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Principles of Orchestration, with Musical Examples Drawn from His Own Works
No. 284. “The Tsar’s Bride.”
No. 284. „La Fiancée du Tsar.“
No. 285. “The Golden Cockerel.”
No. 285. „Le Coq d’Or.“
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No. 286. “The Tsar’s Bride.”
No. 286. „La Fiancée du Tsar.“
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No. 287. “Snegourotchka.”
No. 287. „Sniégourotchka.“
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No. 288. “The Tsar’s Bride.”
No. 288. „La Fiancée du Tsar.“
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No. 289. “Sadko.”
No. 289. „Sadko.“
No. 290. “Sadko” (p. 150).
No. 290. „Sadko“ (p. 150).
No. 291. “Sadko.”
No. 291. „Sadko.“
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No. 292a. “Sadko.”
No. 292a. „Sadko.“
No. 292b. “Sadko.”
No. 292b. „Sadko.“
No. 293. “The Tsar’s Bride” (p. 169).
No. 293. „La Fiancée du Tsar“ (p. 169).
No. 294. “Ivan the Terrible,” Act I (p. 111).
No. 294. „La Pskovitaine,“ 1er acte (p. 111).
No. 295. “Sadko.”
No. 295. „Sadko.“
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No. 296. “Ivan the Terrible,” Act II.
No. 296. „La Pskovitaine,“ 2me acte.
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No. 297. “Sadko” (p. 157).
No. 297. „Sadko“ (p. 157).
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No. 298. “Snegourotchka.”
No. 298. „Sniégourotchka.“
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No. 299. “Mlada,” Act III.
No. 299. „Mlada,“ 3me acte.
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No. 300. “Mlada.”
No. 300. „Mlada.“
No. 301. “The Legend of the invisible city of Kitesh.”
No. 301. „Légende de la ville invisible de Kitéj.“
No. 302. “Sadko.”
No. 302. „Sadko.“
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No. 303. “Sadko.” (p. 378).
No. 303. „Sadko.“ (p. 378).
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No. 304. “Sadko.”
No. 304. „Sadko.“
No. 305. “The Legend of the invisible city of Kitesh.”
No. 305. „Légende de la ville invisible de Kitéj.“
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No. 306. “The Golden Cockerel” (p. 351).
No. 306. „Le Coq d’Or“ (p. 351).
No. 307. “Sadko” (p. 210).
No. 307. „Sadko“ (p. 210).
No. 308. “Sadko” (p. 226).
No. 308. „Sadko“ (p. 226).
No. 309. “Ivan the Terrible” (p. 116).
No. 309. „La Pskovitaine“ (p. 116).
No. 310. “Ivan the Terrible” (p. 117).
No. 310. „La Pskovitaine“ (p. 117).
No. 311. “Sadko” (p. 441).
No. 311. „Sadko“ (p. 441).
No. 312. “Ivan the Terrible,” Act III (the end).
No. 312. „La Pskovitaine,“ 3me acte (fin).
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Appendix. Single tutti chords.
Appendice. Accords isolés en tutti.
[PDF]
NOTE. These diagrams are given in semibreves. They do not include percussion instruments of indeterminate sound or the human voice.
NOTA. Ces exemples sont donnés sous forme demi-schématique, en rondes. Ils ne comportent ni les instruments de percussion à sons indéterminés, ni les voix humaines.
