of t#reeor e=en four 3ett(e0dru"s, during t#e #o(e course or part of a or3* If t#e e!pensi=ec#ro"atic dru", per"itting instant tuning is rare(7 "et it#, sti((, in t#e "aHorit7 of goodorc#estras, t#ree scre dru"s are genera((7 to ;e found* @#e co"poser can t#erefore ta3eit for granted t#at a good ti"panist, #a=ing t#ree 3ett(e0dru"s at #is co""and, i(( ;ea;(e to tune at (east one of t#e" during a pause of so"e (engt#*

@#e (i"its of possi;(e c#ange in -eet#o=en's ti"e as considered to ;e/

In t#ese da7s it is difficu(t to define t#e precise e!tent of #ig# co"pass in t#e 3ett(e0dru"s, as t#is depends entire(7 on t#e si4e and qua(it7 of t#e s"a((est one, of #ic# t#ereare "an7 3inds, ;ut I ad=ise t#e co"poser to se(ect/

Aote* $ "agnificent 3ett(e0dru" of =er7 s"a(( si4e as "ade for "7 opera0;a((etM(adaF t#is instru"entga=e t#e ?of t#e fourt# octa=e*

8ett(e0dru"s are capa;(e of e=er7 d7na"ic s#ade of tone, fro"t#underingfortissimoto a ;are(7 percepti;(epianissimo* In tremolandot#e7 can e!ecutet#e "ost gradua( crescendo, diminuendo, t#esfpand morendo*

@o deaden t#e sound, a piece of c(ot# is genera((7 p(aced on t#e s3in of t#e dru",

according to t#e instruction/timpani coperti%"uff(ed dru"s*


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@#e ;(ac3 notes are dr7 and #ard, it#out resonance, and s#ou(d on(7 ;e used #en dou;(edit# t#e ood0ind*


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Recent(7, ;e((s #a=e ;een "ade of suspended "eta( p(ates possessing t#e rare qua(it7 of a fair(7 pure tone, and #ic# aresufficient(7 porta;(e to ;e used on t#e concert

5ian and &elesta+

@#e use of a piano in t#e orc#estra %apart fro" pianoforte concertos ;e(ongs a("ostentire(7 to t#e Russian sc#oo(*[11]@#e o;Hect is to0fo(d/ t#e qua(it7 of tone, eit#er a(one,or co";ined it#020t#at of t#e #arp, is "ade to i"itate a popu(ar instru"ent, t#e gu4(i,

%as in


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Gl09ens*iel; Bells; Xyl*hne+

@#eglockenspiel%campanelli "a7 ;e "ade of stee( ;ars, or p(a7ed it# a 3e7;oard*@#e first t7pe is t#e "ore satisfactor7 and possesses greater resonance* @#e use of

t#eglockenspielis si"i(ar to t#e ce(esta, ;ut its tone is "ore ;ri((iant and penetrating* -ig;e((s in t#e s#ape of #o((o discs or "eta( tu;es,[12]or rea( c#urc# ;e((s of "oderate si4e"a7 ;e considered "ore as t#eatrica( properties t#an orc#estra( instru"ents*

@#e !7(op#one is a species of #ar"onica co"posed of strips or c7(inders of ood,struc3 it# to (itt(e #a""ers* It produces a c(attering sound, ;ot# poerfu( and

piercing*

@o co"p(ete t#is cata(ogue of sounds "ention s#ou(d ;e "ade of t#e strings

p(a7ing col legno, t#at is it# t#e ood or ;ac3 of t#e ;o* @#e sound produced issi"i(ar to t#e !7(op#one, and gains in qua(it7 as t#e nu";er of p(a7ers is increased*

$ ta;(eis appended s#oing t#e range of t#e ce(esta,glockenspieland !7(op#one*

5er0'ssin instr'(ents *rd'0ing inde/inite s'nds+

Instru"ents in t#is group, suc# as triang(e, castanets, (itt(e ;e((s, ta";ourine, sitc#or rod %ute%


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It is "ore difficu(t to esta;(is# a co"parison in resonance ;eteen ood0ind andstrings, as e=er7t#ing depends on t#e nu";er of t#e (atter, ;ut, in an orc#estra of "ediu"for"ation, it "a7 ;e ta3en for granted t#at inpianopassages, t#e #o(e of one depart"ent%all1stVio(ins or all2ndVio(ins etc* is equi=a(ent in strengt# to one ind instru"ent,

%Vio(ins I S 1 B(ute etc*, and, infortepassages, to to ind instru"ents, %Vio(ins I S 2B(utes S 1 C;oe Q1 (arinet, etc**

It is sti(( #arder to for" a co"parison it# instru"ents of (itt(e sustaining poer, fortoo great a di=ersit7 in production and e"ission of sound e!ists* @#e co";ined force ofgroups of sustained resonance easi(7 o=erpoers t#e strings p(a7edpizz%or col legno, t#e

piano p(a7ed soft(7, or t#e ce(esta* $s regards t#eglockenspiel, ;e((s, and !7(op#one, t#eire"p#atic tone i(( easi(7 pre=ai( o=er ot#er groups in co";ination* @#e sa"e "a7 ;e saidof t#e 3ett(e0dru"s it# t#eir ringing, resounding qua(it7, and a(so of ot#er su;sidiar7instru"ents*

@#e inf(uence of t#e ti";re of one group on anot#er is noticea;(e #en t#e groupsare dou;(edF for instance, #en t#e ood0ind ti";re is c(ose(7 a((ied to t#e strings ont#e one #and, and to t#e ;rass on t#e ot#er* Re0inforcing ;ot#, t#e ind thickenst#estrings0>0andsoftenst#e ;rass* @#e strings do not ;(end so e(( it# t#e ;rass, and #ent#e to groups are p(aced side ;7 side, eac# is #eard too distinct(7* @#e co";ination oft#e t#ree different ti";res in unison produces a ric#, "e((o and co#erent tone*

$((, or se=era( ind instru"ents in co";ination i(( a;sor; one depart"ent of addedstrings/

2 B(* Q 2 C;* Q VnsI,or/ 2 C;* Q 2 (* Q Vio(as,or/ 2 (* Q 2 Bag* Q 'e((os*

Cne depart"ent of strings added to t#e ood0ind in unison produces a seetco#erent qua(it7, t#e ood0ind ti";re sti(( predo"inatingF ;ut t#e addition of one ind

instru"ent to a(( or part of t#e strings in unison, on(7 t#ic3ens t#e resonance of t#e (atter,t#e ood0ind ti";re ;eing (ost in t#e process/

VnsI Q VnsII Q 1 C;*,or/ Vio(as Q 'e((os Q 1 (*or/ 'e((os Q ?* ;asses Q 1 Bag*

Muted strings do not co";ine so e(( it# ood0ind, as t#e to tone qua(itiesre"ain distinct and separate* niting p(uc3ed strings and percussion it# instru"ents of

sustained resonance resu(ts in t#e fo((oing/ ind instru"ents, ood and ;rass,


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strengt#en and c(arif7pizzicatostrings, #arp, 3ett(e0dru"s and percussion genera((7, t#e(atter (ending a touc# of re(ief to t#e tone of t#e ood0ind* niting p(uc3ed strings and

percussion it# ;oed instru"ents does not produce suc# a satisfactor7 ;(end, ;ot#qua(ities ;eing #eard independent(7* @#e co";ination of p(uc3ed strings it# percussion

a(one, is e!ce((entF t#e to ;(end perfect(7, and t#e consequent increase in resonance7ie(ds an ad"ira;(e effect*

@#e re(ations#ip #ic# e!ists ;eteen string #ar"onics and t#e f(ute or picco(oconstitutes a (in3 ;eteen t#e to groups in t#e upper range of t#e orc#estra* Moreo=er,t#e ti";re of t#e =io(a "a7 ;e =ague(7 co"pared to t#e "idd(e register of t#e ;assoonand t#e (oest co"pass of t#e c(arinetF #ence, in t#e "ediu" orc#estra( range, a point ofcontact is esta;(is#ed ;eteen t#e quartet of strings and t#e ood0ind*

@#e ;assoon and #orn pro=ide t#e connection ;eteen ood0ind and ;rass, t#eseto instru"ents ;eing so"e#at ana(ogous0)0in c#aracter #en p(a7edpianoor mezzo-forteF t#e f(ute a(so, in its (oest register, reca((s t#epianissimotru"pet tone* +topped and"uted notes in #orns and tru"pets are si"i(ar in qua(it7 to t#e o;oe and Eng* #orn, and

;(end to(era;(7 e(( it# t#e (atter instru"ent*

onc(uding t#is sur=e7 of orc#estra( groups I add a fe re"ar3s #ic# see" to "e ofspecia( i"portance*

@#e principa( part in "usic is underta3en ;7 t#ree instru"enta( groups of sustainedresonance, representing t#e t#ree pri"ar7 e(e"ents, "e(od7, #ar"on7 and r#7t#"*Instru"ents of (itt(e sustaining poer, t#oug# so"eti"es used independent(7, are c#ief(7e"p(o7ed for orna"ent and co(ourF instru"ents producing indeter"inate sounds p(a7 no"e(odic or #ar"onic part, t#eir functions ;eing pure(7 r#7t#"ica(*

-7 g(ancing at t#e order in #ic# t#e si! orc#estra( groups are p(aced, strings, ood0ind, ;rass, p(uc3ed strings, percussion producing definite, and t#ose producingindefinite sounds, t#e reader i(( ;e a;(e to deter"ine t#e part p(a7ed ;7 eac# in t#e art of

orc#estration, fro" t#e secondar7 standpoint of co(our and e!pression* $s regardse!pression, t#e strings co"e first, and t#e e!pressi=e capacit7 of t#e ot#er groupsdi"inis#es in t#e a;o=e order, co(our ;eing t#e on(7 attri;ute of t#e (ast group of

percussion instru"ents*

@#e sa"e order o;tains fro" t#e standpoint of genera( effect in orc#estration* .e can(isten to strings for an a("ost indefinite period of ti"e it#out getting tired, so =aried aret#eir c#aracteristics %videt#e nu";er of string quartets, suites, serenades etc* ritten forstrings a(one* @#e addition of a sing(e group of strings i(( add (ustre to a passage for

ind instru"ents* Cn t#e ot#er #and, t#e qua(it7 of ind instru"ents soon ;eco"es


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eariso"eF t#e sa"e "a7 ;e said of p(uc3ed strings, and a(so percussion of e=er7 3ind#ic# s#ou(d on(7 ;e e"p(o7ed at reasona;(e inter=a(s in orc#estra( co"position*

It cannot ;e denied t#at t#e constant use of co"pound ti";res, in pair's, in t#ree's etc*

e(i"inates c#aracteristics of tone, and produces a du((, neutra( te!ture, #ereas t#ee"p(o7"ent of si"p(e, e(e"entar7 co";inations gi=es infinite(7 greater scope for =ariet7in co(our*

5 %2: June 19:&*

00

&ha*ter II+


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MEDC?L*

.#et#er it ;e (ong or s#ort, a si"p(e t#e"e or a "e(odic p#rase, "e(od7 s#ou(da(a7s stand out in re(ief fro" t#e acco"pani"ent* @#is "a7 ;e done ;7 artificia( ornatura( "eansF artificia((7, #en t#e question of tone qua(it7 does not co"e intoconsideration, and t#e "e(od7 is detac#ed ;7 "eans of strong(7 accentuated d7na"ics#adesF natura((7, ;7 se(ection and contrast of ti";res, strengt#ening of resonance ;7dou;(ing, trip(ing, etc*, or crossing of parts %=io(once((os a;o=e t#e =io(as and =io(ins,c(arinets or o;oes a;o=e t#e f(utes, ;assoons a;o=e t#e c(arinets etc**

Me(od7 p(anned in t#e upper parts stands out fro" t#e =er7 fact of position a(one,

and (i3eise, to a (ess degree #en it is situated in t#e (o register* In t#e "idd(e of t#eorc#estra( range it is not so pro"inent and t#e "et#ods referred to a;o=e co"e intooperation* @#e7 "a7 a(so ;e e"p(o7ed for to part "e(od7 %in t#irds and si!t#s and for

po(7p#onic riting*

Meldy in stringed instr'(ents+

Instances of t#e "e(odic use of stringed instru"ents are innu"era;(e* @#e reader i((find "an7 e!a"p(es in t#e present treatise* .it# t#e e!ception of t#e dou;(e ;asses,du((

in tone and of (itt(e f(e!i;i(it7, c#ief(7 e"p(o7ed in unison or in octa=es it# t#e=io(once((os,eac# of t#e ot#er stringed instru"ents, ta3en independent(7, is qua(ified toassu"e fu(( responsi;i(it7 for t#e "e(odic (ine*

a3 Vilins+

Me(od7 in t#e soprano0a(to register and an e!tra0#ig# co"pass usua((7 fa((s to t#e (otof t#e 1stVio(ins, so"eti"es to t#e 2ndVio(ins or to ;ot# in unison, a process #ic#

produces fu((er resonance it#out i"pairing qua(it7 of tone*

*,amples5

The Tsar6s 3ride &> *[]ianissimo"e(od7 %VnsI of a 050trou;(ed dra"atic

c#aracter* 6ar"onic acco"pani"ent %VnsII and Vio(as tremolando"idd(e partsF t#eVio(once((os for"ing t#e ;ass*
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)ntar, ;efore 5: *?escending "e(odic p#rase, VnsI con sordini piano*

Ao* 1*Shhrazade2nd"o=e"ent - * $piano"e(od7 %VnsI gracefu( in c#aracter*

)ntar 12 * Dig#t gracefu( "e(od7, orienta( in st7(eF a dance "easure %Vn sI con sord%,

t#e "utes producing a du(( et#erea( qua(it7 of tone*

Ao* 2*The $egend of the 'nvisi&le City of Kitesh 2& *

Ao* *Spanish Capriccio J * VnsI in t#e upper register dou;(ing t#e #ig# register of

t#e ood0ind* #oice resonance*

b3 Vilas+

Me(od7 in t#e a(to0tenor register and a sti(( #ig#er co"pass is assigned to t#e=io(as* Canta&ile"e(odies #oe=er are not so frequent(7 ritten for =io(as as for =io(insand 'ce((os, part(7 ;ecause t#e =io(a tone is s(ig#t(7 nasa( in qua(it7 and ;etter fitted fors#ort c#aracteristic p#rases, part(7 ;ecause t#e nu";er of =io(a p(a7ers in an orc#estra iss"a((er* Me(odies confided to t#e =io(as are genera((7 dou;(ed ;7 ot#er strings or ;7 t#eood0ind*

*,amples5

Ao* >*an 0oyevoda, duet in $ct II 1>) * $ (ong canta&ile"e(od7 in t#e

=io(as, dolce, in unison it# t#emezzo soprano=oice*

Ao* )*The Golden Cockerel 19 *B(oing canta&ile*

Ao* *Sadko%+7"p#onic ta;(eau 12 *Muted =io(as* $ s#ort dance

t#e"e,pianoin+"aHor* %@#e sa"e t#e"e in Eng* #orn0&0 in t#e t# scene of t#eopera Sadkois s(ig#t(7 "ore penetrating in tone*

03 Viln0ells+

Vio(once((os, representing t#e tenor0;ass range Qan e!tra0#ig# co"pass are "oreoften entrusted it# tense passionate canta&ile"e(od7 t#an it# distincti=e figures orrapid p#rases* +uc# "e(odies are usua((7 (aid out for t#e top string %) #ic# possesses aonderfu((7 ric# Gc#estG qua(it7*

*,amples5

)ntar ) * Canta&ileon t#e)string*

)ntar * @#e sa"e "e(od7 in+"aH* on t#e+string %dou;(ed ;7 t#e ;assoons*
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Ao* 5*an 0oyevoda 1> , nocturne, GMoon(ig#tG* $ ;road "e(od7 dolce ed

espressivo, afterards dou;(ed ;7 t#e first =io(ins an octa=e #ig#er*

Ao* &*Snegourotchka 21 * $t t#e fift# ;ar, a "e(od7 on t#e )string canta&ile ed

espressivo, i"itating t#e first c(arinet*Ao* 9*Snegourotchka 25> * Me(odic p#rase it# e";e((is#"ents*

d3 !'ble basses+

Cing to its register&asso profondoQa sti(( (oer co"pass,and its "uff(edresonance, t#e dou;(e ;ass is (itt(e capa;(e of ;road canta&ilep#rases and on(7 in unisonor in octa=es it# t#e 'ce((os* In "7 on co"positions t#ere is no p#rase of an7

i"portance gi=en to t#e dou;(e ;ass it#out t#e support of 'ce((os or ;assoons**,amples5

TAo* 1:*$egend of Kitesh : * ?ou;(e ;ass so(o, dou;(ed first ;7 t#e dou;(e

;assoon, (ater ;7 t#e ;assoon* @#is e!a"p(e affords an instance of t#e rare use of t#e a(toc(ef %in t#e (ast fe notes*

TAo* 11*The Golden Cockerel 12: *?* ;asses Q?* ;assoons*090

Gr'*ing in 'nisn+

a VnsI QVnsII*It goes it#out sa7ing t#at t#is co";ination entai(s no a(terationin co(ourF it gains in poer and ric#ness of tone ;7 reason of t#e increased nu";er of

p(a7ers, and is usua((7 attended ;7 dou;(ing of t#e "e(od7 in so"e depart"ents of t#eood0ind* @#e (arge nu";er of =io(ins pre=ents t#e ood0ind predo"inating, and t#etone qua(it7 re"ains t#at of t#e string quartet, enric#ed and a"p(ified*

*,amples5

Ao* 12*Shhrazade, ;eginning of t#e t#ird "o=e"ent* Canta&ilefor VnsI and II ont#e+string, t#en on t#e)*

The May Night, o=erture ? * Uuic3piano"e(od7, ;eginning canta&ileand di=ided

(ater in octa=es

VnsI &
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% ] VnsIIit# f(orid e";e((is#"ent*

Ao* 1*The Golden Cockerel 15: *VnsI QII "uted*

; Vio(ins QVio(as*@#e co";ination of =io(ins and =io(as presents no specia(c#aracteristics, as in t#e preceding case* @#e =io(ins re"ain predo"inant, and t#eresonance is ric# and fu((*

*,amples5

Ao* 1>*Sadko 2:& *VnsI QII QVio(as %Gstring* Uuiet canta&ile"e(od7pp, in

unison it# t#e a(tos and tenors of t#e c#orus*@#e Golden Cockerel 1>2 *+a"e co";ination*

c Vio(as Q'e((os*Produces a ric# fu(( resonance, t#e 'ce((o qua(it7 predo"inating*

*,amples5

Ao* 1)*Snegourotchka ) *$pparition of +pring* Vio(as Q'e((os QEng* #orn* @#esa"e "e(od7, mezzo-forte canta&ileas in E!* 9F ;ut in a ;rig#ter 3e7, a t#ird #ig#er, its

resonance is "ore ;ri((iant and tense* @#e addition of t#e Eng* #orn "a3es no essentia(difference to t#e co"pound toneF t#e 'ce((os stand out a;o=e t#e rest*

Ao* 1*The Golden Cockerel 51 * Vio(as Q'e((os "uted*0>:0

d Vio(ins Q 'e((os*$ co";ination si"i(ar to t#e preceding one* @#e 'ce((o tonepre=ai(s and t#e resonance is fu((er*

*,amples5

Ao* 15*Snegourotchka 2&& * G+pring descends upon t#e (a3eG*VnsI QVnsII Q'e((os QEng* #orn* @#e sa"e canta&ileas in E!* 9, and 1)* @#e Eng*#orn is a;sor;ed in t#e "usica( te!ture, t#e principa( co(our ;eing t#at of t#e 'ce((os* +ti(("ore poerfu( in resonance*

Ao* 1&*The May Night%$ct III D * #orus ofouss.lki* @#e co";ination of t#e so(o

'ce((o it# t#e =io(ins gi=es t#e (atter a touc# of t#e 'ce((o ti";re*

e VnsI QII QVio(as Q'e((os*o";ining =io(ins, =io(as and 'ce((os in unison is

not possi;(e e!cept in t#e a(to0tenor registerF t#is process unites t#e fu(( resonance of t#e
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instru"ents into an ensem&leof co"p(e! qua(it7, =er7 tense and poerfu(infortepassages, e!tre"e(7 fu(( and ric# inpiano*

*,amples5

Ao* 19*Shhrazade, 2nd"o=e"ent P *Energetic p#raseff*

Mlada, Dit#uanian dance, ;efore *

Mlada, $ct III* >: *(eopatra's dance* Canta&ilee";e((is#ed in orienta( fas#ion*

f Vio(once((os Q?* ;asses*$ co";ination of ric# fu(( resonance, usedoccasiona((7 for p#rases in t#e =er7 (o register*

*,amples5

Ao* 2:*Sadko 2: *$ persistentfortefigure, se=ere in c#aracter*

Ao* 21*$egend of Kitesh 2>: *$pianissimop#rase, sinister and #orri;(e in

c#aracter*

Stringed instr'(ents d'bling in 0taes+

a VnsI and VnsII in octa=es*

@#is is a =er7 co""on process used for a(( 3inds of "e(odic figures, in particu(art#ose in t#e =er7 #ig# register* It #as a(read7 ;een stated t#at t#e *string di"inis#es infu(ness of tone0>10t#e #ig#er it ascends fro" t#e (i"its of t#e soprano =oice* Moreo=er,"e(odic figures in t#e =er7 #ig# register of t#e =io(ins ;eco"e too iso(ated fro" t#e restof t#e ensem&leun(ess dou;(ed in octa=es* +uc# dou;(ing secures e!pression, fu(ness oftone and fir"ness of ti";re* @#e reader i(( find nu"erous e!a"p(es of =io(ins inocta=esF a fe are added ;e(o, c#ief(7 ;road and e!pressi=e p#rases*

*,amples5

Ao* 22*The Tsar6s 3ride 1 * Canta&ile# piano%

The Tsar6s 3ride 2: * Canta&ile# mezzo-pianoF t#e (oer part is in unison it# t#e

soprano =oice*

Shhrazade, rd"o=e"ent J * Canta&ilein G"aHorF dolceand canta&ile%t#e sa"e

as E!* 12*

Ao* 2*The $egend of Tsar Saltan 225 * Me(od7 it# reiterated notes, dolce# espress%

e canta&ile*
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Sadko, +7"p#onic ta;(eau 12 *

VnsIVnsII ] &"uted* $ s#ort dance p#rasepianissimo, gi=en first to t#e =io(as, t#en to t#e =io(ins%cf* E!* *

Ao* 2>*Sadko, opera 2:5 * Per#aps an unique e!a"p(e of its 3indF =io(ins p(a7ing in

t#e =er7 e!tre"it7 of t#e #ig# register*

Note%@#is passage is difficu(t ;ut ne=ert#e(ess quite p(a7a;(e* Cne or to des3s oft#e 1stVio(ins are sufficient to dou;(e t#e "e(od7 in t#e upper octa=e, a(( t#e ot#er1stVio(ins can p(a7 t#e octa=e ;e(o* In t#is a7 t#e piercing qua(it7 of t#e #ig#est notes

i(( ;e di"inis#ed, t#e "e(od7 i(( acquire a c(earer and "ore p(easant sound, and t#ee!pressi=e tone qua(it7 of t#e (oer octa=e i(( ;e strengt#ened*

TThe Golden Cockerel 1) *

T G G G 1) *

T)ntar, 1st"o=e"ent 11 *

TAo* 2)*'van the Terri&le, $ct III *

; Vio(ins divisiin octa=es*

Birst and second =io(ins di=ided in to parts and progressing in octa=es i(( depri=et#e "e(od7 of resonance, since t#e nu";er of p(a7ers is di"inis#ed ;7 #a(f, t#econsequences ;eing specia((7 noticea;(e in s"a(( orc#estras* Ae=ert#e(ess t#e "et#od can

;e used occasiona((7 #en t#e strings are dou;(ed ;7 t#e ood0ind, and #en t#e"e(od7 fa((s in a sufficient(7 #ig# register*0>20

*,amples5

Snegourotchka 1 *

VnsIVnsII ] &mezzo-forte espressivo* Partia( dou;(ing of oupa=a's song %+opr** Cne f(ute and oneo;oe dou;(e t#e "e(od7*

Ao* 2*Snegourotchka 2& *#orus of B(oers
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2 Vnsso(i

VnsI QB(* I ] &*ianissimo canta&ilein to octa=es, progressing it# t#e o"en's c#orus %+opr* I, and

gi=en out ear(ier ;7 t#e Eng* #orn* @#e f(ute and a(( t#e 1stVio(ins e!cept to p(a7 in t#e(oer octa=e, t#e to so(o =io(ins, on(7, in t#e upper* @#e so(o des3 i(( ;e sufficient(7

pro"inent oing to t#e genera(pianissimo*

c Vio(ins and Vio(as in octa=es*

Birst and second Vio(ins progressing it# t#e Vio(as in octa=es is a co""on "et#od,especia((7 #en t#e (oer octa=e in t#e "e(od7 #appens to go ;e(o t#e open Gstring ont#e =io(ins*

1* Vns%I or II

Vio(as ] &**,ample5

Snegourotchka 15 , fina(e of $ct I* Uuic3 "e(od7,piano*

2*VnsI QIIVio(as ] & and *

VnsI

VnsII QVio(as ] &*@#ese to distri;utions are not e!act(7 t#e sa"e* @#e first s#ou(d ;e used to o;tain

greater ;ri((iance in t#e upper part, t#e second to gi=e t#e (oer part a fu((er and"ore canta&ilequa(it7*

*,amples5

Ao* 25*Sadko, ;efore 1&1 *

VnsI QII

Vio(as ]&*

Uuic3 ani"ated passage,forte, introducing reiterated notes*

Ao* 2&*Snegourotchka 15 , fina(e to $ct I

VnsI

VnsII QVio(as ] &*Canta&ilep#rase, trans"itted to t#e f(ute and c(arinet %cf* E!* &*

d Vio(as and Vio(once((os in octa=es*
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Cf specia( use #en t#e Vio(ins are ot#erise e"p(o7ed*

*,ample5

T$egend of Kitesh )9 ,

Vio(ase((os ] &,dou;(ed ;7 ;assoons*

e Vio(ins and Vio(once((os in octa=es*

sed in =er7 e!pressi=e passages #ere t#e 'ce((os #a=e to p(a7 on t#e )or+strings*@#is "et#od produces a "ore resonant tone t#an t#e preceding oneF instances of it are

frequent*0>0

*,amples5

Ao* 29*)ntar > *

VnsI QVnsII'e((os ] &*Canta&ileof Eastern origin*

Shhrazade, rd"o=e"ent 6 *

VnsI'e((os ] &*Canta&ile mezzo-forte appassionato%cf* E!* 1*

TAo* :*Shhrazade, rd"o=e"ent, ;efore P

VnsIVnsII Q'e((os ] & and Vn

sI QII'e((os ] &*

@#e first arrange"ent is rare(7 found*

an 0oyevoda 1> , nocturne GMoon(ig#tG

VnsI'e((os ] &*

Canta&ile"e(od7 gi=en first to 'ce((os a(one %cf* E!* 5*
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rimsky korsakov orchestration

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