Note I. It may be of use to point out that melodies lying in the extreme upper register, e.g. those exceeding the middle of the 5th octave, are generally doubled an octave below, whilst those situated in the extreme low register (below the middle of the 1st octave) are doubled an octave higher.
Examples:
Sadko 207 (cf. Ex. 24).
Note II. Progression in octaves of divided strings of the same kind is generally to be avoided:
| Violas I Violas II, |
'Cellos I 'Cellos II, |
D. basses I D. basses II |
] | 8, |
for, in such cases the parts are played on strings which do not correspond, and unity of tone is impaired. This, however, does not apply to violins.
Note III. The following distribution is occasionally found:
| Violas + 'Cellos I D. basses + 'Cellos II |
] | 8. |
Melody in double octaves.
| a) | Vns I | ] | 8 | or | Vns I | ] | 8 |
| Vns II Violas |
] | 8 | Vns II 'Cellos |
] | 8 |
may be used for full cantabile melodies extremely tense in character, and in forte passages for choice.
Example:
No. 32. Antar 65.—
| Vns I | ] | 8. |
| Vns II Violas + 'Cellos |
] | 8. |
| b) | Violas | ] | 8 | or | Vns I + II | ] | 8 | or | Vns I + II + Violas | ] | 8 |
| 'Cellos D. basses |
] | 8 | Violas +'Cellos D. basses |
] | 8 | 'Cellos D. basses |
] | 8 |
are employed when the low register of each instrument is brought into play, and also to suit phrases of a rough and severe character.
Examples:
Legend of Kitesh 66, opening of the 2nd Act.
No. 33. Snegourotchka 215. Tumblers' dance.
Note. The lack of balance in the distribution:
| Vns I + II +Violas | ] | 8 |
| 'Cellos D. basses |
] | 8 |
is not of any great importance, for, in such cases, the partial harmonics of one octave support the tone of the other, and vice versa.
Doubling in three and four octaves.
The distribution
| Vns I Vns II Violas 'Cellos D. basses |
] 8 ] 8 ] 8 ] 8 |
is very seldom found, and as a rule, only when supported by wind instruments.
Examples:
The Legend of Kitesh 150 (allargando).
* Shéhérazade, 4th movement, commencing at the 10th bar.
| Vns I Vns II Violas + 'Cellos D. basses |
] ] ] |
8. |
Melody in thirds and sixths.
In confiding a melody in thirds to the strings it is frequently necessary to use the same quality of tone in both parts, but in the case of a melody in sixths different timbres may be employed. In writing thirds doubled in octaves, the first and second violins should be used. In spite of the difference in the quantity of players, the thirds will not sound unequal. The same arrangement may obtain in the viola and 'cello groups, but it is useless in the case of melody in sixths.
Examples:
* No. 34. Legend of Kitesh 34—
| Vns I div.) 3 Vns II div.) 3 |
] | 8. |
* Legend of Kitesh 39—
| Vns I Violas |
] | 6. |
Cf. also Legend of Kitesh 223:
| Vns I Vns II |
} | 3 | ] | 8 (Ex. 31). |
| Vns I Vns II |
} | 3 |
Distribution in octaves, thirds, and sixths is usually regulated by the normal register of the respective instruments, so as to avoid any suggestion of mannerism resulting from the disturbance of balance. But such a departure from the recognised order may be permitted in special cases. For instance, in the following example of writing in sixths the upper part is allotted to the 'cellos, the lower part to the violins on the G string; this arrangement produces a quality of tone distinctly original in character.
Example:
No. 35. Spanish Capriccio D—
| 'Cellos Vns I + II |
] | 6. |
Melody in the wood-wind.
* The choice of instruments for characteristic and expressive melody is based on their distinctive qualities, discussed minutely in the foregoing chapter. To a large extent the question is left to the orchestrator's own personal taste. Only the best methods of using the wood-wind in unison or octaves, and distributing a melody in thirds, sixths and mixed intervals, from the standpoint of resonance and tone quality will be indicated in this section of the work. Examples of the use of solo wood-wind are to be found in any score; the following are typical instances:
Examples of solo wood-wind:
1. Piccolo: Serbian Fantasia C; No. 36. Tsar Saltan 216; Snegourotchka 54.
2. Flute: Antar 4; Servilia 80; Snegourotchka 79, 183; A Fairy Tale L; The Christmas Night 163; No. 37. Shéhérazade, 4th movement, before A (Fl. à 2 in the low register).
Flute (double tonguing): Pan Voyevoda 72; Shéhérazade, 4th movement, after V; No. 38. Ivan the Terrible, Act III, after 10.
3. Bass flute: No. 39. Legend of Kitesh 44.
4. Oboe: No. 40. Shéhérazade, 2nd movement A; The May Night, Act III Kk; No. 41. Snegourotchka 50; Snegourotchka 112, 239; The Tsar's Bride 108 (cf. Ex. 284), No. 42 and 43. The Golden Cockerel 57 and 97.
5. Eng. horn: Snegourotchka 97, 283 (cf. Ex. 26); No. 44. Spanish Capriccio E; No. 45. The Golden Cockerel 61.
6. Small Clarinet: No. 46. Mlada, Act II 33; Mlada, Act III 37.
7. Clarinet: Serbian Fantasia G; Spanish Capriccio A; Snegourotchka 90, 99, 224, 227, 231 (cf. Ex. 8); The May Night, Act I, before X; Shéhérazade, 3rd movement D; A Fairy Tale M; The Tsar's Bride 50, 203; The Golden Cockerel 97 (lowest register, cf. Ex. 43).
8. Bass clarinet: No. 47 and 48. Snegourotchka 243 and 246-247.
9. Bassoon: Antar 59; No. 49. Vera Scheloga 36; Shéhérazade, 2nd movement, beginning (cf. Ex. 40); No. 50. The Golden Cockerel 249; No. 51. Mlada, Act III, after 29; cf. also Ex. 78.
10. Double bassoon: Legend of Kitesh, before 84, 289; cf. also Ex. 10 (D. bassoon + D. bass solo).
The normal order of wood-wind instruments and that which produces the most natural resonance is the following: Flutes, Oboes, Clarinets, Bassoons (the order used in orchestral full scores). Departure from this natural order, e.g. placing bassoons above clarinets and oboes, or flutes below oboes and clarinets, and especially below the bassoons, creates a far-fetched, unnatural tone, useful, however, in certain cases to attain certain special effects. I do not advise the student to make too free a use of this proceeding.
Combination in unison.
The combination of two different wood-wind instruments in unison yields the following tone qualities:
a) Flute + Oboe. A quality fuller than that of the flute, sweeter than that of the oboe. Played softly, the flute will predominate in the low, the oboe in the upper register. Example: No. 52. Snegourotchka 113.
b) Flute + Clarinet. A quality fuller than that of the flute, duller than that of the clarinet. The flute will predominate in the lower, the clarinet in the higher register. Examples: No. 53. Legend of Kitesh 330; also 339 and 342.
c) Oboe + Clarinet. A fuller quality than that of either instrument heard separately. The dark, nasal tone of the oboe will prevail in the low register, the bright, "chest" quality of the clarinet in the high compass. Examples: Snegourotchka 19; No. 54. Snegourotchka 115. Cf. also Legend of Kitesh 68, 70, 84—2 Ob. + 3 Cl. (Ex. 199-201).
d) Flute + Oboe + Clarinet. Very full in quality. The flute predominates in the low register, the oboe in the middle, and the clarinet in the high compass. Examples: Mlada, Act I 1; * Sadko 58 (2 Fl. + 2 Ob. + Small Cl.).
e) Bassoon + Clarinet. Very full quality. The gloomy character of the clarinet prevails in the lower register, the sickly quality of the bassoon in the higher. Example: Mlada, Act II, after 49.
f) Bassoon + Oboe, and
g) Bassoon + Flute.
The combinations f and g, as well as Bassoon + Clarinet + Oboe, and Bassoon + Clarinet + Flute are very seldom found except in certain orchestral tutti, where they produce increased resonance without creating a fresh atmosphere. But in such combinations, the range of which is practically restricted to the limits of the third octave, the low notes of the flute will predominate in the lower third of this register, and the high notes of the bassoon in the middle third. The clarinet, weak in the middle compass will not stand out prominently in this particular combination.
h) Bassoon + Clarinet + Oboe + Flute. This combination is equally rare. The colour is rich, and difficult to define in words. The tone of each instrument will be separated from the others more or less in the manner detailed above. Examples: Russian Easter Fête, the beginning; No. 55. Snegourotchka 301; The May Night, Act III Qqq.
The process of combining two or more qualities of tone in unison, while endowing the music with greater resonance, sweetness and power, possesses the disadvantage of restricting the variety of colour and expression. Individual timbres lose their characteristics when associated with others. Hence such combinations should be handled with extreme care. Phrases or melodies demanding diversity of expression alone should be entrusted to solo instruments of simple timbres. The same applies to the coupling of two instruments of the same kind, such as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone will lose nothing of its individuality, and will gain in power, but its capacity for expression will be diminished accordingly. An instrument enjoys greater independence and freedom when used as a solo than when it is doubled. The use of doubling and mixed timbres is naturally more frequent in loud passages than in soft ones, also where expression and colour is broad rather than individual or intimate in character.
I cannot refrain from mentioning how greatly I dislike the method of duplicating all the wood-wind, in order to balance a group of strings, reinforced out of all reason, to suit the ever-growing dimensions of concert halls. I am convinced that, artistically speaking, a limit should be set to the size of both concert room and orchestra. The music performed at these super-concerts must be specially composed on a plan of its own—a subject which cannot be considered here.
Combination in octaves.
When the melody is entrusted to two wood-wind instruments in octaves, the usual arrangement producing natural resonance is:
| 8 | [ | Fl. Ob. |
Fl. Cl. |
Fl. Fag. |
Ob. Cl. |
Ob. Fag. |
Cl. Fag. |
] | 8 |
The combination of flute and bassoon in octaves is rare on account of the widely separated registers of the two instruments. Deviation from the natural order, such as placing the bassoon above the clarinet or oboe, the clarinet above the oboe or flute etc., creates an unnatural resonance occasioned by the confusion of registers, the instrument of lower compass playing in its high register and vice versa. The lack of proper relationship between the different tone qualities then becomes apparent.
Examples:
No. 56. Spanish Capriccio O—
| Fl. Ob. |
] | 8. |
No. 57. Snegourotchka 254—
| Fl. Eng. horn |
] | 8. |
* No. 58. Shéhérazade, 3rd movement E—
| Fl. Cl. |
] | 8. |
Sadko 195—
| Fl. Eng. horn |
] | 8. |
Pan Voyevoda 132—
| Fl. Cl. |
] | 8. |
Tsar Saltan 39—
| Cl. Fag. |
] | 8. |
No. 59. Vera Scheloga 30—
| Cl. Fag. |
] | 8, |
likewise any number of examples in the scores of various composers.
The use of two instruments of the same colour in octaves, e.g. 2 flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided is certainly not to be recommended, as the instruments, playing in different registers will not correspond one with the other. Nevertheless this method may be safely employed when stringed instruments, arco or pizzicato double the two members of the wood-wind, and especially in the middle compass. The process is most satisfactory for repeated notes or sustained passages.
Examples:
The May Night, Act I T—
| Cl. I Cl. II |
] | 8. |
* Sadko, after 159—
| Ob. I Ob. II |
] | 3, doubled by pizz. strings. |
* Servilia, after 21—
| Fag. I Fag. II |
] | 8 + pizz. strings. |
Instruments of the same branch playing in octaves, e.g.
| 8 | [ | Fag. C-Fag. |
Cl. Cl. basso |
Ob. Eng. horn |
Small cl. Clar. |
Flute Alto Fl. |
Picc. Fl. |
] | 8 |
always produce a good effect.
Examples:
Snegourotchka 5—
| Picc. Fl. |
] | 8 (cf. Ex. 15). |
The Tsar's Bride 133—
| Picc. Fl. |
] | 8. |
Tsar Saltan 216—
| Picc. Fl. |
] | 8 (cf. Ex. 36). |
Sadko, after 59
| Small cl. Cl. |
] | 8. |
Legend of Kitesh 240—
| Fag. C-Fag. |
] | 8 (cf. Ex. 21). |
No 60. Mlada, Act III, before 44—
| Ob. Eng. horn |
] | 8. |
As in the strings, so in the wood-wind it is advisable to double in octaves any melody situated in the extremely high or low compass; an octave lower in the first case, an octave higher in the second. Thus the piccolo will be doubled by the flute, oboe or clarinet an octave lower; the double bassoon will be doubled by bassoon, clarinet or bass clarinet an octave higher.
| 8 | [ | Picc. Fl. |
Picc. Ob. |
Picc. Cl. |
] | 8 |
| 8 | [ | Fag. C-Fag. |
Bass cl. Fag. |
Cl. Fag. |
Cl. Bass cl. |
Fag. Fag. |
Fag. Bass cl. |
] | 8 |
Examples:
* Tsar Saltan 39—
| Picc. Ob. |
] | 8. |
* No. 61. Mlada, Act II, Lithuanian dance 32—
| Picc. Small cl. |
] | 8. |
Sadko 150—
| Picc. Small cl. |
] | 8. |
* Mixed qualities of tone may be employed in doubling in octaves, the above remarks still holding good.
Examples:
Pan Voyevoda 134—
| Cl. + Ob. Cl. + Eng. horn |
] | 8 (cf. Ex. 7). |
No. 62. Servilia 168—
| 2 Fl. + Ob. 2 Cl. + Eng. horn |
] | 8. |
No. 63. The Tsar's Bride 120—
| 3 Fl. + Ob. 2 Cl. + Fag. + Eng. horn |
] | 8. |
Mlada, Act III 41—
| Fl. + Bass fl. Cl. + Bass cl. |
] | 8. |
Doubling in two, three and four octaves.
In such cases the student should follow the above-mentioned rules, and should take care not to infringe the natural order:
| In 3 octaves: | Fl. Ob. Cl. |
Ob. Cl. Fag. |
Fl. Cl. Fag. |
Fl. Ob. Fag. |
] 8 ] 8. |
| In 4 octaves: | Fl. Ob. Cl. Fag. |
] 8 ] 8 ] 8. |
Mixed timbres may also be employed.
Examples:
No. 64. Spanish Capriccio P—melody in 4 octaves:
| Picc. 2 Fl. 2 Ob. + Cl. Fag. |
] 8 ] 8 ] 8. |
The Tsar's Bride 141—melody in 3 octaves.
* Legend of Kitesh 212—
| 2 Cl. Bass cl. D. bassoon |
] 8 ] 8. |
* No. 65. Antar, (1st version) 3rd movement, the beginning—
| Picc. + 2 Fl. 2 Ob. + 2 Cl. 2 Fag. |
] 8 ] 8; |
also C, melody in 4 octaves (piccolo in the upper octaves).
* Mlada, Act III, after 42—
| Fl. Ob. Eng. horn |
] 8 ] 8. |
No. 66. Shéhérazade, 3rd movement G—
| Picc. Cl. I Cl. II |
] 8 ] 8. |
Examples of melody doubled in five octaves are extremely rare; in such cases the strings participate in the process.
Melody in thirds and sixths.
Melodic progression in thirds and sixths demands either two instruments of the same colour (2 Fl., 2 Ob., 2 Cl., 2 Fag.), or instruments of different colours in the normal order of register:
| Fl. Ob. |
Fl. Cl. |
Ob. Cl. |
Cl. Fag. |
Ob. Fag. |
] | 3 (6). |
If this order is inverted, e.g.
| Ob. Fl. |
Cl. Fl. |
Fag. Cl. |
] | 3 (6), |
a strained and forced resonance is created. For progressions in thirds, the best method, from the standpoint of equality in tone is to use instruments of the same kind in pairs; for progressions in sixths instruments of different kinds are more suitable, but both courses are good and useful. They may also be employed for progressions in thirds and sixths, or thirds, fifths and sixths mixed, as for example:
[Listen]
Examples:
Legend of Kitesh 24—different wind instruments in turn.
The May Night, Act III G—
| Cl. Cl. |
] | 3. |
Sadko 279-280—
| Fl. Fl. |
] | 3 (6). |
No. 67. Spanish Capriccio, before V—various wood-wind in thirds and sixths.
Servilia 228—
| Fl. Fl. |
] | 3 | and | Cl. Cl. |
] | 3. |
The Golden Cockerel 232—
| 2 Fl. 2 Ob. |
] | 6. |
* Sadko 43—All wood-wind in turn, simple timbres.
When the doubled parts progress in thirds or sixths, the following method is advisable:
| Fl. + Ob. Fl. + Ob. |
] | 3 (6) | or | Fl. + Cl. Fl. + Cl. |
] | 3 (6) etc., as well as: |
| Fl. + Ob. Fl. + Cl. |
] | 3 (6) | or | Ob. + Fl. Fl. + Cl. |
] | 3 (6) etc. |
In the case of tripling the following arrangement may be adopted:
| Fl. + Ob. + Cl. Fl. + Ob. + Cl. |
] | 3 (6) | or | Ob. + 2 Fl. Ob. + 2 Cl. |
] | 3 (6) etc. |
Examples:
* No. 68. The Christmas Night 187—
| Ob. + Cl. Ob. + Cl. |
] | 3. |
* Legend of Kitesh 202-203 different mixed timbres.
Thirds and sixths together.
[Listen]
Apart from the obvious distribution:
| Fl. Ob. Cl. |
or | Ob. Cl. Fag., |
there are certain complicated methods which involve doubling:
| Upper | part. | Ob. + Fl. |
| Middle | " | Fl. + Cl. |
| Lower | " | Ob. + Cl. |
The following is a complex instance somewhat vague in character:
No. 69. Legend of Kitesh 35—
| Ob. Ob. + Cl. Cl. |
and | Fl. Fl. + Ob. Ob. |
Melody in the brass.
The natural scale, the only one which brass instruments had at their disposal prior to the invention of valves was:
[Listen]
giving, in two part harmony:
[Listen]
With the help of rhythm, these component parts have given rise to a whole series of themes and phrases named fanfares, trumpet calls or flourishes, best adapted to the character of brass instruments.
In modern music, thanks to the introduction of valves, this scale is now possible in all keys for every chromatic brass instrument, without it being necessary to change the key, and the addition of a few notes foreign to the natural scale has enriched the possibilities of these flourishes and fanfares, and endowed them with greater variety of expression.
These phrases, either as solos, or in two or three parts, fall specially to the lot of the trumpets and horns, but they may also be given to the trombones. The full, clear, ringing notes of the middle and upper register of horns and trumpets are best suited to figures of this description.
Examples:
Servilia 20—Trumpets.
The Christmas Night 182—Horn, Trumpets.
Vera Scheloga, beginning of Overture, and after 45—Horn, Trumpets.
Ivan the Terrible, Act III 3—Cornet.
Snegourotchka 155—Trumpets.
No. 70. Legend of Kitesh 65 and elsewhere.—3 Trumpets, 4 Horns.
Pan Voyevoda 191—2 Trombones, Trumpet.
* The Golden Cockerel 20—2 Horns and
| Trumpets Horns |
] | 8 (cf. further on). |
After fanfare figures, those melodies best suited to the brass quality are those of an unmodulated diatonic character, rousing and triumphant in the major key, dark and gloomy in the minor.
Examples:
No. 71. Sadko 342—Trumpet.
Sadko, before 181—Trombones (cf. Ex. 27).
No. 72. Snegourotchka 71—Trumpet.
Russian Easter Fête M—Trombone.
Spanish Capriccio E—Alternative use in the horn of open and stopped notes (cf. Ex. 44).
Ivan the Terrible, Act II, before 17—Bass trumpet, and 3 Horns a little further on.
Mlada, Act II 33—Bass trumpet (cf. Ex. 46).
The genial and poetic tone of the horn in piano passages affords greater scope in the choice of melodies and phrases that may be entrusted to this instrument.
Examples:
The May Night, Overture 13.
The Christmas Night 1.
Snegourotchka 86.
Pan Voyevoda 37.
No. 73. Antar 40.
Melodies involving chromatic or enharmonic writing are much less suitable to the character of brass instruments. Nevertheless such melodies may sometimes be allotted to the brass, as in the music of Wagner, and the modern Italian realists, who, however, carry the proceeding to extremes. Vigourous phrases in the form of a fanfare, although introducing chromatic notes sound singularly beautiful on the brass.
Example:
No. 74. Shéhérazade, 2nd movement D.
As a general rule, brass instruments lack the capacity to express passion or geniality. Phrases charged with these sentiments become sickly and insipid when confided to the brass. Energetic power, free or restrained, simplicity and eloquence constitute the valuable qualities of this group.
Brass in unison, in octaves, thirds and sixths.
As, from its very nature, the brass is not called upon to realise a wide range of expression, kindred instruments of one group may be employed solo, as well as in unison. The combination of 3 trombones or 4 horns in unison is frequently met with, and produces extreme power and resonance of tone.
Examples:
Snegourotchka 5—4 Horns (cf. Ex. 15).
Snegourotchka 199—4 Horns and 2 Trumpets.
Sadko 175—1, 2, 3 Trumpets.
No. 75. Sadko 305[13]—3 Trombones.
No. 76. The May Night, beginning of Act III—1, 2, 3, 4 Horns.
Legend of Kitesh, end of Act I—4 Horns (cf. Ex. 70).
No. 77. Shéhérazade, 4th movement p. 204—3 Trombones.
Mlada; Lithuanian dance—6 Horns (cf. Ex. 61).
Owing to the resonant power of the entire group, the equality and even gradation of tone between the dark colour of the deep compass and the bright quality of the upper register, the use of brass instruments of the same kind in octaves, thirds or sixths invariably leads to satisfactory results. For the same reason the employment of brass instruments of different kinds, arranged according to normal order of register:
| Trumpet 2 Horns |
Trumpet Trombone |
Trombone Tuba |
2 Trombones Trombone + Tuba |
2 Trumpets 2 Trombones |
2 Horns Tuba |
is likewise successful whether the instruments are doubled or not. Another possible method, though not so reliable, is to combine horns (above) with trombones, exclusively in octaves:
| 2 Horns 1 Trombone |
] | 8 | or | 4 Horns 2 Trombones |
] | 8. |
Examples:
Sadko, before 120—
| Trumpet Trumpet |
] | 8. |
Sadko 5—
| 2 Trumpets 4 Horns |
] | 8. |
Snegourotchka 222—
| 2 Trombones Trombone + Tuba |
] | 8. |
Ivan the Terrible, Act III 10
| 1 Trombone + Trumpet 2 Trombones |
] | 8 (cf. Ex. 38). |
The Golden Cockerel 125—
| Trumpet Trombone |
] | 8. |
Cf. also Snegourotchka 325-326—
| Trombone Trombone |
] | 8 (Ex. 95). |
Melody in different groups of instruments combined together.
A. Combination of wind and brass in unison.
The combination of a wood-wind and brass instrument produces a complex resonance in which the tone of the brass predominates. This resonance is naturally more powerful than that of each instrument taken separately, but slightly sweeter than the brass instrument alone. The tone of the wood-wind blends with that of the brass, softens and rarefies it, as in the process of combining two wood-wind instruments of different colour. Instances of such doubling are fairly numerous, especially in forte passages. The trumpet is the instrument most frequently doubled: Trumpet + Cl., Trumpet + Ob., Trumpet + Fl., as well as Trumpet + Cl. + Ob. + Fl.; the horn, less often: Horn + Cl., Horn + Fag. Trombones and Tuba may also be doubled: Trombone + Fag., Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon with the brass, in corresponding registers, presents the same characteristics.
Examples:
Legend of Kitesh 56—Trombone + Eng. horn.
* Mlada, Act III, before 34—3 Trombones + Bass cl.
As a rule, the addition of a wind to a brass instrument yields a finer legato effect than when the latter instrument plays alone.
B. Combination of wind and brass in octaves.
Doubling the horns in octaves by clarinets, oboes or flutes often replaces the combination
| 1 Trumpet 1 Horn (or 2 Horns) |
] | 8. |
This is done when it is a question of introducing a rich tone into the upper octave which the trumpet is not capable of imparting. If a single horn is used, the upper part is allotted to 2 clarinets, 2 oboes, or 2 flutes. But if there are two horns playing the lower octave in unison, three or four wind instruments will be necessary above, especially in forte passages:
| 8 | [ | 2 Ob. or 2 Cl. or 2 Fl. 1 Horn |
as well as | 2 Ob. + 1 Cl. 1 Horn |
] | 8; | 2 Fl. + 2 Cl. 2 Horns |
] | 8. |
To double a trumpet in the upper octave three or four wind instruments are required, but in the top register two flutes will suffice.
[Listen] |
[Listen] |
Wood-wind instruments should not be used to double a trombone in the octave above; trumpets are more suitable.
Examples of doubling in octaves:
* Snegourotchka 71—
| Ob. + Cl. Horn |
] | 8. |
* Legend of Tsar Saltan, before 180—
| Ob. + Cl. Ob. + Cl. |
] | 6 | ] | 8. |
| Horn Horn |
] | 6 |
* Mention should also be made of mixed timbres (wood and brass) in progression in octaves.
Examples:
Mlada, Act III, beginning of Scene III—
| Trombone + Bass cl. Tuba + C-fag. |
] | 8. |
No. 78. Mlada, Act III after 25—
| 2 Cl. + 2 Horns + Trombone Bass cl. + 2 Horns + Trombone |
] | 8 (low register). |
No. 79. Mlada, Act III, before 35—general unison.
When it is desired to distribute the melody over three or four octaves, it is difficult to achieve perfect balance of tone.
Examples:
* Shéhérazade, 4th movement, 15th bar after W—
| Picc. 2 Fl. + 2 Ob. 2 Trumpets |
] 8 ] 8. |
* Legend of Tsar Saltan 228—
| Picc. 2 Fl. + 2 Ob. Trumpet + Eng. horn |
] 8 ] 8. |
C. Combination of strings and wind.
In commencing this section of the work I consider it necessary to lay down the following fundamental rules which apply equally to melody, harmony, counterpoint and polyphonic writing.
All combinations of strings and wood-wind are good; a wind instrument progressing in unison with a stringed instrument increases the resonance of the latter and amplifies its tone, while the quality of the strings softens that of the wood-wind. In such combinations the strings will predominate provided that the two instruments are of equal power, e.g. when violins are coupled with an oboe, a bassoon with the 'cellos. If several wind instruments play in unison with one group of strings, the latter will be overpowered. As a rule all combinations refine the characteristics of each instrument taken separately, the wood-wind losing more than the strings.
Doubling in unison.
The best and most natural combinations are between instruments whose registers correspond the nearest:
Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
D. basses + Bass cl., D. basses + Fag.; D. basses + C-fag.
The object of these combinations is: a) to obtain a new timbre of definite colour; b) to strengthen the resonance of the strings; c) to soften the quality of the wood-wind.
Examples:
Snegourotchka 5—'Cellos + Violas + Eng. horn (cf. Ex. 15).
" 28—Violas + Ob. + Eng. horn.
" 116—Vns I + II + Ob. + Cl.
" 288—Vns I + II + 'Cellos + Eng. horn (cf. Ex. 17).
No. 80. The May Night, Act III Bb—Violas + Cl.
No. 81. Sadko 311—Vns + Ob.
No. 82. " 77—Violas + Eng. horn.
No. 83. " 123—Violas + Eng. horn.
Servilia 59—Vns G string + Fl.
Tsar Saltan 30—Vns I + II + 2 Cl.
No. 84. Tsar Saltan 30, 10th bar.—'Cellos + Violas + 3 Cl. + Fag.
Tsar Saltan 156-159—Vns detached + Fl. legato.
The Tsar's Bride 10 Violas + 'Cellos + Fag.
Antar, 4th movement 63—'Cellos + 2 Fag.
Shéhérazade, 3rd movement H—Violas + Ob. + Eng. horn.
Parts doubled in octaves.
Examples of strings in octaves doubled by wood-wind also in octaves are numerous, and do not require special description; they are used according to the rules already laid down. The following are examples of melody distributed over 1, 2, 3 and 4 octaves: